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Shaun C. Badham



EDGELANDS
2025 - The Biscuit
2024 - An Edgeland Plot
2024 - The Passing Series
2023 - House of Annetta
2023 - Herons Stream
2022/23 - Tidehouse

FOLLOW THE FOREST
2025 - Follow the Forest Audio/Map
2024 - Follow the Forest Walk
2023 - Marking the Land Publication
2022 - Marking the Land Walk

PLOT
2025 - Land Barriers
2023 - Splitting the Land
2022 - TOW
2021 - Podcast
2021 - The Peoples Landscape
2021 - Brandenburg, Germany
2021 - Tsarino
2021 - Estuary Festival
2021 - Geographical Map Paintings
2020 - Caraboo Loops
2020 - Alexandra Road
2020 - This Plot is Not for Sale
2019 - The Haven
2019 - A Street Loud with Echoes
2019 - Briquette
2018 - Research Panels
2018 - River Garage Studio
2018 - Back Lane West

MORNING
2018/20 - Featured
2017 - Kestle Barton
2017 - Essay
2017 - Goldsmiths
2016 - Publication
2016/17 - Moon Probe
2016 - Alexandra Road
2016 - King Edward Centre
2016 - Victoria Park
2015 - Posters and T-shirts
2014/15 - Research
2014 - Liminal Space
2014 - Encounter

I’M STAYING
2021 - Outpost Members Show
2019 - Adaptation to the Home
2019 - The Will to Proceed
2019 - WordPower: Language as Medium
2018/21 - Neon (London)
2018 - Currency
2015/18 - T-shirt
2016 - YAC Interview
2016 - Survey Paintings
2015 - Collection #1
2015 - Bristol Pound/Neon Video
2014/16 - Neon (Bristol)
2013 - Sketches

Assortment
2021 - Forced Collaboration
2019 - The Call of Home
2019 - Uniform
2019 - Dialogues 5 at Newbridge
2016 - B Drawings
2013 - Paper Stages
2013 - In Official Proceedings
2013 - Port and Starboard


Mark




I produce installations and objects that draw out our relationship to exterior spaces and structures from the urban to the Edgelands. The materiality corresponds to these areas from a neon in a city, abandoned climbing frames in a fringe park, to salvaged materials from an abandoned Mill, each holding a historical and local significance. These projects offer a use value, with how the works are occupied, determined or engaged with. The operative element plays out durationally, whether that’s changing policy on how a local council regenerate play spaces or how a city grants permission for a touring public sculpture.

I’M STAYING (2014 to 2021) was a large-scale text-based neon sculpture which travelled around the city of Bristol, moving quarterly via democratic vote for 2 and a half years. The locations were determined by the Bristol public, which informed meaning, therefore addressing the piece as both a statement of provocation and affirmation.

MORNING (2014 to 2018) attempted to identify the correlation between a series of architectural space-race themed climbing frames, designed in the 1970s, situated in my birthtown, with the area’s inclusion in the Basildon New Town experiment, and their simultaneous periods of change. After years of lobbying, the frames were painted, enabling them to glow in the dark at night.

PLOT (2018 to present) initially explored the rise and fall of the Plotlanders, a back the land, self-build, DIY community whom were displaced due to the area being designated as a new town in 1946 and the policies that followed. Over the last 2 years I have been self-building cabins on land which has either been abandoned, disused, or land banked. What does it mean to do this today, when the policies which made the Plotlanders illegal are still upheld?