2013 MA Fine Art, Camberwell College of Art

2011 FdA Fine Art with distinction, University of Brighton

2010 Art Foundation with distinction, City College Brighton and Hove

1999 Certificate of Web Design, San Jose State University, California

1995 BA(hons) European Studies (French and Spanish), City University of Birmingham



2013 Saatchi Gallery New Sensations (longlisted)

2013 Creekside Open 2013, London

2013 Ides of March, Space Station 65, London (March 2013)

2012 Meanwhile, John Hansard Gallery, Southampton

2012 Bend Over Shirley, Beaconsfield Arts, London

2012 A Machine for Living In, Hannah Barry, London

2012 Under the Influence, Kensington, London (co-curator and exhibitor)

2012 (o)ccupant #7 Grey Area Gallery, Brighton (solo)

2012 Without Boats Dreams Dry Up, in collaboration with Cape Farewell, Triangle Space, London

2011 Peckham Open, London

2011 Daily – weekly, Brisbane, Australia

2011 Minor Revisions, Tenderpixel, London

2010 Jerwood Drawing Prize, London and various

2010 Light Thickens, Vyner St Gallery, London

2009 The Pepperpot, Brighton

2008 Achievers Awards Ceremony, City College Brighton and Hove

2006 – present Studio Assistant, Sam Toft, Brighton

2000 Web Producer, Victoria Real, Brighton

1998 Without Borders, San Jose, California


Awards and Commissions

2011 One Tree, site-specific outside installation with Joanna Brown, White Night Brighton and Hove

2010 Jerwood Drawing Prize, 2nd prize winner



2012 Expedition, p122, CCW London

2013 JAWS UAL first edition



2012 U6, WYE, Berlin

2012 (o)ccupant #7 (solo) Grey Area Gallery, Brighton

2012 Group residency at Joya arte:+ecologica, Spain

2011 FdA Brighton, Dungeness


My artist statement

Cadi Froehlich

My work explores the materiality of how we communicate today. It suggests the impermanence of the elements we machine at ever greater speed. I propose a juxtaposition between developments in the virtual, instant access we have to each other,  and the pausing of time proposed by engaging with an artwork.

My concern with the physicality of communication between people, materials and objects has particular focus on the hidden infrastructure, events and implications of how we interact.
I manipulates salvaged copper in temporal interventions.

2yrs’ worth of shows

I think it’s worth collating the shows I have participated in over the last 2 yrs of this MA. Many were accompanied by excellent publications produced by James Edgar and the excellent work-form team.

Here goes, in chronological order, with install shots:


40 Litres
40 Litres

IMG_0001 untangled laid out wires


A_Machine_for_Living_In_edited IMG_2782

558851_358864197552032_2027297146_n Portrait

736263939a2bce2ed02507aab07cfea5 Image 2

558044_10100875438063879_1702985124_n Froehlich.C.3.Access8783196_orig IMG_0557Bigthings-nothings P1130068

Screen Shot 2013-06-17 at 17.19.12 Cadi Froehlich

Macro wires

CadiFroehlichBlack3 CadiFroehlichPurple3 CadiFroehlichOrange3 CadiFroehlichWhite3


Unusally I have spent a good chunk of time getting the macro shots of my wires right to produce to photographic work. This follows on from the Boxpark show we produced, where our images were blown up to posterboard size. I liked the confrontational experience, and that people struggled to see what they were looking at at first.

These images are A1 size, so not as big as the posterboards. They are aluminium mounted which maintains my metallic theme, and are really striking. The clarity and composition hopefully overcomes the problems with earlier versions.

Previously it was noted that they were more like portraits which wanted the viewer to see the real thing. Hopefully here I have given them status to be seen in their own right.

Cadi Froehlich


I even liked the test prints, so mounted them on offcut strips of aluminium.

Despite having these 2 choices of size, it seems unlikely that they will make it into the show at this point, but I still like them enough to show them again in the future.

show space

lots of conversations w tutors about how to present work in the show space. I am now at the moving things about/ taking them out and putting them back in stage.

I am thinking about what I want this work to say. There seem to be a few groups of thinking within the work- some more figurative, some more formal, and I am thinking about which way to present at this stage. I have a couple of pieces which I really like now, and want to include. They are shown below.

The ‘See’ of white wires makes me smile, I want it to stay.

The hanging echo of the cables is fun too, and I hope that stays too. It makes me think of the ‘fuck you’ attitude we are encouraged to bring to the show- the sense that we are making the show for our work and ourselves, not tryint to present something which other people will like per se.

The wall piece seems to have tied the vertical spaces together, and the insersion of the A4 copper piece helps me to remember where I am coming from on this. I am looking forward to getting the phone blanks on the wall to see how the shiny surfaces talk to each other.

IMG_0903 IMG_0901

This fatter roll was made impromptu, and does not feel resolved enough to be included. It is a similar diameter to the recycled felt on the floor, the the relationship seems to explicit.

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I call the white wires See, as a grammatical pun really. They flow, and seem a bit sneaky, yet are laid bare, which I like.





IMG_0888 IMG_0885

This work containing the white wires never fails to get a reaction, so am working with it. Addition of coloured tape was an error. Ongoing.


These in themselves are working together, but the presence of the hanging piece changes how they sit on the floor, making it seem too crowded.

IMG_0882 IMG_0878 IMG_0866 IMG_0879 IMG_0844

The green/purple/felt tank piece from the Morgue show just doesnt seem right here.

CadiFroehlichWhite3 CadiFroehlichBlack3 CadiFroehlichOrange3  CadiFroehlichPurple3

I have made A1 prints of these macro shots and mounted them on aluminium. They are just not fitting with the space at the moment.

Robert Morris


Robert Morris has come up in a couple of recent tutorials, since I brought my studio work into college for projects and to prepare for the MA show. In particular, some work I imade curling salvaged copper pipes prompted a friend to show me an image of some work Morris made involving curled copper pipes and felt. I was standing on some recycled felt when I saw it. Yikes.
The felt Morris uses is similar to that used by Beuys. It is beautiful, and Morris seems to choose it for its weight, it’s light absorbtion, and for me it has a movement to it which contrasts well with his lead metal.
I think that when he curled those pipes he was thinking of giving them lightness and movement, just like the fibres of his felt. What was I thinking when I did mine?

Mine were curled by the force of the electricity running through my brain, my thinking and my arms as I adjusted to the new working space in college. They were given movement too, which I could hardly contain, as if they wanted to fly out of the window. Babak’s summation of the psychological elements of my work back I may proved accurate.
For me. The relationship between the materials is what dictates them. I have written before about the tang of the metal against the choking dryness of the felt. The well used, recycled, salvaged qualities talk of their previous incarnations and suggest the next.
There is always that familiar twang of terror when you see that someone ‘already made your work’, but I think it must be a sign of me gaining a bit of my own momentum that I can now recognise that what your work is now is built on all the foundations laid by all work that went before- and some of it which is happening now too. Our take on things are always different, and actually the differences help me to clarify what it is I am interested in.

Where Morris thinks about gravity, light and space, I am thinking about conduits and the human traces in materials. I do really like the physical scale and installation of his work in space, and the demands on the viewer as they move around it. I think that is something I would like to look at in my work at some point too.

Robert Morris
One of my tests for my show configuration

Workings out

Have submitted this for inclusion in the Chelsea MA show catalogue, and need to re-read to stay focused on what it is we are trying to do here:

‘My work is concerned with the physicality of exchanges between people, objects and material.
In particular I investigate the hidden infrastructure of the interaction between these things.

These are temporal interventions in the unceasing cycle of production and consumption’

So, with the experience of working once more in the college studios,I’m finding my workings exposed. I have got quite used to making all my mistakes in the safety of my own studio which I share with friends. Only the work which survives the initial culls makes it out to the light of day, and even that is not guarantee of its survival. So here, trying things out, colleagues, tutors and god know who else who walks round here (and there always seem to be people) can see my experiments.

Also have moved out of my normal work space for the first time since the project in the Morgue. That resulted in lots of constrained forms which the body could relate to. Moving into a larger more open space has expanded my way of looking at the work, which has been freeing and confusing. As things have spread out, I am reminded of the criteria on which the show is assessed: editing. Our ability to spot what we are working on which is working, and putting the rest to one side.
The incarnations so far have by degrees followed the layout of the electric wires and living visible above the space, which has actually seemed to flatten the work out. Nothing was moving. Today the prospect of moving spaces has opened things up a bit which is actually really interesting. I have started playing with materials and clumps again.

taking the works from the morgue show and just transplanting the into this space changed them somehow, and seemed to short circuit the conversation between the wires. Adding the found bamboos might be a material too far, although the alignment between them and the wires is interesting.


Allowing the arrangement of the objects, or works, to be dictated by the electrics mounted on the ceiling above, things quickly got locked in.


So. Take it all out and start again.
To be trying to make new work at this stage, so close to the show seems madness, but something happens when you move into a new space. Surrounded by other new works from other artists, you can’t help but feed off all that is going on. In one way having so long to ‘build’ the show is really hard, in the same way that too much choice in life hard. Thinking about it differently, seeing it as just my studio, where I happen to be working for now, some things seem to emerge from that.

Copper postcards

Can’t believe I haven’t blogged these before. As one is about to make it’s way into the Chelsea College special collection, I think I should gather them into one post.

I think the work is still going on, as they are continuing to discolour. They are also leading to other works, like my A4 sheets.

They feel very intimate. They are held in private collection internationally. (read: I have posted them to friends as far away as NZ)

Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard Cadi Froehlich Copper Postcard


This is the collection progressive images posted over one week for the exhibitionin Brisbane, Australia which started this off. The final is the actual postcard.

Ian Kiaer- Endless house- thought models for dwelling

images-3 images-2 images-1 images images-4


Ian Kiaer makes work about making work. He makes paintings which directly respond to Malevich’s black square as the death of painting. He makes sculptures and installations which evoke the poises of non-making versus the praxis of making. Thinking space is offered in abundance.
In a humble and unassuming manner he presented his career path, with works also becoming progressively less prescriptive. This quiet humility is contradicted by his ascent to international recognition, with works invited for the Istanbul biennial among others.
What I found really interesting, especially in light of having recently received assessment feedback on my essay, was how driven Kiaer is by his love of critical art history. Relevant contextual engagement is essential to offer your work as contribution to current critical debate, but Kiaers passionate exploration of early 20th century and late 19th century artists and philosophers really grounds his work in a strong foundation which adds volume and form to his ‘tentative’ practice.

Andrew Grassie, paint club talk 17/07/13

Graduated RCA at time of YBAs but resisted pressure to subscribe to ‘brand’

Paradox of setting rules of expressing himself despite not being able to express himself. (due to all the rules: copies of his own work, sometimes in others styles)

Developed into UFO pics, in which his paintings were the UFOs, paintings of the space, including his paintings of the space. Both looking at it, then later of the rest of the show from the perspective of his painting.

Then collected 60s/ 70s show catalogues and remained some installation shots. Changing our experience of the work, which the catalogues did anyway. Documentation. Usually the space between the lens and the pic is to be ignored in a catalogue, and his paintings further look at that space.

Worked with gallery in Vyner St and London based artists to borrow work, photograph it, return it, and in the end collage the works to present a proposed show full of established artist names, all big collectors and curators came, led to good ops for both!

This led to a show in the new art room at Tate, and international shows. Latest work paintings of art storage rooms and crates.

Ref. Q&A recorded online after Vancouver show.

Paints in tempera. Gives a very fly surface. Slightly masochistic as its so hard to work with, dries v quickly. But need to get into right frame of mind to begin working, crack the eggs.
His paintings are depopulated. No distraction or sense of being observed when looking at the work.
Has long held thought of a shed snakeskin, a lifeless facsimile of the actual thing. He aims to muffle the thing, to add a layer. As he decided he is a painter, years ago, there is always the question of what to do with that within the history of painting.
The paintings are ‘quieter’ than the actual photographs he now works from. He alters the photos, straightens verticals, etc, as lens based images are ‘too noisy’ with stuff going on. This muffles them. They may not be ‘correct’ visually, but it makes them quieter.
Ref. Simon Starling? In particular hi current installation in the Duveen Galleries at Tate. In stark contrast with the ‘quiet’ approach, as Starling has installed a huge projection with a very physical soundtrack. Starling also presents an anthology of artworks which were there individually, but are no longer, and some are even now destroyed. He did a show on a similar pretext at the Camden Art Centre. Grassie contrived his own show/ curation of objects, which were selected as they were curatorialy so disparate.