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FRIARS SCHOOL, SOUTHWARK A joint project between 330 Studios (Tam Giles, Arthur
de Mowbury, Jane Higginbottom
with Musical instruments by Marcus de
Mowbray) and Blooming Bells,
special thanks to Madelaine Bell



COSSALL ESTATE PECKHAM PROJECT
This major project involved several members of 330 Studios,
Arthur de
Mowbray, Tam Giles and Jane Higginbottom.
It also involved members of the
local community
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More images from the Cossall Project click
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MAKING THE MOSAICS


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Tate Modern Community Garden opens June 26th 2007

Tate director Sir Nicholas Serota and steering group member
Edith Slee cut the ribbon to open the new garden

Labyrinth - by Edith Slee, Tam Giles, Jane Higginbottom
(benches Arthur de Mowbray)

Shelter and Planter - Arthur de Mowbray
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Landscape & Arts members design and help create new
community garden.

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When Southwark Council agreed to the
development and construction of Tate Modern it was on the understanding that
a Community Garden would be provided as part of the development. This is
finally being realised and LAN member Edith Slee has helped design and
create some features. She and LAN members Tam Giles, Jane Higginbottom and
Arthur de Mowbray have contributed to the Labyrinth and some garden
furniture with help and cooperation from Bost and the local community.
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In these works is an
order of geometry and measure but there is
another inexpressible order arising from intuition, glimpsed in reverie
and contemplation…’
Translated & paraphrased
excerpt from a Taller Torres-Garcia Manifesto
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Four years studying
art studies in USA introduced me to the 'isms' of sixties' art, and my
instinct guided me to Op and 'Hard Edge'. When I returned to London and
met British Constructivists I recognised the significance of my brief
time with Jose Gurvich, Tutor at the Taller Torres Garcia. Almost
without realizing it, I had absorbed the visionary idealism of the
original Constructive movement. It permeated the Taller including
Gurvich, a Jewish refugee from Lithuania..
Constructivism in the UK and USA is widely misrepresented. Its formal
strategies are seen as ‘empty formalism’, but to me these should be seen
as no different from the explanations of composers and musicologists
explaining, say, the intricacies of a Bach fugue. ‘How it is put
together’ is only part of a whole which goes beyond the evident
strategies.
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