After making a cuttings at the Adam Gallery, Calum Storrie who was chief designer at the British Museum invited me to make a project at the Museum. It became clear that it would be impossible to get official permission to get an artist into the building and begin cutting into the walls. So with the help of James Putnam we decided to make an unofficial intervention.

I would turn up everyday with my tools, ask to be let in by the security guards and then I began to work. I asked for a scaffold tower which arrived and everything I asked for was provided. Everyone assumed that I must be official and no one questioned my presence.

The project was also supported by the Museum of Installation. I needed easy access back and forth, so the doors of room 49 were opened and a rope deterred visitors. I was photographed by hundreds of Japanese tourists.

The press came, I was interviewed on the radio and the director found out and went crazy. But nothing was on paper so there was no one to blame. He tried to stop the project but eventually he realised it was not worth the negative publicity, so I was ignored instead.

Calum Storrie and Frances Horn

Images of the development and construction of Capital

Above: Museum pass and co-incidentally, Post Office stamps printed at the time of Capital. 

Below: Photographs showing the plaster removal of room 49 and floor construction ready for redecoration.  The shadow of Capital can still be seen even after removal.

Preliminary drawings on napkins of ionic capitals. 

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