Moult’s Guided Tour
Solo Exhibition, Polly Vacher Building, University of Reading, Spring 2026
Interactive found object and mixed media installation.
After reflecting on two previous exhibitions, it was clear that to practise for the Interim Show, I needed to produce a fully-curated exhibition with multiple installations- since my plans involved numerous large scale artworks inhabiting one ‘environment’- the ‘Kitscape’. For this exhibition, I wanted there to be a cohesive network of distinct but connected artworks leading to the final chamber/heterotopia of ‘The Waiting room’ within my Kitscape.
I included both previous exhibitions; The Mercy of Rot and Countdown From Clay Lane in this solo ‘tour’ as slightly modified versions, to better suit the aesthetic and context of the Guided Tour but also based on crit feedback. For example, for the ‘Mercy of Rot’ an idea was to remove the platform that lfited the rabbit/chair off the floor- as this disrupted the flow of the large fabric hanging too much. I took this solo-exhbition as as oppourtunity to try again at the previous two, and see what peices worked well together and how they interacted within one environment- to better inform my choices when it came to Interim.
Materials (see captions for specifics): Metal street sign, 0.5 x 3.1 ft, jam jar with latex, vintage ceramic rabbit figure, bamboo steamer with rabbit ‘corpse’, wooden sand pit, vintage anatomy book, wooden sand timer, vintage bandages in tin, fabric hanging, beheaded rabbit in wrought iron planter under wooden vintage chair, mutliple LED Light sources, Ironing board, cupboard door, grey wooden crate, 3.2 x 3 ft, faux fur rabbit headpeice, bed canopy with hanging dress, mannequin legs with faux fur, small white side table, projection onto wall with ceramic rabbit sculpture, latex coated mirror, bamboo steamer with silicone, AV Equiptment: Panasonic 9” CRT TV, Long Throw projector kit, Speakers, MP3 Player.
Research/Context of this exhibit: At the start of the year I went to the TKE Studios (Tracey Emin Foundation) in Margate, Kent- where I saw the ‘This Is Love’ group exhibition. Link:
I felt this exhibition foregrounded tactility and embodiment, scale with intimacy- exploring embodied attention through accumulation rather than one singular event/experience. This is process as devotion, there is time invested in making and the multiciplicty of expereince in generating emotion. I was captivated by the set-up of the exhibition within the gallery space itself, as there was little to no signange or direction, and it was actually in the basement of the building. There were also no labels, and to find out information about the exhibition you had to scan a QR code. This furthered the intention of multuple acts to reach a resoloution/or resolved feeling. This in turn made me think of the opposite, what if an exhibition had a sort of choreographed spectatorship, with framing devices and instructiuon- leading me to the theme of a Guided Tour.
One of the curational strengths of the ‘This is Love’ exhibition lies in it’s juxtapositions: playful vs personal, reflective vs tactile, narrative vs abstract... this produces a ‘constellation hang’ where works do not illustrate each other, but meaning emerges relationally or through adjacency. The induvidual works are not isolated, they are activated by what sits next to them. Therefore, interpretation emerges through the frction or echoes between works. This scripted encounter was important to capture in my solo exhibition.
I wanted Moult’s Guided Tour to present itself as this structured, instructional experience, but one that uses this format to destabilise meaning rather than fix it. By adopting the language and format of a guided tour, the work positions the viewer within a system that typically promises clarity, authority, and linear understanding. Instead, the sequencing of elements disrupts this expectation, producing a fractured and uncertain navigation of space, memory, and narrative. The intention is to produce an exhibit that reflects the instability of identity and perception, using the idea of “moulting” as a metaphor for shedding, transformation, and partial renewal. Rather than a clean transition, this process is shown as uneven and incomplete, layers remain, traces persist, and what is discarded continues to haunt what is formed. The curation reinforces this by controlling how the viewer encounters the work. Like a guided path, attention is directed, but not resolved. Each “stop” or visual moment feels staged yet unreliable, suggesting that what is being presented cannot be fully trusted. This aligns with hauntological thinking, where the past is not gone but lingers in fragmented, overlapping forms.
Material use plays a key role in this tension, I specifically chose objects and visual elements that appear familiar or archival, implying authenticity or personal history, but their arrangement exposes them as constructed/performative. This creates a dual reading: the materials act as both evidence and illusion. The guided format heightens this contradiction, turning the act of viewing into a negotiation between belief and doubt.
Exhibition pamphlet, including floorplans and some context, which I then distributed: