For A Lot of Things Have Happened, curator Denise Hawrysio brings together UK-based artists who use a variety of media to explore process. Whether governed by chance or systemic structure, these works employ strategies that subvert intuition and interrupt the measured performance of art-making.

Maurice Carlin translates surface patterns from a concrete floor into laboured analogue prints. Arnaud Desjardin uses the cyanotype process historically used for blueprints to make ghostly images of everyday objects. Marcia Farquhar’s work is precariously balanced between the prescribed and the unpredictable; her contribution to this show bears the intimate physical imprint of a live performance. Jem Finer has produced drawings made by a chart recorder transformed into an automatic drawing machine, its source the electrical fluctuations of a detuned radio. Richard Galpin specialises in photographic works in which he reconfigures images of urban environments by physically removing elements of the photographic emulsion. Denise Hawrysio’s methodology is concerned with exploring process while investigating the semiotics of meaning within language or mark-making, and often involves working collaboratively with the subject(s) of the work. Dan Hays’ work explores the limitations and opportunities offered by applying lenticular printing processes to found digital images from locations he has never visited.

Tim Head exploits unpredictable colour mixes based on numerical calculations of CMYK print values. Sam Hodge’s work is a collection of dry point prints made from cracked smartphone screens, reproduced, along with their stories, in a limited edition artist’s book. Petri Huurinainen is a Finnish artist and musician whose drawings track both controlled and random marks made using stencils. Joanne Love’s practice explores notions of visual emptiness and absence through a combination of digital photographic print and drawing languages. Liselotte Boegh Mathiasen uses systematic repetitions of pencil on paper to produce intricate, meditative and minimalist imagery. Michael Petry works with repetition and movement through the process of knot-tying, transforming simple materials into unique hand-made sculptures. Emily Richardson is a filmmaker whose work Nocturne is shot entirely at night in the deserted streets of London, hinting at its concealed history. Bronwen Sleigh’s work, inspired by architectural and engineering drawings, combines the precise and the accidental to explore space rather than describing it. John Wynne uses audio feedback, a process referred to by Nic Collins as “the Zen-like amplification of nothing”.