Author Archives: goldtop_art

Take one, leave one

Emerald Mosley (part of SLWA group show, Pillow Talk: conversations with women. Also shown at the 2016 TedxUCLWomen event, Intersect)

Take one, leave one (2016)

Dimensions 40 x 60cm
Felt, wool, pencils and blank cards with a prompt for visitors to leave an idea in exchange for one taken (see example of this in action below!)

Blog posts about Take one, leave one

How long is a piece of string?

Emerald Mosley and Maddy Costa

How long is a piece of string? (2015)

Dimensions 1.5m x 1.5m x height varies
String, cards, ink, hooks

Exhibition text from Bad Behaviour’s Collaboration show, May 2015

“Some questions don’t have answers. Some answers are relative. Some questions lose meaning with repetition. Some answers are made up. Some questions are asked only by children. Some answers are understood only by adults.

Emerald Mosley (visual artist) and Maddy Costa (writer) invite you to collaborate with us on an alternative string theory, making (non)sense of art and life. Use a length of string to match a question with an answer. Choose what makes sense to you at this moment in time. Match as many or as few as you like. Remember there might not be an answer. And how long is a piece of string? That depends on you…”

Blog posts about this project

Mexican concrete fragments

Layered concrete fragments created during AAVS Las Pozas

Mexican concrete fragments, 2014
Emerald Mosley
Concrete, steel fibres, local river stones, dyes, wooden mould.
42 h x 18 w x 9cm d

Displayed as part of group exhibition Beton Machine at the MARSO gallery (Mexico City, 2014) and will be shown in 2016 at Pioneer Works (Brooklyn)

Film by Alex Ezpeleta and photos by AA documenting 2014 workshop

Blog posts about Mexico


World Water Week installation

Christina Ballard and Emerald Mosley are thrilled to have won the summer sculpture competition organised by D&D London, Belu and WaterAid. It is on show throughout September on the roof terrace of the Coq ‘Argent restaurant in London.

Press: D&D | EatSleepDrink Magazine

If one should fall

“The site-specific installation in glass and ribbon on the roof terrace of the Coq D’Argent restaurant in London, re-appropriates one thousand used Belu bottles and incorporates over five kilometres of cascading and interwoven ribbon.

With their sculptural installation the artists aim to prompt consideration of our limited access to safe water, which we rely upon to live. Water covers the majority of the earth’s surface, yet almost all of it is saline. Only 2.5% of water on earth is fresh, not salty. Astonishingly, less than 1% of that fresh water is accessible and safe to drink.

Colour is used in the installation in a visually striking way to reference the locations and states of fresh water. Six hundred and ninety-nine bottles represent the almost 70% of fresh water that is frozen (found in ice caps, glaciers and as permanent snow); three hundred bottles refer to fresh water which is not accessible for human use (found in soil moisture, or lying in deep underground aquifers as groundwater); and just one bottle refers to the proportion of fresh water on earth that is accessible and safe for human use.”

If one should fall, 2013
Christina Ballard and Emerald Mosley
sculptural installation, glass, ribbon, glue
255 x 300 x 280 cm

3 – 30 September at Coq D’Argent, 1 Poultry, London EC2R 8EJ

(photos Emerald &

Blog posts about the process of World Water Week installation

Hope / Loss

The long form of the space made me want to do something linear; but I also wanted to respond to the broken and jumbled-ness of the gravestones that were being stored there. Also to the typography of the memorials.

The lead being heavy enough to hold the balloons just shy of the ceiling, but not so heavy that they cannot move from their initially linear placement so that the words become jumbled.

The balloons inflated with helium so initially they are floating but as time passes they fall, perhaps even burst

Thinking about people that are gone; the weight of loss, and the lightness / fleetingness of memories we have of them; the thin lines that connect (and break between) the two.

Initially made for a site specific installation in The Crypt Gallery, London. Subsequently shown as part of This Temporary Matter as part of the Bath Arts Fringe. There, instead of a paper strip, I used black, blue and orange gravel to demarcate the line.

In a similar way to the helium gradually dissipating and the balloons losing their height and position, the gravel line also got disrupted over time. and A visitor (ex-soldier) noted that it reminded him of the coloured gravel that was used to keep the weeds down around headstones which I thought was apt.

Photograph of the balloons captured in a mirror during her performance via @hannahmaryartist

Hope / Loss 
Helium filled balloons, nylon covered steel, lead type (Perpetua, 16pt – ‘I remember you’), paper, ink.

Thanks to Bob at St Bride’s Library.

“There are three deaths. The first is when the body ceases to function. The second is when the body is consigned to the grave. The third is that moment, sometime in the future, when your name is spoken for the last time.” —David M. Eagleman

Sweep Well

A project where we were given a regular broom to work with, and asked to ‘Do something, do something to that, and then do something to that’ (Jasper Johns).

I loved the odd exhortation to sweep well that the manufacturer had branded onto the broom head, as it seemed more gentle encouragement than cleaning instruction.

I made connections to the phrases sleep well and fare thee well and wanted to incorporate these into the piece. The movement – a gentle swing when the broom is pushed – is more cradle rock than vigorous clean, and the multiples of other brushes tied to the broom with customised ribbon act as good luck tokens.

A video of Sweep Well installed at Push 107 (London, UK) in 2012.