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Edward Shuster and Claudia Moseley portrait

Claudia Moseley and Edward Shuster are collaborative conceptual artists creating ambient art as therapeutic instruments that tune the ambience of a space in the context of contemporary mediation technologies. Their work encompasses sculpture, installation and suspended environments using optics, geometry, light and glass (screens, lenses, prisms).
The artists met on a tree-dwelling protest site in the Brecon Beacons, Wales, where they began their collaboration inhabiting a suspended treehouse. They now live and work in London, creating temporary and permanent lightworks and sculptural installations for public spaces and private collections.



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In the contemporary age mediation technologies coordinate and enframe the relations between individual and collective thinking and the cosmic environment. Ambient art seeks to create therapeutic artworks as instruments to tune the ambience or atmosphere of the psycho-physical life-world, interfacing between the individual and this surrounding environment. Working with spatial harmonics, the healing effects of light and the kinetic rhythms of the breath, which connect the body to the wider psycho-sphere, geometric frameworks are opened to allow an influx of solar chromatics and cosmic flows, generating an individuating poetics through these spectral potentialities.



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Edward Shuster is a doctor of philosophy, having written his PhD on the ‘The Pharmakology of Light-Time’, a thesis which explores the philosophy of technology, consciousness and cosmology, following research into Optics, Geometry and Architecture as well as diverse philosophical and esoteric traditions. Claudia began deconstructing cinematic and photographic apparatus during her BA at Goldsmith’s university. She since went on to complete a MA in environmental anthropology, considering how people perceive and inhabit their environment.
Together, their work seeks to interface between people and their environment. Their methodology works with resonances derived from meditative practice and diagrammatic thinking, encompassing cosmology, psycho-geography, architectonics and anthropology, along with the informational potentialities of natural and artificial light. The method explores the nature of consciousness and technological mediation, aiming to create openings for conscious experience in the context of its cosmo-technical enframing.
Deconstructing cinematic and photographic apparatus, the work dimensionalises the lens and screen, reflecting on the threshold of materiality, considered as the transparent limit-horizon. Looking towards the large-scale optics of telescopy and telematics to encompass the wider technocene, the work employs light to spectralise at this threshold, opening up the potentiality of the liberational interface in search of anthropological altarities. Here the nature of embodiment, mediation and consciousness is explored through active vision, asking the viewer to ‘suspend their belief’, and future relics, which consider the dimensions of human embodiment in the age of the crystallisation of light-time.



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In 2017 the artists were commissioned by Artichoke to create a large-scale site-specific work comprising two installations for Lumiere Durham, working with the Institute for Computational Cosmology in Durham. The project ‘What Matters’ addressed the problematic of cosmological simulation through the creation of an installation in a Medieval church that dimensionalised cosmological data (the CMBR model), using glass to create an immersive environment and implicating the consciousness of the viewer through the agency of projected light.
The artists presented their first UK solo show ‘Interface’ in 2015, which comprised 11 site-specific works across a 3000 square foot space beneath Waterloo’s railway arches at Gallery 223. These works re-appropriated traditional and technological interfaces (lenses, screens, glass architectures) - devices that increasingly constellate information and coordinate our experience of reality. Conceived as sites of dynamic encounter, the works are intended as liberational interfaces in this context, striving towards a renewed poeticisation of lived experience in relation to the virtual.
2015 also saw the creation of a tree pavilion sited for 6 months in London’s Hoxton Square, which featured on the front page of the BBC’s website. This project followed the TreeHouse Gallery in 2009 and the Invisible City (unrealised), both created in partnership with the Royal Parks. The ongoing challenge with these pavilions is to take people into a new context with their surroundings, but also to facilitate an enhanced interiority; to generate a space that is sensitive to the environment and contemplative, but one that is also radically open to the public realm.



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Current projects include a number of permanent public artworks, utilising suspended and kiln formed glass elements in interaction with natural and artificial light. The works stem from research into cinematic apparatus, cosmo-technics and deep time. They are both sculptural forms and interfaces that generate compositions of projected light. They are also developing a series of works for upcoming exhibitions based on research into frontier fields, which is being pursued in conversation with cosmologists (UK and US).



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The continuation of the practice seeks to extend the methodology of ambient art into fully immersive large-scale environments, which utilise multiple interactive and kinetic lightworks within a space. The artists intend to continue developing collaborations with technologists, scientists, engineers and architects to develop work that extends in spatial scale and through levels of complexity from architectural spaces to cities. The work intends to incorporate a network of relations that bring into play architectural proportions, geography, light, anthropology, cultural complexities and the potentials emerging from increasingly intelligent technical apparatuses.






2007-08 || MA Environmental Anthropology, Kent University

2003-06 || BA Fine Art & Textiles, Goldsmiths College

2002-03 || Foundation Diploma Art & Design, Middlesex University 



2017 || PhD ‘The Pharmakology of Light-Time’, European Graduate School

2013–14 || Research in Geometry, Optics and Architecture, Farjam Scholarship, Prince’s School

2009-11 || MA Esoteric Philosophies, Exeter University

2006-09 || BA World Philosophies, SOAS



2019 || (forthcoming) Deep Time, Greenwich Peninsula, London

2018 || (shortlisted) Ornament of Solar Lights, permanent site-specific, outdoor sculpture, Nottingham University

2018 || (forthcoming) Large-scale site-specific installation, Sketch Restaurant, London

2018 || (shortlisted) Inter-World, ‘Electricity: The spark of life’ commission, Museum of Science and Industry, Manchester, supported by Wellcome Trust

2018 || (forthcoming) Spheroid & Nebula, commissioned by the Contemporary Arts Society on behalf of Stanhope Plc, two permanent, large-scale new artworks for the Television Centre (former BBC Studios), White City

2018 || (forthcoming) Dynamic, two site-specific, outdoor, public sculptures selected by Outset Contemporary Art Fund, commissioned by Dwyer Property, London

2017 || What Matters, two site-specific artworks commissioned by Artichoke, Lumiere Durham

2017 || (shortlisted) Aletheia, Amsterdam Light Festival

2016 || Large-Scale Outdoor Glass Sculpture, Arts Council research and development award

2016 || Antiprisms I-V, commissioned by Mehta Bell Projects for 40 Portman Square, London

2015 || TreeXOffice, Hoxton Square, tree pavilion in collaboration with Natalie Jeremijenko, in partnership with Hackney Council, Groundwork and Arts Admin, part of 2 Degrees Festival and London Festival of Architecture

2015 || (shortlisted) Contemporary Arts Society commission for the interior atrium of Princes House (BAFTA)

2014 || Light Paintings, Arts Council research and development award

2014 || (unrealised) Cosm, Olympic East Village, site-specific sculpture

2013 || (unrealised) The Invisible City, tourable pavilions, 10 Downing Street GREAT Campaign

2013 || Time, Winged, Primrose Hill, outdoor, acoustic sculpture commissioned by Roundhouse and London Contemporary Orchestra

2013 || (shortlisted) Open Door, Songlines and Horizon, site-specific follies for multiple National Trust properties

2011-14 || (unrealised) The Invisible City, Regents Park, pavilions developed in partnership with The Royal Parks

2010 || Secret Grove, Royal Botanic Garden Edinburgh, social-sculpture project during the Fringe Festival

2009 || The TreeHouse Gallery, Regents Park, two community-built treehouse pavilions, curated library and events



2019 || (forthcoming) ‘Kinetica Art Fair’, group exhibition, Printworks, London

2018 || (forthcoming) Progress, XX Cerveira International Art Biennial, Portugal

2018 || (forthcoming) ‘Art in Flux’, Flux group exhibition, Ugly Duck, London

2018 || ‘Lucid Haze’, group show at Sketch London curated by Presenza, alongside Clare Kenny and Regine Schumann

2017 || Antiprisms, Art Miami with Dillon + Lee Gallery

2016 || ‘The Collective’, House of St Barnabas, outdoor installation for dual show with Nathaniel Rackowe, curated by ARTinTRA

2016 || ‘Living Through’, private presentation of five site-specific works, London

2015 || ‘Interface’, solo exhibition, 223 Gallery, Waterloo, supported by Arts Council England

2015 || ‘Garden of Earthly Delights’, The Exhibitionist Gallery, South Kensington, featured artists in Frieze week group show featuring Banksy, Damien Hirst and Sir Peter Blake

2015 || Private exhibition of works curated by Michelle D’Souza alongside Richard Wilson and Xiaobai Su

2015 || ‘The Art of Burning Man’, Lights of Soho, featured artists in group show

2009 || ‘Shine On’, group show, Smithfield Gallery, London

2008 || ‘The Labyrinth of Doors’, collaborative installation, The Maze, MartarCar Brussels

2008 || ‘Efflux’, group show, Constance Howard Resource and Research Centre, London

2008 || ‘VisAnth’, group show of visual ethnographies, Kent University

2007 || Projection Cluster, The Foundry, London

2007 || ‘Conspectus Enigmarum’, collaborative installation, Whitechapel Factory, London

2007 || Projection Cluster, Temporary Autonomous Art Exhibition, London

2007 || Projection Cluster, Temporary Autonomous Art Exhibition, Bristol

2007 || The Islington Arts & Design Fair, Candid Arts Trust

2007 || ‘Life and Death’, St Pancras Crypt

2007 || Orbis Opifex, collaborative installation at The Foundry, London

2006 || ‘Can We Break The Speed of Light’, exhibition connected to the 10 day film festival ‘Shot By The Sea’, 12 Claremont, Hastings

2006 || ‘Free Range’, Old Truman Brewery, London

2006-09 || Live performance projection, installation, sound and spoken word at: The Space, Isle of Dogs; Y Poetry Club; MaiDa!, Mayfair; The Klinker; The Truman Brewery; The Foundry; Whitechapel Factory; Kingston Parish Church; Synergy Centre; Goldsmiths Union (London)



2018 || ‘What Matters’, published in Chaiya Art Awards

2017 || ‘Harmonic Lens’, published in ‘Future Now’, Aesthetica Art Prize Anthology

2016 || ‘Light - Interface’, Flux Events

2015 || ‘The Art of the Interface’, online publication,

2014 || ‘The Social Organism as a Work of Art’, Tedx Courtauld: Colouring Life

2014 ||‘The Social Organism as a Work of Art’, London Business School

2013 || ‘The Social Organism as a Work of Art’, It’s Nice That: Environments and Spaces



“Claudia and Edward have consistently demonstrated an ambition to push the boundaries of innovation in contemporary art, reflecting on the increasing role of new technologies, whilst incorporating traditional mediums and techniques and drawing on a strong philosophical foundation. Their aesthetic sensibility presents a new dimension for artists working with light, applying an astute critical awareness with cross-disciplinary relevancy. Their practice fuses creative process with deep thinking and has involved important collaborations with renowned engineers, philosophers and physicists”, Michelle D’Souza, International Artist Agent, former Director Lisson Gallery

“[Edward’s] thesis is an ambitious and often thrilling piece of work that challenges important contemporary assumptions of scientifically or computationally-inspired post-human thinking.[…] Dr Shuster’s and Claudia Moseley’s creative work is beautifully crafted and awe-inspiring […] I find myself moved by the thought inspiring this stunning art”, Christopher Fynsk, Professor and Dean at the European Graduate School

“Your imagination and amazingly positive attitude… beautifully exemplified bringing the best of British creativity to the world and captured the imagination of our sponsors… I recommend you to anyone seeking creative brilliance combined with a strong practical and commercial streak”, Conrad Bird, MP & Director of GREAT Campaign

“An incredible team. They’re both really dynamic”, Helena Bonham Carter, Patron

“We are excited to be patrons of this creative work”, Tim Burton, Patron

“I am delighted to be able to support your initiative”, Charles Knevitt, Former Director RIBA Trust

“Concerned with pulling aspects from historical standpoints in Art and Philosophy forward to benefit individual persons and social institutions today - features which also happen to be some of the most significant issues facing present design practice (including tangibility and incorporeality as mediated by technology at the border of the social and private realms). These theoretical investigations parallel practical work, which increasingly brings into play non- Euclidian geometries, modern optics, and post-modern physics”, Professor Matthew Steven Carlos, Oxford University & The Prince’s School of Traditional Arts

“The TreeHouse Gallery was something very different from any previous TRP events [and] the results were quite exceptional... Members of the local community were encouraged to provide content, not just consume. The project was truly innovative. Over 20,000 people engaged with this 6-week project”, Nick Biddle, Regents Park Manager

“Exploring new and novel possibilities for integrating a wide range of different art forms. It is on the edge of different disciplines that the most exciting adventures in learning are experienced. What we are being presented with is unique and worthy of widespread support”, Ian Edwards, Head of Exhibitions and Events, Royal Botanic Garden Edinburgh

“This is a fun way for people to easily learn how they can make a difference to the world around them”, Steve Summers, Chairman of Westminster City Council's Planning Committee

“Bringing places alive, using sensitive approaches to the outside environment with real significance to the place in a way that is meaningful and relevant to a diverse audience”, Shelley Fielder, National Trust Outreach Advisor



2018 || Artemis Studio Residency, Akaria Island, Greece

2015 || Glass Blowing, Smithbrook Kilns

2014 || Earth House, Batz-Sur-Mer, France

2012 || Expanded Field of Drawing, The Slade

2008 || Anthropological Research, Tour of Tree-Dwelling Protest Sites, UK-wide

2007 || Tree-dwelling protest site, Brecon Beacons, Wales

2006 || Bronze casting and woodcarving, Kathmandu University Fine Art Dept, Nepal