Author Archives: goldtop_art

Time shift

Documenting The Level over time.

Photographs of The Level, Brighton, from three angles. Taken from October 21st 2020 to October 21st 2021, taking in Autumn equinox, Winter solstice, Spring equinox and Summer solstice.

Taking the photographs became part of an almost daily routine, and doing it I became acutely aware of the changing seasons, aware of all the activities taking place and how has access to local green space felt so vital.

Protection from the cold

A graph / scarf documenting the rollout of the Covid-19 vaccine in the UK.

I cast on 100 stitches to express the whole population, with an additional 3 for the bottom axis. It’s knitted in moss stitch. Red column indicates 3rd national lockdown in England in first week of Jan 2021. Green columns show key points in route out of lockdown (ie schools re-opening).


Population size taken from last ONS estimate, and 1st and 2nd dose rate taken from .Gov dashboard.

Stitches representing the 1st dose are yellow, and second dose blue. Weekly data available for the first two weeks of Jan, it then became available daily. Breaks between weeks shown as darker grey columns.

Protection from the cold - A hand-knitted graph / scarf documenting the rollout of the Covid-19 vaccine in the UK.

Stitches are a round number, so the percentages have been rounded, i.e 0.3 becomes 0, 0.8 becomes 1. With thanks to Abbas Panjwani at Full Fact for stats help. Spreadsheet / pattern on Ravelry.

I’m finding a it a meditative process and good to focus on something positive during the pandemic, baby steps as they are.


A temporary site-specific installation of a series of small mirrored objects. Inserted into the holes left by missing railings along the beachfront at Black Rock, Brighton, they offer curious passersby a series of mini-views.

A nod to the proximity to the nudist beach, and referencing the slot telescopes on the promenade, end of the pier entertainments and halls of mirrors, these mini-views offer playful distortions of the beach / skyline (without actually invading anyone’s privacy!)

Peeping - image of sculptural installation at Black Rock, Brighton, UK

Location: Black Rock, Brighton
April 2021

Peeping (2021)
100+ components
Hand-stamped vinyl covered laser-cut acrylic

Part of a Brighton Artists Network project, Brighton, 2021. With thanks to Adam B @rodhuscreativestudios for fabrication help, and Anna Carlson and Mat Walker for drone footage.

Adequate Food

Adequate Food (2018)

Hand printed cape shown at We Built This City as part of Full English exhibition, London, 2018

July 2020: The cape is now in practical use by the Brixton Tatterjacks and they recorded a film of Johnny B singing about eating (albeit much more healthy options that those featured on the tatters!)


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