Home from Home

153 Woodhouse Lane
11th - 18th March 2011
Curated by Louise Atkinson
Image by Jacob Schuhle-Lewis

With ideas ranging from the domestic to displacement, over 80 artists from 7 different countries have contributed to this years Artist Book Collective exhibition around the theme of Home. 153 Woodhouse Lane is the setting for Home from Home, to be shown alongside the 14th Leeds International Artist Book Fair. As a spacious Victorian terrace situated over three floors, it provides the perfect backdrop for this site-specific exhibition.

Artists responded to the brief through exploring and expanding on the book as a time-based medium, whilst incorporating the notion of the Everyday. Traditional book works as well as sculptural objects, text, narrative, video, furniture, audio and performance are represented throughout the show.

The concept of Home evokes various associations, including our experience of domestic spaces in relation to their designated public/private status, as well as the collection and curation of personal possessions within those spaces. Often our sense of self and security is linked to feeling ‘at home’, insinuating that this sensation is not always related to a particular place or building.

At first glance, Home from Home gives an impression of family, refuge and sanctuary, but upon closer inspection, it also begins to uncover associated feelings of anxiety and uncertainty relating to superstition, illness and transience.

Shaheen Ahmed
Muji-Wuji, Subverted Catalogue, 2011
Shaheen Ahmed's strangely beguiling bookwork combines child play, dervish ritual and retail therapy. In the darkest black ink, bold Arabic numerals and lettering sweep across the pages of high street store catalogues. As we turn the heavily treated pages we discover a soul at times struggling with then embracing the visual onslaught of consumer culture. A repetitive dialogue opens up on the pages of the Argos, Muji and IKEA books, using Japanese sumi ink her black brush stokes seem anxious to nullify the overload of multicoloured consumable objects so beautifully shot and composed on the glossy pages. This is a brave and bold journey, unrehearsed, where we glimpse a child playing, making patterns and finding a hidden symmetry in the compositions, only suddenly to awake from the anaesthesia and questions the point of all this stuff, what the hell is it for? And why do I want it so badly? Painful and beautiful all at once.

Anne Akers
Coffee, Photograph, 2010
The whiff of coffee from the kitchen, the clatter of cups in the lounge, the sound of slurping and stirring as coffee punctuates elements of daily life. I love coffee and wherever I go, I find my coffee has a story to tell, whether it’s the setting, my fellow-drinkers, the occasion or just the glorious coffee taste. I photograph coffee, usually with the phone on my camera, send it via message to friends kind of like a coffee postcard, blog about it and bring the photos together into a mosaic coffee collection.

Melanie Alexandrou
Magpie Thunder Bureau, Mixed Media Installation, 2009 - 2011
The Magpie Thunder Bureau is a feast for the eyes, a real magpie’s nest! An assortment of books, stationery, and little treasures, both found and handmade, all compartmentalised and labelled in the almost obsessive way that characterises a bureauphile. My work focuses on animalia (most specifically birds) as a way of exploring and celebrating a return to a more organic aesthetic, using materials and methods that are craft-based together with more ‘traditional’ disciplines such as printmaking, painting, and illustration. Participation in postal art networks enables a continued dialogue with other artists and makers, independent from the constraints of clinical, mainstream galleries and invites the viewer to get involved.

Stacey Allen and Katherine Johnson
Make Do and Mend, Performance, 2011
Stacey Allen and Katherine Johnson work collaboratively. Two different practices are united through a shared sense of humour and view on the world. The audience are invited to destroy maps of Britain as the performers work in a futile attempt to put them back to normal showing a literal cycle of damage and repair. Make do and Mend is a piece based on the modern idea of "Broken Britain" and how the ever-mounting problems in society are never really fixed but smoothed over the problems becoming inherent in our culture. The performers go about their thankless frenzied task dressed as land girls harking back to wartime community spirit while their actions reflect more desperate times.

Karen Babayan
Packing, DVD, 2011
A female figure is kneeling on a Persian carpet, packing and unpacking a suitcase. The action is repetitive and mundane, the packer indecisive and in turns, agitated and impatient, controlled and decisive. Intended to evoke the universal experience of migration, the work explores opposing emotions of uncertainty, fear, guilt, excitement, anticipation and longing.

With an art practice strongly rooted in the exploratory and multidisciplinary, I am exploring themes of migration, displacement and diaspora. Performative works, Artist's Books and fictional narrative are based on personal experience and collected accounts of loss and displacement from members of the Armenian community from Iran, now living in the West as a result of the 1979 Islamic Revolution.

Lorna Barrowclough
Bourgeois Basics, Tapestry & Found Objects, 2009
Currently working predominantly with sculpture, found objects and craft based processes my work is inclusive and experimental. Whilst there is a respect for the traditions of the techniques, I try to offer a refreshing open approach to the materials and methods that might be utilised.

A production of work has followed that explores the method in which we gather, decipher and adopt certain objects onto our lives. I am interested in the idea that comfort is found in certain objects; a need to possess certain items can entertain the idea that they can personify ourselves to an extent that improvement of ones life can occur purely by owning these objects.

Lorain Behrens
Altered Almanac, Found Book Sculptures, 2011
Old books on a shelf; each looks like an ordinary book from the outside but open them up and discover a whole new world. I enjoy working with books, tearing, painting, gluing and generally destroying them to create a new work of art. My other art interests include polymer clay, collage, and multimedia. www.uniquearts.co.uk

Harriet Bevan
Vandalised With Love, Found Book Collage, 2010
Old books are a living entity, once cherished but now discarded, or ejected from circulation and left to rot. I reclaim and re-imagine them, carefully deconstructing and vandalising until they become something different; reborn, with new truths and patterns emerging. I set myself rules and always honour the original pagination, never cracking the spine or interfering with its central nervous system.

Vandalised with Love is a systematic collage working within the pagination of a 1930s photography book, discarded from a library which would once have charged a hefty fine and/or a prison sentence for its 'mutilation'.

Inheritance was a different kind of project. I found my Grandfather's 1960s Zenit camera in the cupboard. It already had a film in it, which he started sixteen years ago. I hastily used it up, peering anxiously through his lens. The prints came out strangely warped due to the aged film so there is a sense of continuity in the results. It struck me that this passing on of a small image-capturing project was a more meaningful inheritance than any I could have hoped for.

Linda Bevan
Wrapped & Unwrapped, Brown Paper and Other Materials, 2011

Linda Bevan is a performance-based artist focusing on live art experiments as formal exercises to be explored sculpturally and as markers for the passing of time. Her art practice has included using everyday materials as perpetual props to make art that exists as traces of past happenings but also future experiments. Currently she is exploring archival documentation through the wrapping up of all her home possessions.

Krijnie Beyen
Gobs, Mixed Media, 2011
Gobs (bread) is the result of an exchange between artists from Morocco and the Netherlands. Bread is a basic and general food, prepared after different and traditional recipes. On top of the bread I put the map of the Medina of the Morrocan town Fes. The place where we met, the bread that we ate.

Julia Bickerstaff
Silent Resolution, Neon & Glass, 2010
Julia has a fascination with light and the perception of its origins of everyday life. Silent Resolution demonstrates the ideal within a house hold of where light/electricity comes from and that it is a commodity to be grateful for, respect and not take for granted. This is self evident from the skills needed to make the piece. Look at found objects they represent discarded insight into people’s possessions. Light reading burns through the gathering of information. This knowledge gathered for many reasons from enjoyment to need. The result of the source is the same, a quest for enlightenment.

Stephanie Black
The Unsung Telephone, Drawing, Collage & Mixed Media, 2011
My current practice is concerned with process, with the unexpected twists and turns that making throws up informing the direction of projects. The Unsung Telephone comes from a larger body of work that seeks to form a loose narrative using this method, and at this stage comprises drawings, collage, three-dimensional pieces and some slightly telling detritus found in the attic of a house. The project is intended to extend my illustration skills into three-dimensional space, and this in turn will inform the book version that results from installing the work.

Jade Blood
Plate Rack, Drawings on Found Plates, 2010
I make installation work exploring themes such as 'the everyday' and 'culture' (whatever that means). I have a strong DIY ethic and like to use found objects within my work, or inexpensive objects picked up at car-boot sales. I like to re-use the objects and give them a new purpose. The objects usually remind me of playing in my grandma's house (way too giddy) surrounded by ornaments and old curiosities. I love creating installations- I feel like a kid making a den.

Sarah Bodman
Flowers in Hotel Rooms Vol IV, Digital Print, 2009
The series is a set of journals, documenting my actions and those of characters in novels, or writers whose work I am reading when I stay in hotel rooms. Working in Poland, near the home of the writer and artist Radoslaw Nowakowski in Dabrowa Dolna, a tiny hamlet, I sit outside at dusk with dogs barking (reading Ethan Frome) and I notice the garlic that has been nailed up for protection outside the front door by the wonderful B&B owner. Elsewhere, I’m reading The Shining by Stephen King, typing “all work and no play” on a portable plastic typewriter.

Alice Bradshaw
Print 13, Photographic Print, 2008
Alice Bradshaw works with a wide range of media and processes involving the manipulation of everyday objects and materials. Mass-produced, anonymous objects are often rendered dysfunctional caricatures of themselves, addressing concepts of purpose and futility. Alice creates or accentuates subtleties, blurring distinctions between the absurd and the mundane.

Kate Burt
All the Birds of Lancashire, Hand Drawn and Cut Book, 2010
Through the medium of artist books, I explore the nature of human relationships with each other, their environments and the lives they lead. Personal and playful, I hope to interact with the audience by means of ‘space’; space within the physicality of the book, space within the imagination of the viewer and the literal space referred to within the content.

Larna Campbell
Fragility, Paper, Letterpress & Thread, 2011
Larna Campbell is a visual artist who makes work in response to her experience of the world around her. Finding inspiration in the moment and in the everyday as well as in the extraordinary, Larna develops artwork out of a process of research, dialogue, exploration and making. Current research includes exploring text and representations of emotive narratives through a series of performance and print based works.

Shaeron Caton-Rose
Linocut and Letterpress Book with Soundtrack, 2009
EverAfter looks at the disparity between fairytale and reality, but also the way in which fairytale can explain reality to us. The piece consists of three artist’s books, each telling a different fairytale written by the artist and based on ‘real life’ stories told to her by three women. The women were interviewed and the recording of their life stories accompany the books as a background soundtrack. Terrydrops, the first book, tells a story of fear associated with the home and family. In it, the female protagonist is tricked, abused and then blamed for her apparent complicity in this process.

Anwyl Cooper-Willis
Postcards Home, Card, Metal & Thread, 2011
Postcards sent home from tourist destinations; pictures which attempt to capture the spirit of a place but can leave so much unsaid. Old postcards with their trite seeming messages and prosaic images have pathos; their communication no longer between individuals but over time. Messages from the past.

Amelia Crouch
Fences I and II, Video, 2006
Fences I and II and Worth (all will be well) are both about aspiration and limitation. Providing a meditation upon everyday circumstances they are simultaneously at home with and uneasy about the mundane obsessions with which we may fill our lives.

My work frequently combines words and images and uses quotation from existing sources. It attempts to tap into what might be called a 'collective cultural imagery' – the associations and mental images that people carry with them already, that they have absorbed from the world around them sometimes unconsciously.

Julie Dodd
Family Album, Mixed Media, 2011

My practice consists of print, installation work and bookmaking. ‘Family Album’ is a collection of altered photographs of my relatives and is about the stories I’ve been told over the years. I’m not sure what is accurate and what has been elaborated on, but that doesn’t matter, it’s about what the photographs mean to me. ‘Building Blocks of Life’ has been created using my old sketchbooks, photo albums, diaries, textbooks and scrap books containing photographs, cards and other snippets that have been part of my life. For more info visit www.juliedodd.co.uk

Manya Donaque
Sobrepieles, Mixed Media, 2000
I am a multimedia artist very interested in issues surrounding life and death... I often use found materials in my work, things that have being discarded, rejected, displaced...I like playing with the idea of giving a new life to objects by transforming, re- shaping, manipulating them to create new meanings... books, objects are very much a reflection of whom we are and as long as we are surrounded by ‘our objects’ I think we can say we are at home, regardless of where we come from...

Inbal Drue

Where I End and You Begin, Letraset on Tile, 2011
Fragments of dialogues by one character. The absence of the other. Tiles as a domestic material but also as a permanent post it note – a way of communication indoors. When only one side is being written, you can’t tell where one ends and the other begins.

Debra Eck
Babble: The Sum of all Fears, Paper, 2011
Part of a new series inspired by the refuse of modern life, each card, from partial decks headed for the rubbish, is a specific fear related to a creative life created by the artist. Put together they are a barrier, but when shared with the viewer who is invited to take away any card which particularly 'speaks' to them, it forms instead a new means of connection & communication.

Jon Eland and Phil Kirby
The Tent that Jon Made, Photo Book, 2011
This storybook dares you into a world far from nice, a place where creatures are unfriendly, unhelpful, unkind. What you will see is not easy on the soul it’ll pray on your mind and take a heavy toll. And, as reward, the garish and the vile is all you’ll have found. But these are the things you’re sure to observe in the land inside the tent that Jon made.

For more, including a narrated video, event information, back-story and subsequent material visit http://strawbl.eu/tent

Francis Elliott
Garden, Oil on Steel wrapped in Acrylic, 2009
Red and yellow and pink and green, Purple and orange and blue

Cath Fairgrieve
Ceramic Poems, Artist Book, 2010
Ceramic Poems was inspired by ceramic objects from the Aberystwyth University Collection. Images of hands interact with the vessels to find new functions for historical artefacts: the hands represent 3 generations of my family - parents, daughter, partner. By collaging past and present I attempt to better understand self. ‘Family’ is imbued with the significance of momento mori whilst the fragmentation of Victorian texts suggests potential for guiding human values.

DIY was made in response to a leaflet advertising Nervine Remedy as a cure for various ailments. Text from the leaflet is juxtaposed with images of painting and decorating the home. As the reader turns pages the neglected home becomes a place for relaxation and comfort: it is a metaphor for family-life, which requires constant care to sustain wellbeing.

Bernard Fairhurst
Still Life, Video, 2010
The challenge is to take the commonplace and make it visually interesting, engaging and to elicit a sense of emotion and wonderment. In my work I use assemblages of multiple or related images to focus attention, resulting in two works for Home from Home. Still Life: A contemporary still-life, that evokes seventeenth century Dutch interiors and records a short period in December 2010 after 34 years of illness and Moving: An archival work cataloguing the traces left after a house move.

Emma Fotherby
Book Of Emotions: Outside, Monoprint in Japanese Bound Book, 2011
A mono-print rose wallpaper installation featuring ashes from my home fire reflecting on a lonely childhood secretly drawing on walls and then rubbing it out afterwards, drawing angry doodles instead of going to sleep, wanting mess instead of neatness, neatness instead of mess. The two books that accompany the installation are alternative Wallpaper sample books of hand drawn mono-prints reflecting past emotions felt at home.

Jonathan Gann
Piggy, Artist Book, 2010
The mind is a dark place, problematic and unforgiving at times. It is like an endless riddle, a joke told without a final line. I want to push things forward, to change minds… starting with mine.

Gina Gordon
Wash, Wax, Lint & Hair, 2010
Gina Gordon is an interdisciplinary artist who collects and utilises the ‘left-overs’ of everyday life. The wax bricks enclose the lint and hair from her family wash over a period of one year.

Hazel Grainger
Ticket Book, Reused Tickets and Timetables with Rubber Stamp Printing, 2011
A set of folded books made from train tickets from the 1960's and pieces of contemporary timetables, with rubber stamp printing. The sculptural forms and patterns evoke the feelings of a train journey, the frustrations, the changes, the waiting and late running. The books maintain the aesthetic and tactile qualities of the original tickets. They are displayed as everyday familiar objects, put to one side in the home but not yet discarded.

Nikki Hafter
Views of Egypt and the Desert, Film, 2011I’m interested in found objects and the lost stories they might carry with them. My recent work has explored how we might recover these histories or invent new ones, opening up imaginary nostalgias or instigating physical transformations. My film works have been made using found 8mm footage that was made by my grandparents. While they show physical locations abroad, for me they represent ideas of family, history, memory and nostalgia which are very much tied to a concept of 'home' as the locus of family experience rather than any physical space, and which has allowed them to gain associative meaning as objects in themselves rather than as representations.

Terry Hammill
Umbrella Book, A5 Prints, 2011

The Umbrella Book takes as its motif the international symbol used on boxes and packages - 'Protect Against Water'. The symbol has been turned upside down and the image has triggered off word associations and phrases in my mind such as the one illustrated here - 'Walking on water'. Blank pages (with image but no text) will be provided and viewers are invited to add their own associative titles which could then become part of the book.

Claire Harbottle
Lilla’s Birthing, Digital Film, 2010
While there are various representations of women in labour, most focus attention on the event of the child’s birth, not the woman’s birthing process, often objectifying her in favour of the subjectivity of the newborn. Lilla’s Birthing seeks re-establish the birthing woman as empowered within her own labouring, not victim of it. Through a normalised woman centred portrayal of birthing, the widespread misrepresentation of labouring women and their bodies is undermined. Portrait of a Labour works with and against Lilla’s Birthing, the intimacy of the book format allowing the viewer to examine that which the film denies: representations of her, which the film references (you see these shots being taken) but refuses.

Rose Harries
Les Choses A-Z, Ink, Pencil, Crayon, Pen, 2011I am an illustrator based in Wakefield at Westgate Studios. Above all I love line and I spend most of my time drawing, usually in dip pen and ink, or in pencil. I also create and bind books, usually after obsessively researching something that has grabbed my interest; recently this has been Victorian advertising and ephemera, manual labour and poverty.

I made these in response to a French A-z poster which I have on my wall at home; they remind me so much of being younger. The adverts are things that people were encouraged to bring into their homes; the other poster is of the things I have hoarded around my flat and have stopped noticing a lot of the time but I chose to bring into my home at some point.

Debi Holbrook
Untitled (Book), Found Book/Wire, 2011
'Is there something there amongst the dust that could bring you back' Eliza Marieanna

The lure of the abandoned object is hard for me to ignore, curiosity and empathy compel me to question its story and reason for discard. My work transposes the human condition with inanimate and often domestic, found objects, where distinction becomes blurred between autobiographical memory, imagination and evidence.

Gillian Holt
Broken and Air Fire, Porcelain Books, 2010
Time, memory, history, loss and memorial are the themes of this work. My father’s WW2 pilot’s log book and photograph albums upon his death in 2005 reawakened my interest in my family’s history in particular and social history in general, especially the industrial revolution, the Victorian age and the two world wars. My father served in the Fleet Air Arm. Generations of his ancestors were dyers at Hunsworth Mill. Trade, recipe and pattern books of one of these ancestors are held in the Special Collection of Leeds University Library. The dyeing industry inspired the shapes of my bottles and jars.

Shelley Hughes
When I Was Just a Little Girl, Acrylic & Pencil on Wallpaper, 2011
Born in Scarborough in 1984, grew up in North Yorkshire, studied in Lancashire, I moved to Sheffield in 2006 and became involved in the community arts scene, which is now integral to my practice, I set up shop at Portland Works in the summer of 2010. I am a painter, mostly. I like to paint people. I make little drawings and big paintings. I do commissions, exhibitions and workshops.

Ben Johnson
Divination, Mixed Media, 2011
It’s common knowledge that the Victorians had a fascination with the Ouija board and much like us; their own fate in relation to death and the afterlife. The board is best used with up to four people, face to face, preferably with knees touching. Lightly touch the planchette, moving it in a circular motion initially and keep the first question simple. The session will end when the planchette is placed over ‘goodbye.’ If you’re personally not a believer, then what will the Ouija board tell you about what may be lurking within your own subconscious or undesirable side? Please write down (truthfully) in the notebook provided what the board says during the session.

Katherine Johnson
Knitted Pieces, Wool & Knitting Needles, 2009
My work sits somewhere between fine art and craft, as the methods I use often stem from craft, such as textiles, and paper art, but the objects I create and the ways in which I choose to show them puts them into a fine art context. I am intrigued by the way an object can be perceived depending upon the methods of its production, and where it is experienced. By using craft methods in their creation, it is breaking down part of the boundaries associated with an object in a gallery. The methods of production are not foreign but familiar; allowing the audience to have a relationship with it because of, and not despite their associations about what art is and can be in relation to their everyday lives.

Claire Kearns
Convers[ation] III, Interactive Sound Installation, 2011
Convers[ation] III is a collective of taped recordings from people seeking or who have formerly sought asylum or refugee status in the UK, asking each what ‘Home’ means to them. As the tapes play simultaneously it builds a dialogue between the participants that didn’t happen in ‘real time’. This forms an ethereal connection between the participants that communicates the idea of ‘shared experience’. It’s an interactive sound installation that invites spectator to make a physical connection with the piece by stop/starting the audio and turning the tapes over. www.clairekearns.com

Rosie Kearton
Fragmented Memories, Slide Transparencies, 2008 - 2009
My interest is in how memory is constructed; the fragility of memory and the passing of time; memories that have an uncertain relationship with reality. My focus is on the transitory and fragmentary nature of existence, human identity and mortality, and in exploring the tension between the concrete and the abstract. The original material is from an inherited family archive of slide transparencies.

Sophie Kemp
Untitled, Paper, Ordnance Survey Maps, Shoe Rack, 2011
Primarily my practice discusses contemporary issues surrounding drawing, attempting to re-instate the immediacy of the form whilst working in a post-representational way to discuss pictorial issues whilst denying the traditional divisions between abstraction and figuration.

This work specifically links my fascination with linearity to my interests in heritage, landscape and place, particularly my sense of the landscape in my memory being indistinguishable from the physical home, whilst articulating a morphology of objects in response to memory and space.

Knit A Bear Face (Guerrilla Knitters)
Knit Vision, Knitted TV, 2011

Leeds' guerilla knitting group Knit A Bear Face is delighted to present: a knitted television transmitting Top of the Knits, I mean Pops. Knit a Bear Face's book TULLINOPO will be available to view. With a few of the knitted Monster's watching on in the background.

Giuseppe Lambertino
Assenza, Photography, 2011
Assenza is a reflection on the presence and meaning of absence that I experience in my aunt's house in Italy that is sometimes amplified by recollections. I have known this house all my life and it has been full of vitality and characters for many of those years. Sadly many of those people have now passed. Some of the rooms I photographed were once off limits as a child, quarters I could only enter when accompanied or some I never even went in to. Perhaps this makes me more curious and keener to record as many details as I can because even though I know this house through my memories and experiences maybe I don't know it as well as I thought.

Ronit Levin Delgado Rochas
The Metamorphosis 1 & 2, Pencil on Paper / Blue Sponge, 2011

This work is my interpretation of Kafka's story "The Metamorphosis". In the tale, Gregor Samsa woke up one day to discover he turned into an insect. This transformation reveals the complex relationships between he and his family in his "home", and raises existential questions in the reader. When I first read the story I found the fine line between the fantastical and dismal reality, the absurdity of it, fascinating. The themes of negative self image and self acceptance inspired me to create this piece.

Using a geometric and recognizable shape, I carved out of it an ambiguously shaped soft sculpture. The rendering is a deformation of the original shape, graceful and beautiful in its ambivalence, unlike Kafka's deformations that evokes disgust and revulsion. Alongside it is a printout of the story on which a silhouette is seen-not-seen, hiding behind the words. In this work I shine a light on Gregor's loneliness and isolation in the face of familial alienation, his conflict with the ones closest and dearest to him. I feel great empathy and compassion to the tragic hero, pathetically trying to validate his existence in the eyes of the world and to find his place in his 'home' life.

Simon Lewis
Cup of Tea, Digital Print of Pen Drawing, 2010

I’m an illustrator/printmaker based in Leeds, producing a wide range of different imagery combining both traditional and digital media techniques. My work generally focuses on black line drawings, using a very fine nib in a cross hatching style. Often I then add colour digitally or merge with textures to achieve the best visual language. Recently I’ve been focusing on drawing larger scale, highly detailed, black and white images of architecture, and then adding colours to the subjects using screen print.

Heather Matthew
Luv2, Mixed Media, 2011
Wallets are transportable pieces of home, carrying within them items of identity, mementos of loved ones, talismans for safe passage as well as nostalgic and everyday items like photos, stamps and money. They are at once intrinsically personal yet universal, creating their own narrative of personal stories when you open and ‘read’ them.

Jean McEwan
Up In The Woods, Instant Book, 2011
Jean McEwan works variously with photography, collage, text, language, video and sound to present and interrogate narrative strategies. Her source materials are made, found, appropriated and skewered into elliptical, associative, disjointed narratives through which she explores ideas of authorship, truth/untruth and fact/fiction. Her outputs have included artist books and zines, installation, experimental film, documentary, performance to camera, and audio-visual performance.

Laura Millward
Fearnley Street, Blackwork on Canvas, 2011
The image of the familiar red brick terrace has been constructed by an even and regular embroidery process known as Blackwork.

My dad was born on Fearnley Street, Armley in the 1950s and lived there until he was five. I remember him taking us to see the street being demolished in the 1980s.

Bob Milner
How did we do? Ink on Paper: a Two Part Installation, 2011
Being serious and committed to anything other than a wallet and lifestyle choice appears to be frowned upon. Running up debt for stuff; stuff that you don’t need seems to be acceptable, almost admirable. Applying yourself to thought and making choices based on any musing is dangerous and to be mocked. Distinctly average wins. Lacking in any originality always comes first. The crowds love an also-ran. Run out and buy your products with the free stuffed toys, the key rings, the novelty glasses; we all love a gimmick. Let your dull progeny fester in dark rooms with their cutting edge technology; so advanced that real life just cannot compare. Easier than dealing with the failure that is your legacy. Get pissed. Follow the seasonal trends; buy it because they told you to. Summer is coming; you better acquire yet another outdoor patio set because this year the key colour for entertaining is yellow. Outdoor heaters. Decking slippers. Tongs with comfi-grip. Sexually explicit apron for Moron Dad with a matching and inappropriate one for Moron Junior. It was funny the first time and continued to be equally hysterical on every subsequent occasion. Love me because I am different in a similar way to you.

Carla Moss
No Place Like Home, No Home Like Place, Mixed media, 2011

Our corporate location is often dismissed in favour of individual location; it’s ‘my’ world not ‘our’ world. The interdependency between place and home, home and place is suggested in this piece by the found objects becoming sachets of herbs or spices, common seasonings for food. The objects are transcended from their original identity to spiritual meditative pieces reflecting the places that we inhabit and may consider calling home. They are elevated into things of intrigue and mystery, becoming renewed and given a new sense of worth.

Kathryn Oubridge
Collateral Damage (Unfinished), Installation, 2010
Collateral Damage (Unfinished) comprises a bedstead installation with handmade bed throw, incorporating appliquéd army camouflage netting and printed textile labels. Each label bears the name of an Iraqi child who has died in the Iraqi conflict, in military terms the collateral damage resulting from both insurgent and military operations. As the title infers, it is an ongoing piece of work. The Tree of Life referenced in the embroidered inscription is an ancient, cross-cultural symbol, which appears in the Christian, Jewish and Islamic (and many other) religions. Touching on concerns that all humankind has experienced over centuries, Collateral Damage (Unfinished) seeks to take a humanitarian stance rather than a political or religious one. Kathryn Oubridge is an artist working in Leeds. www.kathrynoubridge.com.

Louisa Parker
Kitchen Sink, DVD, 2004
Louisa Parker is an artist making multi sensory work with drawing, performance, sound, books, installation and objects. The audience encounter is a strong theme, but all work centres on emotional affect. For the Home from Home show I present two works, Kitchen Sink, a DVD made in 2004 which observes family history and dynamics through an evocative video work in which sound is prioritised and Untitled Book, a drawing which provokes new drawing every time it is touched. These works will be accompanied by an installation of found objects.

Zeev Parush
Hardcover, Digital Photograph, 2011
Binding and protecting, revealing and hiding my inner story. The work is computerized collage of self-portraits taken around my home, that present thoughts and feelings about my past, present and future.

Jane Platts
Constructed Dresser, Dresser & Reclaimed Cardboard, 2010
Who am I! I am a true Yorkshire nackler who is on an adventure transforming timeless fabrics into vintage inspired superior designs. My retro take on the modern allows for that traditional twist to shine through, giving the customer hand made, versatile, stylish, reclaimed accessories from Sculpture bags which are truly pieces of Art to hand stitched reconstructed cardboard dressers.

Mikhail Pogarsky
Window to the North, Wood, Paper, Silk & Leather, 2010

Some flying creatures fall through the poet’s window. The poet collects these creatures and makes a book about their life.

Biba J Reid
Five Generations on the Yorkshire Coast, Objet Trouvé, 2011
With an ancestry of mariners and shipbuilders on the North East Coast, I was intrigued by a recent discovery of family photographs revealing hitherto unknown visits to familiar places. Spanning over a hundred years, my family connects through place and time. In this work I am composing a narrative to include my children in their ongoing story. I work in a diversity of mediums and the use and inclusion of Objet trouvé forms an important part of my creative practice. The photographs have been etched onto paper creating colouring and fragility which reflects the age of the oldest photographs.

Ellie Sanders
Autumn Shawl, Knitting, 2008We often define ourselves in relation to others, and it is this self-definition that is part of the core of my work. I am a creative dabbler, enjoying word play, colour and imagery across the creative arts, usually in an exuberant, naïve style.

Aine Scannell
Little Voice, Paper Sculpture, 2011
I have been using the motif of the house for quite some time now. I love how it symbolises so many things. We are each our own ‘home’ as such. In each one of us is an attic, a living room, a quiet room, a study or studio, a bedroom and a cellar.

I made an installation in 2002 called House Angel – I chose that title as an ironic play on the expression which goes something like 'Oh out on the street s/he’s an absolute angel (everyone loves him/her) but once s/he’s inside that front door and out of sight s/he’s a monster'. That installation was about how as children we are often trapped inside our little homes. Inside these places we are literally ‘subjects’. In that installation which was primarily about the experiences of children – the house-forms intentionally had no doors only windows.

In Little Voice again there is no door BUT this is an oneiric, an inner space. Here are imaginary friends, baby rabbits, friendly wolves, a girl with a loaf of bread - that looks like a miniature house, a bird that can take us on a flight of imagination and look after us, a silhouette that leaps with joy, a peculiar bicycled animal and a slightly timid monkey – all representing aspects of our selves. http://www.ainescannell.com

Jacob Schuhle-Lewis
The Yellow Wallpaper, Photograph, 2010
The Yellow Wallpaper is based on short story of the same name written by Charlotte Perkins Gilman and published in 1982. It is a collection of first person journal entries by a woman whose physician husband has confined her to the upstairs bedroom so that she can recuperate from what he calls a "temporary nervous depression — a slight hysterical tendency," a diagnosis common to women in that period.

The story depicts the effect of confinement on the narrator's mental health, and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and colour of the wallpaper. Eventually she comes to imagine that there are women creeping around behind the patterns of the wallpaper, and then that she is one of them.

This Diptych portrays the woman's decent into madness, and the ambiguity surrounding the details of the story; where does reality end and the illusions caused by her declining mental health begin. It forms part of the series 'In Our Head,' a collection of collaborative portraits that take inspiration from fantastical, historical, and biblical themes.

Carrie Scott-Huby
Making Shadows on the Wall (in-situ), Wall Drawing, 2011

Making Shadows on The Wall is a direct response to the project brief ‘Home’. Word association in way of childhood experiences will be the starting point for personal remembrances, which will be brought to life by the spoken word. The piece is interactive. There is a similarity as to the game of Chinese Whispers. The viewer will be encouraged to become a participator by way speaking and sharing their own spontaneous response to the phrases written on the wall. The element of chaos is realised by participant’s active response, thus generating a different effect to the designed outcome.

Catherine Scriven
Daily Colour Projects: August, Printed on Paper, Thread, 2011
Catherine Scriven's artwork is a response to personal, social or historical narratives. She aims to visualise the extraordinary in the ordinary. Her pieces vary from small scale layered drawings and prints to large digital photocompositions printed on aluminium. Intimate objects with a personal narrative are often the starting point for the drawings, prints or artists books. They speak about the daily routines that are underpinning our lives. By using a limited range of colours within each piece Catherine's work offers a quiet and reflective mood. It counteracts any layers of information and complexity of content within the artwork.

Ruth Shaw-Williams
Unheimlich II, Concertina Book, 2010
'Heimlich can be seen as the realm of the tame, of intimacy, friendliness… the second meaning of heimlich is that of concealment' David Morley

Sigmund Freud wrote that 'among its different shades of meaning the word Heimlich exhibits one which is identical with its opposite, unheimlich. What is heimlich thus comes to be unheimlich'. The two attributes are not, as might be expected, mutually exclusive. From this idea emerges the phenomenon of the unhomely home.

Freud defines 'uncanny as the class of frightening things that leads us back to what is known and familiar'. Unheimlich II (the less common variant) is defined as 'unconcealed, unsecret; what is made known; what is supposed to be kept secret but is inadvertently revealed'.

Susan Slann
Forget Me Not 3, Painting on Found Wallpaper, 2010

Emily Speed
Doorknob, Paper in Resin, 2011
Doorknob. A functional object made specifically to indicate an entrance to a space for reading, thinking and plotting.

Emily Speed’s drawings, sculptures, installations and bookworks draw upon the metaphorical potential of architecture. Architecture is considered both as an emblem of humankind’s futile ambition for permanence and as container for often vital components of personal memory and identity. Working site-responsively she embeds transience within her works through propping, wedging, balancing and temporarily fixing.

Emily has received a number of awards, has exhibited internationally and will hold her first solo exhibition at Yorkshire Sculpture Park in 2011. Emily has also completed residencies at Salzamt Atelierhaus, Linz with Liverpool Biennial, Women's Studio Workshop, New York and Hospitalfield Trust, Arbroath.

Rebecca Strain
The Book Of Us, Mail Art, 2011

‘One cannot erase things once they have been written on paper. There is no going back’ Kenya Hara

From the moment we are born our lives are documented in paper. Official correspondence arrives on letter headed paper. Academic, sporting and professional achievements are acknowledged on paper certificates. Our identity and right to travel and work is dependant on the correct paperwork.

The Book of Us attempts to document a community who use paper for its creative worth. Because of paper we have books that perpetually gather and distribute knowledge, we have blank pages that compel us to create new ideas in text, image and form. In seeing paper as an opportunity to express ourselves and share our ideas with the world we attempt to overcome the fear of the possibility of irrevocable failure of making something on paper.

By sending your year and city of birth the project is factual yet anonymous. The content has been prescribed and yet it is personal. The paper chosen, the typeface or handwriting show individuality and creative choices. This collection of personal but nameless facts flowing through the letterbox of the exhibition venue challenges the readers perception of the artist as fabricator and relies solely on the contributors to make the artwork a physical reality.

Louise Tett
And You Are, Vintage Book, 2011
My work looks at knowledge, and specifically at the loss of the knowledge we have gained throughout our lifetimes. How memories become inaccessible and how people living with Dementia and Alzheimer’s shut down from the outside world until their home environment is all they can attempt to control. The pieces are all very fragile, highlighting our tenuous hold on the information we take for granted on a daily basis.

Kim Thornton
The Domestic Alchemist: Scoop, Ultrachrome Print, 2009
The idea of altering our perception of everyday materials and objects, of elevating them and changing their perceived value, is a recurring theme in my work. Using traditional female activities such as sewing, embroidery and knitting and the craft of gilding, I play with the materials to explore the incongruity of transforming them. In The Domestic Alchemist ordinary household items are transformed into precious relics, in the manner of museum treasures. This playful deception looks at domestic tasks and questions the value we place on them.

Lidia Vega Fuentes
Rewriting History II, Mixed Media, 2010In The Poetics of Space, Gaston Bachelard writes ‘a man, an animal, an almond, all find maximum repose in a shell’. My choice of shell is language. There I find my home. Abusing the qualities of language as a platform for communication and confusion, a playful treatment is applied: Dissection, re-fusion and isolation of the different phonemes and units of meaning to create a new grammar that allows the imagination to inhabit the space.

Sandra Whyles
Blue and White with Red, Yellow, Green and Black, Handmade Artist Book with Paper Clay Ceramic Box, 2009
Using the media of clay vessel making, printing, and photography I am continuously researching and experimenting with personal and social themes (past and present) in my art practice. Working with and counter to global popular culture I see my art as an evolutionary process.

I am consistently investigating, experimenting and developing the English and Chinese ceramic blue and white tradition. I have begun the process of taking the work into a unique direction, bringing into view the forgotten, the familiar and the hidden imagery and pictograms of African and Caribbean traditions, culture and life. In so doing raising questions, seeking enquiry and juxtaposing the aesthetic next to the political.

Lynette Willoughby
Nest, Feathers, Books, Paper, Cloth, Nest, 2009-11
I use found objects, recycled materials and a broad range of styles and techniques in my work, playing with strange juxtapositions, humour and rich textures and hoping to provoke and challenge. With a background in Microprocessor Engineering I graduated in Fine Art from Leeds College of Art and Design in 2004 and am a member of the Ghosts group of artists who have done site responsive installations in Situation Leeds (2005 & 2007) and Saltaire Arts Trail (2010 & 2008) and also stalls of artists’ books in Leeds (2010) and Saltaire (2009). http://lynettewilloughby.com

Jayne Wilson
Wax Wallpaper 1, Wax Encaustic on Found Wallpaper, 2009
Jayne Wilson’s work has developed with reference to the objects with which we surround ourselves and looks at the often complex relationship women have with the domestic space. She is fascinated by the repetitive tasks associated with household chores and their close link to obsession. She has chosen to explore this by using the repeated patterns of wallpaper painstakingly incising them with a scalpel, or manipulating and reworking them in wax.

Leslie Wilson-Rutterford
Stitched Up, 13 Embroidered Hoops, 2010
I like to utilise ordinary objects to create a new experience and bridge a gap between craft and art. The two series I submitted to Home From Home delve into my lifelong pre-occupation with health, medicine, aging and illness.

In the first, Stitched Up, I wanted to depict how woman are (born) ‘stitched up’. A normally private sphere of the tools and results of mutilation, operations, and surgical procedures imposed by society and culture, including women, on themselves, and on each other, are bared for all to see. The format, like a specimen container, puts these female issues under the microscope. Feminine pain, loss and sadness are counter-weighted by insecurity, vanity, and obsessiveness. We are specimens under constant scrutiny, with skin stretched, tweaked and slashed, needles pulled, eternally viewed.

The Four Sufferings (birth, aging, sickness and death) theatrically plays on our heritage where private suffering must live out on public display. In these pastiches of Victorian decor and motifs, enduring contradictions emerge: between dark and light; the bleak and the opulent, tragic and trivial. We must continually grapple with our mortality and our desires.

Kate Woodfield
Cage, Paper, Wood, 2011

I work mainly as a community artist supporting groups of people to produce their own work. My own work ranges from installations to small craft pieces in various media and I am interested in the effects which can be achieved through repeating a process many times and combining the results. I enjoy seeing the persistence and patience in other people’s work and I try to emulate this in my own pieces.

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