Wrong - such a subjective term. Anthony Burrill and Michael Marriott talk about their new exhibition, which celebrates The Right Kind of Wrong.

Looming in the lobby of Mother London is a large wooden tower, emblazoned with slogans and free-standing on a set of wheels. Imposing yet inviting, the structure serves as a piece of art, a bench, a lookout post - and a play area for the toddlers who have been invited along to the viewing. Dragging one's gaze away from the impressive tower, laser-cut wooden tableaux and hand-printed posters decorate the walls of the hall.

The work is part of an exhibition by Anthony Burrill and Michael Marriott. Burrill is probably best known in the industry for his designs for clients such as The Economist, Diesel and London Underground as well his animation as part of collective PAM. Marriott, meanwhile, is a furniture and product designer. shots.net caught up with the pair to ask about their latest exhibition.


Where did the phrase 'right kind of wrong' spring from?
AB: I was in Venice last summer, chatting to a friend and it popped up in the conversation. I remember saying "that would be a good title for an exhibition" - and so that's how it started. The title came first, everything else followed. I like the idea of something being wrong in one context, and right in another. The words had a nice ring to them; they felt like they meant something. One of the themes of my work is taking existing visual languages and changing their context and meaning. I like to use bold, simple information graphics to talk about the subtleties of language and human relationships.


What was the initial idea for the exhibition, and how did it develop?
AB: Mother invited me to show in their space, and I went along to have a look. It is a great space, but quite hard to use as a traditional gallery. I realised I needed to build something tall and free standing to sit in the space successfully. I've been a long time admirer of Michael Marriott's work, so I asked him if he would be interested in collaborating. We talked about what to make and very quickly the idea of some sort of shed on stilts came about.


The tall, freestanding wooden sculpture is very much the centrepiece of the exhibition. Can you tell me about it?
AB: As we refined the idea of a shed on stilts it became subtler and simpler. We wanted to use a wide variety of wood textures, to give the piece a warm, organic feel. The graphics are all laser cut to give a crisp hard edge. The structure became mobile when we added wheels. This was a way to stand it on the ground and give it a feeling of lightness and movement.

MM: The Right Kind of Wrong consists primarily of a structure, which is a kind of a vehicle to show off Anthony's artwork in a three dimensional fashion. It proved important to incorporate the artwork within the structure rather than simply applying it to something, hence the idea of laser cutting Anthony's drawings in different veneered boards, which form a structural skin for the framework. The nature of the space also determined that it should be quite a tall thing and definitely free standing. The outcome is a vehicle which is in equal parts; chalet, hoarding, boat, meeting room, hot rod, shack, café seating, cabin, billboard, chariot, oasis, Trojan horse, look-out tower, home and away.


Working in advertising means that slogans crop up a fair bit - did this have anything to do with the various mantras sprinkled throughout the exhibition?
AB: I use text and phrases a lot in my work, so it was natural to use text in the exhibition. The phrases all draw on the theme of truth and honesty. I like truth, and I like to promote ideas of truth telling and honesty. There is a tension that I like about putting messages of truth and honesty in the foyer of an advertising agency.


What about your working relationship with Michael Marriott - is this the first time you've worked together?
AB: This is the first time I've worked with Michael. We really enjoyed working together, I think our personalities are very similar, and we both enjoy a double entendre! We will definitely work together again.