After a cut back of warehouse workers the decrease in parcel volume since Christmas hasn’t meant that work is less demanding.

……..this same “Keep going” mind set Is one you have to keep when taking boxes.

In a time long before the advent of the mobile phone and the ability to document the world in real time, there was artists. During the lockdown of 2020, as the outside world was divested of the majority of its population, artists became once again, just as in times of war, the people who remained to document a dangerous world that threatened our humanity.

This week I made an important discovery. I have been looking at this painting for about 8 years, I think I made it in 2012. It never felt right, there was always something missing or lacking in the composition.

From the line stacking parcels, you can see Lorries arrive, people taking them to be sent along the lines. This perspective is from where Me and others work as “scanners”. It assumes viewers as fellow workers

On a freezing cold Sunday afternoon I met up with Abdullah Adekola for a socially distanced walk through Middleton Woods where we discussed his ‘Say It With Your Chest’ project: A black-led poetry collective.

It just so happened that back in June of the foul and pestilential year of our Lord that was Two Thousand and Twenty, having already put a programme in place, I had been having discussions with Kimbal Bumstead, the first artist with whom I worked as BasementArtsProject. The 2020 programme has had to be put back into 2021 but now has the addition of a celebratory 10 year project.

During my time here in Leeds I have started developing a series of prints based on the busyness of my daily life with Amazon in contrast to that of my locked down experience as an artist.

Now as we enter Lockdown 2 the sequel we relaunch our online presence with some images of new work by past BasementArtsProject exhibitor Pippa Eason.

Their soft, white putty faces mumble incoherent diatribes against the working classes, people of colour and anyone else that they cannot identify with, whilst their smooth callous-free hands sign the papers that send dying and disabled people back to jobs as a form of respite care.

I still stand by my original thought that I was happy to see Colston being toppled into the Bristol harbour last month; 150 years being long enough to gain the kind of status that will ensure people are angry at its removal by such process that it was.

Firstly, in introducing this post, I would like to point out that much has been said in various quarters over the last few months about how to spend time when furloughed.