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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Beneath the surface of the locked down world the oxygen is running low. The tiny life support capsules sustaining our presence in the airless vacuum of millions of hard-drives, can only sustain three dimensional life for so long. It is time to head for the surface, but not too rapidly.
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this was the first time I conceptually considered presence and absence of the figure and the space around the figure, and this has kept with me ever since.
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Fell:
Northern England and Scottish
a. a mountain, hill, or tract of upland moor
b. (in combination) fell-walking
Word origin
from Old Norse fjall; related to Old High German felis rock
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CuratorSpace Courses is a course and workshop listing platform which we've built to let artists and arts professionals move their IRL courses online and list them for free during the pandemic. We’re hoping it will make it easier for people to make a living in these difficult times, as well as giving others a chance to learn something new while they are in lockdown or self isolating.
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The of Ideas forming. Sleeve du Jour: Day 7
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Over the last eight years BasementArtsProject has become something of an immersive project. It is immersive for the viewer in so much as when you enter this subterranean space you become at one with it, the outside world temporarily an irrelevance.
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‘MantlePiece’ is a sculptural installation by Leeds based duo Lens&Chisel; sculptor Keith Ackerman and light artist / photographer Adam Glatherine. Gallery of Images
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The city of Leeds is home to three major educational establishments that deal in some way with art education. Over the years these institutions have served as a Launchpad for the careers of some of the most famous British artists of the twentieth century such as Henry Moore, Barbara Hepworth and Damien Hirst. They have also played host to the radical ideas and practices of the likes of George Brecht, Robert Filiou, Allan Kaprow and Yoko Ono
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In January 2015 six students from Leeds Beckett University met up with six family groups located in the South Leeds area to begin a film project that had been in the starting gate for some time.
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A lecture by Dominic Hopkinson
Sunday 26.04.15 | 3pm – 4pm
(The following lecture and tour of the work took place on a sunny Sunday afternoon in the cool subterranean exhibition space that is BasementArtsProject)
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In the gap between reality and the virtual lies a myriad of vexed questions and compelling visions of another world, a world that is tormentingly close yet only ever briefly glimpsed through a crack in logic.
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Come the dark, post-Christmas lull of January and the work arrives by van from London containing works by Hanz Hancock, Patrick Morrissey, Charley Peters, Giulia Ricci, Sarah Sparkes, Andy Wicks, Ben Woodeson, John Workman and from Leeds WalkerHill; the collaborative partnership of Michael Walker and Martyn Hill.
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‘It Will Come To Me ‘ is a title that came in to being during a late night conversation via Facebook chat messenger with Samela Otoviç. The main thrust of the conversation was concerned with what the title of the aforementioned exhibition should be.
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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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Through drawing, sculpture, film and 35mm projection this exhibition looks to explore the role of the epigone (an impersonator or apprentice) as each new piece is realised. Four drawings made at the beginning of the project act as proposals for four artworks. The drawings enclose the signature of the artist, offering a framework for how to follow suit. But the corresponding artworks are less defined in terms of their authorship.
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