We came up with the idea for The Hidden Noise over a long series of conversations about the exciting way that many artists experiment with other so-called disciplines and vice versa. We were interested in the way that some practitioners for example, musicians, filmmaker and designers, are often recognised for a single facet of their practice, yet have created some fascinating and beautiful work beyond this. From a historical perspective, it was interesting to examine how these departures have influenced today’s artists (used in it’s broadest sense), and to try to have some fun with those connections.

Also, on a more personal level, the desire to do the project comes from both of us wanting to try something new, in as independent a way as possible – again going back to this idea of departure I suppose. Sandra has an impressive history of organising exhibitions for large and/or public spaces, with the constraints that naturally come with that sector, Shireen has been inclined in a number of low-key projects and supportive roles and so was ready for a new challenge.

We spent a long time looking for a space, several times finding something with good potential, which fell through due to time constraints. The familiar chicken and egg situation of devising a project well enough to apply for funding, and waiting for those funds to be granted, meant that a few opportunities were missed. Commercial premises offered little that we could afford, especially considering the work required to bring them to safe and presentable standards. Eventually we found an amazing bright flat in the west end, which answered all our requirements and more. It’s meant that we can have a bit of a play with the spaces adjoining the allocated ‘gallery’ rooms, including inviting Danny Holcroft and Ragnar Jonasson to set up their Tender Bar project in residence in the space.

We had been talking to Clare Stephenson and Sophie Macpherson about doing something in response to their recent collaborative performance Shoplifters Shopgirls at Tramway. Both artists felt that the performance presented them with a lot of new questions about their work, both as individuals, in relation to each other and the broader artistic community. For the inaugural show House of Yvonne, they have both returned to their individual practices, responding to these questions, as well as the nature of the domestic space, fashion and the other works in the show by Kenneth Anger and Colin Self. Much of the show came together on good faith, and it’s really paid off. Which just goes to show, it’s worth taking a risk sometimes.

The programme only runs for four months, and is quite tightly packed. We really wanted to use it to try out new ideas, and to examine our own practice as curators, as well as creating a space where the artists involved can reflect and respond to their own work. Having the guys from the Tender Bar there really helps to slow down people’s visits to the space, and we expect to be organising a number of fairly improvised events, which will allow artists and audience to respond to the project/s. Ultimately what we’re hoping is that the project will provide an opportunity to develop new ideas in a relaxed yet critical environment.

We’re not officially affiliated with GI, but will be open in conjunction with the main program, as we expect a number of other venues will also. If we can provide an interesting and space to reflect on the multitude of work in the city at that time, then I think that would make us very happy.