Claudia Moseley and Edward Shuster are collaborative artists working in immersive and social sculpture, installation art and related works in text and image: portfolio.
Claudia and Edward met in a tree on a protest site in the Brecon Beacons, Wales. They are now married, living and working in London.
Claudia Moseley: MA in Environmental Anthropology, Kent University. BA (Hons) Fine Art & Textiles, Goldsmiths College. Claudia targets the emergence of new perceptions through immersive experience. She derives her approach through exploring mediums that probe the direct and intuitive apprehension of environment.
Edward Shuster: PhD by Practice (Farjam Scholarship), Princes School of Traditional Arts. MA Philosophy, Exeter University. BA (Hons) Philosophy, SOAS. Edward’s process is a fluctuation between creative praxis and philosophical thought, an experimental method that often involves mapping this territory between ideas and (dis)embodiment.
Their work has attracted patronage from Tim Burton, Helena Bonham Carter and Director of the former RIBA Trust Charles Knevitt.
Together they run the multi-disciplinary research and development studio, Invisible Works.
I. Aerial Arena. Wood, steel and ETFE. Sound & light saturation within an environment based on a shelf mushroom (in collaboration with Jerry Tate Architects);
II. Aerial Arena II. Steel and ETFE. Pavilion suspending audience in a 360-degree sound/light environment.
I. Open Door. Cast glass. Lens sculpture casting refracted and reflected light and inverting its environment;
II. Songlines. Cast resin and steel. Weaving waveform following undulating frequencies of the landscape and waterforms; varying thicknesses acting as lenses.
III. Horizon. Glass. Lens sculpture orientates viewers to the horizon and disrupts the geometry of this border, bending and fragmenting its light.
Crossroads: Tip of the Iceburg. Perspex and steel. Circular, repetative members forming an experiential organ that can be climbed upon.
I. Peace Pods. Glass, steel and wood. Communal spaces as border between geometry experienced from within & multiplicity of external environment.
II. Hive Gallery. Steel, wood and ETFE. Treehouse pavilion juxtaposing arches and cells to frame the environment.
I. Cosmographical Glass. Cast glass. Large lens engages both natural and artificial light, establishing patterns of light and shadow that mark/disrupt time;
II. Contraction: map of bodies cast from space. Cast glass. Sculpted glass vessel containing water as a medium suspended over viewers, casting fluctuctuating bodies of light;
III. Projection Cluster. Lenses, projectors, debris. Light installation using lenses with natural and found debris (resulting series of digital photographs).
Future Motions; Glass Ceiling. Stained glass and steel. Pavilion using an unfolding biomorphic geometry formed in colour and traversable by audiences.
I. Invisible City: A social organism as a work of art. Intervention into nature & mapping of the city, curated creative responses in biophilic pavilions as incubators for a network of collaborators; II. Treehouse Gallery. Two community-built pavilions in Regents Park used as social hubs for curated workshops; III. Protest. 6-month residency on protest sites around the UK living in self-built structures (resulting series of photographs).