The White Elephant Stall involved a mixed invited audience including artists, the Women's Institute, poets, volunteers, MoDA staff and artists.

MoDA's lecture theatre became a restaurant, come fete, come round table event in which a social context for debate, observation, participation and questions was developed. The White Elephant Stall was a meeting place and a temporal live installation, exploring 'community' and the performative presence of a multiplicity of voices. Here within the space the ‘object’ of the evening was to create space in which in which people interact in dialogue and through responses to a menu of questions concerning the notion of home.


The event was influenced by Theodore Zeldins conversation dinners, in which dialogues are set up between strangers, who are invited sit over dinner to respond to life questions in the form of a "menu".

White Elephant was a further response to the table situation and the notion of home. Within the dialogue setting, artists Shane Waltener and Sheila Ghelani, poet Esther Morgan and collector and facilitator BMSO were invited to make work in the space. Shane facilitated a cake decorating performance with the the audience and with collector Sally Child who installed glass cake stands, these became the base for each piece of work. Sheila Ghelani performed Grafting and Budding, a performance examining ideas surrounding race, heritage, mixing and being plain old mixed up. Part scientist, part surgeon, part cook and part alchemist, Sheila manipulated and sculpted apples in front of the audience, into a collection of motley hybrids. Esther Morgan interved in the space with poems from The Silence Living in Houses, her second collection published by Bloodaxe Books. Written in three sections, Esthers poems explore, interiors in terms of physical spaces and psychological states.


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