Following extensive renovation works to its fabric, the Museum of Installation initiates Its programme for the new season with an exhibition of six women artists entitled Mirror.

The exhibition takes the concept of the mirror-metaphor as the point of inception to investigate a series of propositions about recognition and representation within
contemporary installation practice.
The mirror presupposes 'the unconscious-the index….of a split, a cleavage (Freud's Spaltung ), and of the division experienced by the subject as a division between
knowledge and truth.’[1]

Stav Balla poses the question of how individual identity might be constructed and represented by use of a minimum of of visual references. A set of sprinter's hurdles forms a barrier, inviting and simultaneously denying access.
The notion of spatial separation is echoed in Jo Bennett's installation. A suspended screen made from curved perspex shields forms a translucent barrier which divides the space and impedes direct entry.
Beth Derbyshire's sound Installation takes the artist's voice as its main focus. A collection of spoken words is compiled using digital equipment to create four conversations, each describing an image viewed by the artist.
Two projections within a confined space form the basis of Louise ebbs' installation. The images are ineluctable and show mirrored versions of footage based on 'The supreme being'.
Amanda Wilson's installation returns the viewers attention to an investigation on the construction of individuality.
Verdi Yahooda's installation uses the principle of the mirror to visually connect two adjacent rooms. Full scale drawings of the walls were translated into contact prints displayed on the facing walls.

[1] Hubert Damisch, The Orlains of Perspective (Camb Mass MIT press) 1995

This exhibition included following artists;
Stav Balla
Jo Bennett
Beth Derbyshire
Louise Tebbs
Amanda Wilson
Verdi Yahooda