The Prenelle Gallery presents a group exhibition of sculpture, print, video and installation entitled "It was bigger than all of us".

The show features 'engine', a group of artists who graduated together from the MA Sculpture course at the Slade School of Art in 2001. This is their third exhibition as a group, and sees a development of there work both as a group and as individuals. Engine were formed around ideas of collectivity and the aesthetic tension or energy existing between the individual piece and others in proximal space. The name conveys the dynamic nature of eight artists working as a whole. This show has been curated to draw out this communicative element and to explore the multi-sensory incursions between the works and the interaction with the unusual space of the floating Prenelle Gallery.

Eric shows a video piece and a sculptural installation exploring the tension between space and solidity creating a fragile area between the two and playing with feelings of insecurity; "Northern Line" a video of the view from a Northern Line train showing the cables on the tunnel wall as they drift and dance up and down as the train rushes past, and "Bar", a handrail fixed on supports leaning out from the wall of the gallery creating an apparent support that is, however, unstable.

Conrad Shawcross’ large sculptural installation uses a floating structure and a circular track system and has connotations to both a satellite and a buoy. These devices have in common both their form and their suspended isolation, whether in the ocean or on the edge or our atmosphere. The structure suggests an ambiguous measuring device which records horizons. Also in the show is another sculptured device entitled "measurement and control for the Infinite" which is one of a series of seven (pictured above).

Alison Kibbey presents textual prints concerning ambiguous polemics on feelings and relationships that are not so much about being able to read the text as being able to unravel the text once the title is obvious. Once these are seen the meanings unfold and develop over time in the viewers mind, like photographic prints in a dark room.

Tine Thorup’s 'Sync' made in collaboration with Cuong Sam, is a video work where a pair of feet with increasing amplitude rock the horizon and moves the two dimensional image of the monitor into our physical awareness.

Tabatha Andrews is interested in accessing an experience between the senses, a synaesthesia. ‘Forbitten Words’ are an attempt to visualise the invisible; namely, to give the voice material form. Resembling fetishes, faecal expulsions or unearthed fossils, ‘Forbitten Words’ are an exploration of bringing the buried and hidden to light. The desire to hold these precious objects in the hand becomes dampened as the realisation of their making slowly dawns on the viewer.

Nathaniel Rackowe has created an imposing physical and visual barrier which traverses the gallery. His work questions the absolutes of the built environment and has an intense yet unpredictable relationship to the architectural space it inhabits, constantly reiterating the perimeters of its containment.

Amanda Francis’s "Bag" approaches the issues of identity and its formation within a context through the exploration of the spatial and cultural functionality of the (art) object, in this case the "bag". Bags can signify a multitude of cultural narratives, and the present work poses the notions of exotic and indigenous against each other, through the object's ability to conceal its distinction, from its chosen surroundings.

Emma Vandermerwe’s video piece is filmed in Stoke Newington (Abney Park) Cemetary and shows the detailed mannerisms of a smoking figure to a musical soundtrack by Grace Jones. No smooth context is set for the work and the relationships and roles of the video become ambiguous, awkwardly relying on the subjectivity of those viewing it.