An Installation Artist who talks an awful lot. Constantly travelling up and down the Country called England. Interested in Art, Photography, Travelling, Films, Food, Anything, Everything, All things weird & wonderful.
Sikander The Great.

The[OCCUPIED]event again, this time I have included images from the Spode Factory.

The Spode brand was and is synonymous with the pottery industry. It is especially renowned for its under-glaze blue transfer printing. We also learned about the prominence the building had when the pottery industry was booming in England.

We visited the factory prior to the event and it was like a ghost town. The factory occupies 10 acres of land and most of that includes deserted buildings that have had their power cut off, which is such a shame. We were shown a photograph of the factory from the 1920’s, when it had dozens of working kilns. We were also told that about 2 weeks previous to our arrival, the last kiln collapsed. This building was so rich in history, yet it was abandoned.

We were told the ‘China Halls’ were available to us for our exhibition, one of 2 buildings with power. I could not have been more excited when I saw the venue, it was vast and we were told we were not permitted to make changes to the foundations of the building, such as painting the walls or the floor. This was brilliant as I wanted to respond to the building as it was; empty. I was in awe and wanted to move in on the very same day to explore and experiment. I believed I needed at least 3 weeks leading up to the opening to realise an ambitious idea. The factory had other plans. At another part of the factory, part of the building had collapsed and access to the building and roads surrounding the building had been closed for several weeks. Panic came over many in the group. I used the time to think about what exactly I could propose for the space.

I knew I had a very strong reaction to the area that housed six large pillars close to the public entrance to the building. This was because the space had the foundations of the building exposed and this is what I wanted to focus on. With the parts of the factory practically crumbling, I thought about what measures were in place to preserve the history of the city. I did not find any. With the factory occupying such a large amount of space with buildings that would be fully functional if the City Council had not cut the power supply to them, I wanted to keep the significance in history in mind and respond to the future of the factory as a whole.

I decided to use industry standard builder’s thread as it is used when laying the foundations of many things such as floors and walls. It is usually attached to a point and stretched across to another tightly to form a straight line. I wanted to create something with geometry and something very architectural to tap into the potential of the building. I attached the string to the pillars at points where they had been interacted with, points with existing nails and hooks to play on the specificity of the site. The images I have included show the result, however, being in the presence of the space was an experience a camera could not capture.


Further experiments with the orange plastic and chair.


Investigating the deceptive qualities of imitation materials.

The first stages of this particular work.

The first stages of this particular work.


White Cuboid, Black Cylinder, 2012. Sikander Pervez.

This is an early experiment consisting of a chair painted white and a caster wheel drilled into it. 

This experiment was realised soon after the work I had been working on for the 48 hour exhibition in which I used the shadow of a simple dining table chair to explore how the history of furniture has impacted on what we make in present times. I have always associated glossy, white, streamlined, plastic/metal objects with an obsession with making everything ‘futuristic’ in the design industry. Therefore, I decided to research when and how white became so popular in commercial household objects in England. My trail lead me to Josiah Wedgwood, who added white to his pottery and it was very popular amongst homes.

With this in mind I went on to carry out my experiment and drilled a hole into the chair to add a caster wheel because my practice concerns the fast paced, throw-away generation of our time.

It was only once I had completed this artwork, that I realised it referenced Marcel Duchamp’s Bicycle Wheel.


Using inspiration from the repetition module, I started to further investigate the properties and origin of materials without form alongside the exploring the boundaries of sculpture and installation. I had been reading heavily into ‘New British Sculpture’ of the 1980’s, and this is very referential in these experimental works.

My work almost always considers the space that it occupies, however, with inspiration from sculptors such as Richard Wentworth, Bill Woodrow, Tony Cragg etc. I decided to concentrate solely on the materials I was working with.


A while ago, the progression of my experiments concerned with the deception of the materials used in the mass produced object led me to explore movement in my practice. This added a new, and very unexpected layer to my work. After that had been exercised for a period of time, I grew to understand that if I was to add movement to my work in the form of a fan I would like to use an industrial fan for its intensity.

I stepped back to look at my work and my mind was a little boggled, it felt as if a lot of my thoughts were in front of me but were all actualised in the same way (three dimensional sculptures/installations). At this time I had also been heavily reading into the Campbell’s Soup Can series by Andy Warhol. I noticed that he had said “If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.” I use a lot of repetition in my work as it is so I decided to explore his way of working and came up with an image of an individual chair and manipulated it till I reached the outsome of six multi coloured chairs. Working in 2D is not something one would relate to me as an artist. I suppose delving into something, without any expectation, was risky but gave me knowledge so I would say it was a success in that sense but this experiment is exactly that; just an experiment.