Unsafe House

Opening times:

26th May 6 – 9pm

27th and 28th May 11am – 9pm


Five artists, Sarah Ainslie, Andrew Dawson, Beadie Finzi, Ravi Lloyd

and Penny Woolcock excavate what family means in a semi-derelict

house in Peckham.


We are all watermarked by our past. Though the experience of five

families, UNSAFE HOUSE explores longing and loss, the legacy of

childhood fear and shame, examines race and identity and the price of

keeping secrets from one another. We have created five personal but

interconnected multi-media installations using photography, film,

soundscapes and fire to tell stories that resonate beyond our own lives,

seeking to be understood and understand each other.


Exploring her grandfather’s photograph albums from 1896 until his

death in 1937, Sarah Ainslie has found clues of secret lives and an

inter-generational cover up. Drawing from the images, she has created

a visual narrative exploring the profound cost and the havoc spawned

by lives supressed and unexplained.


In 1985 Andrew Dawson’s father died, and tragically, his body lay

undiscovered for 10 days. This trauma inspired Andrew to create this

deeply personal work which deals with his sense of loss and guilt, his

affection and conflict, and the unique emotions of a son to his father.

Through this work Andrew rediscovered a delicate relationship with his

father that he thought was lost.


Beadie Finzi is torching the past, burning evidence of a bitter familial

dispute. A dispute which began as a battle over a mythical fortune but

has become a matter of moral legitimacy and one which threatens to

consume all. In this work Beadie is looking for release and wondering

if there is a chance for forgiveness.


The existence of a person of colour in the white man’s world involves

the idea of being and non-being, adversity through multiple cultures

and hegemony. Ravi Lloyd experiments with the idea of existing in two

worlds, the white and the black. Through audio recordings and family

photos, Ravi inquires into the memories of his mixed race family, and

their plight to exist.


“People see me fearless now but I was always afraid as a child. I

couldn’t stop crying”. Penny Woolcock delves into the nameless

dread of her childhood, her fear of drowning in her own tears and

longing to run away and join the carnival drummers through memories,

songs, nursery rhymes, psychoanalytical interpretations and the voice

of her religious mother.