Summer Art Thread (2017)

Work in progress – Painting the Town… (2017) part of Summer Art Thread (2017) at LCB Depot, Rutland Street, Leicester, UK. 26/8/17.


Cardboard Town – Workshop

During the Festival Art Show at Spring Bank Arts Centre throughout The Big Weekend at New Mills Festival 2017 I will be running a drop-in workshop for all ages. You can build your own section of a Wild West street with cardboard and lollipop sticks. Please come and join us and make your own contribution to the street, such as a saloon, hotel, livery stable, whatever you wish. All sections will be added to a new unique street for the weekend. It would be great to see you all there.

The Big Weekend – Festival Art Show

As part of New Mills Festival (2017) I’ll be taking part in the Big Weekend at the Spring Bank Arts Centre 23rd – 24th September. I’ll be running a drop in workshop where you can make your own Wild West street front. Please come along and check out some great work.

New Mills Festival (2017) – The Big Weekend

I’m pleased to announce that I am returning to the New Mills Festival, taking part in the Big Weekend – 22nd – 24th September.

The last weekend of the two-week festival –

The Art Trail includes a “Big Weekend”, timed to coincide with the hugely popular Lantern Procession finale, which attracts an audience of more than 14,000 to the town. The Big Weekend sees artists and venues across New Mills open their doors to host pop-up exhibitions, open studios, workshops and demonstrations, and arts and crafts markets.

More information coming soon!

London Trip (5-6/5/17) Part 4

For me The Centrifugal Soul was going to be hard to top in terms of the effect it has had on me. There’s not a day goes by that I play my phone recordings, which I know is not the real thing, I have some incredible memories of that show at Blain|Southern. We moved onto a smaller show over at Beaux Arts to see Jonathan Leaman, a collection of old and new surrealist self-portraits. I found the later work a little hit and miss. There were pieces that were a little too obvious, whilst others were throwing everything at you. All externalising his emotions into these hyperreal paintings.

Whilst the later work had was far stronger, a more cohesive body of work, a visual style and iconography much like Salvador Dali. I could feel a sense if anxiety in the work, a man overburdened by later life, its all still happening for him. Honestly is at the centre of these paintings, even quite formal too. I feel the earlier painting which were hung downstairs really don’t help this series which are bold and imaginative, highly detailed paintings of wonder and worry.

We had to wait a few hours for the final show of the trip – Hockney at Tate Britain which was more for my sister than myself. Not being a painter I wasn’t as interested. After some refreshment we were let into 12 room show that began with his early work from the 1950’s before slowly moving through time and his work. I was personally quite taken by the portraits from the 1960’s. Far larger than I expected. I guess years of photos and seeing them on TV never prepares you for the real thing – the art itself. Reminding me of the importance the original and the aura of the work.

I must admit I was ignorant of his medium, switching from Oils to acrylic for a time, before reverting back to oils until very recently when he also introduced to his practice the digital, both cameras and iPads. Of course not forgetting his photo-montages. I found the most affecting, those of his family, you can see more attention to them, making the individual stills marry-up to create the figures, most prominently his mother.

As expected the show was packed throughout – the further round you got the more viewers of the work were lost to them. The 4 seasons room, I could have stayed there far longer than I did. Before moving onto the iPad room where we saw a combination of multiple slideshow and his latest works being built up in time-lapse videos. Making the most of the latest technology, something that Hockney has never been afraid to do. I came away with a greater appreciation for his work. After years of printed images I have finally seen the real thing in a show that celebrates a 60 year career.

Hockney rounded off a great weekend of art and more importantly time with my sister. What more can you ask for, family, inspiration and plenty of art.


I am pleased to announce that part 6 of my animation Playing with Plastic (2016) will be exhibited online as part of a new archive UN[dis]CRIMINATE with the Unstitute online gallery.

Located in courtyards of the Unstitute – in between spaces, between other structures, temporary or otherwise – is a network of diverse encampments serving any number of uses; political or otherwise. In these digital encampments you can see the building of a new archive: UN[dis]CRIMINATE.

The outlying buildings of The Unstitute are not guarded by anyone in particular, and often entrances sit wide open for anyone to see. But mainly the nomadic eruptions in disused or otherwise vague areas of The Unstitute appear of their own determination, and deterritorialize as long as they please.

London Trip (5-6/5/17) Part 3

My second day continued at a pace, we decided to stop for a bite before going to the second gallery, Blain|Southern which turned out to have the highlight of the weekend for me. Mat Collishaw’s Centrifrugal Soul (2016). The last time I was at the space it was over a year ago for another piece that relied on tricking the eye. We were first greeted by a holographic tree – Albion

Promotional image from Blain|Southern

“…a new installation that takes as its subject the Major Oak in Sherwood Forest, Nottingham, which has an almost mythical status. This centuries-old tree has at its core a hollow rotten trunk, and since the Victorian era its vast limbs have been supported by an elaborate system of scaffolding. Collishaw’s monumental, slowly rotating image of the oak is a ghost-like apparition generated by laser scanning. The image represents a living object that is trapped in perpetuity to present the illusion of life. As with the tethered birds in Collishaw’s paintings, it presents a tension between the beautiful and the abject.

Promotional image from Blain|Southern

I was drawn not so much to the movement of the tree, more by its sheer presence in the space and how it was created. A projector and a pain of glass at an angle. An old technique in terms of optical illusion. The work was surrounded by a series of painting, colourful birds all perched in front of graffiti, trying their best to stand out from the urban markings, its a fight between Nature and the urban environment.

The next piece actually moved me to tears the first time I saw The Centrifugal Soul

…a sculpture in the form of a zoetrope, a pre-film animation device that produces the illusion of motion through rapid rotation and stroboscopic light.

The zoetrope animates scenes of bowerbirds and birds of paradise as they perform elaborate mating rituals. The work offers a captivating demonstration of how aesthetic diversity has evolved through sexual selection and also reflects the artist’s ongoing examination of our insatiable appetite for visual stimulation. Collishaw’s sculpture embodies Miller’s idea that evolution has created an inescapable drive to be noticed above the visual competition, feeding our need for self-promotion.”

Promotional image from Blain|Southern

I noticed flashing light and the whirring sound from another space. I decided to go in closer to see a structure that housed colourful objects, flowers and birds, all slightly different yet the same, running in a series. I couldn’t make that out at first. Then it started up again, the lights dimmed, the motor started up, lights flashing, motion was coming from the bright object. Flowers opening and closing, humming birds taking nectar, birds in full display for attract a mate. I was enthralled and in love with the work. A live animation, true it was limited but it was beautiful and breathtaking. The same motion repeated in around 2 minutes flat before drawing to an end. The 3D zoetrope had stopped, the illusion was over. I was on tears of joy at what I had seen. What usually takes hours, weeks, months even to capture alone happened before my eyes. An old trick that feels so very new.

Moving onto complete the Sadie Coles shows – Riverboat song which had a few more pieces at Davies Street. We were greeted by a figure that we found in the video, jet black, Black sculpture (2017), all the joints are replaced with lengths of chain, creating a very loose and horrifying puppet suspended from chain above. Is this a modern darker Pinocchio, or  the remains of a child who has lost their soul to the virtual world of cyberspace, no need for a body, just an identity.

The next piece in the space House with face (2017), a resin based house, that takes a while to work out. As we investigated it, the face started to appear on the roof. It’s hagged and old, something out of a fairy tale, like the house that it covers. I didn’t feel welcomed to it, more interested in it’s constructed. Covered in chain, as it begins to cover the house, more hoops are found, ready for chain to link and pull the house away. It’s lost it’s fairy tale innocence – I know that doesn’t quite make sense. And that’s how these two piece are connected, not so much the visual connection of the chain, more so the loss of innocence that comes from both of them. A child that has lost the colour from it’s body, whilst what could easily be a kids playhouse is being transformed into a house of horror.

Finally upstairs we found a Virtual reality piece, Real violence (2017) I had an idea of how these work, as there’s a show on at my studio’s gallery that has one at the centre. However the this is no game, it’s more simple and darker than that. After waiting a few minutes I placed the head-piece on and head phones. Advised to  hold onto a bar fixed to the plinth, I was taken into a city scene, empty at first, thrown 180 degrees to face a man being beaten up, I’m forced to stand there and watch, everywhere I turn I see a man being pummeled, it’s an intense piece to say these least to be confronted by this violent act in the artificial space, which I ultimately agreed to enter.

London Trip (5-6/5/17) Part 2

My next stop was not planned as I found myself running ahead of schedule, still in the Bethnal Green area I decided to pay a visit to the V&A Museum of Childhood. I’d had only been there previously for an opening whilst on a Uni trip, I had the good fortune to see Alan Rickman who opened the show. Yesterday I went into a space filled with nostalgia, plenty of toys that my sister and I played with, looking back further too. I also found an impressive model miniature of a tower block, architectural in aesthetic on the surface. Tower Block on Holly Street Estate (1998). A document and memorial for two tower blocks on Lomas and Cedar Court. Looking closer at the model I saw within some of the flats photographs of the residents who used to live there. Either seeing a residents or going into empty rooms.

The piece was made by three artists – James Mackinnon making the model itself, whilst the interior photographs of the residents and empty spaces were by Tom Hunter. And the exterior shots were captured by Mike Seaborne. The piece reminds me how both photography and model miniatures can be combined to create more authentic pieces.

I stayed a little longer at the museum before taking the Overground to Camden Arts Centre, home to one of my favorite spaces to see work. This time by Paul Johnson – Teardrop Centre who has filled the space with what appear to be relics of a future dystopia, of concrete and various structures.

“…work is anchored by an enquiry into the way objects and images can transition historically, mentally and physically when filtered through the hands of the artist. Gathering images and objects from diverse sources, he then creates small, labour-intensive sculptures, collages and large-scale installations that stimulate imaginary associations for the viewer to decode. Notions of the outsider, rituals and belief systems are often a point of intrigue in his work.”

The space split up into a few areas, I was first drawn to concrete coffee cup lids on A4 – A2 size paper that made up a concrete pavement, as if they lifted as artifacts freshly dug and starting to be arranged before. Behind that is Tower, a structure which runs almost the width of the space, plastic crates placed on-top of each other. In the window parallel Unselfishness an server rack that has been transformed into a totem, the cables have all be severed, so no connections can be made, no information can be stored. There’s a sense of real freedom in the work.

The next day I started over at Sadie Coles for a show in two parts for Jordan Wolfson’sRiverboat Song, which I went to as part of my research for violence. The first location being on Kingly Street where a short video on large screen built up from 16 smaller. It was the only piece in a room thickly pink carpeted space. We came in as an animated guy was displaying himself, urinating like a sprinkler and playing with it. There’s a real sense of freedom in the work that doesn’t fear to probe into the dangers of modern life. Just from the video

Promotional image from Sadie Coles

This was only the first half of the show that was still yet to come.

London Trip (5-6/5/17) Part 1

It’s been just short of 6 months since my last proper gallery trip, I’m now back in London to see whats on offer in the smaller galleries. Yesterday I planned to do 4 shows, however I was running ahead of schedule so I made a stop at the V&A Museum of Childhood, which was both nostalgic and inspiring.

My first stop was over at the Lisson Gallery on Bell Street for Natalie Djurberg & Hans Bergs show Who am I to Judge, or It Must be Something Delicious (2017). Initially when I was researching potential shows to visit I was unsure about this one, even with all the mixed media figures. It was the content of the work, the sexual overtones, was that too much for my taste. The more I thought about it, I knew it was going to be fun. Plus after watching The Greasy Strangler (2016) a crude and weird comedy about a father and son, and their dark activities, which as much as it was down-right disgusting I couldn’t stop watching. I still have it stuck in my head, says a lot really.

There’s no real text on the show, which leaves it open to interpretation which for me is great, as I don’t like being told, it spoils the exploration of the show on a personal level. I found the work overwhelmingly funny. So much debauchery in one room. Moments of unadulterated pleasure with faeces, sticks, bananas, My Little Pony’s and moons. It was pure madness in a small space. repeated quotes  that question what it going on top of this platform. Balancing out all the insanity before is.

I also watched a portion of one of the animations – Delights of an Undirected Mind (2016), from which these model miniatures are from. Crude in content, with less regard for the skill of the animation, essentially it’s loose allowing the content of innocent fairytale and childish imagery running rampant in the bedroom. Just as disturbing and funny, if not more so than the first space.

My next stop was at Josh Lilley to see Nicholas Hatfull Tofu Dealer (to kill my hunger in daytime wander). I came mainly for the larger sculpture that combines oversized rubbish with other found urban objects – Ludovis/Weltschmerz (Easter in Milan) (2017). The combination of oversized and out external objects complement each other well. Emphasising the dirt we create and blatantly ignore on daily basis. Driving home what is around us.

The majority of the were his painting, which mixed media pieces, depicting food taken to an abstract level at times. A bold use of colour, emphasising the form of the food, which in-turn expresses the passion he has ir had at the time. All these are yearnings for what is on display, we are seeing his eye wandering over the food, longing to devouring it all.

My next show was over in the Bethnal Green area at Space Gallery to see Jonathan Baldock’s My Biggest Fear is that someone will crawl into it. If I’m honest I was expecting more, as in space for a gallery under that name. Moving on I did find the work inside inviting. A four-poster-bed covered in a hand sewn cover, with whispered audio coming from within. After watching the accompanying video by the artist explaining the bed piece it to be a very personal piece. Inviting the audience to lay on the bed and listen to a recording of his mother retelling her life. An autobiography for personal digest, and family record, to pass from one generation to the next. I found in inspiring as I am considering a documentary piece which looks at how past generations have grown up with Westerns, it’s how to exhibit those recordings that brings them to life. I felt even though I have no personal connection to the artist that I was in a warm loving environment, If I laid on the bed I would be recounted a family history from the mother with no prior judgement, a mothers unconditional love.


Happy to be Here


Two Queens 5 year anniversary show Happy to be Here at the Attenborough Arts Centre, Leicester.

Exhibiting Iron Horse of the Studio (2015)

Exhibiting alongside past and present studio members –

Gino Attwood, Mateus Domingos, Colette Griffin, Jack Halford, Tom Harding, Alice Hicken, Andrea Jaeger, Daniel Sean Kelly, Khush Kali, Nick O’reardon, James Parkinson, Emma Price, James Poyser, Sam Francis Read, Luke Routledge, Leon Sadler, Mita Solanky, Jack Squires, Robert Wilson, Callum Whitley, Tom Van Herrewege.