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Unknown Communication

Skye Williams

Poppy Jones-Little -|- Kelly Wu -|- Kushag
Liz Griffiths -|- Allison Tanenhaus -|- Rebecca Cuff
Ally Zlatar -|- JL Maxcy -|- Julie Dawn Dennis
Shahnur Shahzad -|- Susan Plover -|- Laura Mateescu
Niki Thwaites -|- Jane Gardner -|- Rebecca Lyons
Karolina Sztukowska -|- Maria Gallo

Initial Collages

These initial collages are the base on which the project’s participants built on top of. Each participant was sent one of these collages, put together by Skye Williams, and asked to work into them, then return them. On return, the new, edited versions were then redistributed for editing again, and so on.

When creating these collages, Williams wanted to reflect her physical practice – which has been forced to move into the digital due to COVID-19 – focusing on household objects to do this. Her use of everyday objects, compiled together into unconventional harmonies, were designed to encourage confusion for creativity.

Phase 1

Each of the intial collages were distributed to a random participant, each of whom were given a week to return an edited version, in a digital format. No other instructions were given, to allow complete creative freedom.

Phase 2

This phase, and the following phases, show the re-distribution of the edited collages, and the continued, layered editing between the creative participants.

Phase 3

Phase 4

Phase 5

Phase 6

Phase 7

Phase 8

Phase 9

Phase 10

Final Booklets

This project has run for ten rounds, concluding with a set of booklets observing how the edited images relate to one another, following their changes chronologically. This explores how the edited collages created layers of unspoken and unknown communication between the participants. The booklets aim to give clear guidance through how the collages have progressed and developed into artworks.

The booklets can be found here:

About the Project

‘Unknown Communication’ came about through the effects of post COVID-19 lockdown.

Previously, Skye Williams’ artistic practice was centred around interactive and participatory public installations, which suddenly became unsafe to continue pursuing. Wanting to find new ways of working through the unprecedented period, Williams turned to the internet for help. Her work had always focused on community, collaboration, and conversation, which Williams wanted to continue working with. In a new step for her practice, Williams set out organising a digital form of her installations, gathering participants to interact with the new work.

After an open call for participants, Williams put together a collage for each individual.
These collages held images of everyday, household objects, the sort that had previously been included in her physical installations. Each participant received one such collage, and was given no instruction other than to edit it within the time frame and send it back in a digital format. This lack of guidance mimicked Williams’ previous works, and encouraged natural reactions to the collages. The results are an eclectic mix of individual impressions.

For more information, email Skye Williams via