A November exhibition by the joint recipients of the London Group Open 2017
President’s Prize – Micheál O’Connell/ MOCKSIM, Jockel Liess and Stephen Carley.

In this three-person show the prizewinners and most recent members of The London
Group are presenting work in response to the Cello Factory’s interior space. The artworks range across media and style, from systems interference art and live-generative audiovisual installation to Lo-fi 2D and sound work concerned with context, process and materials.

The Cello Factory
33-34 Cornwall Road
London SE1 8TJ
9th-15th November 2018
12-6pm daily
Free Admission
Private View: Thursday 8th November 6-9pm.

Micheál O’Connell / MOCKSIM

I describe myself as a systems interference artist.
As well as exhibiting the evidential photographs captured by traffic wardens – a
project entitled Contra-Invention – I discovered it was easy to access courier
company Point of Delivery signatures (Missing You) and I began using supermarket
self-checkout machines, but to buy nothing (Less). Later money was sent flowing
unnecessarily around bank accounts, a mobile handset was used as speed camera and
symphonies were created through simultaneous use of sat-nav and maps-app voices
while driving between destinations.


Jockel Liess

I am an audiovisual artist and composer. My mainly abstract works are meditative
environments as explorational spaces of aesthetic concepts. They examine
microtonality, timbre, texture, colour and the self-similarity of image and sound, as
well as the indeterminacy of change.

Each piece exists as an autonomous generative computer system with the ability to
perform and improvise the progression of the work. Once set in motion the
audiovisual compositions have no clear beginning, end, or in the traditional sense
progression. They rather exist in a state of infinite renewal, an equilibrium both
unpredictable and stable in its aesthetic flow. Striving to recreate the organic
flexibility of nature they can be seen as a form of organic compositions.
Installations are site-specific and composed to focus the experience of the time-based
medium. They aim to invite the viewer into the work and erode the boundaries
between audience and installation.


Stephen Carley

I’m an artist/ teacher.
My work is completely concerned with context, process and materials.
I often choose to use ‘poor’ materials – for example, dust, cardboard, chalk on
blackboards, lead, chocolate, ashes, water and other stuff. Perhaps discarded found
materials collected between home and studio. Lo-fi audio techniques collecting field
recordings, glitched samples, filtered, cut up, reconfigured.
I like to give the viewer / audience / student, room to manoeuvre intellectually.
I’m not really interested in simply making work that has to fit on a mantle shelf, an
office wall, a stage or a commercial white cube space, however, I am interested in
engaging with ideas that subvert or possibly compliment those contexts.
My work is sometimes intentionally confrontational, sometimes intentionally
beautiful. Profanities, congested space, white noise, ugly / beautiful, process led –
‘making a mark’. I try to avoid associations with art HIStory.
This is my ‘punk rock’.