Growing up by the seaside, there is a constant reminder of a physical corner you cannot turn, the ocean, which creates an awareness of ones own mortality.
Happy New Year to everyone. We at BasementArtsProject hope you all had a lovely Christmas and hope to have the pleasure of your company again at some point in 2018.
As we bring the 2017 programme to a close with the final month of the current exhibition Jill and Josh and their Dead Petz, we can also announce elements of this years forthcoming programme
As the city fills with art world luminaries in some of the swankiest venues London has to offer, so to do the train arches and un-let spaces with artists whose worlds are similarly governed by this most strange and incomprehensible of life choices.
Now We Have Met is, strictly speaking, not entirely about performance but about closure and treating a body of work, which just happens to be performance based, as a point of departure.
Welcome to My World is the second exhibition in 2016 that has been led by artist and musician Ian Pepper, and it comes on the back of the Leeds Inspired funded project A Feast of Beeston.
…the sedimentary nature of her creative practice seemed to run parallel with another strand of thought, present in much of her work, surrounding kitsch objects; that which is cheap and mass produced.
For BasementArtsProject, Borkowsky proposed the re-creation of two artist’s studios; one of whom he had met before but did not know well, and the other whom he had never met at all, but both of whom he has exhibited alongside in other circumstances.
In January 2016 artist Ian Pepper began a project, commissioned by BasementArtsProject and supported by Leeds Inspired, to realise an exhibition that had at its core life in South Leeds.
Utilising a system of tiling that involves two differently shaped rhombic tiles, Hopkinson creates for BasementArtsProject a large scale installation expressing five-fold symmetry that extrapolates the flat tiled plane into the third dimension.
‘MantlePiece’ is a sculptural installation by Leeds based duo Lens&Chisel; sculptor Keith Ackerman and light artist / photographer Adam Glatherine. Gallery of Images
“Daily’ the Basement Arts exhibition of the work of Phill Hopkins, is entered through a lively domestic kitchen, you open an unassuming paneled door and descend steep stone steps into another world. Above that door there should be a warning, “THROUGH ME YOU ENTER INTO THE CITY OF WOES.” (2)
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
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.
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)
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.
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.
‘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.
I’ve worked alongside Alistair for a number of years now. We’ve occupied neighbouring studio spaces and shared the same commute, I’ve accompanied him on numerous material hunts and he’s even cooked me his infamous sausage and carrot pasta.
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.
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.
