Alex's next exhibition will be Memoria which opens 30 June 2017 at Phoenix Brighton.


Memoria is the debut showing of major new works by artist Alex Peckham, hosted by Phoenix Brighton. The installation combines large-scale sculpture with carefully controlled sound and light, creating an environment that juxtaposes interior and exterior. The work features a giant moth, the right hindwing of which is shown in the photograph above.

To find out more, visit the exhibtion website:





Interstice combines spatialised sound, dynamic lighting and traditional sculptural techniques to produce a subtly interactive experience which sonifies the human genome, creating a melody that would take centuries to play to its conclusion. At the core of the work is a four foot long inverted boat-like form cast in water clear resin. Illuminated from within, each time a note is played the light within the work grows and then fades, plunging participants momentarily into darkness.

The melody moves around the space in a helical pattern and participants cause the sound to intensify as they approach the work. However, this interaction is intended to subtly enhance the experience on a subconscious level and is not overstated.

Interstice is primarily a work concerned with loss. It explores scale, the finite and the infinite – the length of the melody far exceeds the lifespan of a human being and thus encourages us to consider how we choose to define and attribute value within the limited perspective and duration of our own lives. It is also a piece which embodies inheritance – the boat seen in the work is itself an imperfect replica of a much smaller earlier piece by the artist.

The process of replication which gave birth to Interstice was undertaken entirely by hand – first a wood and glass fibre support was created before being covered with hundreds of plaster tiles, each individually hand-cast. The entire form was then covered with silicone rubber, followed by layers of glass fibre to create a rigid backing. All gaps between the tiles had to be painstakingly filled, since if rubber had flowed beneath the tiles the mould would have been impossible to remove without destroying it – a second mould was created for the interior surface using the same techniques. Finally water clear polyester resin was poured into the void between the two surfaces to complete the replication. To prevent the piece overheating and cracking, the resin was poured in several layers under precise conditions.



Pragma was commissioned by BDF as a new work to accompany the exhibition of Interstice. A single length of ribbon supports the work from above and thus the tail provides a counterbalance which dictates the forward lean of the figure. Where Interstice is concerned with almost unimaginable differences in scale and distance, Pragma collapses these themes into a human context. Tiny fibre optic lights illuminate the detailing on the chest and waist of the figure and also exist at each point on each segment of the tail. Like a breath or heartbeat, a pulse of light originating in the chest then travels sequentially down each of the segments at the rear. The tail references a trajectory that is the past – if the length were to increase indefinitely then the forward lean of the torso too would become more pronounced, until at some point she would be hurtling forward almost parallel to the ground.


Genesis Genesis Genesis Genesis Genesis

Origin is a series of two-dimensional images, each composed of one million points. Each form is essentially a cloud of dust, imagined in three dimensions, with each point occupying its own location in space. However, despite the empty space that permeates each cloud and separates each point from every other, there is an odd sense of weight and solidity to these forms. The images themseleves then are instants, memories or moments in the lifetimes of these intangible objects.

These works may be thought of as virtual sculptures – a language exists to describe them in three dimensions and it is possible to represent them and create pictures of them. However, they cannot exist in the real world because no method exists to manifest them – they are clouds of disconnected particles, not solid forms. The images are like ghosts or echoes from another world.



The fruit stone is a symbol of newness, hope and new beginnings. The two halves represent both division and unity, the origins of life. The work takes the form of a precious gift and is reminiscent of jewellery, however there is no way to wear the halves as such – instead they would need to be carried or held by the bearer.



Alex Peckham is a UK-based artist whose practice encompasses sculpture, sound, light and moving image to produce powerful installation art. He has a particular interest in the combination of traditional fine art techniques with contemporary time-based media. His work has been shown at The Royal College of Art, Goldsmiths, University of London, Artist Residence, Phoenix Brighton, Phoenix Leicester, Salford University, Brighton Festival, Newhaven Fort, The Spirit of Gravity and many other galleries, events and institutions. He has a particular interest in the combination of traditional fine art techniques with contemporary time-based media.

Alex formerly held a senior role with internationally renowned artists’ group Blast Theory, one of the most adventurous groups in digital and cross-dimensional work. Alex led technical development of many Blast Theory projects including the multi-award-winning Karen and My One Demand, a ninety-minute film shot in one take and performed live on three consecutive nights on the streets of Toronto, broadcast to cinemas across the city.

In 2004 his ground-breaking research into video cubism was presented at the European Conference on Visual Perception and published in the journal Perception. Alex has been a regular contributor to Espressivamente, a dual-language arts journal published in both Italian and English.

He has also taught Visual Culture at tertiary level within the University of Brighton and sat on the moderation board at UBIC.




Much love and thanks go to Jo Knell, for all her support and encouragement in the time that we knew each other.
Thanks also go to Oleg Pulemjotov for providing some of the visual documentation used here.