Visual art is also a language, one which many people would suggest that they “don’t understand” but, I would argue, that it allows for a form of dialogue between people that the spoken word does not encourage.
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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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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 Metaphorical Museum really exists, we just don’t realise it. Just like our memories It exists in a place where time, the 4th dimension, collapses and inhabits the 3 dimensions of physical space. It is a place of invention, innovation, excavation, examination and learning.
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Beware of Artists, they mix with all classes of society’
A popular meme from the internet of today allegedly has its origins in a warning from King Leopold of Belgium to Queen Victoria, when in 1845 he wrote
Read More‘dealings with artists, for instance, require great prudence; they are acquainted with all classes of society, and for that reason are dangerous; they are hardly ever satisfied, and when you have too much to do with them, you are sure to have des ennuis’
The exhibition ‘Squaring the Circle’ by Loane Bobillier comes at a point where we can look back at National and International events of recent years and question our place within the framework of a rapidly changing society.
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‘Decompressed Time Frames’ (the exhibition formerly known as ‘Compressed Time Frames’) opens with the extension of a work begun as part of the 2017 Leeds Light Night, in which Bradley mobilised his audience, attached by an unsafe rock climbers rope, and traversed the city from art venue to art venue.
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It is hardly surprising, that since reopening BasementArtsProject in August, the nature of the exhibitions have been somewhat political. Pushing through a time of great turmoil and upheaval as we are doing right now, things that have been bubbling under for a long time have quite predictably and reasonably come to the surface.
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As we emerge into a post-pandemic world, rubbing our eyes and blinking in the sunlight, the importance of the root system becomes apparent. The things that we thought may not survive did in fact just die back for an exceptionally long winter.
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When I first encountered Alistair’s works it was strikingly apparent to me that he was meddling with paradoxes, playing, flirting & enticing viewers to decode this special language he had built from his practice.
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Alistair Woods has something of a Steptoe and Son approach to the production of artworks. For Woods the hedgerows, back alleys and gutters are a veritable treasure trove of nostalgia, a world in which objects relinquish their histories and meaning in favour of a new lease of life.
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