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In April 2014 I began collaborating with Hamilton House and Coexist on a series of public space projects that would help transform, albeit for a short amount of time, the façade of the building on Stokes Croft, and therefore, the atmosphere of the street in general. Stokes Croft is a renowned area in Bristol, for it’s colourful graffiti, it’s anti-establishment messages, music venues, squats, riots, and vibrant cultural scene. Hamilton House itself, has changed Stokes Croft in very positive ways, by transforming a building where junkies used to shoot up on it’s doorsteps, to an artist studio building with music venue that plays live every night.


With this in mind, I was commissioned to create some kind of intervention for the first ever Bristol Art Weekender that took place in May 2014. All the other organizations involved were already regularly funded and well established. Museums and galleries such as Spike Island, Bristol Museum and Arnolfini were the main protagonists of this festival, and little attention had been awarded to the arts community in Stokes Croft. Therefore, it was particularly exciting that this project would be the only one representing the area in this high profile arts event.


I was working with Sean Redmond as my Coexist liaison, and we originally wanted to wrap the Hamilton House building in white material so we could project on it from across the road. However, this was clearly overambitious for the time scale and budget we had available. So to work up to that idea, we decided to keep it relatively small and create something within the Coexist Gallery on the ground floor of the building. On this occasion we would do a small-scale project and in consequent years we could make more interesting projection mapping projects.

Sean had seen my original Acapulco SS installation and he commissioned me to do a translation of that work so that it would fit within the gallery space. I suggested that we could project onto the back of opaque, semi transparent material that would cover the windows of the gallery, thus creating a massive screen with animated displays. As it was a small version of the Acapulco SS project, I called it Acapulco Space Shuttle, and then simply Space Shuttle.


I wanted to create new music and new visuals for this project and I had recently been inspired greatly by Chancha Via Circuito’s album Rio Arriba, so I got to work on my own version of electro cumbia with accompanying visuals.

The result was a four track EP that then developed into the Acapulco Space Station album I released on Le Ronca Records in Argentina in 2015. The visuals were harder to finish as they took longer to do, so in the end I was only able to produce two visual music pieces for Pantera del Espacio and Sueños Profundos.


The installation itself was done on a shoelace with almost no funding at all. I placed thick tracing paper on all of the windows of the gallery and used a two projector system to back project onto the window. The installation was left overnight and was very successful in transforming the space. 

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