Clare Patey
In 1997, I stumbled upon the Bargehouse, a crumbling, five-story warehouse behind London’s OXO Tower, owned by the visionary Coin Street Community Builders. Despite its derelict state, with peeling paint and broken windows, it was and still remains one of the most beautiful buildings in London. Over the next five years, with their support, we transformed it into a vibrant arts space, theatre, bar and home to a series of participatory museums exploring the role of museums themselves.
Our journey began with The Museum of Collectors, opened by Tony Benn with an aerial performance. We showcased 42 local collections, from toast racks and Kinder Egg toys to piles of rejection letters. We involved hundreds of artists and thousands of participants. Over time, we created The Museum of Me (where visitors made exhibitions of themselves), The Museum of the Unknown (featuring mysterious objects from other museums), The Museum of Emotions and finally, The Museum of the River Thames. The Bargehouse became a hub for creativity, hosting legendary parties, community dinners and experimental projects, often on a shoestring budget. It was the best job I’ve ever had.
My latest project, the Empathy Museum, continues this spirit of experimentation. Through experiential art projects, we explore how empathy can transform relationships and address global challenges like polarisation and inequality. Our flagship project, A Mile in My Shoes, invites visitors to walk in someone else’s shoes — literally — while listening to their stories. Housed in a giant shoebox, the touring exhibit features over 700 stories in 13 languages, connecting people through shared humanity.
I first met artist and “museum plagiarist” John Phillips before the Museum Of days. His support shaped my journey as a young artist and continues to inspire me. When he told me about the Museum of Unrest, I was eager to join this exciting new endeavour.
Clare Patey Presentation Centre for Eudaimonia and Human Flourishing.