(Now that would be) Telling

(Now that would be) Telling has closed its doors on the final houses. Thank you to everyone who made the project possible, from the houses Ickworth, Brantwood, Dr Johnson’s House, A la Ronde, Caddington Hall (Transition Gallery) and their wonderful staff and volunteers, our supporters including Arts Council England and the National Trust, the designers Present Perfect, and those who lived and worked in the houses to inspire the stories threading through the work by Hayley Lock and the writers Ben Moor, Lucinda Hawksley, Hallie Rubenhold, Liz Williams and Jessica Hart. And thank you to all of you who visited the project.

The texts from all five (Now that would be) Telling houses are available to download from issuu and each house page has images from the project’s manifestation in situ, more images will be uploaded soon.

(Now that would be) Telling is coming to its final days at A la Ronde and Caddington Hall. This weekend is the last chance to see the project that has spanned five stately homes with five authors creating new stories for the homes to accompany Hayley Lock’s site specific artworks. See it while you can!

Wondering whether or not to visit Caddington Hall at Transition Gallery? Read the review by Zoe Pilger here.

(Now that would be) Telling is still open to the public at A la Ronde and Caddington Hall (at Transition Gallery) until 5 February 2012. These are the final houses in the project so see them while you can!

The texts from all five (Now that would be) Telling houses are now available to download from issuu and images are now up on the Caddington Hall page from the opening evening. More images and a video of the reading by Jessica Hart to come, do check back again soon.

In the meantime, Jessica Hart has written about her participation in the project on her blog. If you would like to find out more about Hayley Lock’s practice and projects please visit her website. And finally, (Now that would be) Telling were invited by Pornokitsch to be an astounding guest at their steampunk night last November as Catherine Hemelryk is part of this year’s Inky Tentacle judging panel. The short list for the prize has been announced and you can read about The Kitschies and all of the awards at thekistchies.com.

HAPPY NEW YEAR!

(Now that would be) Telling is preparing to launch it’s fifth and final exhibition on 13 January. Caddington Hall is coming to Transition Gallery, Unit 25 a (second floor), 8 Andrews Road, London E8 4QN, do join us there from 6-9pm.

Caddington Hall was a grand residence in rural Bedfordshire, sadly demolished in the 1970s. Hayley Lock has created a new series of works for Caddington depicting lovers of a Lady of the House in sumptuous velvets, brocades gilt and fringing referencing interiors of a bygone era and digitally manipulated landscapes that play out stories of their love. Scandal and romance collide further with romance novellist Jessica Hart’s short story that accompanies the exhibition.

(Now that would be) Telling is still on view at A la Ronde, Devon, until 5 February. Whilst you are in south Devon do visit our friends up the river in Exeter for the new exhibition of work by Steve Paige at Phoenix Gallery from 13-21 January.

(Now that would be) Telling will be one of the astounding guests at A Steampunk Evening hosted by The Kitschies, “an annual award for books best elevating the tone of genre literature”. Find out more about The Kitschies and their supporter Kraken Rum here and join us on 8 December at Blackwell’s, 100 Charing Cross Road, London, from 7-9pm.

We will be showing selected work by Hayley Lock and texts by Liz Williams, Ben Moor, Lucinda Hawksley and Hallie Rubenhold as part of the event. For more information about the night visit their website here and we look forward to seeing you there!

(Now that would be) Telling is now open to the public at A la Ronde until 5 February 2012. This is the first year that the National Trust property has not closed for winter. Visitors can tour the house as it is put to bed, cleaned and conserved. Hayley Lock’s work becomes prominent sitting atop the covers and surfaces referencing what lies beneath the acid-free tissue and canvas sheets.