Every airport journey i have ever been on in my entire life-

Airplane travel is one of the black holes of American design. Walk 10 steps into any airport, and you feel yourself sucked into a kind of placelessness, a modular nightmare of function over form that ends only with your subsequent ejection into a different city.
Jonathan Dee, "Flying in the Face of Mediocrity" NY Times Nov. 30, 2002

Each image is composed of Airport maps digitally layered on on top of the other to create one space. All images are printed black ink on black paper to further dissolve the details of each individual space.

â??The Git Innâ?? was a Sculptural Installation By PEACOCK (Chris Attenborough/Sean Naftel) in The Gallery- County Clare, Ireland. The Dwelling is a mash-up of a American Southern Juke-Joint and a Traditional Irish Pub creating a new vernacular structure.

The pub was fully operational, with its own "blended whiskey", poker tables, soundtrack, bartenders, bar nuts, budweiser tall-boys, mash-up video of a "foot ball game", graffiti, and drunks.

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arts and crafts


Press Release:
Oh! how we love Christmas craft fairs, bake sales, and swap meets. All the people, food, tables and the re-contextualizing of location and material. Walking from stall-to-stall looking at all the wares, eating hand-held snacks, talking to vendors about modular construction and visual organization.

PEACOCK is assembling microplaces at Jordan Faye Contemporary based on conversations, Google earth, imagination, found maps, expectation, and what ever else comes into play. Like all of our projects we are creating a location for production, a workbench. Boys and girls this is no normal workbench it is a bespoke, modular advanced workstation that will fit in the back of a 2004 Toyota Tacoma.


PEACOCK is a collaborative project between artists Chris Attenborough and Sean Naftel. Both graduates of the National University of Ireland, Galway, PEACOCK has been creating inteventionist installations and events in the USA and in Ireland since 2008. Their installations democratize aesthetics to activate the space, and engage the viewer (often unknowingly) to become a participant.


Each piece becomes an entity of its own, unreflective of the installation that came before. Yet running throughout the entire body of work is a mashing of cultures and ideals that comments, provokes, and laughs at communal histories; creating at first a smart ass response, that through further investigation leads to the underbelly of the common threads that exists throughout disparate communities.

Spaces are constantly re-made and often changed along the way- this project was a inflatable reproduction of PEACOCKS past project the Git Inn. The sculpture was designed to look as if Ikea had produced the piece which was then delivered to its location shrink wrapped to a palate.

Photographs of gas and petrol pavilions from around the world.

A series of Maps that I have been working on to explain spatial understanding.

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Moving Pictures was a project created by PEACOCK (Chris Attenborough/ Sean Naftel) for Artscape 2010 in Baltimore, Maryland.


Moving Pictures was an interactive video project which allowed contributing filmmakers to shoot short films with festival attendees in a film "studio", edit them onsite to create unique shorts and present them on a bank of 50+ televisions, all in one structure.

The Free Art Booth questions the idea of payment & value for works. Is there a value in having your work distributed in the atmosphere that surrounds major art fairs like Frieze or Basel or any of the numerous, large commercially profitable international art fairs? Is there a long term value in that situation? in future connections? in the dissemination of ideas? Is there such a thing as cultural capital? The Free Art Booth is a venue for a dialog surrounding how art is valued in the contemporary market place and how its assessed culturally.

Plywood is a new flexible white cube project site located in North Baltimore's Belvedere Square. As part of Roving Project Plywood occupies a currently unused space, transforming it into a space for creative practice. Plywood will only occupy the location until another tenant leases the available store front.

Utilizing the blank form of the white cube hopes to differentiate and highlight the work that is showcased. Plywood is not a old boys club and welcomes artists, designers and curators who wish to get involved by volunteering their help and sending in proposals for exhibitions/projects. We are open to all proposal and encourage anyone to send ideas for consideration. All exhibition proposals will be reviewed by a committee of artists, collectors and local business owners.

Funding for Plywood is provided through the sale of artwork, the attendance of special events and private parties, and donations are always welcome.

Attenborough Naftel ‘s (A/N) new intervention, Tailgate ManCave, is the result of nearly a year of gutting and renovating the interior and exterior of a 1975 Winnebago Indian D-23. Our Winnebago showcases hardwood floors, entertainment unit, library, full bar with kegerator, and urinal for the interior, the exterior supports an additional TV unit, dual Weber grills, lawn games and sound system. Yet this piece, like most of our work, only comes to life once the participants arrive. The Tailgate ManCave sheds light on the similarities of sport and art, most notably the spectator. Tailgating does not need to be for a particular type of event, it is about ‘pregraming’, about building anticipation, and about creating a social venue for discussion of the main event.

We have been examining key aspects of tailgating and what makes it such a desirable situation for social gathering. This has led us to also research the ‘man cave’ phenomenon. These two types of situations are closely linked through social practices of eating and drinking and game playing. Both situations are, also, closely linked due to their existence on periphery of the ‘main event’. With the man cave this tends to be a separation from the family dwelling. What sets tailgating apart is its connection to a specific cultural event, i.e. Superbowl, baseball game, hockey match, etc. There is no reason why this banding together of peers, this camaraderie of people so interesting in one thing shouldn’t do the same before, during and after any major event.

Tailgating is a place to get people excited about the event they are about to see or participate in. It is base camp, a rally point, a party before heading on to the main event! It is where you talk about what you are about to do, reflect on the past events and speculate on future ones.

For the past three years A/N, have been working in a dynamic, reciprocal relationship with/for the city of Baltimore. Our work has been presented at Artscape, The Contemporary Museum, Jordan Faye, as well as ventured out to the inaugural (e)merge Art Fair in DC. In each of these situations rather than our being presented we were working with the host, allowing for our interventions to create dialogue between the art world and the general public. In each instance questioning the preconceived nature of where a contemporary art stands and how it is to be interacted with. Through Artscape, we questioned the where value and authenticity lay in an art work by having Baltimore artists join in and work at the Winnebago to create ‘knock-off’ of 1980's ‘famous’ pieces. Each piece was then bartered for, creating collectors out of participants that aren't often exposed to contemporary art. Similar in Free Art Booth, showcased in rural Ireland, at SEVEN Art Fair Miami and then again at (e)merge Art Fair DC, rather than focusing on authenticity we shift our focus to value in possession. Where does value lay in art as a commodity? How can the artist benefit from their work being held in a collection, even it is without pay? With Jordan Faye, the audience once again became participant, in a more literal manner, by telling stories to then have A/N interpret the work through small hanging sculptures. Most recently, A/N brought their participant driven art work into the gallery, working under Roving Project , A/N hosted a pop-up gallery, PLYWOOD, for 6 months in Belvedere Square, receiving critical praise from Baltimore Magazine. This piece was yet another example of the questioning where the art lay and how does one expand the audience for contemporary art.

The Tailgate Mancave is another piece of a larger mission in A/N artwork; by allowing humor and play to blur the lines between art and life, critical thought can be brought to the similarities, rather than the differences, in the everyday, be it a free piece of art, a non-for-profit gallery in a strip mall, or a beer and conversation in a tailgate before arriving at a destination.