This exhibition comprised two parts: a poster display from Florence Weir's archive and exhibition history and a group of objects from Florence’s Schemes for Vibrant Living series. The eight fabricated posters included one poster advertising Touch & Go, Ngaio Marsh’s shop in London; three posters used for promoting key exhibitions within the project, such as The Studio; and two from Florence’s “Mediterranean series”. These included the phrase Schemes for Vibrant Living – pointing to the idea of a series title, project concept and exhibition.

These various posters then led into objects from this same series – a set of hand-painted ceramic tiles, watercolour paintings and textiles developed from these images, which were upholstered into low-slung wooden deck chairs and a folding screen, a necklace, and a display of fabric samples. A sound work, as a third component or framework, referred to the various posters and Florence’s time in the Mediterranean. This audio guide piece played on loop continuously from concealed speakers high above the viewers.

Guiding a viewer through a virtual space, or a series of rooms, the audio explored anecdotal and collective memories drawn from Florence’s life, and information associated with the objects and posters on display. This ‘text’ attempted to perform a narrative or storied presentation and referenced the types of audio tours often available in large museums and galleries. There were sensory descriptions, memories, contextual information, a focus on friendships and social history and narrative about the Mediterranean series such as the Rhona Hazhard outdoor chairs. The script directed the viewer through various rooms, while the exhibition occupied only one.

In this way, the voice described a fictional exhibition somewhat separate to the viewer’s immediate experience, creating a disjunction between the virtual and actual spaces, the past and present. A painted colour scheme was used in the exhibition installation: a bright sea blue feature wall at the end of the gallery that you saw directly on entering the gallery space suggested a demarcation for the objects in the “Mediterranean” series.