Yask Desai

Rosie Royston  
Luke Devine

Amnesty International


The Dockyard   
by Yask Desai
Towards the end of his life the famous travel writer William Thesinger lamented, “What I hate most are motor cars and airplanes, they have wrecked the world and robbed it of all its diversity.”

The nautical experience was once the mainstay of the journey and part of the ordinary experience of those that traveled for work or leisure. Huge industries were built and maintained via the seas and for centuries simple craft plied short but crucial distances allowing communities the chance to expand their possibilities. To a large extent however, particularly in the western world, the creation of the internal combustion engine replaced water-based travel. Bangladesh, with its port cities and comprehensive system of inland waterways, retains a closer connection with the maritime experience. Throughout the country the boat remains a central means of everyday transport. For the people in and around Dhaka’s City Dockyard the maritime and the base element of water linger, firmly an established part of their lives. Most notably in the dockyard area there is a sense of space, which is periodically taken up by the hulking vessels being dragged up the slip lanes, by hand, for repair or by the enormous skeletal like frames of new cargo ships which are almost completely handcrafted. The dockyard area however, whilst being the scene of remarkable toil and layered commerce is as much a location in which people dwell, chat, argue, ponder and relax. It is by geographical and commercial necessity that the dockyard also allows its people to be momentarily free from the endless traffic and high density living that characterises much of modern Dhaka





























D-i-s-c-o-m-b-o-b-u-l-a-t-e  (I’s into Y’s)  
by Rosie Royston
I FEEL confused by emotions, why?  When using the word “I” and the sound of the letter ‘I’ we learn that many words sound the same when they are spoken and used but when writing them down the message can get lost. Why can I not have it is a common anguish felt by young people when they have so many things but believe they need more things to make them feel composed. We give our offspring things to ease their pain from hurt and anguish that we think they have, then more things. Nothing is enough and yet they do not actually know why they crave more. The ‘I’s are satisfied but not the whys. The house becomes our home full of things and we no longer want and cull the excess only to replace what we have thrown away with more of the same, why? The message is still confused, just the delivery is different just like changing an i for a y. The great tree of knowledge and abundance is discombobulated by all that we want and desire floating around hardly used and yet such effort is used to manufacture these things.  Using up resources for toys that reflect people and peoples habits. This sculptural work is inspired by all that is desired. The great cloud stores all and yet nothing we want. Decompose what you don’t want and waste, WHY?
























by Luke Devine
Imagine if you came down stairs one day to find your housemate was played by a different person. I’m fascinated by the willing suspension of disbelief necessitated by being a member of the television audience, purely for the sake of continuity. In this work I have recreated the living room of one of my favourite sharehouses, and recast the people who lived there. Using a blog that chronicles our adventures a revolving cast of actors will interpret our characters and reboot them live in the space. Special guest appearances by original cast members will reveal if in fact we can turn back time just by reimagining it.



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