Artists Ruby Jean Waterhouse and Cleo Milly Nelson have come together for Sluice Biennial to produce We Are Bodies Apart, a multimedia exploration into how we can communicate with, and through water.
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Born in 1969, Sharon is a York based artist strongly influenced by past experiences, current social issues with a hint of nostalgia. Sharon uses a variety of medium from spray paint and emulsion, to plaster and items that have been rescued and ‘acquired’ from undisclosed locations.
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BasementArtsProject interviewed Jeffrey Knopf in Manchester ahead of taking his work to Colchester for the Sluice Expo 2014
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A key aspect to the work I do as an artist is thinking through making. Ideas do not come from nowhere; seeds are planted at some point, carried through the air and land somewhere somehow, perhaps unexpectedly.
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How do I create art using materials that are accessible and affordable without compromising the quality of my work?
This question was the beginning of my metamorphosed way of working.
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The basement space, below ground level, had a buried feeling. In the semi-darkness the noises of the world outside were subdued, heightened the senses. I became aware of a hole in one of the walls, close to floor level. An old fireplace? Certainly a conduit of some kind and leading to the upper levels of the house, possibly beyond, to the outside world.
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Ian Thomson reflects on the nature of his sound work ‘Underground Lift’ and the connection between the inner ear and the Holbeck interchange.
‘Lost Portals’ continues at BasementArtsProject until Friday 26th April. There will also be a Lunchtime Conversation event on this day.
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Despite my advancing years, I still cling naively to the belief that some things must sit outside of our accepted economic system, and that other ways must be found to ensure that everybody can afford to live. After all, the system that we have lived under for a long time now has never seemed to work.
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Considering my two favourite childhood books were about Italy and opera respectively, travelling to Italy to study 19th century guitar was not a surprising move.
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Place was perhaps the key theme underpinning Griet Beyeart and Silvia Liebig’s 2023 exhibition, ‘Junction’. Consisting of an installation and video art, with an aural landscape created by Beyeart, the exhibition was part of Liebig’s ongoing ‘Neuland’ project.
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Residents of South Leeds may remember Silvia Liebig from her time spent here in 2019, just before the outbreak of the pandemic. As part of East Streets Arts long running Artist House 45 residency project (2015-19), that also included Lloyd&Wilson, She was a resident of the house during 2019.
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The unusual texture of printed plastic, slightly warped due to AI filling in gaps, allow onlookers to discern between works cast in pewter and jesmonite. These ‘copies’ of works usually guarded behind glass evoke cultural memory yet leave viewers with a sense of remembrance just out of reach
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…my process is a hit and run technique, I can be anywhere and I might see something that grabs my attention, a shape a form that is different so like a photographer I want to capture that moment but instead of it being two dimensional it’s in the three dimensional realm.
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2023 was, for me, a tale of two birthdays. It was the year that I turned fifty-one and resigned from my job of nineteen years with the Henry Moore Institute. It also represented thirty-four years, to the day, since I took on my first proper job, beyond a paper round, with Sainsbury’s.
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After an expensive education in ballet, another cataclysmic shift in the ever failing world economy sent the fictional character of Fatima towards a dispiriting life of drudgery, in a career that she did not train for and most likely did not want.
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Art often points out the direction of travel; for imagination is the precursor of discovery. Without imagination there would be no discovery, and without discovery no progress.
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And, as if responding to Crazy Eddie’s demands, muscles twitch and groan, eyes and mouth open simultaneously ushering forth a guttural roar: a roar expressing physical pain, or the existential howl of a recombinant form returning to sentience from that place beyond life that we know as death?
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Since the Decompressed Time Frames installation and performance in April this year, we have been quietly developing the performance possibilities of the work and trying to address the issue of archiving the impossible.
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Whilst I always understood that Jacob’s Ladder would be a labour of love for both myself, as BasementArtsProject: the commissioning organisation, and for sculptor Keith Ackerman, I knew that it would definitely take longer than the one-hundred days of the Yorkshire Sculpture International 2019. But we never imagined the three year odyssey that it would become thanks to the C***d pandemic lockdowns.
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