‘Live the life that you imagine’ – New book

Marking the completion of two new works by Mark Titchner, Live the Life that You imagine and Dream after Dream after Dream, is a new book published by InSite Arts.  Designed by Axis it documents the development, construction and installation of the artworks at One St Peters Square, Manchester.









The artworks were commissioned by Argent, Glenn Howell Architects and on-site art consultants InSite Arts, the works employ multi-layered gold and silver acrylic extracts of text, adapted from Henry David Thoreau’s Walden 1984 and a pamphlet published post Peterloo in 1819, The Political House that Jack built.

Design, photography and print management: Axis
Essay: Simon Grennan
Print: De Coker, Antwerp

Book images by Axis Graphic Design

MT Soundworks at Bandcamp


I’ve begun uploading my sound based works to Bandcamp where they are available free for download in a variety of audio formats.

The first three uploads are ‘Kali Girls’ from the performance ‘Shitter beware the evil eye’ at DKUK in 2013, ‘Six Chairs’ from a performance at Art House Foundation in 2012 and ‘The restoration of the submerged’ from a performance for Focal Point Gallery, Southend in 2012.

Follow the links below to download, they’ll be more added in the near future.


Shitter beware the evil eye

6 chairs

Six Chairs

ends thou

The restoration of the submerged

happy sad


(The world isn’t Working, Mark Titchner, 2013)

London Utd.
Dominic from Luton, Gavin Turk,
Laura White, Peter Lamb, Mark

06. 07 — 04. 08. 2013

Kling & Bang gallery
Hverfisgata 42
101 Reykjavik

London Utd.
As British politics started once again to chase its own tail against the background of further vicious cuts to the arts the artist Dominic Allan, aka Dominic from Luton, took matters in to his own hands to fly the flag for Britain. No self-proclaiming jingoism here, just a desire to make things happen: willpower over budget: ambition and talent superseding any economic imperative. On-going conversations with Kling & Bang, an internationally established Icelandic artist-run-space (based in Reykjavik), resulted in London Utd – not so much a celebration of London itself but the relationships that make it tick, via Luton, of course.

All of the works in the exhibition present the dramatic, glorious point where everything sits on the edge of the abyss, looks down and laughs, poking fun at the sheer audacity of chaos. Mark Titchner’s emblematic work, The World Isn’t Working, has been translated into Icelandic and realised in the red, white and blue of our symbiotic identities. Whilst subtly referencing the gentle typography of folk art the statement demands our attention much as the glorious Trade Union banners, now housed in museums, shouted for the international rights of men and women. Another symbol of fading glories, the Transit van, becomes the centre-piece of Gavin Turk’s work Large Transit Disaster Diptych 2013. A direct homage to Warhol’s Car Crash series Turk’s work as ever comes with many layers, referencing that underbelly of British life, the white van man – his downfall underpinned as the Luton-based car factories collapse. Allan’s own work, Dominic from Luton as Paul Young, continues to unpick the demise of the hero – or perhaps provokes its resurrection. His pre–performance photograph as the 80’s icon, dressed in images of himself as himself, now singing for a pint in the local working men’s club, bravely looks you in the eye, demanding attention but asking for your confirmation nonetheless.
It’s a powerful choice to consistently reference and re-use your own work. Confidence exudes through the works as all of the artists in this exhibition as they exert authority over their practice and imagery. Laura White continually pushes and pulls at the conventions inherent in presenting work. Conformity has no place as her new drawings for London Utd flip the sculptural norm and photographs of her sharply coloured sculptures are reprinted in monochrome and painstakingly overdrawn with pencil. Suggestive of the fading black and white photographs of old National Geographic’s her earlier references to anthropological collections come into full focus and begin new conversations not least around our current place in the world.
As honest appraisals of his journey through a work and deliberately sliding in and out of easy definition Peter Lamb’s diptych for London Utd highlights the role of the artist, artwork, studio and audience – all bound together in a complex, unfolding relationship. The familiar touchstone of his studio floor is reworked through photography and scale, overlaid with paint and studio materials, the work finally titled by his children. Chaos has been put in a box, allowed out on occasion to shake its finger at us all, allowing chance instead to reign supreme.
And so London Utd, a group of artists brought together by player manager Allan, heads to Iceland for an away game with a welcoming host, bound together by the sheer confidence of works that all have something to say.

Text by Lucy Day Photos courtesy of Inguar Högni Ragnarsson.

(Drawings by Joe & Riva)




A Naiad

Public artwork by Mark Titchner, 2013

M Shed,
Wapping Road,



(A Naiad, Mark Titchner, 2013)


Titchner’s work for Bristol is based upon a redundant reduction gear which has been drawn from the Bristol Museum and Art Gallery collection, and which the artists has used as a basis for a sculptural work that examines the tidal system of Bristol’s floating harbour, and new cut, a tidal body of water and fixed lagoon system.

The gear, which was earmarked for disposal, weighs around 1.5 tonnes and is 2 metres in height. It has been re-engineered to represent Bristol’s dominant feature: water. A set of polished steel discs – referring to the tidal lunar cycle – move through an accelerated sequence symbolising the violent tidal motion of the New Cut. The Floating Harbour’s fixed yet tensioned stasis is depicted in the form of a circular pool which is mechanically vibrated, providing a constantly shifting surface. Together these elements present Bristol’s two key water bodies in their contradictory states in a work that is part tidal clock and part absurdist machinery.

The sculpture is named after the Naiads from Greek Mythology, (from the Ancient Greek word ‘Ναϊάδες’), which were a type of water nymph (female spirit) that presided over fountains, wells, springs, and other bodies of water. The title was chosen by the artist to evoke the works aquatic theme.

File:Naiad1.jpgA Naiad by John William Waterhouse, 1893

BMG K4958

(‘Narcissus’, c1500, Bristol Museums, Galleries and Archives collection)

The City Council’s Museum Service has supported the work A Naiad by making it part of its permanent collection at M Shed, in a remarkable story of transformation from redundant industrial relic to contemporary art work.


As part of the launch of A Naiad, a number of Mark Titchner’s film works were shown on the BBC big screen at Millennium Square from 12th April 2013 and during Harbourside Arts Weekend 3rd – 6th May 2013. Films include ‘Work and Play’, ‘UP!’, and ‘Fear of Life’.




(Love and Work, Mark Titchner, 2012)



(UP!, Mark Titchner, 2012)



(Fear of Life, Mark Titchner, 2012)

Artworks available at http://www.seditionart.com/mark_titchner

‘Photography © Max McClure, www.maxmcclure.com’