Nolan Country' series.
56 photographs taken on a visit to Wales including a visit to The Rodd - Sidney Nolan Trust in October 2019.
58 ink on postcard drawings made between 07:11:19 and 02:01:20.
A hopeful attitude is applied to this research and with positivity I am finding out exactly what ‘family’ consists of in our new-found global togetherness.
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‘Sculpture from the Sofa’ is a series of short videos that aim to share knowledge and enthusiasm for sculpture, based on domestic objects collected over the last decade or so. This episode features a plaster cast of ‘L’Inconnue de la Seine’ (‘The Unknown Woman of the Seine’), its apocryphal origin story and the ways in which it has entered popular culture.
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Day 2 – Status Quo – Rocking all over the world – dog – Lulu – all over – the world – dirty water – 1977 – punk – virus – LCD font – ape – planet – a lover
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Since the outbreak of Covid 19 The Art House where I have a studio has been forced to close, and because of this they are offering two months where you do not need to pay the rent.
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Obie Butcher takes his inspiration from the natural world and has created a range of sculptures using many materials. He began sculpture by learning to wood carve before moving on to marble carving whilst living in Spain.
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Clare Charnley is a UK Visual artist who work is made in collaboration with the public and foreigners. Her recent work has included Brazilian artist Patricia Azevedo.
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‘I Clap For An Art’ by Phill Hopkins is Hopkins riffing on a recent work entitled ‘I Pray For An Art’.
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2020, live updates from The sounds of ideas forming, Volume 2 (Instagram - @alandunn67), exploring the fragility and tangibility of vinyl sleeves in domestic settings. Recent instalments:
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As we all move indoors for a few weeks of enforced isolation it is important to make sure we do not lose our connection with those things that make us happy, give us hope and allow us to share something of what it is that makes us human; our enduring spirit of creativity.
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I still love Leeds, I guess you always do when it’s your hometown. I studied my foundation at Jacob Kramer 1990-91 after doing Photography O & A levels at my school. I failed my art O level and am really glad I did!
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After a career as a Chartered Electrical Engineer I came to sculpting late. Following sculpting courses at Bradford and York colleges, including 7 years with the sculptor Dominic Hopkinson, I concentrated on stone carving and glass casting as my main artistic processes. My sculptures are abstract and often made from local stone.
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I remember vividly my very patient dad telling me how the gas-o-meter worked as we passed it regularly on Armley gyratory; it fascinated me as a child and still does now.
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Sometimes, without the need of confection for a plot, themes can emerge through the process of discussion and planning. I like to think that this is arts natural state, the continual process of discovery, research, reaction, change and consolidation, an alternative to the staid and retrogressive times in which we are currently living.
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‘On The Corner’ is a project that is truly intergenerational and is aimed at promoting ideas of art as an important and integral part of the fabric of our society. We ignore art at our peril.
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Throughout my second year, I’d been undertaking a series of works that related to home and my family, and for part of the module I was required to research an art space that related to my work, and visualise my pieces within in it.
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Since we began this venture nearly a decade ago, we have been diligently chipping away underground, creating a place that serves both artists and community alike. Over time the project has become the foundation for a broad set of ideas that address many issues in art whilst speaking directly to the concerns of the local community.
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No two projects in the last eight years of exhibitions at BasementArtsProject more clearly amplify this than May’s exhibition by Claire Bentley-Smith ‘Unmanaged Reproach’, and its predecessor ‘Mellifluous Arcana’ by artist Paul Walsh. Both of these exhibitions came from a very personal place, anchored in past experience whilst depicting what are very much concerns of the here and now.
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I discovered the remnants of a woman’s life in amongst a bonfire ashes and brought them home to assemble two sculptures. They became the starting point of a larger body of work that has evolved to scrutinise wider aspects of the UK sex industry.
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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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