tag:blogger.com,1999:blog-76809264984348873332024-02-18T19:27:00.000-08:00abc archiveAnonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-7680926498434887333.post-25579077080125893382016-10-12T10:57:00.003-07:002016-10-12T10:57:22.303-07:00Mapping Memory<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Mapping Memory</span><br />
<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">42 New Briggate, Leeds</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Helen Armstrong Bland</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Reconstructed Histories,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Collage and mixed media, 2014</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">A small book structure that explores places visited, real or imagined and family unknown, a story of adoption and a life unrealised.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Garry Barker</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Chapeltown Memory Map,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Print, 2015</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">A memory map of walks through Chapeltown, Leeds. A map that indicates possible futures, as well as significant past events. Memory shaping the future as well as the present.
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<span style="font-weight: 700;">Sarah Binless</span><b>
</b></span><span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">It’s like it’s the 70s,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Digital photograph, 2013</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">The images I submit for consideration for the Imaginary Museum are selected from 'CollaborArchive' a body of work examining the archive as a space both physical and conceptual, and the relationship with nostalgia, memory and loss,.</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">The CollaborArchive is the result of an interdisciplinary exploration into the nature of collecting and archiving. The work consists of a collection of samples, documents and ephemera, an archive of resolved pieces and an archive of the project in the form of a blog. </span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">http://blarchive.wordpress.com</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Alice Bradshaw</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">HOARD item #H011,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Photograph of rejected elastic bands, 2013</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">Rejected elastic bands collected for HOARD which documented every item of rubbish from my art practice during 2012 that would have otherwise been thrown away.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Liz Bradshaw</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Means of production,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Photography, 2014</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">My work explores the ideas, artefacts & processes of industrialisation & modernity as they resurface in contemporary culture transformed by technology & globalisation.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Kathryn Desforges</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Presence,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Artist’s' book, 2014</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">'Presence' is an artist book containing seven photographs which document an empty family home in stasis. Tidy, ordered - human presence is felt, not long departed, memories abundant.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Emma Dolphin</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Legends of Recall and Amnesia,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Manipulated found Image, Digital Print, 2015</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">Using the language of cartographers and with found images, this work examines the personification of memory and forgetfulness which manifest in the form of gods and goddesses through history and ancient cultures.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Anna Fafaliou and Maria Katsika</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">All I Can Remember</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;">, Installation / mixed media, 2015</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">Living in a consumer society, we tend to understand ourselves through our belongings; thus we associate emotions and feelings with materials and objects. Objects can be perceived as emotionally charged pin points on one’s timeline, providing proof of one’s existence, even when a memory is uncertain.</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">In this installation called “All I can remember”, I aim to create a personal map by connecting myself to key items of my personal belongings. This is a way to explore my interest in the notion of “personal identity” in relation to the “cultural artefacts” that we tend to collect.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Charlotte Victoria Furness</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Anatomy of the brain,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Illustration , ink , paper digital colour, 2014</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">Influenced by the Victorian maps of the heart , the anatomy of the brain takes a look at what might go round a love lorn ladies head.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Paul Glennon</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Journeys, </span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;">Internet Art, 2014</span><br />
<span style="background-color: white; font-family: Arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">‘Journeys’ combines different sky views from different flights combining visceral alterations referencing a point in time in a person’s life. Housed on an Internet platform, continually rotating (one rotating left, the next right) these moments live beyond the actual time and dimension from which they were captured.</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">www.paulglennon.co.uk/journeys/03.html</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Barbara Greene</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Timeline,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Artist’s book, 2015</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">Printed pages from artist's book 'Under Sweeping Skies'. The image shows artefacts from C14th - C20th found in a Yorkshire longhouse superimposed upon a blueprint of the footprint of the house. The facing page is a print of the Will of a former inhabitant of the house on transparent paper. Prints of steel sculptures of parts of the house can be seen through the page.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Joe Jefford</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Traces</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;">, Found photograph, digital media, 2014</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">'The moment you take a photograph of something, 3 minutes later it something that no longer exists. Moreover, photography kills and replaces us all. It replaces you after your death, when your relatives no longer remember precisely what you looked like without looking at a photograph of you. It definitely kills you when someone picks up your photo and no one knows who you are'. - Christian Boltanski </span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">The development of this work was based around memory, recognition and how the medium of photography function with regards to these things. The initial photograph was found in an old job lot of vernacular snapshots, it was originally a posed family photo. A memory, a snapshot of loved ones, a moment in time that has been preserved but cannot be known by the viewer. </span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">But what does a photograph become when it is lost and then found by someone else? I used eye-tracking technology to record the way that a current viewer looked at the subjects of the photo. The diagram is the path the eye took when that person is first shown the image. It is the process of them trying to recognise the people in the shot. It represents our individual and collective attempts to record and preserve our memories in the digital age and the fact that these preservations may outlast our lives, and the lives of those who knew us. They become traces of strangers who once lived. </span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">To present this idea, the family were digitally edited out of the original, leaving just the background, and were replaced by the diagram from the eye-tracking process.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Emma Johnson</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Memory Knot, </span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;">Knotted cotton rope, various thicknesses, 2015</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">Memory is a dense impenetrable mass with no easily discernable beginning or end – full of knots, signposts and prompts which are all linked together but frustratingly inaccessible. The knots are sequential, all tied into one continuous thread – but in this ball of our memory they become interwoven. We see glimpses of detail, but the full sequence remains entangled, buried.</span><br />
<b style="font-weight: normal;"><br /></b><span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Dr James Lattin</span><br />
<span style="background-color: white; font-family: Arial; white-space: pre-wrap;"><i>The Vanishing Isle,</i> Postcard, 2015</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">Stories of an island or isle which appears at infrequent intervals have been a feature of conversation in Angarth for many years. In order to consider these in more detail, the Museum of Imaginative Knowledge has undertaken a survey of small islands in the Western Borderlands, while also recording accounts of the so-called Vanishing Isle.</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">www.imaginativeknowledge.org</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Martha Jean Lineham</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">The Blue Guide,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Paper, collage, Photoshop, 2014</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">Adopting the title of one of Roland Barthes 'Mythologies' essays, this collage explores the ethereal pretense of the popular travel image. The fragmented blue skies are hand cut from out-of-date travel guidebooks and brought together in a single heavily saturated archival image.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Bess Martin</span><br />
<span style="background-color: white; font-family: Arial; white-space: pre-wrap;"><i>The Swatch Series, </i>Digital Image, 2014/15</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">6 images from The Swatch Series. </span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">A playful exploration of colour in the artists environment - documenting tones, light and vibrancy. Each image in the Swatch Series holds with it a recollection of place and and a connection to a memory. </span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">Each Swatch can be collated and categorized in many different ways, including colour, environment, lighting or memory. Furthermore, the colour swatches and their new possible matches stimulate links from past imagery to present experience, sparking new ideas and exciting thought patterns.</span><br />
<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Aphra L. Z. O'Connor</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Abutment, </span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;">Manipulated digital photograph, 2015</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">The manipulated images draw parallels between industrial design and my perception of space. The kaleidoscope designs create a link between un -natural repetitive pattern and the effects of the geographical environment I find when exploring the industrial estates. The industrial objects define the landscape in my home of Yorkshire, and their juxtaposition in the repetition is a way of changing and re-defining that landscape. </span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">This series especially looks at psychogeography and the way in which bridges bring together the pedestrian and transport. The modification of the images invents a strategy for both to exist continuously.</span><br />
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<span style="background-color: white; font-family: Arial; font-weight: 700; white-space: pre-wrap;">Ruth Rosengarten</span><br />
<span style="background-color: white; font-family: Arial; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Hiroshima,</span><span style="background-color: white; font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> Photograph, 2014</span><br />
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<span style="background-color: white; font-family: Arial; white-space: pre-wrap;">In Hiroshima, together with everyone else, I photographed the ruins of the Prefectural Industrial Promotion Hall, now known as the Peace Memorial or the Atomic Bomb Dome. Alongside it, small origami birds festooned the feet of a sculpture. Ephemeral, subject to be blown away by wind or dissolved by rain, these seemed a fitting reminder of, and monument to, transience, and of the importance and delicacy of life.</span><br />
<span style="background-color: white; font-family: Arial; white-space: pre-wrap;"><br /></span>Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com0tag:blogger.com,1999:blog-7680926498434887333.post-77623692910142041022016-10-12T10:05:00.004-07:002016-10-12T10:15:04.606-07:00Monuments and Landmarks<span style="background-color: white; font-family: "arial"; font-weight: 700; white-space: pre-wrap;">Monuments and Landmarks</span><br />
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<span style="background-color: white; font-family: "arial"; white-space: pre-wrap;">Leeds City Museum </span><br />
<span style="background-color: white; font-family: "arial"; white-space: pre-wrap;">Old Mining Building, Leeds</span><br />
<span style="background-color: white; font-family: "arial"; white-space: pre-wrap;">b-side festival, Portland, Dorset</span><br />
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<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><b>Garry Barker
</b></span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"><i>Monument for a future past</i></span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">, Pen, ink, acrylic and watercolour, 2015</span><br />
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<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Modernism is its own monument. Walking through cities such as Leeds everyday encounters with modernist blocks of flats are constant reminders of our utopian monuments to futures never realised and now past.</span><br />
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<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">John Carroll</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><i>Boundary in my head</i>, Charcoal and pastel on paper, 2015</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">A series of tabletop drawings which explore the idea of reimagining historical monuments.</span><br />
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<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Anwyl Cooper-Willis</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">The Beauties of Stoke-on-Trent: Electricity Substations</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">, Postcard, 2008/2015</span><br />
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<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Stoke-on-Trent seems to have more electricity substations than most cities. Far from utilitarian, each one is a decorative flight of fancy on the part of its architect. Named with reference to their sites, they still stand as modest monuments to the energy hungry industry which was once scattered throughout The Potteries.</span><br />
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<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Emma Dolphin</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Land / Mark, </span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">Photograph and digital print, 2015</span><br />
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<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Land / Marks - man made interventions which are usually the result either industrial or agricultural activities. However, when appropriated and recontextualised in the form of a topographical postcard, these interventions may be seen in a different light.</span><br />
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<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Manya Doñaque</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Museum of the senses and non-archivable material: Performing cultural heritage, </span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">Mixed media, 2015</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">My research to date has examined the relationship between ephemeral art, live art and archives, looking closely at the archival of the creative process (ideas, rituals, diagrams, recordings etc... and the deterioration, decay process and loss of artefacts, traditions, works of art, thinking and making processes. This has made me question how New Digital Media imaging technologies can be usefully employed in the representation of and resolution of the complexities inherent in ephemeral art and the aesthetics of time. I have been working on ideas that reflect on processes of construction of memories by 'performing the archive' addressing alternative ways of dealing with preservation, and this is where the concept of archive Derrida's deconstruction of the act of archiving beautifully opens up the contradictory nature of archives: how they are simultaneously public and private spaces, institutive and conservative, traditional and revolutionary.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Fiona Grady</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">In my hand,</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"> Photograph, 2015</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">This is a photograph of lantern slide taken in the late 1800s; it is part of the Leeds Thoresby Societies archive. Not only is it a beautiful object but it serves a functional purpose to preserve local history that is now beyond our memories. </span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">I grew up in Headingley and spent much of my youth using the local pubs such as the Original Oak and The Skyrack as descriptive landmarks and local meeting points. Until I saw these slides I hadn't considered that there really was an 'original oak'. We often associate the past with romantic black and white photographs and don't place ourselves within it - it's interesting to where names come from and I wonder if one day in the future they will return to woodlands?</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Barbara Greene</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Milestone: landmark, monument and sculpture,</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"> Photograph, 2015</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Monolith, archaeological, mystical, lonely, lost, atmospheric, historic, hand-made, directional, thoughtful, hopeful, panoramic, pathway, way-mark, wool route, mark, sun, mist, rain, moorland, steadfast, strong, processional, organic, age-old, modern, impressive, informative, cultural, contemplative. </span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Aylwin Greenwood-Lambert</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Genuine Artefacts</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">, Frames, Postcards, Transfers from Cigarette Cards (all dating from 1925-1935), 2012</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">The two parts forming the display shown are, in terms of their existence as whole things, relatively new. However the component objects from which they are assembled – postcards, frames, cigarette cards - were all produced in between 1925 and 1935. The potential for the component objects to have been combined in this manner dates from their time of production; should this potential have been fulfilled at this point then the term ‘Genuine Artefacts’ would have initially applied purely to the monuments featured on the postcards. It is now 80 to 90 years since the component parts were manufactured and therefore the term ‘Genuine Artefacts’ may be applied not only to the monuments on the postcards but also to the postcards and other components which make up the two parts of the display. At some point in the future the term ‘Genuine Artefacts’ will begin to apply to the two parts of the display. </span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">The postcards within the work portray objects that have altered in appearance during the intervening years since their photographs were taken. As this postcard begins its own drift into artefacthood it will itself become a record of what was, referring to objects not as they are but as they were.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Lesley Hicks</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Tempelhof and Fernsehturm,</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"> Watercolour, 2014</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">In the midst of flux, monuments and landmarks invite us to pause and reflect, reflect upon what has been, what is now and what is to come. I felt compelled to make this watercolour by the duel presence of two such monuments Templehof (Templehof Airport) and the Fernsehturm (television tower).</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Both are iconic and significant buildings, caught up in the dramatic, shifting history of Berlin. It seemed interesting to me to record this visit using a method of depiction that predates photography, film and video. A method that, while it requires the painter’s total concentration upon the accumulation of decisions that will result in the painting, carries with it also it’s own sense of history.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Charlie Hurcombe</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Beckett's Memento</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">, Photograph of sculpture / maquette / multiple, 2013</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">‘Beckett’s Memento’ was originally titled ‘Memento’ and was conceived as a maquette for a proposal to site a monument to mark the dramatic transformation (now complete) of Hanley Bus Station in Stoke on Trent following a Rednile ‘Factory Night’ and an associated residency at PITT Projects in Worcester in 2012. </span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">The form of ‘Beckett’s Memento’ is derived from the ubiquitous paper cup: an often overlooked and taken for granted functional object which carries subtle associations of waiting, departure and arrival .</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">The monument never materialised and the original ‘Memento’ was itself transformed into a multiple edition of 10 in 2013. Cast in plaster utilising both unused and crumpled paper cup moulds and painted with a faux granite finish. As an object it exists somewhere between the new and the old, between the desired and the unwanted.</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">The multiple versions of ‘Memento’ (each 160m x 70 x 90mm) failed to find a buyer.
</span><span style="background-color: white; font-family: arial; white-space: pre-wrap;">
<span style="font-weight: 700;">Dr James Lattin</span></span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Th</span><span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">e Aegyptian Gates</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">, Photograph, 2015</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">This is one of several Aegyptian Gates from the area around the town of Angarth. These are gates which people will not open on certain days of the week or month. Records of these days differ greatly which led to a period when people and livestock would not move (or be moved) for days on end. </span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">This photograph is from a series of what might be called 'unheralded monuments' which form part of the Department of Rural Typologies. Along with stone walls, hedgerows and telegraph poles, curator Dr James Lattin (of the Museum of Imaginative Knowledge) hopes to explore these phenomena in more detail.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Sun Ju Lee</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">A Practiced Place, </span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">Digital print, 2012</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">This work reflects a variety of occurrences from place-making. It reconstructs a place by capturing the experience of surroundings with the visual evidence of time, or by altering them into a form of image that speculates on the situations depicted. Using an approach of accumulation and flattening, reiterative descriptions of people and objects taken from an observed place convey all the happenings of the place, and eventually create an archive of events.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Samuel O'Donnell</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Strata,</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"> 35mm Film photograph, 2013</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Part of a series of photographs exploring the time scales visibly present through built structures. Captured in a manner reminiscent of Thomas Struth, this photo reveals a view of Glasgow's so-called 'Twin Towers' from the Necropolis. The Bluevale and Whitevale flats are just two more infamous and iconic 1960s high-rise projects that have reached the end of their lifespan. Their demolition will be completed by 2016.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Simon Parish</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Battered Banyon tree, </span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">Marker pen on paper, 2014</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">The Banyon tree is the national tree of Indonesia. They form landmarks and meeting places in many cities and villages. This drawing depicts a Banyon tree in a built up area of Jakarta. It remained in place despite years of road building and a bus station being placed nearby. However its perceived importance and belief by some in its magical properties had prompted certain groups to challenge these beliefs and so the tree was attacked and hacked apart to prove its powerlessness. This action made the news locally and eventually globally and so came about this drawing, a mysterious power at work maybe.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Katya Robin</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Standard Jellies,</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"> Photo of site intervention: temporary placement of jelly plaques, 2015</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Standard Measures evolved to provide traders, builders, engineers, with benchmarks for distance, weights, and volumes. Disputes and deviations were arbitrated in accordance with the Weights and Measures Acts. The Standard Measures are emblems of both shared need and imposed law.</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Due to the reference object, upon which measures are based, changing over time or becoming damaged, supervision and maintenance of the object and replicas are needed. The idea is for the measures to be permanent and static, an unchanging reference for public use. </span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">My units of measure were set in edible jelly ¬– individual, wobbly, consumable, fruit-flavoured gelatin desserts.</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">I made 10 plaques, each representing 10 units, measurable multiples of 100 jelly units. Their decimal markings, 1 and 0, have reference to binary calculations which can approach infinity and represent most things in the known and unknown universe. They were placed over the now unused imperial Standard Measures, at Sheffield Town Hall.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Archie Salandin</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Enough Said,</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"> Sculpture with wooden rail and silk flowers, 2014</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Something something ‘flowery writing’,</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Something something absence, </span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Something something implied,</span><span style="background-color: white; font-family: arial; white-space: pre-wrap;">Something something decision,</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Something something specific, </span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Something something flux, </span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Something something nothing.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Rachel Sim</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Scissors Paper Stone, </span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">Printmaking/sculpture/mixed media, 2013</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">Scissors Paper Stone was commissioned by Wakefield Museum with funding from Arts Council England to create an installation using museum objects and showcased in Wakefield One for a year long duration 2013/2014.</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">I worked with their collection of stone heads taken from buildings in Wakefield and created a 3D cityscape exploring the themes of renewal and reinvention in architecture. The final installation consisted of a cardboard city built around the stone heads.</span><br />
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; font-weight: 700; white-space: pre-wrap;">Laurie Woodruff</span><br />
<span style="background-color: white; color: black; font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Leeds Postcard,</span><span style="background-color: white; color: black; font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"> Line drawing and digital collage, 2014</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>
<span style="background-color: white; font-family: arial; white-space: pre-wrap;">A collection of distinctive and much-loved buildings and monuments in Leeds, selected and illustrated by Laurie Woodruff who was born and raised locally.</span><br />
<span style="background-color: white; font-family: arial; white-space: pre-wrap;"><br /></span>Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com0tag:blogger.com,1999:blog-7680926498434887333.post-4473391157934234492016-10-12T09:31:00.000-07:002016-10-12T09:31:56.005-07:00The Art Library as Archive<div style="background-color: white; box-sizing: border-box; margin-bottom: 14.5px;">
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Vernon Street Library, Leeds College of Art</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>6th March - 2nd April 2015</i></span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Garry Barker</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>What's my number?</i> Pen, ink and wash, 2014</span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">“Call numbers” are three digit numbers on the spine of each book. These numbers organise books so you know where to find them. This is called the Dewey Decimal System. You can search by author, title, subject, series, or keyword. For example; if you are interested in “artists becoming dinosaurs”, you can enter that into the subject field and all the books about ‘artists becoming dinosaurs’ will be listed.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Kant pointed out that at one time in our history there was an idea of numbering, this of course came before actual number systems, he called this an ‘intuition of the bare two oneness’. The artist when weighed down by theory has a desire to return to a more primitive state.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Paul Glennon</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Artist Infinitum</i>, Postcard, 2015 </span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">The Artist will first look to master a medium through study and practice. They will then begin to make and then eventually market what they have made. The master element of this process is always evident as each time the artist makes then markets they are in fact engaging in mastery. That is, the constant state of selection, rejection coupled with the different forms of feedback, is in itself the output (the art or artefact).</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Nietzsche has said that the meaning of art is life. When referring to the artist he has said that the art they create is a reflection of their inward life and can sometimes be a symptom of what the artist lacks (or more sympathetically what they are still seeking to understand). He has also said that art is a form of remedy in the ‘service of growing and declining life’. Considering these points there is an important observation to be made about the life infinite cycle of the artist and what they do, or more importantly, their engagement with the process. It is the process that is important - not the art work.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Barbara Greene</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>'China Hands' - the significance of Title in Archive or Library</i>, Box with print, fragments and accompanying text, 2013 </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBrxf7s8KWInA_iHA1-T-E0o3FCfCvj7p2NnxB3Nw3A8Zm6NRhzizJJT10eZF6RQyTAzB0z5bL1itp7dGOgJHq0lcbzmsmoCF9CtfZCcnMznsNyOV5NrRH55Kp3k7VklnwvZL1hyphenhyphenFz6So/s1600/China_Hands%5B1%5D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBrxf7s8KWInA_iHA1-T-E0o3FCfCvj7p2NnxB3Nw3A8Zm6NRhzizJJT10eZF6RQyTAzB0z5bL1itp7dGOgJHq0lcbzmsmoCF9CtfZCcnMznsNyOV5NrRH55Kp3k7VklnwvZL1hyphenhyphenFz6So/s1600/China_Hands%5B1%5D.jpg" width="400" /></a></div>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">What is the significance of the title of an artwork in the classification of the work and it’s place in a library system? This piece ‘China Hands’ is a collection of pottery sherds, with negative prints of people in C18th dress.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Who are the people? What can be deduced about them? The china is blue and white. Is it from China? What is the relationship between the blue and white china and the title, or are the people the real objects of this piece? How is the title an integral part of the work?</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Aylwin Greenwood-Lambert</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Screen Stars (Pragmatic Arrangement ii)</i>, Digital Collage, 2015</span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">The image is a collaged collection of artworks that have been digitally removed from film stills taken from various films and television programs. The works are not recognisable as being by known artists so it cannot be known whether they are ‘genuine’ artworks or whether they have been constructed merely to play a role for the camera. The arrangement of the artworks in the collage has been dictated by the need to cover up various gaps in the artworks that exist as a result of them having often been obscured by people and/or other objects whilst on screen.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Martha Jean Lineham</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Postcard, photo, slide, photo, postcard, photograph</i>, 2015 </span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 13px; line-height: 21.4285717010498px;"><br /></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 13px; line-height: 21.4285717010498px;">1.</span><span class="Apple-tab-span" style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 13px; line-height: 21.4285717010498px; white-space: pre;"> </span><span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 13px; line-height: 21.4285717010498px;">Bank Holiday in Blackpool</span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">2.<span class="Apple-tab-span" style="white-space: pre;"> </span>The North Bay, Scarborough</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">3.<span class="Apple-tab-span" style="white-space: pre;"> </span>The Windmill, Bidsten Hill, Birkenhead</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">4.<span class="Apple-tab-span" style="white-space: pre;"> </span>Sefton Park, Liverpool</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">5.<span class="Apple-tab-span" style="white-space: pre;"> </span>Cotton Exchange, Liverpool</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">6.<span class="Apple-tab-span" style="white-space: pre;"> </span>Rhuddlan Castle</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">7.<span class="Apple-tab-span" style="white-space: pre;"> </span>Brittania Tubular Bridge 441</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">8.<span class="Apple-tab-span" style="white-space: pre;"> </span>Pen Rhos College, Colwyn Bay</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">9.<span class="Apple-tab-span" style="white-space: pre;"> </span>Dyserth Waterfall near Rhyl</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">10.<span class="Apple-tab-span" style="white-space: pre;"> </span>Scott Series No. 565 Barmouth by Moonlight</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">11.<span class="Apple-tab-span" style="white-space: pre;"> </span>Waterfall, Jesmond Dene, Newcastle-on-Tyne</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">12.<span class="Apple-tab-span" style="white-space: pre;"> </span>Betwis-y-Coed Pandy Bridge</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Slides from MMU Visual Resources Centre</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Katya Robin</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>12 TYPES</i>, Postcard, 2015 </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQjEP5jNIpSo8_71Z95FCOGLqXT7QnW_0_LBmSGKHy4L_UouJyGSOTkDD6VYTRJjX1yQmwT0xaSWIKNvZKEt5hps8vAlcVOtREldOMxKjPxUrhu3lWRez454wenLwSxW5nZGLtE5AfyKo/s1600/Katya.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQjEP5jNIpSo8_71Z95FCOGLqXT7QnW_0_LBmSGKHy4L_UouJyGSOTkDD6VYTRJjX1yQmwT0xaSWIKNvZKEt5hps8vAlcVOtREldOMxKjPxUrhu3lWRez454wenLwSxW5nZGLtE5AfyKo/s1600/Katya.jpg" width="400" /></a></div>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Here are word-images of 12 categories selected from the Dewey Decimal System. I made typographic images for the library catalogue classes 700 – 799, i.e. the Arts & Recreation section.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Akin to public and education libraries with funding restrictions, I worked within the limitations of the styling options within Adobe InDesign (print industry standard software). Without recourse to external resources, I pushed the generic functions beyond tasteful typographic conventions. The fonts and the styling choices represent each subject and commonplace loaded associations. Constraints can stimulate invention but paucity of experience feeds clichés.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">708 Galleries, museums private collections</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Rusty red double border frame with light grey interior. Font: Trajan Pro, which conveys authority and antiquity.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">712 Landscape architecture</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">A green circle with dashed purple border representing Stonehenge. Font: Arial Rounded Bold, bland and ubiquitous, corporate & educational. The lumpen styling reminds me of Henry Moore sculptures.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">721 Architectural Structures </span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Blue lines for blueprint plans. Bevel corners. Drop shadow to suggest imposing buildings. Font: Capitals (uppercase) to imply monumental emphasis.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">729 Design & Decoration </span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Border of pink squares to suggest feminine embroidery. Font: Verdana, in red uppercase, a sans serif font widely used on screen and in print, notably by IKEA.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">730 Plastic Arts: Sculpture</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Yellow button in the style of tacky websites from the early web era: see me, touch me, click me. Font: Bauhaus uppercase, shouting in lurid pink.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">738 Ceramic Art</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Rounded corners, 3 blue border stripes to suggest Cornishware crockery. Font: a casual script style.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">742 Perspective (graphical)</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Border & triangles to suggest the vanishing lines of Western perspective. Font: italic, leaning forward, blue to suggest the distant blue daze.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">750 Painting and Paintings</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Bold frame with gradient infill. Fonts: Marker Felt & Brush Script.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">755 Religion & Religious Symbolism </span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Cross shape formed from inset corners. Blue has many symbolic associations in religions. Font: Luminari, an amalgam of historical calligraphic forms used to suggest illuminated manuscripts, in white and yellow (Papal colours).</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">773 Pigment Processes of Printing</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Bright process print colours, border of dots in reference to the pixels per inch and inkjets spots that make up print and screen images.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">776 Computer Art</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Green stripe border, reminiscent of continuous paper for early computer printers. Font: Andale Mono, computer terminal font.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">791 Public Performance</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Bright red and pink with fancy corners to suggest Proscenium Arch theatres. Drop shadow as per theatrical lighting. Font: Rosewood to suggest ornate Victorian playbills.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Bertie Smith</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>The Paper Museum: The Collection</i>, 4 accordion books, 2014</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8WHvUU-a25LaLryKhSLemAQrYQrjy5-yRGWhKe2Kgi58V9QoF-rbG9EcDwMO9PeVh72IitMRz-BKbYWh-hRtYZJ9mamCBBDeNkGo-Hk1cojwVEH1_qFVqTU1gjkkvihRDq9ZoYaHWJuU/s1600/books.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8WHvUU-a25LaLryKhSLemAQrYQrjy5-yRGWhKe2Kgi58V9QoF-rbG9EcDwMO9PeVh72IitMRz-BKbYWh-hRtYZJ9mamCBBDeNkGo-Hk1cojwVEH1_qFVqTU1gjkkvihRDq9ZoYaHWJuU/s1600/books.jpg" width="400" /></a></div>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Through classification the objects of our world are defined, set into categories and grouped in collections. The process of classification often fails o recognise that there can be more than one meaning or an alternative interpretation. </span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Through the production of objects in image form, which all make reference to British superstitions, a collection was formed. The collection was then organised and divided into groups, which reflect different superstitious beliefs (good fortune, death omens, protection and predictions). Each group is represented within a book and the repetition of images indicates where there are multiple meanings. The book becomes the museum: the container, which houses the collections. By employing methods of display found in museums the authenticity and ideas of classification and collections are reinforced. The work highlights that information and objects can be viewed from different perspectives with alternative interpretations suggested outside of the boundaries of systematic classification.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Sarah Binless</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Mnemonic for Stone</i>, Manipulated digital photograph, 2014</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwmZzsqEdvL-oUKSficLkFXOEJR2lqzy16hfWUThSV6US803AU1HzWEl0pHb6sK_TZ9DRWKsaNSJkI2X2dKItvf09Fv3QUO7Ad_rnimFsB420bqL-lnFab3E8m-kzsshAasXYKjw9LjXY/s1600/sarah.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwmZzsqEdvL-oUKSficLkFXOEJR2lqzy16hfWUThSV6US803AU1HzWEl0pHb6sK_TZ9DRWKsaNSJkI2X2dKItvf09Fv3QUO7Ad_rnimFsB420bqL-lnFab3E8m-kzsshAasXYKjw9LjXY/s1600/sarah.jpg" width="400" /></a></div>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">The image is of a stone with a cut made part way through. A mirrored surface is inserted into the cut, bisecting the stone. The mirror creates an illusory counterpart to the visible half of the stone; it both curtails and completes it. The object seen in the photograph does not literally exist but is a moment in time and space, the geometry of light and surface. A fleeting viewpoint made permanent. </span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Considering the object as pale in comparison to the vivid illusory counterpart the image, explores the slippery relationship between object and image, and provides a model for a way of thinking about how readily we accept the image as a replacement of the original, and what we choose to accept as real. A fiction is a truth of something that never existed.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Malina Busch </b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Curl Up</i>, Folded felt on wall, 2014 </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivhPNP2HIEQL5IQxC3snasNNBTcM_L8w8bXgGoCOxep4EApcVUkJpbQ6wUY5UHwviwUxxQKsod5Ms9HVyLMg4gOSdvv-zPUZp-rEdOF_FPZIF7UyrIdgiLVOaakTcWHRpqiBClL-Fl68w/s1600/curl.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivhPNP2HIEQL5IQxC3snasNNBTcM_L8w8bXgGoCOxep4EApcVUkJpbQ6wUY5UHwviwUxxQKsod5Ms9HVyLMg4gOSdvv-zPUZp-rEdOF_FPZIF7UyrIdgiLVOaakTcWHRpqiBClL-Fl68w/s1600/curl.jpg" width="400" /></a></div>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">The sensation of a hand as it is pulled through water, the lightness of a cool mist against the cheek, the first intake of breath on a cold January morning. Memory is a process of collecting and recording, but one which continually overlaps and rewrites itself anew. </span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Curl Up is part of an ongoing series of folded paintings which uses colour as a means of referencing individual and collective sensory memories. Through an exploration of the material possibilities of colour, these artworks seek to create a physical archive of ephemeral moments. Each painted mark or folded crease suggesting an action which has already occurred, but where its memory has lingered through the traces that it has left behind.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Ruth Rosengarten</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Paper trail: 14 years</i>, Photograph, 2015 </span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Though I have a vast collection of art books, my current 'art library' is a pile of tickets, marking my mediated passage through this world over the past fourteen years. To mark a significant life change, in 2001 I began collecting every ticket (travel, theatre, cinema, art, parking) that gave me access to something. I am now using them in collages, where they get superimposed and painted over, thus erased. This is my ongoing archive of art possibilities.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Louise Finney</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>From 'An Illustrated Accompaniment to The Arcades Project'</i>, Postcard from double page spread of a book, Book created 2013, Postcard 2015 </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB5DxrriHtXOT3JU3rFDFHb8bA9-UMGTSWdgPFzovntSBM9r_evw7LfEDT56KTIKlDwmdOMgujZLPL8eFroSKN_UKrUVrNC53iFKBzI-mWkCkB16xohrf69OrgIAfmy6FHsSVP7N_AYnw/s1600/arcades.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB5DxrriHtXOT3JU3rFDFHb8bA9-UMGTSWdgPFzovntSBM9r_evw7LfEDT56KTIKlDwmdOMgujZLPL8eFroSKN_UKrUVrNC53iFKBzI-mWkCkB16xohrf69OrgIAfmy6FHsSVP7N_AYnw/s1600/arcades.jpg" width="400" /></a></div>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Walter Benjamin said that ‘history breaks down into images, not stories’. This statement was the inspiration for the book An Illustrated Accompaniment to The Arcades Project. Through a search for the image, a different reason for reading is born, and drawing becomes a new way of acquiring knowledge from text.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Simon Parish</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Dutch Portraits 1971</i>, Oil on Canvas, 2012</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MszPKrkJNZ_M9rkcad8ZWLUM7_MDSEL-xtwGf6IcSiKT9Pdvrs7vYtBAS1UZNXgtKDWGltLJ_8FsCI-3rhkAsHBmeFfv4nJkI3XNYXfrScHt9w3ySgyqFDxr1SDZNU1kwGEbK4XLIJ8/s1600/Simon.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MszPKrkJNZ_M9rkcad8ZWLUM7_MDSEL-xtwGf6IcSiKT9Pdvrs7vYtBAS1UZNXgtKDWGltLJ_8FsCI-3rhkAsHBmeFfv4nJkI3XNYXfrScHt9w3ySgyqFDxr1SDZNU1kwGEbK4XLIJ8/s1600/Simon.jpg" width="400" /></a></div>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">The title 'Dutch portraits' echoes the era of great portrait painting. Here though, the painted dutch portrait is reduced to painted versions of found/discarded professional studio portrait photographs. They pay homage to the painted past and reference recent deadpan portrait photography.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Paul Jex</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Artists Obituaries – Red</i>, Postcard, 2015 </span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Paul Jex is a Newcastle based artist who is focused on the apparently tangential mechanisms of the presentation and approach of art. His work evaluates the process in which the audience participates with art, whether this be in newspapers, books, online or first hand in public domains such as galleries or other spaces of engagement.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">At the centre of Paul’s methodology is the act of collecting, appropriating and referencing of images. With various levels of meaning supported by antidotes his work reveals a sequence of individual and holistic investigations discussing the importance of chance and discovery, individual and group participation and the exploration of the monochrome; the single colour in art.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Artists Obituaries – Red is a series of collected obituaries from The Guardian newspaper; collected, sorted and then archived for a unique personal collection. Exploring the distances and boundaries in the exposure, relationships and access of art.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Shaeron Caton-Rose</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Exhibition for Beginners (Untitled)</i>, Digital image for Postcard, 2015</span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">This postcard is made as part of an ongoing project in which I invite the general public to become the curators for a show of imaginary artworks. In each instance art professionals who have created the exhibition are asked to identify their favourite famous artworks. These are then offered up to a wide variety of my acquaintances both on line and in person. The participant curators are asked to come up with a one-line descriptor of the chosen artworks. These are then printed as a list in a catalogue underneath the dotted outline of said artwork, which becomes my contribution to the exhibition, sometimes alongside indicators of the artworks created in the gallery space by dotted lines. The piece seeks to highlight the preconceptions and presumptions held both by the art world and their recipient public about what the content of art is or should be.</span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Dust Studies</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>"Can you imagine a being more crazed with sadness than a messenger who can deliver nothing?"</i> Photograph, 2013 </span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 13px; line-height: 21.4285717010498px;"><br /></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 13px; line-height: 21.4285717010498px;">"Can you imagine a being more crazed with sadness than a messenger who can deliver nothing?" - Mark Cousins</span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">The glass negatives depicted in this series were found by chance and photographed in sunlight, seeking to re-awaken them in the present. The scenes and figures imprinted on the glass are of unclear origin and their meaning is uncertain; the content seems to have dissolved into an inert materiality. Time has transformed them from images to abandoned objects, but capturing the moment of contact with the sun allows the object to become an image once again.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Karen David</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>UFO Museum, Roswell, NM</i>, Photograph, 2014 </span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">“At 4:41 a.m., on an otherwise normal Tuesday morning, Tony Yellow was driving back home from his night shift at the Silver Saddle Motel in Santa Fe when, for no reason at all, the radio stopped, his truck’s engine silenced, and the wheels rolled slowly to a halt. </span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Suddenly, a bright blue light surrounded him and just as abruptly as the brightness came, it disappeared. Once Tony’s eyes had adjusted, he saw, right in front of his truck hovering four metres above the ground, what he can only describe as an abstract shape against the dawn sky. Tony remembers a feeling of paralysis; his eyes fixed for what seemed like an eternity on the huge silver object as it hovered, seemingly staring back at him. Then the bright blue light returned, Tony squinted and blinked once, and the strange object was gone. </span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">The truck’s engine spontaneously spluttered into life and the radio continued playing John Denver’s “Rocky Mountain High” where it had left off. Tony checked the truck’s dusty dashboard clock - positive that at least fifteen minutes had past - just as the clock changed to 4:42 a.m.”</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">— Excerpt from Tony Yellow: The Unbeliever by Karen David, 2013</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<b><span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Julie Cassels</span></span><span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 13px; line-height: 21.4285717010498px;"> </span></b><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 13px; line-height: 21.4285717010498px;"><i>Seeing Differently - Adjusted Library</i>, Altered books, 2014 - present</span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">The ‘Seeing Differently - Adjusted Library’ eliminates areas of focus, other than drapery, from Art History. This work is ongoing, the library increasing in size as further adjusted books are added. Aldous Huxley experienced an awakening to the meditative power of drapery during a monitored experimentation with Mescaline in the early 1950’s, showing him into an artist’s mind, 'captivated by the beauty of folds of cloth'. The implication that this opening of his mind gave access to an otherwise unappreciated artist’s view point high lights the individuality of seeing and of focus.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><b>Isabella Martin</b></span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><i>Grip</i>, Sculpture, 2012 </span></span><br />
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<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Goblet with Lugs, c. 3200-2800 BC, Cyclades</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Grip, 2012AD, England</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Sainsbury Centre For Visual Arts, Norwich, England</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;"><br /></span></span>
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">To grip is to take and keep a firm hold of, grasp tightly and maintain a firm contact, to get to grips with, get a grip on, or be in the grip of something. Clutch at, don’t lose one’s grip.</span></span><br />
<span style="color: #2c3e50; font-family: "lato" , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 13px; line-height: 21.4285717010498px;">Grip is part of a collection of objects to function as hand holds into the past.</span></span></div>
Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com0tag:blogger.com,1999:blog-7680926498434887333.post-38754573619223245662015-03-02T12:34:00.000-08:002015-04-10T12:40:26.225-07:00Lorem Ipsum<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;">
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<b>Galleries 5 & 6, The Tetley, Leeds</b><br />
6th - 22nd March 2015</div>
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Produced from an Open Call for new and existing artworks relating to the histories of writing and text, artists and authors were invited to respond to the notion of writing as performance, the automation of the writing process, the history of manuscripts and print, digitalisation of texts, marginalia and eBooks.</div>
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According to lipsum.com, ‘Lorem Ipsum has been the industry’s standard dummy text ever since the 1500s when an unknown printer took a galley of type and scrambled it to make a type specimen book. ‘the text employed coming ‘from sections 1.10.32 and 1.10.33 of “de Finibus Bonorum et Malorum” (The Extremes of Good and Evil) by Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the Renaissance.’</div>
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Its continuous use within print and digital typesetting holds interesting implications for the future of the page and how we can begin to think differently about online texts. Equally, the development of crowd sourced online platforms and social media echoes the previous commons style information sharing prevalent in the history of manuscripts.</div>
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<b>Participating Artists:</b></div>
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Emma Bolland, Stephen Emmerson, Aylwin Greenwood-Lambert, David Jacques, Simon Lewandowski, Sophie Loss, John McDowall, Claire Potter, Anne Rook, Aymee Smith, Carol Watts and Paul Wilson</div>
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<b>Emma Bolland</b><br />
<i>The Is Of The Thing</i>, Video, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitEUWsC8SgzUo-3AgDny2d8tAEZ2tcBLh6BMhlz2oFOuha3QsUMfLfnjs5GLCI2OUEm9KpPEVKCpuKo2FjCQ36AsGsLIG3jm7tFOHH77PwshyphenhyphentCmftNLRyVL9WY49B_jtlKUw2oSUG8zs/s1600/emma.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitEUWsC8SgzUo-3AgDny2d8tAEZ2tcBLh6BMhlz2oFOuha3QsUMfLfnjs5GLCI2OUEm9KpPEVKCpuKo2FjCQ36AsGsLIG3jm7tFOHH77PwshyphenhyphentCmftNLRyVL9WY49B_jtlKUw2oSUG8zs/s1600/emma.jpg" height="325" width="400" /></a></div>
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A ‘writing towards’ or a ‘writing with’ the narrative of film. The title, The Is Of The Thing, is a phrase taken from Água Viva by Clarice Lispector – ‘I want to grab hold of the is of the thing…’ The film is about about reading and writing, performing texts, and fear.<br />
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<b>Stephen Emmerson </b></div>
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<i>The Last Ward</i>, Manipulated Text printed on Card, 2011/2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXgWSmlEAPIZcjvpfQsPSVPCPs1LP_0uzBjPtc_5-19vqU-1_j8o_6eAiXxKh06lcdJXVRzSAFcJia31MFbS8NIW6j1czlNKozV_N_aCk0K1bhu_W_t2vhciWGDs3ReV-eV58zIQken6o/s1600/stephen.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXgWSmlEAPIZcjvpfQsPSVPCPs1LP_0uzBjPtc_5-19vqU-1_j8o_6eAiXxKh06lcdJXVRzSAFcJia31MFbS8NIW6j1czlNKozV_N_aCk0K1bhu_W_t2vhciWGDs3ReV-eV58zIQken6o/s1600/stephen.jpg" height="640" width="443" /></a></div>
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The images started life as text and have been manipulated so as to create a visual sense of language. On close inspection it is possible to see fragments of typewritten, and/or, handwritten text. The visual poems form part of my work that calls into question the nature of language and existence.<br />
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<b>Aylwin Greenwood-Lambert</b><br />
<i>Characters for Cheerful Conceptualists - Pangram IV,</i> Fusible Beads, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3v5ehmOTpjJ-1Wuxfr05-1ylt6AVIViWp_brFZu1bs6uRhJPWcm1jbuoTU5BibxnmXg0lSZEkimBgr1BnjPtK4FWBPE_l3ySe_otp97TAZfeCTp7egfWEkJ_dsF9FQhNP0JtyoevuC_0/s1600/aylwin.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3v5ehmOTpjJ-1Wuxfr05-1ylt6AVIViWp_brFZu1bs6uRhJPWcm1jbuoTU5BibxnmXg0lSZEkimBgr1BnjPtK4FWBPE_l3ySe_otp97TAZfeCTp7egfWEkJ_dsF9FQhNP0JtyoevuC_0/s1600/aylwin.JPG" height="267" width="400" /></a></div>
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Each piece in the Characters for Cheerful Conceptualists series uses an alphabet of colourful patterned letters to construct a pangram. With each showing an attempt is to be made, if possible, to choose a sentence that connects to either the exhibition theme or space, albeit tenuously. It is intended that this, combined with the use of pattern and colour within the text, will act to suggest the possibility of an intended meaning - however as a pangram the sentence is merely a tool for displaying the text (designed to be as colourful with as wide a range of patterns as possible whilst using a limited palette/resolution) and therefore even though the meaning of the sentence may seem clear it should not be taken at face value.<br />
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<b>David Jacques</b><br />
<i>Corpus Mercatorium,</i> e-book (35 pages), 2012<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-e2gcUSugX_BpcRBshUgQGM4ondydil3KvfpezK97hmWPXqUKfgJ-LmPaFvTmmaU24rLXB4uJY38sT6qZjhSvA2_lKabANjjuNMeeVcK1YPTc8ZwXxTq6yrQQ4zfoDQR5L5TKwqLLZZs/s1600/david.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-e2gcUSugX_BpcRBshUgQGM4ondydil3KvfpezK97hmWPXqUKfgJ-LmPaFvTmmaU24rLXB4uJY38sT6qZjhSvA2_lKabANjjuNMeeVcK1YPTc8ZwXxTq6yrQQ4zfoDQR5L5TKwqLLZZs/s1600/david.jpg" height="640" width="451" /></a></div>
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'Corpus Mercatorium' is a serial satirical work examining the role of the CEO in present day Global Corporations and is presented in the form of an e-book. It utilises information sourced from established public forums on the internet and plays with the rendering of language using slang, cod-medieval utterings and contemporary digital text (hyperlink etc). The template for the work is an appropriation of the 'Grimoire' (a compendium of Demons), specifically invoking the 16th Century Demonologist Johann Weyer's title ‘De praestigiis daemonum’.<br />
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<b>Simon Lewandowski</b><br />
<i>The ArtistMachine,</i> Video documentation and Artist booklets, 2001<br />
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The ArtistMachine draws, signs, displays, comments, shreds and blows it all out across the floor ready for the cleaners. Like all artists it is infinitely needy and pathetically dependent upon others for its continued existence. Unlike most artists it has the decency to dispose of what it produces before future generations have to work out what to do with it...<br />
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<b>Sophie Loss</b><br />
<i>Letter from the Correspondence of Hercule Poirot and Agatha Christie,</i> Pen on paper, 2013<br />
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A hand written letter dated 16th sep 1929, on traditional paper, framed, with orange thread attached for hanging, reflecting its possible historic importance. The text could imply that the writer, Agatha Christie, had a closer relationship with Hercule Poirot than assumed by her biographers.<br />
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<b>John McDowall</b><br />
<i>Sans rature</i>, A4 unbound sheets, 2015<br />
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Lorem ipsum is by intention written text which is not to be read, in a manner it is language which is present and also absent. This situation of apparently mutually exclusive states brings to mind sous rature, also a typographic device - the placing of a term or word under erasure, to show that it is required and yet rejected, that it is necessary but its meaning challenged. (Heidegger, Derrida).<br />
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For this project I have produced an indefinite passage of writing which epitomises this condition of paradoxical diegetic ambiguity. This is a development of the eponymous writer’s practice of not crossing out words that had been superseded by others in his manuscripts, as related in Vladimir Nabokov’s The Real Life of Sebastian Knight. The resulting mutable palimpsest is a profuse instance of reiterative parataxis.<br />
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A source text of a description of the process of gradual phase shifting in music has been cut-up using an engine to generate random permutations and repeats of the constituent words - sixteen separate settlements of these have been composed. The form of the work is a book with one version of the text per recto page and with each of its five sentences on a cut strip, physically enabling further, and near infinite, re-combinations, and so extending the aleatory principle of indeterminate reading.<br />
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<b>Claire Potter</b><br />
<i>The Audience is Delayed,</i> Book Plates, Ink, 2013<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizSPKs2oHVgb5VZ7NFRzeby4MQeQxtIlGm2wWI6t1JiTdZPCTVMwK2dQIti6xToQlKhpK5yym6tp2oy4XsJ77awHWcOftOuRVegRluL24WcXWXp_RyDF-JlXWuu5iMAgBCtrumuOkj6Qg/s1600/claire.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizSPKs2oHVgb5VZ7NFRzeby4MQeQxtIlGm2wWI6t1JiTdZPCTVMwK2dQIti6xToQlKhpK5yym6tp2oy4XsJ77awHWcOftOuRVegRluL24WcXWXp_RyDF-JlXWuu5iMAgBCtrumuOkj6Qg/s1600/claire.jpg" height="640" width="425" /></a></div>
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In its first conception , The audience is delayed, was a forty-five minute writing performance at the artwriting event, Language is a creek on the stair, at Whitechapel gallery, London, whereby the production of the text, and its publication (on a window) were folded into the same performance. The audience is delayed, is twenty four individual illustrative book plates from a publication about Persian carpets. On the reverse of these plates is typewritten text about the proximity of writing to performance via conceptions of lines, weaving, and the experience of live writing. The artist has recalibrated the installation for the display at the Tetley.<br />
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<b>Anne Rook</b><br />
<i>Typesetting</i>, Gouache on paper, 2015<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcjG1v8P1t_C3BEM0BRxVR04pF02tBjL2-W7obbGgS7CWOAGaIyQLuaRQ1VGe9bkVa7FTlEeHxmJGfJLo6FKXkniPa8-DGuJCoH7XLS12GFodKRwvkd-uazeqpx1T5dQ_O6afkXpGsRFM/s1600/anne.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcjG1v8P1t_C3BEM0BRxVR04pF02tBjL2-W7obbGgS7CWOAGaIyQLuaRQ1VGe9bkVa7FTlEeHxmJGfJLo6FKXkniPa8-DGuJCoH7XLS12GFodKRwvkd-uazeqpx1T5dQ_O6afkXpGsRFM/s1600/anne.jpg" height="285" width="400" /></a></div>
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A drawing, dreaming of a page of text<br />
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<b>Aymee Smith </b><br />
<i>Methods for Reading the Illegible</i>, Book, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtqeaHbmqGuMHgkbW1aUUjk4VeCYj4W0gDuKpc0gNbI5zsvMGTFtGEVbNpMSrzH93apFGLAokZKHP4KhXigXYloo0CIwK7lJrmTZswaRXpPU7YuHx3QMJYSKrXPrgHuqzPC93f8kTFerE/s1600/aymee.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtqeaHbmqGuMHgkbW1aUUjk4VeCYj4W0gDuKpc0gNbI5zsvMGTFtGEVbNpMSrzH93apFGLAokZKHP4KhXigXYloo0CIwK7lJrmTZswaRXpPU7YuHx3QMJYSKrXPrgHuqzPC93f8kTFerE/s1600/aymee.jpg" height="266" width="400" /></a></div>
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Methods for Reading the Illegible is a 266 page book in which the entire text of Craig Dworkin's 'Reading the Illegible', using methods of photocopying and scanning, is layered page upon page until it becomes unreadable. Commissioned by Blurb, the book is as much a statement concerning the recent print on demand revolution and the overwhelming amount of printed material available to us, as it is an attempt at subverting the traditional book form, leaving the reader unsure of the best way of approaching a text that has receded in to the page whilst at the same time declaring its presence in the density of print.<br />
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<b>Carol Watts</b><br />
<i>Flete,</i> Artists book: Collection of 21 prints to Rag cotton paper. Estuary mud and silt on paper, with handwritten pencil text, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ3H78B2Jd1ir0mMc_7jJb0mK49eMDTG0pE90gNFQq-URoppxiX-f8WYfVBfMaQeV2Qa8a3oNWa_hJQXHO9B1CiBMUuBOoW_7JIOqsZRZpMGc1VDYY6rRUY7RCpU1AaZjj5QX-SpBs6-Q/s1600/carol.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ3H78B2Jd1ir0mMc_7jJb0mK49eMDTG0pE90gNFQq-URoppxiX-f8WYfVBfMaQeV2Qa8a3oNWa_hJQXHO9B1CiBMUuBOoW_7JIOqsZRZpMGc1VDYY6rRUY7RCpU1AaZjj5QX-SpBs6-Q/s1600/carol.jpg" height="281" width="400" /></a></div>
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Flete is an artists book that writes against the flow of a stream. It thinks about the contingency of writing as it skims over the surface of the world. It began with mud and silt dug at the lowest tide of the year from the estuary where the Fleet stream meets the River Dart, at Warfleet, Devon. The sequence concerns the long geological time of rising sea levels and lived predictions of change. It walks a line backwards from the mouth of this drowned river valley to a freshwater source, invoking Turner’s sketch of Warfleet (1811), images of Fortune taken from a Dartmouth building, Chaucer’s Shipman’s Tale, the chemical analysis of sediments in crab gills, and John Donne’s devotions that link tides to the duration of a life finally overcome by saltnesse. Found text floated against the current centrally includes a reference to Dartmouth engineer and preacher Thomas Newcomen, whose atmospheric engine, developed in 1712 to prevent flooding in coalmines, is now regarded by some as the invention which heralds the new epoch of the Anthropocene, and with it, human impact on rising tides.<br />
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<b>Paul Wilson</b><br />
<i>The Mechanical Tolerance of Dry Writing</i>, Digital print, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfvayf-piMtBFkiKL1deY7dKEvOMTkMHSdOD1CePeu2Bf26pWDRqottPgtqiRFgO1Fb3EV_bJ-FiOHAQMd0i1ZNE4n6c6NY6U2Iokbuv7vZHX5xH_MPQ8SoqtLNQyjd3qA1BKyPppeyc/s1600/paulw.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfvayf-piMtBFkiKL1deY7dKEvOMTkMHSdOD1CePeu2Bf26pWDRqottPgtqiRFgO1Fb3EV_bJ-FiOHAQMd0i1ZNE4n6c6NY6U2Iokbuv7vZHX5xH_MPQ8SoqtLNQyjd3qA1BKyPppeyc/s1600/paulw.jpg" height="300" width="400" /></a></div>
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The work explores the impacts of a technological reprocessing of textual production where language machines, programmed for reproduction and erasure or disruption act upon visible language and rewrite typographical form. Making use of obsolete, redundant and partially-broken analogue tools for duplication and obliteration, the work cuts through formal characteristics of typographic language, stripping out textual meaning and replacing it with an approximate, reconstituted form - fragments on stretched and broken surfaces.<br />
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Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com0tag:blogger.com,1999:blog-7680926498434887333.post-54365391237398335612014-03-11T06:30:00.004-07:002015-04-10T14:10:48.857-07:00The Imaginary Museum<br />
<b>The Tetley, Leeds</b><br />
<i>7th - 23rd March 2014</i><br />
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Referencing the book 'Museum Without Walls' by Andre Malraux, Artist Book Collective invited artists to submit new or existing images relating to the idea of the museum/archive. Each of the selected images was created as a multiple edition A6 postcard. Responses to the brief included taxonomies, museum methods and display, exhibition plans or blueprints and the role of photography as archival material.<br />
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The work references the archive or museum in both form and content, and the collating of images allows audiences to create their own imaginary museum from the postcards. In presenting the work in a museum postcard format, the exhibition explores the multiple nature of these museum images and the potential democratisation of artworks through the use of the multiple.<br />
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The work was presented in a custom made postcard rack for visitors can select and collate their postcards before paying a donation into a nearby honesty box. Any money raised from the exhibition is split between the artists involved.<br />
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<b>Alice Bradshaw</b><br />
<i>Museum of Contemporary Rubbish; HOARD</i>, Photography, 2012<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7N9J3voTGYz8MzPROLE-brYigNaQs-CDumPhcHTyYUx54yNQTwK9iR_8YbDY2F8B0y7v7AxzPZ6ok4mjkHU2Fm5wBeCIfz6dj4P_1SE0SKaUInpeTH_x8Oj_1uVqG-cRFTxF1p5UiHfQ/s1600/alice.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7N9J3voTGYz8MzPROLE-brYigNaQs-CDumPhcHTyYUx54yNQTwK9iR_8YbDY2F8B0y7v7AxzPZ6ok4mjkHU2Fm5wBeCIfz6dj4P_1SE0SKaUInpeTH_x8Oj_1uVqG-cRFTxF1p5UiHfQ/s1600/alice.jpg" height="281" width="400" /></a><br />
Alice Bradshaw collected every item of rubbish from her art practice during 2012 that would have otherwise been thrown away. In defining what is related to her practice as an artist, she kept the rubbish produced through activities such as the physical production of art objects, posting, transporting and exhibiting work, researching and visiting events and exhibitions.<br />
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Each item of rubbish has been photographed and catalogued in chronological order (month by month) and analysed. A total of 745 items have been collected and processed in this way.<br />
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<b>Amelia Crouch</b><br />
<i>Untitled (Primitive Physic)</i>, Installation (detail), 2011<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk8RYxbJit0VvTf9aSFM0Q3veX5ewzdpmq_HHq0ViBF8UF_I4SIPwfE4FQ5aGJW04Bpj_a4_C1FtO0DaKGEbdEgGdccwmJIvhb6ueivh6wHJonQVcGQTUwHqnF6mZ2485j68DHL3OQ7Sw/s1600/amelia.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk8RYxbJit0VvTf9aSFM0Q3veX5ewzdpmq_HHq0ViBF8UF_I4SIPwfE4FQ5aGJW04Bpj_a4_C1FtO0DaKGEbdEgGdccwmJIvhb6ueivh6wHJonQVcGQTUwHqnF6mZ2485j68DHL3OQ7Sw/s1600/amelia.jpg" height="283" width="400" /></a><br />
Untitled (Primitive Physic) is the documentation of a work created in 2011 for the exhibition 'Hunter Gatherer' at PSL. The work explored different ways of categorising objects and the organisation of knowledge, particularly in relation to shifting understandings of the body and subjectivity. Objects are linked together based on visual similarity or idiosyncratic associations, encouraging the viewer to imagine their own links between these items.<br />
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<b>Charlotte Victoria Furness</b><br />
<span style="background-color: white; line-height: 1.1;"><i>The Bad Faeries Tooth Collection Kit,</i> Sculpture and Photography, </span><span style="background-color: white; line-height: 18.21428680419922px;">2011</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWfAx5ezAfbP2BWHJ0YLoRkXocrqRTDIago7UvVF3kkttRJZVpxN_e8svkL191mie5OQjjclQG0Wr4WtUc-SHsdZepCsaSsQCbNjLTLGRCO7ebTokl02Vtzghgj6_U2sn3vWO9p99rw_M/s1600/charlottefurness.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWfAx5ezAfbP2BWHJ0YLoRkXocrqRTDIago7UvVF3kkttRJZVpxN_e8svkL191mie5OQjjclQG0Wr4WtUc-SHsdZepCsaSsQCbNjLTLGRCO7ebTokl02Vtzghgj6_U2sn3vWO9p99rw_M/s1600/charlottefurness.jpg" height="286" width="400" /></a></div>
<span style="font-family: inherit;"><span style="background-color: white; line-height: 21.4285717010498px;">The kit contains:</span><br style="background-color: white; box-sizing: border-box; line-height: 21.4285717010498px;" /><span style="background-color: white; line-height: 21.4285717010498px;">a spool of yellow thread</span></span><br />
<span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">a rusty needle</span><br />
<span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">a bottle of ether</span><br />
<span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">a tooth collection bottle</span><br />
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<b style="font-family: inherit; line-height: 21.4285717010498px;">Chris Taylor</b><br />
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<span style="font-family: inherit; line-height: 21.428571701049805px;"><i>Family Archive,</i> Found Objects and Photography, 2014</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOOhkG2SXoODVUa-HtQhkNAFytvnkF5YUwq-uSWlbTiXCzGQU9f9lRITMp3uMjpfQwA3Uhc6Hn36HinRhaK0V_f61e5ekhXleeliZGkGYeZjkDaoO6yjMdm8B9UbYiGyJ37LlZAS68uZc/s1600/Family+Archive.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="clear: left; color: black; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOOhkG2SXoODVUa-HtQhkNAFytvnkF5YUwq-uSWlbTiXCzGQU9f9lRITMp3uMjpfQwA3Uhc6Hn36HinRhaK0V_f61e5ekhXleeliZGkGYeZjkDaoO6yjMdm8B9UbYiGyJ37LlZAS68uZc/s1600/Family+Archive.JPG" height="286" width="400" /></span></a></div>
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<b id="docs-internal-guid-72d33453-6d99-6bfe-0b3d-c56c3152851c"><span style="font-family: inherit; font-weight: normal; vertical-align: baseline; white-space: pre-wrap;">This image of 6 egg cups represents a small part of a much larger collection of similar objects found at flea markets and in charity shops. The collection is an attempt to rebuild a memory of such items that the artist had daily contact with as a child. Whereas the original egg cups had been purchased as utilitarian objects, mass-produced, and eventually discarded as fashions changed and ‘the family’ dispersed, these orphans were rescued from stalls and shelves, a link to the past and an element of nostalgia - the family is reunited.</span></b></div>
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<b><span style="background-color: white; line-height: 18.21428680419922px;">Emilio Macchia</span></b><br />
<span style="background-color: white; line-height: 18.21428680419922px;"><i>B</i></span><span style="background-color: white; line-height: 18.21428680419922px;"><i>its & Pieces — Charles Nypels Archive</i>, Silkscreen Print, 2012</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimvq9oFaruDk-dyu6CQmUBswKf1XzLgrM-kny2CeroRB9ECfoWgAkbt-cJ8hzLMG2KACs0A65z41yetFq5qXSuZkJv9ohT53thAY28RXjIPZlaKPLLq5d62ulqHPfjvIX9-cmLCcz02H4/s1600/archive2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="clear: left; color: black; float: left; font-family: inherit; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimvq9oFaruDk-dyu6CQmUBswKf1XzLgrM-kny2CeroRB9ECfoWgAkbt-cJ8hzLMG2KACs0A65z41yetFq5qXSuZkJv9ohT53thAY28RXjIPZlaKPLLq5d62ulqHPfjvIX9-cmLCcz02H4/s1600/archive2.jpg" height="291" width="400" /></span></a></div>
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<span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;">This work forms part of an ongoing project which is an attempt to define the research potential that may emerge from analysis of aspects of the Charles Nypels Archive</span><span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;"> at the JvE Academie.</span></div>
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<b>Heather Chou</b><br />
<i>The Whitworth</i>, Photography, Laser Transfer, Ink, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgC0r3jzxRXxchaVG6V_5dGsFSL8-f8mU4y35yR11U67uGwd0X-GcFbr7wLT86PRntJ5EuqFreCZaPtMrFNJSsKlYfbIHY_W8O2H-W_1xcMmudFX7Hf5A1TCnTT_BjEhW_w8a9gWacBXE/s1600/whitworth.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><span style="clear: left; color: black; float: left; font-family: inherit; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgC0r3jzxRXxchaVG6V_5dGsFSL8-f8mU4y35yR11U67uGwd0X-GcFbr7wLT86PRntJ5EuqFreCZaPtMrFNJSsKlYfbIHY_W8O2H-W_1xcMmudFX7Hf5A1TCnTT_BjEhW_w8a9gWacBXE/s1600/whitworth.jpg" height="282" width="400" /></span></a></div>
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<span style="background-color: white; line-height: 21.428571701049805px;"><span style="font-family: inherit;">The work was created in response to the print archive at the Whitworth Art Gallery. It was originally a photograph taken during the viewing of the gallery’s print collection but was then recreated as a unique print of the collection as a whole. </span></span><br />
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<span style="background-color: white; line-height: 21.428571701049805px;"><span style="font-family: inherit;"><br /></span></span>
<b>Jeni McConnell</b><br />
<i>Thirty Instruments,</i> Photography, 2013<br />
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<span style="clear: left; color: black; display: inline !important; font-family: inherit; margin-bottom: 1em; margin-right: 1em;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiibuSAgcvvCOZ9uOacHr7Nw3ezsinc1TX9GFOqBTnWmsbu8qLj0tJ3tu0esImiOAT4I5Xo3VpGmON9UJZ9JDtJv3F2sn2Hrvh4iUktN2BBtLKBEV9en2wpk1GVM6jkusurqtAiy0f_Nw/s1600/labels.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiibuSAgcvvCOZ9uOacHr7Nw3ezsinc1TX9GFOqBTnWmsbu8qLj0tJ3tu0esImiOAT4I5Xo3VpGmON9UJZ9JDtJv3F2sn2Hrvh4iUktN2BBtLKBEV9en2wpk1GVM6jkusurqtAiy0f_Nw/s1600/labels.jpg" height="285" width="400" /></a></span></div>
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<span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;">2 labels from Thirty Instruments Loaned by Ladies project, 2013, focusing</span><span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;"> on the nature of archives and classification systems.</span><br />
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<b>Joanna Brown</b></div>
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<span style="background-color: white; line-height: 21.428571701049805px;"><i>Twentyeight Fingers</i>, Bronze Sculpture, 2012</span><br />
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<span style="clear: left; color: black; display: inline !important; font-family: inherit; margin-bottom: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlG2sd_wGRZlsXdvWu4JJP0E2UdQoJKK8qrdJ0DFb9os6axcbA9MewDtsDC8cTqK5irNh2BvsTwkkFD90zmuNiMLKzsHaVavP2u0Go83TpkSYiQOqc5TocGNCb53IK6DMO46dqOhrwqO4/s1600/fingers.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlG2sd_wGRZlsXdvWu4JJP0E2UdQoJKK8qrdJ0DFb9os6axcbA9MewDtsDC8cTqK5irNh2BvsTwkkFD90zmuNiMLKzsHaVavP2u0Go83TpkSYiQOqc5TocGNCb53IK6DMO46dqOhrwqO4/s1600/fingers.jpg" height="283" width="400" /></a></span><br />
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<span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;">Twentyeight Fingers is a collection of casts of the index fingers of creative people including visual artists, musicians, writers, animators, architects and poets; highlighting the diversity of creative thinking and practice. The piece includes the cast index fingers of Alan Bennett, Richard Billingham, Raymond Briggs, Sir Terence Conran, Richard Deacon, Tacita Dean, Ludovico Einaudi, Tracey Emin, Lord Foster, Antony Gormley, Sir Nicholas Grimshaw, Mona Hatoum, Susan Hiller, Anish Kapoor, Richard Long, Hugh Masekela, Roger McGough, Morten Morland, Alice Oswald, Nick Park, Cornelia Parker, Tom Phillips, Mary Quant, Ed Ruscha, Michael Sandle, Edmund de Waal, Vivienne Westwood and Benjamin Zephaniah.</span></div>
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<span style="background-color: white; line-height: 21.428571701049805px;"><span style="font-family: inherit;"><br /></span></span>
<span style="background-color: white; line-height: 21.428571701049805px;"><span style="font-family: inherit;"><br /></span></span>
<b>Jon Eland</b><br />
<i>Reconstructed,</i> Photomontage, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1b68n24KJhrP4TRPARy2ChA-1d6iOwaMsH-cc52GJZJYYoz-lKzBg7XM5Z9Wyh1VD-TrzYBx0wS6bF87LxiC_HQ5gb7jLnyzAbN_tIqX980-5Yyx2m-YmHOe3iL8pSnHnpTMGiSddvQM/s1600/jon2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1b68n24KJhrP4TRPARy2ChA-1d6iOwaMsH-cc52GJZJYYoz-lKzBg7XM5Z9Wyh1VD-TrzYBx0wS6bF87LxiC_HQ5gb7jLnyzAbN_tIqX980-5Yyx2m-YmHOe3iL8pSnHnpTMGiSddvQM/s1600/jon2.jpg" height="300" width="400" /></span></a></div>
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<span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;">This image examines how the museum removes things from context to create a subjective view of history, using t</span><span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;">he battle reconstruction (or re-enactment) as inspiration. Incorporating</span><span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;"> re-enactment photographs taken by the Shire oak photography collective alongside a gallery attendant who is a member of the collective, the work explores the nature of the photographic and performative reconstruction in relation to the historical truth of the museum. </span><br />
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<b><br /></b>
<b>Kate Morrell</b><br />
<span style="background-color: white; line-height: 1.1;"><i>Animal, Vegetable, Mineral?</i>, Drawing, 2014</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMv_BVkLeoTpN8GwIX6akHIwTyYy_nQIYx_xHygU2urngyVKQ_KZNvBnDArC03xckZ-mI15ESJpEotp6l9Q5zMRydaPJjYGSChZZRBSSF5szzVIsi1djEy-g6HqM9MvLW2TuQtpovY_Yk/s1600/object.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMv_BVkLeoTpN8GwIX6akHIwTyYy_nQIYx_xHygU2urngyVKQ_KZNvBnDArC03xckZ-mI15ESJpEotp6l9Q5zMRydaPJjYGSChZZRBSSF5szzVIsi1djEy-g6HqM9MvLW2TuQtpovY_Yk/s1600/object.jpg" height="285" width="400" /></span></a></div>
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<span style="line-height: 21.4285717010498px;"><span style="background-color: white; font-family: inherit;">'Animal, Vegetable, Mineral?' is part of a series of drawings produced for an upcoming exhibition of new work titled 'Pots before words'. These works explore the tensions between the subjective and objective in the interpretation and display of archaeological evidence.</span></span><br />
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<span style="font-family: inherit;"><br /></span>
<b>Katya Robin</b><br />
<i>Bucket List</i>, Photography, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPXHRGWpfSbNFY3hasFe7GCJqlrqldJrKpiRzvzEmLbSBxruaWgVw3-DD82E-6dQdXXtGccwOuC6f5z7wogUyuVnQqgBBVzyFr8Ic7iiUsH93R9dbt1042kDqqSurFV0XqGOPwo7x3yU8/s1600/katya.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPXHRGWpfSbNFY3hasFe7GCJqlrqldJrKpiRzvzEmLbSBxruaWgVw3-DD82E-6dQdXXtGccwOuC6f5z7wogUyuVnQqgBBVzyFr8Ic7iiUsH93R9dbt1042kDqqSurFV0XqGOPwo7x3yU8/s1600/katya.jpg" height="291" width="400" /></span></a></div>
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<span style="background-color: white; line-height: 21.428571701049805px;">A selection of buckets from Katya Robin's publication 'Bucket Lists 1-4'.</span></span></div>
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<b>Laurie Woodruff</b><br />
<i>Trivialogue</i>, Photography and Digital, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpwUCPMvDZlwjb5DlW7PpKFuPqEjTT-c-aCMyOho7owycDzkQ85lUeV4RBY76mtPJbDQqqGBVfwVhZzTEIwbK8fvSfdyX-ZrCFzg20S0rjdARsI4xW8fbb_Gp5wlB1UmFH_ED73JvOlmg/s1600/box.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpwUCPMvDZlwjb5DlW7PpKFuPqEjTT-c-aCMyOho7owycDzkQ85lUeV4RBY76mtPJbDQqqGBVfwVhZzTEIwbK8fvSfdyX-ZrCFzg20S0rjdARsI4xW8fbb_Gp5wlB1UmFH_ED73JvOlmg/s1600/box.jpg" height="283" width="400" /></span></a></div>
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<span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;">A digitally compiled photo-montage of a seemingly trivial collection of unrelated objects.</span></div>
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<b>Louise Tett</b><br />
<i>A</i><span style="background-color: white; line-height: 1.1;"><i>ccretion</i>, Photography, 2014</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEc8mL_bncE77NnvNP114p8JhtWFUw08t0Q371NUvxXv7XEnODDJFXI6wawYgvdytKMzXLxxOaJNlK9u6nCT4IP29IAYh9eaYp_QX8P_sIJV_JMDJB37NPJ8pkztYV5phLsDwYVB7zrXc/s1600/jarsbutter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEc8mL_bncE77NnvNP114p8JhtWFUw08t0Q371NUvxXv7XEnODDJFXI6wawYgvdytKMzXLxxOaJNlK9u6nCT4IP29IAYh9eaYp_QX8P_sIJV_JMDJB37NPJ8pkztYV5phLsDwYVB7zrXc/s1600/jarsbutter.jpg" height="277" width="400" /></span></a></div>
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<span style="background-color: white; font-family: inherit; line-height: 21.428571701049805px;">This work seeks to subvert the usual taxomonies of collection and display. Butterflies are usually the preserve of the elite lepidopterist; collecting, preparing and laying out caskets of alluring bodies. This collection has been meticulously cut from a vintage book and then stuffed into ordinary jars, sorted by the most basic of human family recogntion, men/women/babies/single. </span><br />
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<b>Manya <span style="background-color: white; line-height: 18.21428680419922px;"><span style="font-family: inherit;">Doñaque</span></span></b></div>
<span style="background-color: white; line-height: 20.899999618530273px;"><i>Museum of the Senses and Non-archivable Material</i>, Photography, 2013</span><br />
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<span style="clear: left; color: black; display: inline !important; font-family: inherit; margin-bottom: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmtpzRDL3WMY1NaVtOpFuziVBE2t9I3QTIRW7O9FXkpjKa-biNybSlZnYH83F3ZkFbIZ3vZrXlDpzrhCtTGYH6__NyIrdBuC-prFfoOKCAGc9ubQdMPSZgQ_GLSYrNrPqclqm0eifsULQ/s1600/manya1.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmtpzRDL3WMY1NaVtOpFuziVBE2t9I3QTIRW7O9FXkpjKa-biNybSlZnYH83F3ZkFbIZ3vZrXlDpzrhCtTGYH6__NyIrdBuC-prFfoOKCAGc9ubQdMPSZgQ_GLSYrNrPqclqm0eifsULQ/s1600/manya1.jpg" height="285" width="400" /></a></span><br />
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<span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">The photography series </span><span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">Museum of the Senses and Non-archivable Material was produced in response to the way in which</span><span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;"> museums and archives are usually designed to collect artworks that have a more permanent nature and employ permanent materials in their construction. </span><br />
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<b>Richard Shields</b><br />
<i>Attendance Figure,</i> <span style="background-color: white; line-height: 18.21428680419922px;">Water Colour Pencil on paper, 2009</span><br />
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<span style="clear: left; color: black; display: inline !important; font-family: inherit; margin-bottom: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_38nXZMCWj9pT6c4OJ91iQ4idAqq0k5sBeZd0JpOR3a43odYWElmdApjYNS3hRmkPkJFtkSYZJLk_1ihfC7OoqSiaOtWDri2LnmZu8pZ1P4K_oIIMyYZE9IWfEy3UIkboF6AAjJNUVI/s1600/rich.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_38nXZMCWj9pT6c4OJ91iQ4idAqq0k5sBeZd0JpOR3a43odYWElmdApjYNS3hRmkPkJFtkSYZJLk_1ihfC7OoqSiaOtWDri2LnmZu8pZ1P4K_oIIMyYZE9IWfEy3UIkboF6AAjJNUVI/s1600/rich.jpg" height="291" width="400" /></a></span><br />
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<span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">Attendance Figure was originally made in response to Contents May Vary's Issue 3 brief, 'Does the Spectator Run the Show, edited by former CMV member Liz Murphy. </span><span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">The marks are based on the tally system once used by myself as an invigilator to count footfall throughout Manchester's 'CornerHouse' galleries. The image is chosen based on its figurative subject and the high level of visitors that flock to see it, even when it was stolen.</span><br />
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<b>Silvie Fisch</b><br />
<i>Lake Treasures</i>, Found object and photography, 2012<br />
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<span style="clear: left; color: black; display: inline !important; font-family: inherit; margin-bottom: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ueNOD0TmT5f9iQQfnqoKyMgnNBH8_i1zVY2bQv03G2gNexBRmwYkK5iEJg5EPo-WoSjdMW1B6_PgF3PaZDWXukHxsZRX3yj9IkLp_5HxbCArtklzPTrAbiLZBU1JkaQ843jEhiGzpu8/s1600/shoes.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ueNOD0TmT5f9iQQfnqoKyMgnNBH8_i1zVY2bQv03G2gNexBRmwYkK5iEJg5EPo-WoSjdMW1B6_PgF3PaZDWXukHxsZRX3yj9IkLp_5HxbCArtklzPTrAbiLZBU1JkaQ843jEhiGzpu8/s1600/shoes.jpg" height="283" width="400" /></a></span><br />
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<span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">These jewelled ladies shoes were amongst hundreds of objects that appeared at the bottom of Leazes Park Lake in Newcastle upon Tyne when it was emptied as part of a restoration project more than ten years ago. Not only do the artefacts give insight into more than a hundred years of local history, they also spark our imaginations as to how they ended up in the lake. </span><br />
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<b><span style="font-family: inherit;"><br /></span></b>
<b><span style="font-family: inherit;">Theresa Easton</span></b><br />
<span style="font-family: inherit;"><i>Two Thousand Insects,</i> </span><span style="background-color: white; font-family: inherit; line-height: 18.21428680419922px;">Printed paper and re-claimed wooden type tray, 2012</span><br />
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<span style="clear: left; color: black; display: inline !important; font-family: inherit; margin-bottom: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh47SrTzcrD-6cixAPIoddowJ9va11m51lrt8LEcyvFVe_TwtxiP1wbe4ZzELiJ1SdBib0Ki2X5fHLRKlXK7cprLO8FVLPyj8GhxwrIdttAkwveo0fRFALPNYfFGE1Pbr0j1HoSrzac-5o/s1600/theresaeaston.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh47SrTzcrD-6cixAPIoddowJ9va11m51lrt8LEcyvFVe_TwtxiP1wbe4ZzELiJ1SdBib0Ki2X5fHLRKlXK7cprLO8FVLPyj8GhxwrIdttAkwveo0fRFALPNYfFGE1Pbr0j1HoSrzac-5o/s1600/theresaeaston.jpg" height="286" width="400" /></a></span><br />
<span style="background-color: #f9f9f9; font-family: inherit; line-height: 21.4285717010498px;"><br /></span>
<span style="background-color: #f9f9f9; font-family: inherit; line-height: 21.4285717010498px;">Two Thousand Insects refers to a reference made in Robert Spence Watson’s ‘The History of the Literary and Philosophical Society of Newcastle-upon-Tyne (1793-1896)</span><span style="background-color: #f9f9f9; font-family: inherit; line-height: 21.4285717010498px;">. </span><span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">In his account of the development of the society and library, Watson refers to the Societies growing collection of natural history objects that range from Egyptian mummies, an Australian wombat and two thousand insects. Easton takes this incidental detail in Watsons account and creates a series of folded books containing at least two thousand insects and sets them into a wooden letterpress type tray, referencing the traditional craft of book making.</span><br />
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<b><span style="font-family: inherit;"><br /></span></b>
<b><span style="font-family: inherit;">Trevor Borg</span></b><br />
<span style="font-family: inherit;"><i>Landline</i>, </span><span style="background-color: white; font-family: inherit; line-height: 18.2142868041992px;">Glass bottles, labels, soil, 2013</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqDLr5LuciSXaICJ5WWwqZeJrmE_YLAgwMG9LT2PELk0xQG3aYFLDBcXEBUXCMxraAqbthqMrmylbipmK_9Bix1uzROiBgk3AdC_1-fE-oIzfUZPUp-_C-B7jdnxIEAZcv7IyU-32W42U/s1600/trevorborg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: inherit;"><br /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqDLr5LuciSXaICJ5WWwqZeJrmE_YLAgwMG9LT2PELk0xQG3aYFLDBcXEBUXCMxraAqbthqMrmylbipmK_9Bix1uzROiBgk3AdC_1-fE-oIzfUZPUp-_C-B7jdnxIEAZcv7IyU-32W42U/s1600/trevorborg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqDLr5LuciSXaICJ5WWwqZeJrmE_YLAgwMG9LT2PELk0xQG3aYFLDBcXEBUXCMxraAqbthqMrmylbipmK_9Bix1uzROiBgk3AdC_1-fE-oIzfUZPUp-_C-B7jdnxIEAZcv7IyU-32W42U/s1600/trevorborg.jpg" height="283" width="400" /></span></a></div>
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<span style="background-color: white; font-family: inherit; line-height: 21.4285717010498px;">Collection of soil samples over a period of time from a specific patch of land in Malta. Time is embedded in soil samples and can be seen in moisture content, texture and colour of soil.</span><br />
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<i>20th April 2013</i><br />
11am-6pm<br />
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<i>The Fruitmarket Gallery is excited to introduce the third Artists’ BookMarket, this April. For one spring day, The Fruitmarket Gallery will transform into a marketplace where you will find unique artists’ books and publications for sale, come face to face with the artists who make them and join in book-making workshops. Stallholders are travelling to the Gallery from far and wide. You’ll find work to interest you from the likes of Switzerland, Canada, London and a bit closer to home too. </i><br />
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<i>The BookMarket programme of fairs, events and kiosks provides platforms for artists, designers, publishers and makers from the Gallery’s extended creative community to sell and present their work at The Fruitmarket Gallery. Recent events have served artists’ book makers, contemporary designers, art students and Scottish art publishers and have been occasions for networking, partnership-forming and driving sales.</i><br />
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This year, The Artist Book Collective will take part in the Fruitmarket Bookmarket with their first curated stall on the theme of instructions. Taking inspiration from Fluxus, mail art and relational practice, each participating artist has provided works for sale, loosely based on the idea of a guide, almanac or puzzle. The curator, Louise Atkinson, will also be giving a free talk about the history of the Artist Book Collective during the day. Below are the list of works available.<br />
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<b>Craig Atkinson, Solution / 100, 2012</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7L2kpw40ln5p5qGRAB88t05HFom79n3nKwFhHm76B7kgOT4GLbxvJHJ87PKSCKswPGvZbo5UeRhwP9tx16s1nQ_K82Igpo2hA2XQzMGsvLguxbQfX8UlmOYLeqd9nZIlfFVqobaSjXl0/s1600/15_DSCF0941.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7L2kpw40ln5p5qGRAB88t05HFom79n3nKwFhHm76B7kgOT4GLbxvJHJ87PKSCKswPGvZbo5UeRhwP9tx16s1nQ_K82Igpo2hA2XQzMGsvLguxbQfX8UlmOYLeqd9nZIlfFVqobaSjXl0/s400/15_DSCF0941.jpg" width="400" /></a>Solution / Problem is a collection of items from my studio, presented in a tab-topped bag, taking the form of artists book or multiple. Each bag contains approximately ten 'solutions' including original drawing; photographs; spent lottery tickets; Riso, inkjet and laser prints; heads and animals. Each book is hand-numbered, the numbering becoming part of the title.<br />
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Recently I had a flood, in which all my personal collection of books were destroyed. I have since questioned the act of collecting and what a book is or can be. Things are often collected and not seen, used or looked at. These items are presented in a bag [flood safe] and stapled shut. There is a ready-made collection in the bag but to see it you must remove the staple - an act which could be seen as damaging the book. The books will bring you good luck, each solving up to ten problems.<br />
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<b>Louise Atkinson, Brimstone Almanac (16), 2013, £10</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTqiKp3AAvsW95x46fucmH1mGCSp5_b7dbL2DurjIsvpztUjP1AXPkMXR-IIbarnorS5KGrxEbkAVt2OE4GbhZQHZaZKuaBI2-Xqu1AQCvcP8pFv1Jnjv7QF3kgKhdZ7z5uOY3RsPLEc/s1600/brimstone+(1).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTqiKp3AAvsW95x46fucmH1mGCSp5_b7dbL2DurjIsvpztUjP1AXPkMXR-IIbarnorS5KGrxEbkAVt2OE4GbhZQHZaZKuaBI2-Xqu1AQCvcP8pFv1Jnjv7QF3kgKhdZ7z5uOY3RsPLEc/s400/brimstone+(1).jpg" width="400" /></a>The book takes the form of a cyclical flexagon, a square panel book that continuously unfolds to reveal one of four pages. Each of the pages is made up of four sections, totalling 16 sections altogether, in line with the theme of 16. Drawing on alchemical and hermetic beliefs in the meaning of numbers and their magical properties, The Brimstone Almanac also references the atomic number of sulphur, which is also 16.</div>
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<b>Black Dogs, Quarterly One: Losing It/The Enemy, 2013, £2.50</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBRZbUqueM4IQVEvpEOkGojWzk6Mscvy9GQ7rWAOFMUXli2KADoH-m2Tzt8zSPg1ce5_4qorFnN4j5zHhcqSda_9Nvl1_JZFf6Dd0Mk3nG2qY3ovxIQ26XzLmPJ7hLf0DFAB301-1bT8c/s1600/blackdogs.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBRZbUqueM4IQVEvpEOkGojWzk6Mscvy9GQ7rWAOFMUXli2KADoH-m2Tzt8zSPg1ce5_4qorFnN4j5zHhcqSda_9Nvl1_JZFf6Dd0Mk3nG2qY3ovxIQ26XzLmPJ7hLf0DFAB301-1bT8c/s400/blackdogs.jpg" width="400" /></a></div>
Black Dogs is an art collective formed in 2003 in Leeds. Our output has included formal exhibitions, relational and participatory installations, public events and interventions, publications, video, audio works and records and collaborative learning projects.<br />
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The Black Dogs Quarterly One: Losing It/The Enemy is the first in a series of publications for 2013. This fanzine-style publication was compiled and curated by Black Dogs Huddersfield Cell on the theme of 'Losing It/The Enemy'. It contains contributions from 14 artists over 36 black and white pages.<br />
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<b style="font-family: Optima; font-size: 15px;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Manya Doñaque, </span>Become a Shaman, 2010, £15<br /></b><br />
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The multiples were created from the idea of books that you could use by following particular instructions to heal someone in need, from items which are included in the pack. I am very interested in the boundaries between artistic and shamanic practices.<br />
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<b>Alex Hetherington, Modern Edinburgh Film School Multiples, 2012, £donation</b><br />
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Modern Edinburgh Film School is a season of projects surrounding a series of propositions and observations on moving image, film, poetic form evidenced by sound, text, live events and performance, and sculpture. It emphasises an ephemeral and sensitive approach to material and oblique and resonant approaches to the screen, and staging scenarios that set the image and its meaning outside of the screen. This collection of print, available for purchase, by donation, sets up a slight instruction of loose thoughts on how to create and measure a film school, and suggests its fictional form as education as gesture, or obstacle, and knowledge as mirage.<br />
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<b>Louisa Parker, Family Fun 1 & 2, 2013, £2.50 each</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF3oPsY_Q69IIWIv_APJSHCTm-fMoteMp-d5HTLvHoQWK4PzANuI7tDcZBG1MGmv1FFPmBkgMxmP3SjSSIUROsazdGX-VAHPDpzRd3BaUfMR12okNosc3J4ya90H9Q9Z3B9q5ICs1HNUE/s1600/louisa.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF3oPsY_Q69IIWIv_APJSHCTm-fMoteMp-d5HTLvHoQWK4PzANuI7tDcZBG1MGmv1FFPmBkgMxmP3SjSSIUROsazdGX-VAHPDpzRd3BaUfMR12okNosc3J4ya90H9Q9Z3B9q5ICs1HNUE/s400/louisa.jpg" width="400" /></a><br />
I explore drawing as a communicative tool to position women in history. I interpret fragments of history using drawing, text and the communicative conventions of comic books. These are graphic narratives, based in the factual, rather than graphic novels which are based in fiction. My conceptual approach to drawing influences my comics work and my sometimes humorous and narrative approach to contemporary art stems from my interest in comics.<br />
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<b>Benedict Phillips, A Benedictionary, 2011, £45</b><br />
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A Benedictionary is the world’s first and only ‘Lecksick to Dislecksick’ translation dictionary and for the first time gives users access to over two and half thousand dyslexic spellings. This 126-page book including a copy of the 2005 DIV (Dislecsick Intelligent Vijon) exam in becoming dyslexic, a cross word, illustrations and introductory text to the world of the DIV and much, much more.<br />
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“Everyone can be Dislecksick, you just have to try harder”<br />
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<b>Archie Salandin, My Painting, Don’t Cover a Judge with his Book, The Tin & The End is Nigh, 2011, £6 each</b><br />
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Archie Salandin is one member of Leeds-based art collective, Topical Jungle. The collective was officially formed in 2011 as we entered the final year of the BA Fine Art course at the University of Leeds, although several members of the group have been collaborating periodically since 2009. They practice both collaboratively and individually, exploring the relationships between the group and the individual, between reality and fiction, and between natural and performed activity.<br />
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<br />Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com0tag:blogger.com,1999:blog-7680926498434887333.post-82128405020165203152013-02-04T10:58:00.002-08:002013-03-08T05:01:13.131-08:00Filter<i>8th - 22nd March 2013</i><br />
Various venues*<br />
Curated by Louise Atkinson<br />
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Artist Book Collective has invited existing artist book and zine collectives to create pop up archives in coffee shops in conjunction with <a href="http://www.leedsartbookfair.com/" target="_blank">Leeds International Artist Book Fair</a> and <a href="http://dwf.uk.com/" target="_blank">Divided We Fall</a>. The publications will be available for customers to browse and there is a map of participating venues for people to explore. <br />
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The project aims to work with non-traditional art spaces in Leeds, such as coffee shops, in order to increase the accessibility of artist books and promote alternative venues for exhibiting. Inviting existing archives and collectives to participate also showcases the wealth of independent publishing activity, building links with new audiences to create longevity after the project has finished.<br />
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<b>Container Inside </b><br />
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This collection is a sample of publications and artists books by some of the artists involved in CONTAINER INSIDE, an artist led project curated by Rafael Doctor at Cidade da Cultura de Galicia, in Santiago de Compostela (Spain).<br />
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The project originated as part 1º Encounter of New Artists Cidade da Cultura event that took place back in September 2011 (in Galicia, Spain), where 100 artists from different nationalities met to reflect about contemporary artistic production. The event organisers gave our group the opportunity to present a proposal for inclusion in the inaugural exhibition for Cidade da Cultura. <br />
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Three months later, CONTAINER INSIDE took shape, a portable museum within a shipping container, bringing together nearly 160 pieces of work by 80 artists from Argentina, Portugal, Spain, Italy and France. For more details about CONTAINER INSIDE visit: <a href="http://cargocollective.com/CONTAINER_INSIDE" target="_blank">http://cargocollective.com/CONTAINER_INSIDE</a><br />
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<b>Loosely Bound</b><br />
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"So, Simon, tell us about how you put your zines together." "Er, well, they're quite loosely bound .."<br />
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And that was how our gathering of zinesters came to be known as Loosely Bound. In the words of Jean McEwan, who initiated the meeting of a select few back in November 2011: "We make our zines in diverse and differing ways, from perzines (personal zines) to those containing photography, craft and other visual arts. These are created using methods that range from lo-fi and handmade to digital. What binds us is that we all love zines. We come together to share, swap and learn from each other, to create new zine projects and to organise events but, above all, to MAKE ZINES"<br />
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The group has so far produced three collaborative zines, Heroes/Tributes, God Save The Zine, and a Riso recipe zine. You can buy them via their website, details below. The members have sold their group zines and solo projects at various events since forming, including AnteArt in Shipley, Wharf Chambers Leeds Zine Fair, and a zine event at the South Square centre. They will next emerge at a Shipley zine fest taking place on March 16 in the underground market. Loosely Bound are currently working on an A6 postcard sized zine about being a tourist in your own home. More information: <a href="http://looselybound.org/">http://looselybound.org</a> and <a href="https://www.facebook.com/LooselyBound">https://www.facebook.com/LooselyBound</a><br />
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<b>Holmfirth Artist Book and Zine Archive</b><br />
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The Towser Zine Library was built for Holmfirth Arts Festival 2012 to mark the 200th anniversary of the Luddite uprising in the oldest building in Holmfirth, Th'Owd Towser. A specially acquired collection of zines and artists’ books comprised a temporary borrowing zine library housed in a HafzBau library stand constructed by artist Bob Milner. Now in 2013, curators Alice Bradshaw and Vanessa Haley are touring the zine collection which features over 70 specially made and selected artists' books and zines.<br />
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<b>Sheffield Artist Book Prize</b><br />
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Bank Street Arts in Sheffield is home to a collection of over 230 Artists’ Books, exclusively made up of donated books from submissions to the Sheffield International Artist’s Book Prize. The SIABP is the largest and most prestigious ongoing project at Bank Street Arts. The Prize was initiated in 2008 and over the course of three editions, it has grown to be internationally recognised in its field, and the largest of its kind in the world, with over 180 entries from 22 different countries in 2011.<br />
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The SIABP is open to anyone, free to enter and the main Exhibition Prize is voted for by visitors to the exhibition. Additional prizes, including a student Prize are decided by jury. The 4th edition of the Prize is open for submissions from mid February to end July 2013 and the Exhibition, in which all books submitted will be shown, will be held in October and November this year.<br />
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The Collection is unique in so far as it is not determined by budget, edition number or personal taste and whilst it might not span the entire range of possibilities in terms of artists’ books, it does contain a wide and varied cross section of the medium from around the world. To view the collection online visit <a href="http://artistsbookprize.co.uk/">http://artistsbookprize.co.uk</a> and for more information about Bank Street Arts and our activities visit <a href="http://bankstreetarts.com/">http://bankstreetarts.com</a> or email <a href="mailto:info@bankstreetarts.com">info@bankstreetarts.com</a><br />
<br /><strong>Strawbleu</strong><br />
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Not strictly a collective, Strawbleu is the art photography and publication project of Jon Eland. Jon, who also set up Exposure Leeds - the city's alternate photography society, often evangelises about the benefits to photographic imagemakers of formatting their projects as books. </div>
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<br />In the past he has collaboratively produced publications using open calls - many contributors haven't published before and don't necessarily consider themselves artists. This includes the Midsummer Madness (2007/10) projects, The UnGuide to Leeds City Centre zine (2011) and LVLLDS#1 - The Textures of Two Cities (2012). Additionally he has produced over 30 zine publications himself; as well as several photobooks - playing with both digital and printed formats and a variety of on-demand and digital printing methods.</div>
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In 2013 he is beginning another phase of his work - helping emerging artists who've never published before to turn a photographic series or project into fruition, as well as bring the 'Unguide' format to Bradford. Available to browse at Bottega Milanese on The Calls, you'll find a variety of publications under the Strawbleu banner - as well as invited others.</div>
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<b>Village Leeds</b></div>
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Village is a new art book store, gallery and publishing house based in The Corn Exchange. We offer a curated selection of contemporary artist books, creative magazines and self-published zines from independent publishers, artists and collectives around the world. Our stock includes beautiful and inspirational art, design, illustration and photography publications from well-known and emerging artists, as well as some of the world’s best and most sought-after fashion and lifestyle magazines.<br />
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Our in-store gallery, currently exhibiting work by photographers curated by No Culture Icons, along with our comfy sofa area and coffee shop (coming soon) should provide a welcome escape from the busy Leeds high street where people can meet hang out and browse. The overall aim of Village is to celebrate the medium of print and champion creativity across a range of disciplines.<br />
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Our goal is to develop the Leeds creative community as a whole by providing exposure to talented emerging artists and connecting different organisations and collectives through collaboration. We want to put independent art at the forefront of the city’s identity and make the Leeds creative community something people are proud to be part of. Find out more at <a href="http://welcometovillage.tumblr.com/" target="_blank">http://welcometovillage.tumblr.com</a><br />
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<b>*Participating venues</b><br />
Mrs Atha's, Central Road, <span itemprop="postalCode">LS1 6DE</span><br />
Laynes Espresso, 16 New Station St, LS1 5DL<br />
White Cloth Gallery cafe, 24 - 26 Aire Street<b>, </b>LS1 4HT<br />
Brewbar Espresso, Under Leeds Art Gallery, The Headrow, LS1 3AA<br />
Costa @ Waterstones, 93 - 97 Albion Street, LS1 5JS <br />
Opposite Cafe, 26 Blenheim Terrace (Opp Leeds University), LS2 9HD<br />
<b></b>Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com0tag:blogger.com,1999:blog-7680926498434887333.post-43143136444768351522012-08-08T03:55:00.000-07:002012-11-23T03:47:05.162-08:00BoundTouring show for Artist Book Collective<br />
Curated by Louise Atkinson<br />
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<strong>Leeds City Library</strong> <br />
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<i>14th – 24th August 2012</i><br />
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<strong>Quiet Room, Bower Ashton Library, Bristol</strong><br />
<em>3rd December 2012 – 31st January 2013</em><br />
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As part of Divided We Fall, the collective will present ‘Bound’ their first touring show as a way to strengthen connections within the group and promote books as an artistic medium. From the exploration of experimental binding techniques to more conceptual interpretations, such as the book as a ritual object, this new exhibition will investigate the notion of ‘bound’ in its myriad forms. Works will be also available for sale or commission. Prices do not include postage. Please forward all enquiries to artistbookcollective@gmail.com.</div>
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The tour will begin at the Art Library of the Leeds Central Library, before continuing on to other venues, including The Centre for Fine Print Research in Bristol. The launch of Bound is the first stage in creating a permanent artist book archive for the collective in Leeds city centre. This will also be digitised online for the artists, researchers and members of the public to view.</div>
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Online profiles:</div>
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<a href="https://www.facebook.com/artistbookcollective">https://www.facebook.com/artistbookcollective</a></div>
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<a href="http://www.flickr.com/groups/artistbookcollective">http://www.flickr.com/groups/artistbookcollective</a></div>
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<a href="https://twitter.com/ArtistBookColl">https://twitter.com/ArtistBookColl</a></div>
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<div>
<b>Alice Bradshaw</b></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEE-rqmn-RTHtwJusHTmwkgeOyk98e4XL20tWRqhV0YNFDUhYQX9_EGTVjjY1H6VjhdQyv_kULraABbwIgWiW8nS3W_BEWB3TsMo9G-avfHqijXLO64ST4RL_lJ8LNVuwB3CTxWD4OiUM/s1600/featherduster.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEE-rqmn-RTHtwJusHTmwkgeOyk98e4XL20tWRqhV0YNFDUhYQX9_EGTVjjY1H6VjhdQyv_kULraABbwIgWiW8nS3W_BEWB3TsMo9G-avfHqijXLO64ST4RL_lJ8LNVuwB3CTxWD4OiUM/s400/featherduster.jpg" width="400" /></a></td></tr>
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<span style="font-family: Times, Times New Roman, serif;">Feather Duster</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Dictionary of Birds (1893-1896), Wood</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£600</span></div>
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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, with the notion that the environment the work exists in becomes integral to the work itself.<br />
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<b>Darren Bryant</b><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18DoHn_vIUxftxCSojTm0VxONaZNjmY-KWMO0C_s20wCzitgd8O4Qw2AQK5wITjciPDlLc4AqRl9iaqaJyBr0iFzVA4c7D9iw3G3OrM0SkVEghR8ld7S5px1SsRvgZvMxXx6D_i3hwMY/s1600/jack+in+a+box,dbryant+%282%29.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18DoHn_vIUxftxCSojTm0VxONaZNjmY-KWMO0C_s20wCzitgd8O4Qw2AQK5wITjciPDlLc4AqRl9iaqaJyBr0iFzVA4c7D9iw3G3OrM0SkVEghR8ld7S5px1SsRvgZvMxXx6D_i3hwMY/s400/jack+in+a+box,dbryant+%282%29.jpg" width="400" /></a></td></tr>
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<span style="font-family: Times, Times New Roman, serif;">Jack in a box Vol.2 </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Concertina with Relief Etching and Collage</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£150</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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<b><br /></b></div>
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<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXIyWJh-Cz0PtPibVeiWprpZAzoWgmk0q0qNrxENMYGXDlJ8zKEkRCqCJsv4q7Gf2iwa4o2iM5dy3DNLb2xBzE7F_XpP1NZRhUnlhTBCGnSNcxhkkLdw68K0iJ1t8gfg_ZcnX7FwGR3E/s1600/little+boy+bomb,+darren+bryant+%281%29.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXIyWJh-Cz0PtPibVeiWprpZAzoWgmk0q0qNrxENMYGXDlJ8zKEkRCqCJsv4q7Gf2iwa4o2iM5dy3DNLb2xBzE7F_XpP1NZRhUnlhTBCGnSNcxhkkLdw68K0iJ1t8gfg_ZcnX7FwGR3E/s400/little+boy+bomb,+darren+bryant+%281%29.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Little Boy Bomb</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Concertina with Screen Print and Embossing</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£150</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
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Over the last few years, my practice has explored and questioned ideas about social, cultural and historical inherited gender stereotypes. The images appropriated are sourced from toys, games, books, models and references to childhood from my own collection.</div>
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One such toy is a model plane of the Enola Gay. After reading the story of Hiroshima, I could not bring myself to assemble the model. The instructions and the plane’s component parts have since remained in their original box. This screen printed artist book, sourced from the box, shows an image of a young boy happily clutching his toy Enola Gay. The surface of the concertina pages is embossed with images of the nuclear weapon that was dropped on Hiroshima.</div>
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<div>
I find the image menacing, somehow glorifying male stereotypes of power and might. I further draw attention to this, with the play of words in the title, referring to and questioning the naming of such a powerful and destructive weapon ‘little boy bomb’.<br />
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<b>Roger Bygott</b><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3voGPC5f5KQrWC8eQydA-kVMf9FeZeHhV1YxuijJoD5F823BG4DfHiwbdJuDHomlFOeimlp7kbzGip5l-pj7Vjxd9Hr_w-N1RgTkuQ134GeYU0FHUvAit51uZ-sSyV9f9AEp4qsiDUc/s1600/Beauty+Bound+cover.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3voGPC5f5KQrWC8eQydA-kVMf9FeZeHhV1YxuijJoD5F823BG4DfHiwbdJuDHomlFOeimlp7kbzGip5l-pj7Vjxd9Hr_w-N1RgTkuQ134GeYU0FHUvAit51uZ-sSyV9f9AEp4qsiDUc/s400/Beauty+Bound+cover.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Beauty Bound</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Found Objects, Photography</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unlimited Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Available via <a href="http://www.blurb.com/bookstore/detail/2942718">http://www.blurb.com/bookstore/detail/2942718</a></span></div>
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Beauty Bound emerged from a project as part of my Interactive Arts Degree at Manchester Art School (MMU). I wanted to explore the juxtaposition of seemingly contrary objects: organic (e.g. fruit) and manmade (e.g. nylon zip-ties) but with a theme of bound and pierced. The organic element meant the work was bound to decay so I photographed the constructions and presented them in an online publication.<b> </b></div>
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<div>
<b>Anwyl Cooper-Willis</b><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm6XQTmW4BxDeVIMaQ6nFZV8GBwKfw2yP4maqOwH3seeYjqiSSN0a63sl0wP8eBjeyVE8oW7kLBnbN45kBbwGOUx0slALyUg_ZxdvF1P2r2BMdaAkQWjWov31S-Q5G4wh-OduM49hJtpM/s1600/anwyl+cooper-willis.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm6XQTmW4BxDeVIMaQ6nFZV8GBwKfw2yP4maqOwH3seeYjqiSSN0a63sl0wP8eBjeyVE8oW7kLBnbN45kBbwGOUx0slALyUg_ZxdvF1P2r2BMdaAkQWjWov31S-Q5G4wh-OduM49hJtpM/s400/anwyl+cooper-willis.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">The Elsewhere Necktie Archive: the Complete Data </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Digital print on Fabriano</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Edition of 12</span><br />
<span style="font-family: Times, Times New Roman, serif;">£130</span></div>
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This unwieldy print shows the complete Excel spreadsheet of a catalogue of 500 neckties I found at the Elsewhere Living Museum in North Carolina. The ties, once part of a vast and undifferentiated mulch of used consumer goods, have, through being extracted, ordered and documented become a discrete and bounded formal archive. The print is literally bound into a cover, but is also bounded in time since the catalogue was made in July 2011 during a residency at Elsewhere.<br />
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If more ties are found in the building they will not become part of the archive. The data is bounded too, only those data which I recorded at the time can be included. The Necktie Archive now lies in a chest of drawers labeled Tie Vault where they will continue to rot quietly in the hot, damp summers and cold damp winters of North Carolina. It seems possible that the record of the archive may last longer than the specimens.</div>
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<br /></div>
<div>
<b>Kate Desforges</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7cvclLnv3VLA5eZvsTrpActclRmMHG7EPxiN5uc-Ahl7b5M8sn_6pKQxSNk00Pu1RlXEzh1wctpBhiE5cdSCbwRnX4SnkKQN2_t67q_d-hOQnhxVw8QS-SDRHhpZ2e2jAlZ8X0zYG_o/s1600/kate2.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm7cvclLnv3VLA5eZvsTrpActclRmMHG7EPxiN5uc-Ahl7b5M8sn_6pKQxSNk00Pu1RlXEzh1wctpBhiE5cdSCbwRnX4SnkKQN2_t67q_d-hOQnhxVw8QS-SDRHhpZ2e2jAlZ8X0zYG_o/s400/kate2.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Corners</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Pamphlet Fold Book Screen Printed with Ink made from Tea.</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Edition of 20</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£12</span></div>
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Corners is a collection of images of corners from around my home, often stared at, (or through), when deep in thought whilst drinking a cup of tea. The middle fold of each page corresponds with the corner of the room depicted. The book stems from my preoccupation with making a connection with my everyday surroundings, and investigating how we connect with and attach ourselves to our environment. I deliberately focus on depicting parts of everyday life which might otherwise be overlooked, attempting to remind myself and others to really see and consider what we look at every day.</div>
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<b>Debra Eck</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzAlVvwNXQ7_HnsJ4SDq7uN_mIRmVT_TTXou_l_bjaR93_Wiph6kYBAeYHOufOWq4ZdPrMkHgKz9kX1UqwG9PbCWxbnt6fHEe4xLrsHqZ4R3_9BtS2PDjjpq8F5zAIC3hmeiS5-SZ9nmU/s1600/debra.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzAlVvwNXQ7_HnsJ4SDq7uN_mIRmVT_TTXou_l_bjaR93_Wiph6kYBAeYHOufOWq4ZdPrMkHgKz9kX1UqwG9PbCWxbnt6fHEe4xLrsHqZ4R3_9BtS2PDjjpq8F5zAIC3hmeiS5-SZ9nmU/s400/debra.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Blackwork Embroidery Book</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Paper, Thread</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Edition of 3</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£500</span></div>
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I find myself drawn to repetitive making; most of my work requires tens, even hundreds, of hours of intensive hand labor to create. I enjoy the meditative nature of this slow unfolding of the work and the space it allows for ideas to fully manifest, for the threads of thought to untangle and re-weave themselves into new forms.<br />
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For years I have been making work about the space occupied by women in society. Recently I have been thinking about how work and women are historically connected and especially with the uneasy space occupied by women’s handicrafts in the Art world.<br />
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The work for this show is concerned then with the space in which women work, and how work intersects with the domestic and the ideas of home. Many of the pieces are translations of traditional embroidery patterns into decorative, yet functional book bindings. Working in this way I feel connected to the long history of women’s work which was handed down to me when my mother taught me how to embroider and sew.<br />
<b><br /></b><b><br /></b><b>Bernard Fairhurst</b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifN4sjYV_jjjI4ItTRVV5NtR18yvekMiA8XjIUmi3a189NkEnST_japTOm0r_FCZJ2EdRgK7SfZX4vKtkBDwOSUDugEZyyWscszxgeaAWvaz1fPdBQHLdQe_WMI6ETi98sUhFxlnsnkN0/s1600/bernard.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifN4sjYV_jjjI4ItTRVV5NtR18yvekMiA8XjIUmi3a189NkEnST_japTOm0r_FCZJ2EdRgK7SfZX4vKtkBDwOSUDugEZyyWscszxgeaAWvaz1fPdBQHLdQe_WMI6ETi98sUhFxlnsnkN0/s400/bernard.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Last Christmas </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Digital Print Hand Bound Book</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">NFS</span></div>
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Last Christmas records the events of my mother's final Christmas. My mother died in hospital in 2006. Like many old people she went in for a fairly routine operation but never recovered after six months. Some time after her funeral my mobile phone kept telling me my text messages were full and to delete messages to make space. I could not wipe away the record of those months and the experience I had shared with my family.</div>
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<div>
<b>Jonathan Gann</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT576CwZXSq5fWlV2OrHIk8_ZbBPeWm7hsGi8fnJXQUwAURbfIJVuS8ZX_6PNJrQuGv6if77AvNPngbSQzkQ7-1NLIGvg7VDQRG-1mHOYXwKoeWP0SI-l_CHcklE6BJ7zK0eCGUSr4vlI/s1600/Jonathan+Gann.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT576CwZXSq5fWlV2OrHIk8_ZbBPeWm7hsGi8fnJXQUwAURbfIJVuS8ZX_6PNJrQuGv6if77AvNPngbSQzkQ7-1NLIGvg7VDQRG-1mHOYXwKoeWP0SI-l_CHcklE6BJ7zK0eCGUSr4vlI/s400/Jonathan+Gann.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Piggy</span><br />
<span style="font-family: Times, Times New Roman, serif;">Found Paper, Thread, Key</span><br />
<span style="font-family: Times, Times New Roman, serif;">Unique Edition </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£50</span></div>
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Piggy is all about perceptions (however skewed). The retelling of a visceral tale in a way that mirrors a darker time in my life, as experienced at the time of the book's conception. Themes of loss of innocence, examination of the roots of religious dialogue (in a familial sense), and most importantly the difficult process of self discovery (as it relates to the necessary shifting of perception for preservation's sake) permeate the piece adding a visual intellectual weight that compliments the book's dense physicality. This book is also a prelude to the exploration of violence.<br />
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<b>Jane Grisewood</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_PIS0JHjO-yLiFSj-4HKcwTIxyMf9ymaox_IbQibfLw7bX9tOJVgGm2IwOrkfb2IoX9VSU5W2JG49RUh5G2y45VC0jyNRC9eG_PWxFfd5Z_pgKEnY6AYWyT1JzD1FVRroQdVeB7Iv7Y/s1600/Jane+Grisewood+Remnant+III.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_PIS0JHjO-yLiFSj-4HKcwTIxyMf9ymaox_IbQibfLw7bX9tOJVgGm2IwOrkfb2IoX9VSU5W2JG49RUh5G2y45VC0jyNRC9eG_PWxFfd5Z_pgKEnY6AYWyT1JzD1FVRroQdVeB7Iv7Y/s400/Jane+Grisewood+Remnant+III.jpg" width="400" /></a></td></tr>
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<span style="font-family: Times, Times New Roman, serif;">Remnant III</span><br />
<span style="font-family: Times, Times New Roman, serif;">Canvas, String, Wax</span><br />
<span style="font-family: Times, Times New Roman, serif;">Edition of 8</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">NFS</span></div>
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What is a book? The individual handmade book blocks in the Remnant series challenge the notion of the conventional book format while exploring the boundaries between painting and sculpture. Developed from previous oil paintings (1997-99), the canvases were torn into ‘pages’ and reconfigured into 3D blocks, bound with string and coated in wax. The binding enwraps and seals each block, denying the reader access to its content. The black colour suggests darkness and mourning, but the wax is to protect and preserve – the book as ritual object. Prior to studying fine art I had been in book publishing for many years and the Remnant works became significant as a return and a departure, a restraint and a renewal.<br />
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<div>
<b>Debi Holbrook</b></div>
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJU_aaSE0iy1t-nAXbJE826aYCeoWEAyAUORyOd-PvGW-tiffHmHZcwB1X0k1DSbl82-9vsUJSjf-5uxuSr3wBA0u8zcvx8G7LQXSwmxnmerStX5mupmUuyAFMnDb8jnrP7JV5zLu22w/s1600/Debi.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJU_aaSE0iy1t-nAXbJE826aYCeoWEAyAUORyOd-PvGW-tiffHmHZcwB1X0k1DSbl82-9vsUJSjf-5uxuSr3wBA0u8zcvx8G7LQXSwmxnmerStX5mupmUuyAFMnDb8jnrP7JV5zLu22w/s400/Debi.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Imagine (2011)</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Found Object & Wire</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Edition of 10</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£50</span></div>
</td></tr>
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<br />
Imagine books in the physical sense were no longer produced. With so many library closures of late, decreased book sales year on year, technological advances in publishing along with the introduction of the Kindle, it's not so crazy to imagine. What then would become of existing books? Encased in glass and consigned to the museum, never again to be touch with ungloved hand?<br />
<br />
<br />
<b>Jane Kenington</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4_mnMPB-L-rulJU3kghhCblr8jijDJsBtfz54KU_dC8K24LWpN_93eTKmw7713i-fA6V20Tt1JI90t-ep7FrD08EsZQXR1VvZBWwLSCMAfd-r4fFjFZHXQyyB5Vt6o73DgCwXiweFat8/s1600/jane.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4_mnMPB-L-rulJU3kghhCblr8jijDJsBtfz54KU_dC8K24LWpN_93eTKmw7713i-fA6V20Tt1JI90t-ep7FrD08EsZQXR1VvZBWwLSCMAfd-r4fFjFZHXQyyB5Vt6o73DgCwXiweFat8/s400/jane.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">To 'o </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Found Book, String</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">NFS</span></div>
</td></tr>
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<br />
My interest is in line, in particular the inextricable tangle of line and thread. I explore line using thread. The tahitian to'o were items held to be embodiments of divine power tightly wrapped in knotted cord to protect them from view. Books hold stories, stories bind together myth, legend and coercion - power. The knotted threads form lines that seal in these stories. But this is more than a passive container for the power of myth - it actively binds it up.</div>
<div>
<br />
<br /></div>
<div>
<b>Sophie Littlewood</b></div>
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNyOSimUJICiAo2MGEJMIKwYKAhororIUG7efiMVsXociwyeHeUywnwShnLLQfG3BLDJ1di1Hw5KS3sMQ026spFdCHXWohLt7n1Bhl8Se3q89XB3k_lAezVJkwaXNagnc76x4BdWkNo4g/s1600/Spiral1+%281%29.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNyOSimUJICiAo2MGEJMIKwYKAhororIUG7efiMVsXociwyeHeUywnwShnLLQfG3BLDJ1di1Hw5KS3sMQ026spFdCHXWohLt7n1Bhl8Se3q89XB3k_lAezVJkwaXNagnc76x4BdWkNo4g/s400/Spiral1+%281%29.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Spiral Pop-Up</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Watercolour Paper, Colour Dye, Book Cloth and Greyboard</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unlimited Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£25</span></div>
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<br />
My work is exploring the charactertistics of pop-ups, particularly how they are usually found tightly bound within a book structure, with their content concealed. Also, how the pop-up metamorphoses into a new form once it is open and restricted energy is released. The playful and sculptural elements to pop-ups interest me, and within this series paper spirals flow through architectural like shapes carrying out a definite journey.</div>
<div>
<br />
<br /></div>
<div>
<b>Heather Matthew</b></div>
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5ibwXc-BUv7NQiPvYUkHPa01Q0DTYidw8_iVLHKkoxPWDGIZHjqpA13TE-ApWiD_ZX0CYgx_9lKoJrFuCz5BPt24VNOetj2AQbMdqDz1u-Bwar7biReVxGquNNkTXPsoUO5CS9mUC1kw/s1600/heather1.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5ibwXc-BUv7NQiPvYUkHPa01Q0DTYidw8_iVLHKkoxPWDGIZHjqpA13TE-ApWiD_ZX0CYgx_9lKoJrFuCz5BPt24VNOetj2AQbMdqDz1u-Bwar7biReVxGquNNkTXPsoUO5CS9mUC1kw/s400/heather1.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Nobly bound</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Bound paperback books.</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Edition of 5 </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£60 (2 sets of 2 books)</span></div>
</td></tr>
</tbody></table>
<br />
We are bound by the books we read, the ideas they impart, the way we read visual images and graphics. Paperbacks were once considered books for the masses and their covers were bright, sometimes gaudy with large headline grabbing text.<br />
<br /></div>
<div>
</div>
<div>
With the steady demise of the mass culture book in favour of digital ‘readers’, paperbacks end up remaindered, at the opportunity shop or in garage sales. These found books have been brought to life again with screen printed covers and are bound together use traditional noble binding stitch.</div>
<div>
<br />
<br /></div>
<div>
<b>John McDowall</b><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8eWoYjbqPyK9m4xKkwk0pW5hXspRAwOkgA9hV1a-x-klULYODX9O7asJ4_rkdJaCn9iSK27JwhMnny0CrI0sle-cWume3oDEhdNcocBfbQ6ZvVvldWxMVbvtZk4pVDtbJqAE5zIsxoAM/s1600/john.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8eWoYjbqPyK9m4xKkwk0pW5hXspRAwOkgA9hV1a-x-klULYODX9O7asJ4_rkdJaCn9iSK27JwhMnny0CrI0sle-cWume3oDEhdNcocBfbQ6ZvVvldWxMVbvtZk4pVDtbJqAE5zIsxoAM/s400/john.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Cover</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Stab Binding Under Card Cover</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Open Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">NFS</span></div>
</td></tr>
</tbody></table>
<br />
A book with sixteen folded leaves sewn on the open side, plus one front and back as covers. Images printed on the inner face of each double leaf so as to be hidden until folded out from verso side of each spread.<br />
<br />
A written text running as a single horizontal line through the centre of the outer double page spreads continuously over the fore-edges from page 7 to 22, the remaining pages blank. The images are stills taken from Alain Resnais’ 1956 film essay on the Bibliothèque Nationale, Toute la mémoire du monde. <br />
<br />
The text recounts the hiding for safekeeping, during the war, of Walter Benjamin’s papers by his friend Georges Bataille at the Bibliothèque nationale and of the library’s l’Enfer, a section reserved for books with erotic content, including works by Bataille. <br />
<b><br /></b> </div>
<div>
<b>Carla Moss</b></div>
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ct4dqgFPRLXzVjN9fJeRQQRtr2OwHWHH1DWM_fa6bwh4mvUpANZSIl_umjcdZKsyZB4Dz4BZTcMQzbSOzM4s_6MlYHgouwyfM5JWRQvuGh-OimqpNoqeIxmMGIUEa9W83cOtfkX6Haw/s1600/carlamoss+2.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ct4dqgFPRLXzVjN9fJeRQQRtr2OwHWHH1DWM_fa6bwh4mvUpANZSIl_umjcdZKsyZB4Dz4BZTcMQzbSOzM4s_6MlYHgouwyfM5JWRQvuGh-OimqpNoqeIxmMGIUEa9W83cOtfkX6Haw/s400/carlamoss+2.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">The Thread II</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Pencil, Wax Varnish, Gold Thread, Paper</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unique Edition </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£25</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</td></tr>
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<br />
My work is about our relationship with the environment, our impact on it and its impact on us. Its beauty and mystery. The vastness of this subject matter from a philosophical, historical, spiritual, sociological and physical perspective gives me an unending source of inspiration. The work is quite process driven, beginning with an observation or experience. This is documented in my notebook or with a camera and then worked into paintings, drawings or 3d objects in the studio. </div>
<div>
</div>
<div>
My interest in the environment has taken me to the Aral Sea basin of Kazakhstan. The Aral Sea is a shrinking sea due to irrigation of cotton. The effect on the local environment, people and industry where the sea has receded has had a huge (largely negative) impact. I will often reference the Aral Sea in some way, most recently connecting it to the textile industry through using pins, thread or creating holes with a sewing machine or tracing wheel.</div>
<div>
<br />
<br /></div>
<div>
<b>Naz Rahbar</b></div>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlqV3zCQ5S6j2utLdaG8kzmM8hDyfo-Yf6eGnKdefIu9kE8IUBkGZoJUUMl12R7ot75RtkLStazyc6K33UduPwht-N19H5aViIgHQ5sPuh4IhP6x7OQ-bhojTZvYYIkHAjA00ISfOHVMQ/s1600/naz-Rahbar.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlqV3zCQ5S6j2utLdaG8kzmM8hDyfo-Yf6eGnKdefIu9kE8IUBkGZoJUUMl12R7ot75RtkLStazyc6K33UduPwht-N19H5aViIgHQ5sPuh4IhP6x7OQ-bhojTZvYYIkHAjA00ISfOHVMQ/s400/naz-Rahbar.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Binding Grandma </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Wood, Miniature Objects, Dry Point Prints, Fabrics</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£650</span></div>
</td></tr>
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<br />
I feel that sometimes art making is a ritual through which I confront my dilemmas. This piece explores my relationship with my Grandmother and my perception of her, through memories. The miniature objects on the shelves epitomize memories or characteristics, which we share. The dry-point prints, which fold out as an accordion book from the back of the shelf, speak to the distances and gaps created by time, a revolution, immigration and language, between us; investigating the complexities of human relationships, and perception. The binding together of these prints and objects is therefore a ritual through which I unite fragments of my memory and perception to create a portrait of my grandmother.<br />
<br />
<br />
<b>Tim Riley & Georgia Elizey</b><br />
Everything Will Be Told<br />
Found Book, Mesh<br />
Unique Edition<br />
NFS</div>
<div>
<br /></div>
<div>
The proposal for Bound is a copy of Solzhenitsyn's Gulag Archipelago encased within wire mesh, making it inaccessible yet visible through a metal grid, with an amount of the book cut away to reveal a section of text concerning the power exerted over prisoners in the soviet gulags through control of the accessibility to books & the importance of this to the inmates in their ability to retain their humanity & hope of survival. ‘Everything Will Be Told’ also speaks of the extent to which regimes fear the power of the book & the resultant imprisonment & execution of people in their efforts to write them as well as being an enigmatic & intriguing object to hold in its own right. </div>
<div>
<br />
<br /></div>
<div>
<b>Stevie Ronnie & Susannah Pickering</b></div>
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiszKuM9QISbnAMT9VRMfS7bpUie0BV443JQ4ThfPVuQeJMshzMlCsnNqrGF0O3FXkNkf6f0avinafvdUhlOOWqi6mQyfq3Vm5DOe8XEmlC8Cm3TzABIxbe_TXSkIGw7sMqahKXv-nkfH4/s1600/binding.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiszKuM9QISbnAMT9VRMfS7bpUie0BV443JQ4ThfPVuQeJMshzMlCsnNqrGF0O3FXkNkf6f0avinafvdUhlOOWqi6mQyfq3Vm5DOe8XEmlC8Cm3TzABIxbe_TXSkIGw7sMqahKXv-nkfH4/s400/binding.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Binding</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Mixed Media Book Sculpture</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Edition of 10</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£425</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</td></tr>
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<br />
The artists have combined traditional binding techniques with the cabling systems that are commonly used to transmit digital information. The result is this series of alternative electronic books. The work acknowledges the visual and tactile attributes of the book as a technology, largely ignored in the formats currently adopted by digital and electronic books.<br />
<b><br /></b><b><br /></b><b>Louise Tett</b></div>
<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh39-m6siZ6YucYL6sPmP8E7BE_EEERD5kwVL70QckOFhLhuI0Pl1UDROCqTm2wJ2Kix6VwZy0DGiy57FIuQ6AdqRjS7MIbSdWRCT9Bx7BmnkrXNeHqhK4G__Jq8Sj3qbf_-ZVVOYpqw-U/s1600/louiseT4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh39-m6siZ6YucYL6sPmP8E7BE_EEERD5kwVL70QckOFhLhuI0Pl1UDROCqTm2wJ2Kix6VwZy0DGiy57FIuQ6AdqRjS7MIbSdWRCT9Bx7BmnkrXNeHqhK4G__Jq8Sj3qbf_-ZVVOYpqw-U/s400/louiseT4.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">:By Love and Tears</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Vintage Poems, Fleece, Handmade Box </span><br />
<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span><br />
<span style="font-family: Times, Times New Roman, serif;">£200</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic6COYHjRg2t19JlWwQdlyhcvIbigBW005PRASX1ixj4JoAFugO76xh38THsNNuCgaBL_9Fne9ibuor1DbKWO9MPt0gK7yt3-cqrkGX-WAZXaT9eFcuYbdC0tUfJMjweTt2muWxyKISo4/s1600/louiseT1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic6COYHjRg2t19JlWwQdlyhcvIbigBW005PRASX1ixj4JoAFugO76xh38THsNNuCgaBL_9Fne9ibuor1DbKWO9MPt0gK7yt3-cqrkGX-WAZXaT9eFcuYbdC0tUfJMjweTt2muWxyKISo4/s400/louiseT1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">:By Love and Blood </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Ring Box, Silk Fabric, Wedding Ring & Gold Thread</span><br />
<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span><br />
<span style="font-family: Times, Times New Roman, serif;">£100</span></div>
</td></tr>
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:By Love and Tears is an anthology of found poems relating to family bonds. Each poem has been cut into thin shards and hand spun with fleece. The fleece fibers bind with the paper to form yarn which has then been rolled into tiny individual balls, varying in size depending on the length of the poem. A copy of the first line of each poem is attached with a pin, giving a glimpse of the text; but the cosy domesticity of the wound balls conceals the significant events such as birth, death and marriage that knit a family together. There is an accompanying paper and muslin book which lists the poems.</div>
<div>
<br /></div>
<div>
:By Love and Blood portrays the binding of one individual to another through marriage and how these fragile promises form a strong family structure. These conjoined boxes may be read as reassuring or suffocating depending on the viewers own experience. Each ring box has been covered in fragments of hand drawn genealogy chart; nestled in each box is a wedding ring bound with hand written marriage vows and gold thread. This fragile thread joins each to the other making them inseparable.</div>
<div>
<br />
<br /></div>
<div>
<b>Topical Jungle</b><br />
Sophie McHiggins<br />
The Wolkenkukuksheim<br />
Unique Edition<br />
NFS<br />
<br />
Archie Salandin<br />
My Painting/Don’t Cover a Judge with his Book/The Tin/The End is Nigh<br />
Digital Print Perfect Bound Book<br />
Edition of 5-10<br />
£4-6<br />
<br />
<br />
Topical Jungle is a Leeds-based art collective. Current members are Jennifer Dickinson, Frank Driver, Nikki Hafter, Sophie McHiggins, Archie Salandin and Liam Wells. The collective was officially formed in 2011 as we entered the final year of the BA Fine Art course at the University of Leeds, although several members of the group have been collaborating periodically since 2009. We practice both collaboratively and individually, exploring the relationships between the group and the individual, between reality and fiction, and between natural and performed activity.</div>
<div>
<b><br /></b><b><br /></b></div>
<div>
<b>Wendy Williams</b></div>
<div style="text-align: left;">
</div>
<div>
<div style="text-align: left;">
</div>
</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAh0PEn0snvDWSbj2rgNHWZmCxFcnUZji6GUhvEgTaUMRUQIiu3bDXd0Poe6yav4MVqUPAh9g_BOcVObNvLFGhQ1VXoAtYMoRvmhokOVn31gMWuVqMh3frUw0cAo0vzAmyVOFdyXjdK50/s1600/Wendy.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAh0PEn0snvDWSbj2rgNHWZmCxFcnUZji6GUhvEgTaUMRUQIiu3bDXd0Poe6yav4MVqUPAh9g_BOcVObNvLFGhQ1VXoAtYMoRvmhokOVn31gMWuVqMh3frUw0cAo0vzAmyVOFdyXjdK50/s400/Wendy.JPG" width="400" /></a></td></tr>
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<span style="font-family: Times, Times New Roman, serif;">Strap </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Paper, Wood, Textile </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span></div>
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<span style="font-family: Times, Times New Roman, serif;">£60</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIo3hlMB0_YJ8Aqo30X8gN37YSWiyikuRhfWk3dioc8MPkJSUkVhWFNWzMYyZp0INZMvDUeZ3ktBHnSWwYeY1YZonZC9MYFQeBgIGlVOu-_3WKy6a_ZsV_lwiTK0bSu1RSVaJ_7r1DfF8/s1600/GirlBook3rs+%25281%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIo3hlMB0_YJ8Aqo30X8gN37YSWiyikuRhfWk3dioc8MPkJSUkVhWFNWzMYyZp0INZMvDUeZ3ktBHnSWwYeY1YZonZC9MYFQeBgIGlVOu-_3WKy6a_ZsV_lwiTK0bSu1RSVaJ_7r1DfF8/s400/GirlBook3rs+%25281%2529.jpg" width="400" /></a></td></tr>
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<span style="font-family: Times, Times New Roman, serif;">Girl Book/Boy Book</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Paper, Wood, Textile </span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">Unique Edition</span></div>
<div style="font-size: medium;">
<span style="font-family: Times, Times New Roman, serif;">£60</span><br />
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I've been working with paper over the last few years - initially using it through necessity, as it was a convenient medium that could be packed up small to be transported overseas for exhibition purposes. It was this idea about transportation that led me to experiment with sandwiching paper between boards to protect it. Strap is just one piece in a series of works about that protection.<br />
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I find paper a useful medium that can manipulated to bridge gaps between its delicacy and its strength. Combining the use of paper with wood, creates layers, stacked and overlaid like documentaries waiting to be unlocked. The work however, does not open like a book, the pages are bolted down or have some other restriction, so the viewer is forced to stop and think before opening them.</div>
Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com0tag:blogger.com,1999:blog-7680926498434887333.post-56631034051646721652011-02-06T09:13:00.001-08:002012-04-10T03:47:19.464-07:00Home from Home<span style="font-size: 100%; font-weight: bold;">153 Woodhouse Lane</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4XOipLecybD075vm3z0GnzVxhGliqO_r4AR0L2AVaLn8gEDQlSaF2uGz5p8yuhwU7q5xqskzYDNQzdUBMwOAPzc0GOG42V6oZrtdqpcGOWs2AkGLBRUXvLwkzTEFF40Os8oKGeGN0F0/s1600/homeshowpic.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578012485093547938" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4XOipLecybD075vm3z0GnzVxhGliqO_r4AR0L2AVaLn8gEDQlSaF2uGz5p8yuhwU7q5xqskzYDNQzdUBMwOAPzc0GOG42V6oZrtdqpcGOWs2AkGLBRUXvLwkzTEFF40Os8oKGeGN0F0/s400/homeshowpic.jpg" style="cursor: pointer; float: right; height: 400px; margin: 0pt 10px 10px 0pt; width: 205px;" /></a><br />
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<span style="font-style: italic;">11th - 18th March 2011</span><br />
Curated by Louise Atkinson<br />
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<span style="font-size: small;"><i>Image by Jacob Schuhle-Lewis</i></span></div>
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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.</div>
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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.</div>
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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.</div>
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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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Shaheen Ahmed</span></span><br />
<span style="font-style: italic;">Muji-Wuji,</span> Subverted Catalogue, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg108UyQj1dbl_csPXjIPJvB8zpQIY2QbhSeqowclSvT0QiSzPxesIxi3GRAb0hEBKvErYnSojid5Vbk85-OOILtvDjrJjlMN_joUo7gLHEhEhOs1cKeo17rN5yKbjP6853s6QyrVj7EA0/s1600/shaheen.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578113570491268306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg108UyQj1dbl_csPXjIPJvB8zpQIY2QbhSeqowclSvT0QiSzPxesIxi3GRAb0hEBKvErYnSojid5Vbk85-OOILtvDjrJjlMN_joUo7gLHEhEhOs1cKeo17rN5yKbjP6853s6QyrVj7EA0/s400/shaheen.jpg" style="cursor: pointer; display: block; height: 229px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Anne Akers</span><br />
<span style="font-style: italic;">Coffee</span>, Photograph, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijv1Wy_ZaiwbnpTdbYb9JsaVtYxuHw3y9AxX6EL7_00oGBHECO0NgCT3db6Vu9wtRtllvieHVBKsLmDNetNhcO_A8rnuyn3eLjpQ7jILkcwHiJVRFFUYmS4KDKcKVLyZxjHN51_juWtu8/s1600/Map+Mosaicsmaller.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578730206703637954" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijv1Wy_ZaiwbnpTdbYb9JsaVtYxuHw3y9AxX6EL7_00oGBHECO0NgCT3db6Vu9wtRtllvieHVBKsLmDNetNhcO_A8rnuyn3eLjpQ7jILkcwHiJVRFFUYmS4KDKcKVLyZxjHN51_juWtu8/s400/Map+Mosaicsmaller.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Melanie Alexandrou</span><br />
<span style="font-style: italic;">Magpie Thunder Bureau</span>, Mixed Media Installation, 2009 - 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpOs9809PPsAhz0GBInt2i2Xjm1JRHOSuhTJ4Yi2iDjHP59hZAEyf9hLed9fQCKeHhrCkDUAfcG_IB8-aivZh0sCMtfuE9Vr9WEv-XBOQnPBa0YCTuwHY1-BzaXaGozfONXkpLzNXKKMk/s1600/Melanie+Alexandrou.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576612292157892978" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpOs9809PPsAhz0GBInt2i2Xjm1JRHOSuhTJ4Yi2iDjHP59hZAEyf9hLed9fQCKeHhrCkDUAfcG_IB8-aivZh0sCMtfuE9Vr9WEv-XBOQnPBa0YCTuwHY1-BzaXaGozfONXkpLzNXKKMk/s400/Melanie+Alexandrou.jpg" style="cursor: pointer; display: block; height: 225px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>The <span style="font-style: italic;">Magpie Thunder Bureau</span> 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.<br />
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<span style="font-size: 130%; font-weight: bold;">Stacey Allen and Katherine Johnson</span><br />
<span style="font-style: italic;">Make Do and Mend</span>, Performance, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPOJVPx7sKwXk2n0KGDhJudOX8vUxa9wZijOR5LYQt2WPH8qIKbcaiW2Cu29yZ4rjcX1FJCGuoTf-Gma3_B2lVWAQRYNPv-6Qr88HdLMqgVXEwPRT-H-Z9U39iq3b0Eydpq-dvwz3oSC8/s1600/make+do+and+mend.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578471835163265250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPOJVPx7sKwXk2n0KGDhJudOX8vUxa9wZijOR5LYQt2WPH8qIKbcaiW2Cu29yZ4rjcX1FJCGuoTf-Gma3_B2lVWAQRYNPv-6Qr88HdLMqgVXEwPRT-H-Z9U39iq3b0Eydpq-dvwz3oSC8/s400/make+do+and+mend.jpg" style="cursor: pointer; display: block; height: 327px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Karen Babayan</span><br />
<span style="font-style: italic;">Packing</span>, DVD, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuSp3Xxx52EZp6z3xec85Xm2ZFbT0uzU4EOqTPrjaabZp6nR4QdcDM3_7fBbUTYGCEbedqJUIrgTI5T0SCEeP9tilU5H4-DNUMxWVRt8Sj4tizjv7uOXEGl4ZLo7ljW_Eg63btgmhhbC4/s1600/Karen+Babayan.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576610807827586658" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuSp3Xxx52EZp6z3xec85Xm2ZFbT0uzU4EOqTPrjaabZp6nR4QdcDM3_7fBbUTYGCEbedqJUIrgTI5T0SCEeP9tilU5H4-DNUMxWVRt8Sj4tizjv7uOXEGl4ZLo7ljW_Eg63btgmhhbC4/s400/Karen+Babayan.jpg" style="cursor: pointer; display: block; height: 283px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Lorna Barrowclough</span><br />
<span style="font-style: italic;">Bourgeois Basics</span>, Tapestry & Found Objects, 2009<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMRxmboj_nkHKCjjYWHxQjOSqOzf1mHxO_bMgVVVRrcMp0QHdaoFdhV1R1H4aUkfqzJ13LMh8GBnzIw0DvNUbdJxjLOAZJsJK5LYUutoxYtYCLgZRhaGPt7kBLRozTiq2RPh0qQRGWJNE/s1600/Lorna+Barrowclough.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576612263676707618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMRxmboj_nkHKCjjYWHxQjOSqOzf1mHxO_bMgVVVRrcMp0QHdaoFdhV1R1H4aUkfqzJ13LMh8GBnzIw0DvNUbdJxjLOAZJsJK5LYUutoxYtYCLgZRhaGPt7kBLRozTiq2RPh0qQRGWJNE/s400/Lorna+Barrowclough.jpg" style="cursor: pointer; display: block; height: 316px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Lorain Behrens</span><br />
<span style="font-style: italic;">Altered Almanac</span>, Found Book Sculptures, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmHcZQIV8OJ5NPADer8QX3ZH_LPQaeRjEhWo0-oBX1okA5Ax6mS_i2pWh6SLIQNeeFHDAlEQ_rNOtZgF9GkBUg29isizkiOFoRSCd-gsFYeDPjxDqgXB8pbKW_oz5TYKTY9hFFCURHY7o/s1600/Leeds+Book+Art+1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578730199858904770" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmHcZQIV8OJ5NPADer8QX3ZH_LPQaeRjEhWo0-oBX1okA5Ax6mS_i2pWh6SLIQNeeFHDAlEQ_rNOtZgF9GkBUg29isizkiOFoRSCd-gsFYeDPjxDqgXB8pbKW_oz5TYKTY9hFFCURHY7o/s400/Leeds+Book+Art+1.jpg" style="cursor: pointer; display: block; height: 314px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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<br />
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<span style="font-size: 130%; font-weight: bold;">Harriet Bevan</span><br />
<span style="font-style: italic;">Vandalised With Love</span>, Found Book Collage, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZBO-zHwUG4o4ZSm9QjBfk7IEfCUAsCcUQgLHB6OwDwp258KEfF1UGStFPQNzt4Cn5RL89g3o3XxEVCa3OiIs3QgwI7ZQGj-MCUhpKBgOjSeaViid8_LetTF4LNXx7SEMzkYKt0QP_h8w/s1600/Harriet+Bevan.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576609989974227906" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZBO-zHwUG4o4ZSm9QjBfk7IEfCUAsCcUQgLHB6OwDwp258KEfF1UGStFPQNzt4Cn5RL89g3o3XxEVCa3OiIs3QgwI7ZQGj-MCUhpKBgOjSeaViid8_LetTF4LNXx7SEMzkYKt0QP_h8w/s400/Harriet+Bevan.jpg" style="cursor: pointer; display: block; height: 303px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-style: italic;">Vandalised with Love</span> 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'.<br />
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<span style="font-style: italic;">Inheritance</span> 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.<br />
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<span style="font-size: 130%; font-weight: bold;">Linda Bevan</span><br />
<span style="font-style: italic;">Wrapped & Unwrapped</span>, Brown Paper and Other Materials, 2011<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Krijnie Beyen</span><br />
<span style="font-style: italic;">Gobs</span>, Mixed Media, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq_WxHckJ5lTkXB8RdBNV1UzUnpF7x8In636jyaJXeIfKUsGAMKp8L0iyslt1qMJoj5eXUUbeXlQO5oYQcOgvlibFoKNCfeIvPVBucAK0_aOsaiTHUpiJ6ifg504ssuQI8cnjXX5oyc34/s1600/Krijnie+Beyen.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576640640670573010" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq_WxHckJ5lTkXB8RdBNV1UzUnpF7x8In636jyaJXeIfKUsGAMKp8L0iyslt1qMJoj5eXUUbeXlQO5oYQcOgvlibFoKNCfeIvPVBucAK0_aOsaiTHUpiJ6ifg504ssuQI8cnjXX5oyc34/s400/Krijnie+Beyen.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-style: italic;">Gobs</span> (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.<br />
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<span style="font-size: 130%; font-weight: bold;">Julia Bickerstaff</span><br />
<span style="font-style: italic;">Silent Resolution</span>, Neon & Glass, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOummIHoZRF9XrZZzrNOToAmDfW4JcJKev8l6vf3tv2HXTnsxJHPRe9tvwXuKbuAZtunkdnk_jIdlIRMZivjHjccEMmCS7TbV9bvh4WaF7Y4I2iT8dtZsOm-QZqg-V3zcRYBWl2S6q1Z0/s1600/Julia+Bickerstaff.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576610798627504658" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOummIHoZRF9XrZZzrNOToAmDfW4JcJKev8l6vf3tv2HXTnsxJHPRe9tvwXuKbuAZtunkdnk_jIdlIRMZivjHjccEMmCS7TbV9bvh4WaF7Y4I2iT8dtZsOm-QZqg-V3zcRYBWl2S6q1Z0/s400/Julia+Bickerstaff.jpg" style="cursor: pointer; display: block; height: 299px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Stephanie Black</span><br />
<span style="font-style: italic;">The Unsung Telephone</span>, Drawing, Collage & Mixed Media, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyqxClejODbd804RSfLFBWrMOE11YL0E9GtkhOrsmjV-McvoRXGTm63wBP10iDMC4THsrIbpDC48WzVsfuwmFdNX_VDl281aZA2GlwWWpOzkU7R5GDPjnPcbKuep95jKNBc6CH6UvEIs/s1600/Steph+Black.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578097782367296162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSyqxClejODbd804RSfLFBWrMOE11YL0E9GtkhOrsmjV-McvoRXGTm63wBP10iDMC4THsrIbpDC48WzVsfuwmFdNX_VDl281aZA2GlwWWpOzkU7R5GDPjnPcbKuep95jKNBc6CH6UvEIs/s400/Steph+Black.jpg" style="cursor: pointer; display: block; height: 186px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Jade Blood</span><br />
<span style="font-style: italic;">Plate Rack</span>, Drawings on Found Plates, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigvHaQY-WErKrTEI7GeUDaGIvR4kE9obq4X3Pl_qOP-_Ox1WJj5swB1OJICaX0KEDuyc73Zsx_Pi2I5wVuj30i4Lkj2nyn0reXbSgL2vihaFGClkxpY7tnbYQwwpG_51bwuba7PTnyUAg/s1600/Jade+Blood.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578013978376411394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigvHaQY-WErKrTEI7GeUDaGIvR4kE9obq4X3Pl_qOP-_Ox1WJj5swB1OJICaX0KEDuyc73Zsx_Pi2I5wVuj30i4Lkj2nyn0reXbSgL2vihaFGClkxpY7tnbYQwwpG_51bwuba7PTnyUAg/s400/Jade+Blood.jpg" style="cursor: pointer; float: left; height: 292px; margin: 0pt 10px 10px 0pt; width: 242px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Sarah Bodman</span><span style="font-size: 130%;"><br />
</span><span style="font-style: italic;">Flowers in Hotel Rooms Vol IV,</span> Digital Print, 2009<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFTqFoskhoHvh0vXaKUZRUrrGNZ_fRx0f5l1DB_JojzQ4guM_FYKDmDwe2XTXGaBK6ZcyJt_J-bmhc207gE2PYqu3cSZa2cWj-PH7V9kgE5q_4jVJULvBtnxPq51grha1ZNApEn1ywcX0/s1600/Sarah+Bodman.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576613527132606146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFTqFoskhoHvh0vXaKUZRUrrGNZ_fRx0f5l1DB_JojzQ4guM_FYKDmDwe2XTXGaBK6ZcyJt_J-bmhc207gE2PYqu3cSZa2cWj-PH7V9kgE5q_4jVJULvBtnxPq51grha1ZNApEn1ywcX0/s400/Sarah+Bodman.jpg" style="cursor: pointer; display: block; height: 126px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Alice Bradshaw</span><br />
<span style="font-style: italic;">Print 13</span>, Photographic Print, 2008<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXo1i5o8S3yb5CZNin_iaLFCvpVvI6UfESU3YwLSjaJTa4tJ7qsSs7wVpQL56qBaWVPw7apwVwOImVvYPFnTRN1JnAXN4wlzsIyalUp0xJAMVZSeb8VNOYQd1CJJoAX9kJxnLriTat1PU/s1600/Alice+bradshaw.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576639685834960866" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXo1i5o8S3yb5CZNin_iaLFCvpVvI6UfESU3YwLSjaJTa4tJ7qsSs7wVpQL56qBaWVPw7apwVwOImVvYPFnTRN1JnAXN4wlzsIyalUp0xJAMVZSeb8VNOYQd1CJJoAX9kJxnLriTat1PU/s400/Alice+bradshaw.jpg" style="cursor: pointer; display: block; height: 261px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Kate Burt</span><br />
<span style="font-style: italic;">All the Birds of Lancashire</span>, Hand Drawn and Cut Book, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzmyftb1e0vUT8u1ARUc-ayC1yOlGruYI8sjO6ImuTq9eh5bjtzcpg3graWb01XUZt5ilxV30Gi-vfjxYTfIYanuZxuMGoS5zwZzWPMmXl6VNKRM1eGOkHsGB0y9Qi_5dFdQWGWfdJbk/s1600/Kate+Burt.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576610809097590930" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzmyftb1e0vUT8u1ARUc-ayC1yOlGruYI8sjO6ImuTq9eh5bjtzcpg3graWb01XUZt5ilxV30Gi-vfjxYTfIYanuZxuMGoS5zwZzWPMmXl6VNKRM1eGOkHsGB0y9Qi_5dFdQWGWfdJbk/s400/Kate+Burt.jpg" style="cursor: pointer; display: block; height: 296px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Larna Campbell </span></span><br />
<span style="font-style: italic;">Fragility</span>, Paper, Letterpress & Thread, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2AabFRE4j2apsAqZmGRJOBJAPTXGLkPgOi54mWB-NqmsDL3LbJwWG2ACKASpxPvTHlVU4etqYcPxCHhfLFRwy_aVGuHD9OxKswJ7YR5crhgiRf3ZFhbF8oDaDru6RUNIKdycqErD8cYI/s1600/larna+campbell.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5592796990557263474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2AabFRE4j2apsAqZmGRJOBJAPTXGLkPgOi54mWB-NqmsDL3LbJwWG2ACKASpxPvTHlVU4etqYcPxCHhfLFRwy_aVGuHD9OxKswJ7YR5crhgiRf3ZFhbF8oDaDru6RUNIKdycqErD8cYI/s400/larna+campbell.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><b style="font-weight: normal;">Larna Campbell is a visual artist</b><span style="font-weight: bold;"> </span>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.<span style="font-style: italic;"><br />
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</span><span style="font-size: 130%; font-weight: bold;">Shaeron Caton-Rose</span><span style="font-style: italic;"><br />
Terrydrops,</span> Linocut and Letterpress Book with Soundtrack, 2009<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfbCmRa-GGN5o6fja-ne324BvfT-mKy6r0RFBPyxGoOwQ6wTpfCDeOIoDQlMdI4yJipseUqbDPSadX3zUUs68ndUBasNaY_VSCTuClqtdrxiWUKCqRCGpkKPvoqbOjx0198N_-qNF5b4s/s1600/shaeron.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578112689546956082" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfbCmRa-GGN5o6fja-ne324BvfT-mKy6r0RFBPyxGoOwQ6wTpfCDeOIoDQlMdI4yJipseUqbDPSadX3zUUs68ndUBasNaY_VSCTuClqtdrxiWUKCqRCGpkKPvoqbOjx0198N_-qNF5b4s/s400/shaeron.jpg" style="cursor: pointer; display: block; height: 330px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-style: italic;">EverAfter</span> 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. <span style="font-style: italic;">Terrydrops</span>, 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.<br />
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<span style="font-size: 130%; font-weight: bold;">Anwyl Cooper-Willis</span><br />
<span style="font-style: italic;">Postcards Home</span>, Card, Metal & Thread, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuPXQctNmr6hBTidq9qzDLPJvGi4tm87NlvQIs3RRldn4gT6rE6pA7r9QaXbaiTFf7WclOAk33964hMEWekV4x9rVEsBowcgkP7qhH8luVQIux22D8D0zhDsd6v26gPKpJEc0QSygaIi4/s1600/Anwyl+Cooper-Willis.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576608472096059138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuPXQctNmr6hBTidq9qzDLPJvGi4tm87NlvQIs3RRldn4gT6rE6pA7r9QaXbaiTFf7WclOAk33964hMEWekV4x9rVEsBowcgkP7qhH8luVQIux22D8D0zhDsd6v26gPKpJEc0QSygaIi4/s400/Anwyl+Cooper-Willis.jpg" style="cursor: pointer; display: block; height: 281px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Amelia Crouch</span><br />
<span style="font-style: italic;">Fences I and II</span>, Video, 2006<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBAWdBFhFbq9mU3F_8MGuchlX79kJb7LbWguOD__2pPgs_qwVbP2mYFHty7Q5zCmKR4FySenNc9USRh9kaz8oSr8Um0Tl2l3En6k84rMj_1jzfh-rBmOibuSp9pb2raJRFmM5LXFgPs7c/s1600/Amelia+Crouch.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578069821388405218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBAWdBFhFbq9mU3F_8MGuchlX79kJb7LbWguOD__2pPgs_qwVbP2mYFHty7Q5zCmKR4FySenNc9USRh9kaz8oSr8Um0Tl2l3En6k84rMj_1jzfh-rBmOibuSp9pb2raJRFmM5LXFgPs7c/s400/Amelia+Crouch.jpg" style="cursor: pointer; display: block; height: 299px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-style: italic;">Fences I and II</span> and <span style="font-style: italic;">Worth (all will be well)</span> 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.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Julie Dodd</span><br />
<span style="font-style: italic;">Family Album,</span> Mixed Media, 2011<br />
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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<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Manya Donaque</span></span><br />
<span style="font-style: italic;">Sobrepieles,</span> Mixed Media, 2000<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGLhoAhomGibAd1G307FMzsqbjF4BSXXn0ggm4jKBBJGKSo8QNMxzf4IwsGMxjVs72FIHU38mCWc4xOfFWtbfDuA-fHgoLIsAzoBqQBK0_D33jjmjYf1UFdo_AQ6bG7aQgS-cwNcxZlIM/s1600/Sobrepieles+2.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578115063944246514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGLhoAhomGibAd1G307FMzsqbjF4BSXXn0ggm4jKBBJGKSo8QNMxzf4IwsGMxjVs72FIHU38mCWc4xOfFWtbfDuA-fHgoLIsAzoBqQBK0_D33jjmjYf1UFdo_AQ6bG7aQgS-cwNcxZlIM/s400/Sobrepieles+2.jpg" style="cursor: pointer; display: block; height: 360px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-size: 100%;">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...</span><span style="font-size: 130%; font-weight: bold;"><br />
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Inbal Drue</span><br />
<span style="font-style: italic;">Where I End and You Begin</span>, Letraset on Tile, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3AT_0EmmP1zwzinnxIRSFxKb_dfxNwbmMISzDYGcor94kaveelPR4Pc_wKexJL-eR3IP4HodcxNv_5m1Fwc4yKbrL3PFCFgIuV-ABu9MH6UvuRXwZSm9rGv9pfm1hgbMbuoCZ9D9SIpw/s1600/Inbal+Drue.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576610000044676578" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3AT_0EmmP1zwzinnxIRSFxKb_dfxNwbmMISzDYGcor94kaveelPR4Pc_wKexJL-eR3IP4HodcxNv_5m1Fwc4yKbrL3PFCFgIuV-ABu9MH6UvuRXwZSm9rGv9pfm1hgbMbuoCZ9D9SIpw/s400/Inbal+Drue.jpg" style="cursor: pointer; display: block; height: 111px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Debra Eck</span><br />
<span style="font-style: italic;">Babble: The Sum of all Fears</span>, Paper, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWdugXPdTzC0hKMwfpLzl2I5lyojWMD8edLjHj15HqXWC-bue0yxqLHyT07-S-w1SGimJm2JIwij_b_gI7f6GXOso6qfbTvhKR_O1mVaqvEb8NnPS0qFJcnclPmJykngnVz2jJHvUehqM/s1600/Debra+Eck.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576609287841659618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWdugXPdTzC0hKMwfpLzl2I5lyojWMD8edLjHj15HqXWC-bue0yxqLHyT07-S-w1SGimJm2JIwij_b_gI7f6GXOso6qfbTvhKR_O1mVaqvEb8NnPS0qFJcnclPmJykngnVz2jJHvUehqM/s400/Debra+Eck.jpg" style="cursor: pointer; display: block; height: 276px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Jon Eland and Phil Kirby</span><br />
<span style="font-style: italic;">The Tent that Jon Made</span>, Photo Book, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjE4fhEs3nzhCj98v1iQZxPrbqwQ3Ce9CgTTXmFQXNPwsd5mRhH8VDztC5suv9l45IbqLII2UiYjtvvUKjyZbx28ZNNloXuIgOI_4lJHI663C08fgvbb5BGQ7UDDoOyUdY7n6WTa0cI4s/s1600/Jon+Eland.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576610054581413202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjE4fhEs3nzhCj98v1iQZxPrbqwQ3Ce9CgTTXmFQXNPwsd5mRhH8VDztC5suv9l45IbqLII2UiYjtvvUKjyZbx28ZNNloXuIgOI_4lJHI663C08fgvbb5BGQ7UDDoOyUdY7n6WTa0cI4s/s400/Jon+Eland.jpg" style="cursor: pointer; display: block; height: 268px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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For more, including a narrated video, event information, back-story and subsequent material visit http://strawbl.eu/tent<br />
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<span style="font-size: 130%; font-weight: bold;">Francis Elliott</span><br />
<span style="font-style: italic;">Garden,</span> Oil on Steel wrapped in Acrylic, 2009<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-vcfgOR8mWKKPhUsSTv987c6ziK5MEKuPb-DoquEQUY4jnCk5dpoJWyqiyC0Wo_XmNSXHb2YBhwLVeb7HPP1OT3BVyqIQVnjHMGiN-YeyMuNCvPTTGbO2z3Sq6cO0FDss6v7t7srWJU/s1600/francis+elliot.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578096795907549778" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-vcfgOR8mWKKPhUsSTv987c6ziK5MEKuPb-DoquEQUY4jnCk5dpoJWyqiyC0Wo_XmNSXHb2YBhwLVeb7HPP1OT3BVyqIQVnjHMGiN-YeyMuNCvPTTGbO2z3Sq6cO0FDss6v7t7srWJU/s400/francis+elliot.jpg" style="cursor: pointer; display: block; height: 266px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Red and yellow and pink and green, Purple and orange and blue<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Cath Fairgrieve</span></span><br />
<span style="font-style: italic;">Ceramic Poems,</span> Artist Book, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjepGliS5AEETgcpgbAPen1dpNhYNKM2dq-3JdLZtIu_fWcaiScq4iV1KxLlDfuXwgb7PUB9ZZKzMmy8eG6oRP-cruMKlFuvDEf3M34KOok52_hRCWISmC9wPAsFoIXyCy2owrXf7bZbss/s1600/Cath+Fairgrieve.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578098501638363986" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjepGliS5AEETgcpgbAPen1dpNhYNKM2dq-3JdLZtIu_fWcaiScq4iV1KxLlDfuXwgb7PUB9ZZKzMmy8eG6oRP-cruMKlFuvDEf3M34KOok52_hRCWISmC9wPAsFoIXyCy2owrXf7bZbss/s400/Cath+Fairgrieve.jpg" style="cursor: pointer; display: block; height: 198px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Bernard Fairhurst</span><br />
<span style="font-style: italic;">Still Life</span>, Video, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPmCDXKXq_LKy1-dcvP27ZCjS7y8cTrlvNTC3CxDmIKKlM3484nUsPlQAZFLnVEMJoaXx4uEdc_mVdplJGWTwPbndn8av4_ywgWpsJLPD816l9-5IGKTWst-pMTwBLXROWBp4w7NVjLbk/s1600/Bernard+Fairhurst.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576608477283287650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPmCDXKXq_LKy1-dcvP27ZCjS7y8cTrlvNTC3CxDmIKKlM3484nUsPlQAZFLnVEMJoaXx4uEdc_mVdplJGWTwPbndn8av4_ywgWpsJLPD816l9-5IGKTWst-pMTwBLXROWBp4w7NVjLbk/s400/Bernard+Fairhurst.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Emma Fotherby</span><br />
<span style="font-style: italic;">Book Of Emotions: Outside</span>, Monoprint in Japanese Bound Book, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWAPxRgey4fbhOFNn-COm1yeYOY4I_SZcEsS_LZjBrBH3ArSWRVnK8Y1_-UL-z3zUqdsVL6bcBXVnzqI60oPhXSbtrHau8rEsQvZND-iiSsAOlQTtemNCPttl3uzoYc0QTjQipx2dmkvw/s1600/-1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578735334179404434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWAPxRgey4fbhOFNn-COm1yeYOY4I_SZcEsS_LZjBrBH3ArSWRVnK8Y1_-UL-z3zUqdsVL6bcBXVnzqI60oPhXSbtrHau8rEsQvZND-iiSsAOlQTtemNCPttl3uzoYc0QTjQipx2dmkvw/s400/-1.jpg" style="cursor: pointer; display: block; height: 267px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Jonathan Gann</span><br />
<span style="font-style: italic;">Piggy,</span> Artist Book, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW2CrOSBbhgf_bvMzHAv2DXpPbzakIEsbIWyTZwi0mJMqaEAO3x2yiHFbQyJQEe0xRw9t207Vdqnb1hetJ9hf6741vzAoX1zSqysYTQo7oeULgMLTZ66afY54TijoR8vSEqEq0EsKbdMk/s1600/Jonathan+Gann.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576610791644764514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW2CrOSBbhgf_bvMzHAv2DXpPbzakIEsbIWyTZwi0mJMqaEAO3x2yiHFbQyJQEe0xRw9t207Vdqnb1hetJ9hf6741vzAoX1zSqysYTQo7oeULgMLTZ66afY54TijoR8vSEqEq0EsKbdMk/s400/Jonathan+Gann.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Gina Gordon</span><br />
<span style="font-style: italic;">Wash</span>, Wax, Lint & Hair, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2kc0scp0U6XEYwxg9vFE3y7C9kDrjvcPPuL4o6abpG7-2-2QfWsGYlQd6MQlE7ztKlgftuJLKuLlbHd6JYNlcKfu5J0vkzqZPGUsgjgem3ECTUqjINuGrNmSSWS20xyjUv0oQbv1rDg/s1600/Gina+Gordon.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576609303538837970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2kc0scp0U6XEYwxg9vFE3y7C9kDrjvcPPuL4o6abpG7-2-2QfWsGYlQd6MQlE7ztKlgftuJLKuLlbHd6JYNlcKfu5J0vkzqZPGUsgjgem3ECTUqjINuGrNmSSWS20xyjUv0oQbv1rDg/s400/Gina+Gordon.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Hazel Grainger</span><br />
<span style="font-style: italic;">Ticket Book</span>, Reused Tickets and Timetables with Rubber Stamp Printing, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb7mvJBPC7UVvKMoSWsNodUg8zsGUPEWcVCAsxdJ7hwpNIFJ2StWBulHYgNLg5YFC-wOREIXroTyUDUhJZR2cx-nmE7B6b244jDejKrdc6KLIEpHejUreeI8hyphenhyphenNmt7sQmHmLMRkBeBJZk/s1600/Hazel+Grainger.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576640630553900930" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb7mvJBPC7UVvKMoSWsNodUg8zsGUPEWcVCAsxdJ7hwpNIFJ2StWBulHYgNLg5YFC-wOREIXroTyUDUhJZR2cx-nmE7B6b244jDejKrdc6KLIEpHejUreeI8hyphenhyphenNmt7sQmHmLMRkBeBJZk/s400/Hazel+Grainger.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Nikki Hafter</span><br />
<span style="font-style: italic;">Views of Egypt and the Desert,</span> Film, 2011<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNBYLIXwjgrVwTGzT3XF-otu-7Mu-F56jDSL-1qbMUufSDS8XcHSVAsVFQynDXlmhxdKgb-kEjb4sZHFZMEjGvF5pSH8GNz8kgyv-iHxYQ2wzlcQtDFxglIEPnqnt2E390ObpwbpbF7s0/s1600/Nikki+Hafter.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576612305559696546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNBYLIXwjgrVwTGzT3XF-otu-7Mu-F56jDSL-1qbMUufSDS8XcHSVAsVFQynDXlmhxdKgb-kEjb4sZHFZMEjGvF5pSH8GNz8kgyv-iHxYQ2wzlcQtDFxglIEPnqnt2E390ObpwbpbF7s0/s400/Nikki+Hafter.jpg" style="cursor: pointer; display: block; height: 231px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>I’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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Terry Hammill</span></span><br />
<span style="font-style: italic;">Umbrella Book</span>, A5 Prints, 2011<br />
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The <span style="font-style: italic;">Umbrella Book</span> 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.<br />
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<span style="font-size: 130%; font-weight: bold;">Claire Harbottle</span><br />
<span style="font-style: italic;">Lilla’s Birthing</span>, Digital Film, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX6h5d9-LWiT_u73LLkUcCDhVO1Oc4MiUL2a0yJr6ewdzqnY46mLsx8Bu-eEQLWNcnLvDwQcz4UK2nBsYreVt0Vah9-lpcygK38OWG2KO-Stjth_SAXWSsM2iMm-LRtVIMJYeMsfzS-2o/s1600/Claire+Harbottle.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576640618207595122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX6h5d9-LWiT_u73LLkUcCDhVO1Oc4MiUL2a0yJr6ewdzqnY46mLsx8Bu-eEQLWNcnLvDwQcz4UK2nBsYreVt0Vah9-lpcygK38OWG2KO-Stjth_SAXWSsM2iMm-LRtVIMJYeMsfzS-2o/s400/Claire+Harbottle.jpg" style="cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Rose Harries</span><br />
<span style="font-style: italic;">Les Choses A-Z,</span> Ink, Pencil, Crayon, Pen, 2011<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZGmHuAgQO8EsDgKVn960Tq8hLCWZkih7kXvWZClRpUO5J0ChK0It1hUiCIaZ7TKMT4auWgeIi0QrS1RvQ-vtZSF8UJecQTqHURnobRRV7bLJZoFu3GGSv9nADzuOFnjXbZH08x_otbIA/s1600/Rose+Harries.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576612320252106674" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZGmHuAgQO8EsDgKVn960Tq8hLCWZkih7kXvWZClRpUO5J0ChK0It1hUiCIaZ7TKMT4auWgeIi0QrS1RvQ-vtZSF8UJecQTqHURnobRRV7bLJZoFu3GGSv9nADzuOFnjXbZH08x_otbIA/s400/Rose+Harries.jpg" style="cursor: pointer; display: block; height: 332px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>I 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.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Debi Holbrook</span><br />
<span style="font-style: italic;">Untitled (Book), </span>Found Book/Wire, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1sYt5O0y5Fwh-Her4zWKOUhBdSFPjvaQBRPXvqaedQZxAwYpecNyAHHW5vtHgrn7hE_hAqEfPOyNZVOjX9TGwNnf93IjaGmpFpw5aigZEW5420SQ2osHfbAeIjfR0hagcbkDeWgmxKw8/s1600/Debi+Holbrook.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576640620953654658" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1sYt5O0y5Fwh-Her4zWKOUhBdSFPjvaQBRPXvqaedQZxAwYpecNyAHHW5vtHgrn7hE_hAqEfPOyNZVOjX9TGwNnf93IjaGmpFpw5aigZEW5420SQ2osHfbAeIjfR0hagcbkDeWgmxKw8/s400/Debi+Holbrook.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>'Is there something there amongst the dust that could bring you back' Eliza Marieanna<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Gillian Holt</span><br />
<span style="font-style: italic;">Broken and Air Fire</span>, Porcelain Books, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4bzHnvso7P7V-IPll2LU7vD5CA0dJAia36UVGJvjI7EqN1qibOHwqLtgfHbm3zcBb_ohD3AtIZ6IHjhgzB9FCOx8EvqzE6URJV-wDac5LfTOOsYufB0nquXDS08uA7gi-MKXvy3cf7uI/s1600/Gillian+Holt.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576609294138741074" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4bzHnvso7P7V-IPll2LU7vD5CA0dJAia36UVGJvjI7EqN1qibOHwqLtgfHbm3zcBb_ohD3AtIZ6IHjhgzB9FCOx8EvqzE6URJV-wDac5LfTOOsYufB0nquXDS08uA7gi-MKXvy3cf7uI/s400/Gillian+Holt.jpg" style="cursor: pointer; display: block; height: 228px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Shelley Hughes</span><br />
<span style="font-style: italic;">When I Was Just a Little Girl</span>, Acrylic & Pencil on Wallpaper, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpHiBea4vWISxelTz7rI9h_UCcnvROI6ybjlfFbYfaTeinpRZbu5S7ZWj64_Gel3EybJy9n9qo50frkA91XlDRchyphenhyphenS331Z-BnrmpgACVtiQ_nP21m8hbn7LGE9ot4-rrlabh-5uuO_xqM/s1600/wallpaper2.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578481318676895954" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpHiBea4vWISxelTz7rI9h_UCcnvROI6ybjlfFbYfaTeinpRZbu5S7ZWj64_Gel3EybJy9n9qo50frkA91XlDRchyphenhyphenS331Z-BnrmpgACVtiQ_nP21m8hbn7LGE9ot4-rrlabh-5uuO_xqM/s400/wallpaper2.jpg" style="cursor: pointer; display: block; height: 265px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Ben Johnson</span><br />
<span style="font-style: italic;">Divination</span>, Mixed Media, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDo6QAwCLd_2WRMf3CmUgOR7rq6Xi6lpkOp2Jcr_QaOtIx0jSrU0JvkoPAG8Qh9MvsoEam7ViW-1jZpmK_6kUWM-KJmo5cgeOHY2DOP-e9RyqyJTkDCo18vaQGUDfIKyTtP8QExxIS9A4/s1600/Ben+Johnson.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576639697857405138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDo6QAwCLd_2WRMf3CmUgOR7rq6Xi6lpkOp2Jcr_QaOtIx0jSrU0JvkoPAG8Qh9MvsoEam7ViW-1jZpmK_6kUWM-KJmo5cgeOHY2DOP-e9RyqyJTkDCo18vaQGUDfIKyTtP8QExxIS9A4/s400/Ben+Johnson.jpg" style="cursor: pointer; display: block; height: 220px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Katherine Johnson</span><br />
<span style="font-style: italic;">Knitted Pieces, </span>Wool & Knitting Needles, 2009<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIyJuV_E3nqUU5OEYHpxjmuR4uj0HMbnAdaIIQs4MrVHyCa9yCadGlXTia96Gzafd7XQRYKuM6uOCfLl6thrLl6VIxMgrBfoXRBGX46wkgCsHq0yu6oXtZ1kdme8EJ2GdeqrCSQc27Na4/s1600/Katherine+Johnson.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578099647647939058" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIyJuV_E3nqUU5OEYHpxjmuR4uj0HMbnAdaIIQs4MrVHyCa9yCadGlXTia96Gzafd7XQRYKuM6uOCfLl6thrLl6VIxMgrBfoXRBGX46wkgCsHq0yu6oXtZ1kdme8EJ2GdeqrCSQc27Na4/s400/Katherine+Johnson.jpg" style="cursor: pointer; display: block; height: 321px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Claire Kearns</span><br />
<span style="font-style: italic;">Convers[ation] III</span>, Interactive Sound Installation, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRfx2vNgCVV07yIYK6bQpPGH38AXQ9HHpRkm4Ihws5HGnV80NKm00aybT9jHgaad4aaOpwvh2geo4n3X1KJN8gJv3vtYTmmOelhl0BxEuODEA458z1SIGtJISDJpNE4CfsztOExlrWa5k/s1600/Claire+Kearns.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576609282814727874" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRfx2vNgCVV07yIYK6bQpPGH38AXQ9HHpRkm4Ihws5HGnV80NKm00aybT9jHgaad4aaOpwvh2geo4n3X1KJN8gJv3vtYTmmOelhl0BxEuODEA458z1SIGtJISDJpNE4CfsztOExlrWa5k/s400/Claire+Kearns.jpg" style="cursor: pointer; display: block; height: 377px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-style: italic;">Convers[ation] III</span> 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<br />
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<span style="font-size: 130%; font-weight: bold;">Rosie Kearton</span><br />
<span style="font-style: italic;">Fragmented Memories</span>, Slide Transparencies, 2008 - 2009<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYLujaYMCooAnG30MrpiGm49vTUuaLgAbxSUzeFqRfTNBbby4G5Xvk9or2byDLQNE1wlcd3V0oEnUUZRrujvjheIKjRfdCNF5lJ3Fa3bqcIDq72g81LRZ2rTQZtVlgDrR03Si4rtG8eY/s1600/Rosie+Kearton.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576613522956991234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYLujaYMCooAnG30MrpiGm49vTUuaLgAbxSUzeFqRfTNBbby4G5Xvk9or2byDLQNE1wlcd3V0oEnUUZRrujvjheIKjRfdCNF5lJ3Fa3bqcIDq72g81LRZ2rTQZtVlgDrR03Si4rtG8eY/s400/Rosie+Kearton.jpg" style="cursor: pointer; display: block; height: 265px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Sophie Kemp</span></span><br />
<span style="font-style: italic;">Untitled,</span> Paper, Ordnance Survey Maps, Shoe Rack, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVBJBm-56Nf0yT5dS8UyKo53CPqtTb6riPGWQTapnSy9FgRVNbfWhi9N3d5bO0GFClyL6aHSzCQKti5b6stuOnkFkSekxo1Wqhs2wc9-keqX6Lmp6TxrROKxDlGKIcV1maiIk67KDwHe4/s1600/Boats.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576639700437807154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVBJBm-56Nf0yT5dS8UyKo53CPqtTb6riPGWQTapnSy9FgRVNbfWhi9N3d5bO0GFClyL6aHSzCQKti5b6stuOnkFkSekxo1Wqhs2wc9-keqX6Lmp6TxrROKxDlGKIcV1maiIk67KDwHe4/s400/Boats.jpg" style="cursor: pointer; display: block; height: 218px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Knit A Bear Face (Guerrilla Knitters)</span><br />
<span style="font-style: italic;">Knit Vision,</span> Knitted TV, 2011<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Giuseppe Lambertino</span><br />
<span style="font-style: italic;">Assenza, </span>Photography, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrjqd2n1cIcixF1RHQjlbXCAk_tSt5b1jEhyphenhyphenUXtMFv6_6Z-HM0TDyUfW2CbfATrgzeJKGY7Mc7crDPnPO34C9zGZ3TDxMAXIHbNSVqE1y2z2J-9BeGEodtu3y50-vGw1-BsdxvHXCnBU/s1600/Camera+I+by+Giuseppe+Lambertino.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578471841236468594" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrjqd2n1cIcixF1RHQjlbXCAk_tSt5b1jEhyphenhyphenUXtMFv6_6Z-HM0TDyUfW2CbfATrgzeJKGY7Mc7crDPnPO34C9zGZ3TDxMAXIHbNSVqE1y2z2J-9BeGEodtu3y50-vGw1-BsdxvHXCnBU/s400/Camera+I+by+Giuseppe+Lambertino.jpg" style="cursor: pointer; display: block; height: 266px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Ronit Levin Delgado Rochas</span><br />
<span style="font-style: italic;">The Metamorphosis 1 & 2</span>, Pencil on Paper / Blue Sponge, 2011<br />
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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.<br />
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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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Simon Lewis</span></span><br />
<span style="font-style: italic;">Cup of Tea</span>, Digital Print of Pen Drawing, 2010<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Heather Matthew</span><br />
<span style="font-style: italic;">Luv2</span>, Mixed Media, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9_0tdYQZ71uDTboy8ERHiFUIBmmG14nNp-xBecDWWZPreZjpZnwcx3GCL2CFTrVrTAL1cu-9VGGV0RJRIUcdzoqd5VNlx46roQomuJbXKcm6oe6Ji_O4u8HcrPEqbnjw58zQu5PyvRYY/s1600/Heather+Matthew.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576609995583626242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9_0tdYQZ71uDTboy8ERHiFUIBmmG14nNp-xBecDWWZPreZjpZnwcx3GCL2CFTrVrTAL1cu-9VGGV0RJRIUcdzoqd5VNlx46roQomuJbXKcm6oe6Ji_O4u8HcrPEqbnjw58zQu5PyvRYY/s400/Heather+Matthew.jpg" style="cursor: pointer; display: block; height: 251px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Jean McEwan</span><br />
<span style="font-style: italic;">Up In The Woods</span>, Instant Book, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq92xy7ilgbFYlbE5SmVkln5qEpyoFx1fRIcQPYX6Gzfcf05mJA6T74I_1u4LnIMOj-sevB0KBBkfrlWILH-0EykigNNsexezkGx_pYYXI3P4-CPNMrscq7eqShPoWb6QwJJ1Z9evMVpY/s1600/upinthewoodsbook.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578471845135615186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq92xy7ilgbFYlbE5SmVkln5qEpyoFx1fRIcQPYX6Gzfcf05mJA6T74I_1u4LnIMOj-sevB0KBBkfrlWILH-0EykigNNsexezkGx_pYYXI3P4-CPNMrscq7eqShPoWb6QwJJ1Z9evMVpY/s400/upinthewoodsbook.jpg" style="cursor: pointer; display: block; height: 261px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Laura Millward</span><br />
<span style="font-style: italic;">Fearnley Street</span>, Blackwork on Canvas, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu6gfdC_nw-9HUIs8q1UwUWMK0S1T2seXEMctQSUXG4y93lXTlERtNGjuzlE5o7e_-xH5UNPZ_5kn4ySDJTttpsw7rBood_Nmcr5Ic0nrBv2g6ytnAaEmlfVzSIcTulLqaRSKRc0DtaLM/s1600/Laura+Millward.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578076811102894242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu6gfdC_nw-9HUIs8q1UwUWMK0S1T2seXEMctQSUXG4y93lXTlERtNGjuzlE5o7e_-xH5UNPZ_5kn4ySDJTttpsw7rBood_Nmcr5Ic0nrBv2g6ytnAaEmlfVzSIcTulLqaRSKRc0DtaLM/s400/Laura+Millward.jpg" style="cursor: pointer; float: left; height: 321px; margin: 0pt 10px 10px 0pt; width: 237px;" /></a>The image of the familiar red brick terrace has been constructed by an even and regular embroidery process known as Blackwork.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Bob Milner</span><br />
<span style="font-style: italic;">How did we do?</span> Ink on Paper: a Two Part Installation, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzzgMJ4QyVsxVQ2hVbW_ZvRJgbwrNcy6vt6BMkjD6N2rEIv7XfmxtBxfxf0_Yqd0abdw5Bl5jxzIsAmz440wovtXTtuvSAg-kyjeRDMY3UpaeqM_93Wb4Y2EavdTsum7y-YDaRkVQJLJ4/s1600/HOME+JPEG.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578471835557755554" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzzgMJ4QyVsxVQ2hVbW_ZvRJgbwrNcy6vt6BMkjD6N2rEIv7XfmxtBxfxf0_Yqd0abdw5Bl5jxzIsAmz440wovtXTtuvSAg-kyjeRDMY3UpaeqM_93Wb4Y2EavdTsum7y-YDaRkVQJLJ4/s400/HOME+JPEG.jpg" style="cursor: pointer; display: block; height: 360px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Carla Moss</span></span><br />
<span style="font-style: italic;">No Place Like Home, No Home Like Place,</span> Mixed media, 2011<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Kathryn Oubridge</span><br />
<span style="font-style: italic;">Collateral Damage (Unfinished)</span>, Installation, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG6zUk1o1lkhP7XydTU_VXS7OMqJMBp4zQ3YQdTGWABrhBJf-qFmjw6kGua_dfYEwiAS6vm4mc7YDTwn21dMjH8c9OOjpGV1JS4ieMTwlF1cMbsIhNVGoQSGhhjFcEToAyj5JvmnqUgJg/s1600/Kathryn+Oubridge.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576610815535178594" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG6zUk1o1lkhP7XydTU_VXS7OMqJMBp4zQ3YQdTGWABrhBJf-qFmjw6kGua_dfYEwiAS6vm4mc7YDTwn21dMjH8c9OOjpGV1JS4ieMTwlF1cMbsIhNVGoQSGhhjFcEToAyj5JvmnqUgJg/s400/Kathryn+Oubridge.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-style: italic;">Collateral Damage (Unfinished)</span> 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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Louisa Parker</span></span><br />
<span style="font-style: italic;">Kitchen Sink,</span> DVD, 2004<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrmyYEqChb7PA3fvhiZ2TE4B4w0HKz48Q9wfS21dfKl7KtnjwB9mRR3L51xCCyKNZHJ_aJI4H4g2zLAf9p4suHXUfHhgNg_pom6pui2G-wxBc36TZ0zRsMNYJEL-AoucwuZzDyQaG4zss/s1600/kitchen+sink+2+a.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578735330888945394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrmyYEqChb7PA3fvhiZ2TE4B4w0HKz48Q9wfS21dfKl7KtnjwB9mRR3L51xCCyKNZHJ_aJI4H4g2zLAf9p4suHXUfHhgNg_pom6pui2G-wxBc36TZ0zRsMNYJEL-AoucwuZzDyQaG4zss/s400/kitchen+sink+2+a.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Zeev Parush</span><br />
<span style="font-style: italic;">Hardcover</span>, Digital Photograph, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-DZv5_jcDkMlmJnUyjsuYWBP65q2C1xvkiWO1SH7aj3U07BFhOUU2QwSKcClWcSh9oYyDV1HeACb_Bj7DsV1x_4Th3Fx8ibjpE-Jb5mHipKeSvRnRSv1ZkozGsckRDU7LMTYHp_nNYs/s1600/Zeev+Parush.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576613530608138226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-DZv5_jcDkMlmJnUyjsuYWBP65q2C1xvkiWO1SH7aj3U07BFhOUU2QwSKcClWcSh9oYyDV1HeACb_Bj7DsV1x_4Th3Fx8ibjpE-Jb5mHipKeSvRnRSv1ZkozGsckRDU7LMTYHp_nNYs/s400/Zeev+Parush.jpg" style="cursor: pointer; display: block; height: 267px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Jane Platts</span><br />
<span style="font-style: italic;">Constructed Dresser</span>, Dresser & Reclaimed Cardboard, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHVkU79c4UXwkcj_pZpeMTfPJiXiu_hYowFSJyxAn_T8tgXNI8Rg475GCKUaMVlXsu9t9wXOnVC-pGos5WUuHPnNHbrTDjr6cBEvDF_B6dcPgcMVk5WOO9SLyIPWFTC5jQdFA8WRk00fA/s1600/Jane+Platts.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578104540687636226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHVkU79c4UXwkcj_pZpeMTfPJiXiu_hYowFSJyxAn_T8tgXNI8Rg475GCKUaMVlXsu9t9wXOnVC-pGos5WUuHPnNHbrTDjr6cBEvDF_B6dcPgcMVk5WOO9SLyIPWFTC5jQdFA8WRk00fA/s400/Jane+Platts.jpg" style="cursor: pointer; display: block; height: 347px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Mikhail Pogarsky</span><br />
<span style="font-style: italic;">Window to the North</span>, Wood, Paper, Silk & Leather, 2010<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK3Srd8BQY-HIHOBRsEPNj8LtvAQhicrY_kxeHsrF6YumTXOUTfjUwUvmPO4uR_ru8A6cFN_HIOGdUpQZJSXiGfYMClfOSU6KhdEyXQTzcODK8kpj5f1miuUeKFYLv6UTh3nWo1Ba8tvA/s1600/Michail.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578100611871227970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK3Srd8BQY-HIHOBRsEPNj8LtvAQhicrY_kxeHsrF6YumTXOUTfjUwUvmPO4uR_ru8A6cFN_HIOGdUpQZJSXiGfYMClfOSU6KhdEyXQTzcODK8kpj5f1miuUeKFYLv6UTh3nWo1Ba8tvA/s400/Michail.jpg" style="cursor: pointer; display: block; height: 335px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Some flying creatures fall through the poet’s window. The poet collects these creatures and makes a book about their life.<br />
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<span style="font-size: 130%; font-weight: bold;">Biba J Reid</span><br />
<span style="font-style: italic;">Five Generations on the Yorkshire Coast</span>, Objet Trouvé, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqsXduGRpzn_BxnAbklVWbi2VJkk3N3xzc0_unATQm6YJzzrnWvR8x2ZFpMh3Jqg2MkaTKs3iXdeMsGu54-JhX9O6gfBghmEqcTxqxBqbkQrOy4EAbmU-sa_a8KSCKXrgPbIX-WTCguO4/s1600/Biba+J+Reid.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576608481540969890" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqsXduGRpzn_BxnAbklVWbi2VJkk3N3xzc0_unATQm6YJzzrnWvR8x2ZFpMh3Jqg2MkaTKs3iXdeMsGu54-JhX9O6gfBghmEqcTxqxBqbkQrOy4EAbmU-sa_a8KSCKXrgPbIX-WTCguO4/s400/Biba+J+Reid.jpg" style="cursor: pointer; display: block; height: 319px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Ellie Sanders</span><br />
<span style="font-style: italic;">Autumn Shawl,</span> Knitting, 2008<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3K1T6zEkk05vNVJ_e7Q-NeZXb42sKqPln8kLA_lGpEJcMkUaVSEj1WC5AVtZevi58HKKJNjiyMcxT4Wx7kr7o-DQk2ISbxfqhYO0gTHbkdIISKZxrB2wRd9rbmyGM1_doyI-7gam3Nk/s1600/ellie+sanders.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576640626143124754" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3K1T6zEkk05vNVJ_e7Q-NeZXb42sKqPln8kLA_lGpEJcMkUaVSEj1WC5AVtZevi58HKKJNjiyMcxT4Wx7kr7o-DQk2ISbxfqhYO0gTHbkdIISKZxrB2wRd9rbmyGM1_doyI-7gam3Nk/s400/ellie+sanders.jpg" style="cursor: pointer; display: block; height: 268px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>We 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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Aine Scannell</span></span><br />
<span style="font-style: italic;">Little Voice</span>, Paper Sculpture, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhijGU3rtJo30-J4AHLRoDHqePTXmD3xTLhWTXpjsv_t6Y_hETYVqyhvXtKdyCBD42z6r8jQEw2Jiei9H5hKsrnL_tAf3mvcgQQoWj7bXYklEpfa6ezyOKNJkmbMDmWZghOToEE7on7rzM/s1600/1AineScannell_Little-voicexx.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578730203118432242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhijGU3rtJo30-J4AHLRoDHqePTXmD3xTLhWTXpjsv_t6Y_hETYVqyhvXtKdyCBD42z6r8jQEw2Jiei9H5hKsrnL_tAf3mvcgQQoWj7bXYklEpfa6ezyOKNJkmbMDmWZghOToEE7on7rzM/s400/1AineScannell_Little-voicexx.jpg" style="cursor: pointer; display: block; height: 308px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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I made an installation in 2002 called <span style="font-style: italic;">House Angel</span> – 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.<br />
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In <span style="font-style: italic;">Little Voice</span> 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<br />
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<span style="font-size: 130%; font-weight: bold;">Jacob Schuhle-Lewis</span><br />
<span style="font-style: italic;">The Yellow Wallpaper</span>, Photograph, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM2-GUESAhfKoS5DCzstSwreVI7kP-rPWMAd1ejIEiSYCTohwVZjfzT-582ueRNxBGTH-LIeaD3O1erHDCVw7GtsBydRXoZLidW04zVE6AvxN4b8u1_AllNKGyKFH7uv25xlTSweDvtpQ/s1600/homeshowpic.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578012490005416274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM2-GUESAhfKoS5DCzstSwreVI7kP-rPWMAd1ejIEiSYCTohwVZjfzT-582ueRNxBGTH-LIeaD3O1erHDCVw7GtsBydRXoZLidW04zVE6AvxN4b8u1_AllNKGyKFH7uv25xlTSweDvtpQ/s400/homeshowpic.jpg" style="cursor: pointer; float: left; height: 400px; margin: 0pt 10px 10px 0pt; width: 205px;" /></a><span style="font-style: italic;">The Yellow Wallpaper</span> 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.<br />
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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.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Carrie Scott-Huby</span><br />
<span style="font-style: italic;">Making Shadows on the Wall (in-situ)</span>, Wall Drawing, 2011<span style="font-style: italic;"><br />
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</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY9fHaLCNwDV-YXxD1nBST7fzKzqxu332EnJHs9_CQ5p9Tw7OFMhHIkJi7MfWr-SFTW2t4TsNqR61RghhpQrvKxMisOAfCEV2eU_iiNVEeFxAsqmDGBXzTmIkWTBTAcX_soFvUJV4_mFM/s1600/Carrie+Scott-Huby.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578094966649040770" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY9fHaLCNwDV-YXxD1nBST7fzKzqxu332EnJHs9_CQ5p9Tw7OFMhHIkJi7MfWr-SFTW2t4TsNqR61RghhpQrvKxMisOAfCEV2eU_iiNVEeFxAsqmDGBXzTmIkWTBTAcX_soFvUJV4_mFM/s400/Carrie+Scott-Huby.jpg" style="cursor: pointer; display: block; height: 51px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span style="font-style: italic;">Making Shadows on The Wall</span> 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.<br />
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<span style="font-size: 130%; font-weight: bold;">Catherine Scriven </span><br />
<span style="font-style: italic;">Daily Colour Projects: August</span>, Printed on Paper, Thread, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikV0csGPpfJYfhSn2Sw4SgI2c5-0Obc9Js4qH0mcWu4INug3eZqQxY8jkBK3QwapuLvNXiju6CavuekJdkIZSaifYdpXp3LJO82_BqgQBHlOIFXW7qxSpxHE_xmdW4cNdzf35Rsk3Sk5c/s1600/Catherine+Scriven.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576639704863314834" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikV0csGPpfJYfhSn2Sw4SgI2c5-0Obc9Js4qH0mcWu4INug3eZqQxY8jkBK3QwapuLvNXiju6CavuekJdkIZSaifYdpXp3LJO82_BqgQBHlOIFXW7qxSpxHE_xmdW4cNdzf35Rsk3Sk5c/s400/Catherine+Scriven.jpg" style="cursor: pointer; display: block; height: 248px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Ruth Shaw-Williams</span></span><br />
<span style="font-style: italic;">Unheimlich II,</span> Concertina Book, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk9lf4-vE9ITZVobJsw3vaDK2cXdVT08veC7PJaKU_hKDTTHmLS3-qXJ2Jq1jhtZ4NM6Vlrre05YrQ8BjGNYDfWsmUSOYevk6Yb9ABEprgPhOY_HrjybTgWvTQix7Uo742lhYbMnaTqeo/s1600/Ruth+Shaw.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578105342290824786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk9lf4-vE9ITZVobJsw3vaDK2cXdVT08veC7PJaKU_hKDTTHmLS3-qXJ2Jq1jhtZ4NM6Vlrre05YrQ8BjGNYDfWsmUSOYevk6Yb9ABEprgPhOY_HrjybTgWvTQix7Uo742lhYbMnaTqeo/s400/Ruth+Shaw.jpg" style="cursor: pointer; display: block; height: 191px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>'Heimlich can be seen as the realm of the tame, of intimacy, friendliness… the second meaning of heimlich is that of concealment' David Morley<br />
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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.<br />
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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'.<br />
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<span style="font-size: 130%; font-weight: bold;">Susan Slann</span><br />
<span style="font-style: italic;">Forget Me Not 3,</span> Painting on Found Wallpaper, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOk2UKSAdjFE6jIVwVfcWQkB46ohx3mdt4hEENRhyphenhyphen3_Ix4UGCiY9DUn1s-oWRAMfiaM_OW6vJ8wiDNYHhkarbAtYEqIMNJZ1_ArSPqTJHbf8tj3oZBcc479XdOjYvNkkYuybe3As-pOFE/s1600/Forget-me-not+3.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578853444217601874" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOk2UKSAdjFE6jIVwVfcWQkB46ohx3mdt4hEENRhyphenhyphen3_Ix4UGCiY9DUn1s-oWRAMfiaM_OW6vJ8wiDNYHhkarbAtYEqIMNJZ1_ArSPqTJHbf8tj3oZBcc479XdOjYvNkkYuybe3As-pOFE/s400/Forget-me-not+3.jpg" style="cursor: pointer; display: block; height: 313px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><br />
<span style="font-size: 130%; font-weight: bold;">Emily Speed</span><br />
<span style="font-style: italic;">Doorknob,</span> Paper in Resin, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgmPuvj_4iOutM6Re7kpKkA8KuvPSE6VXqnJ7L4x2R0nuxVJd8PaKdCAU-nc6xu6ll48Equo62qK-EF8YpjFWAD2784sYUYqk-BNrvpyYTtuZoReSObAhTRErKvX_v-jov4M9-X_VYOow/s1600/Emily+Speed.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576609290246295986" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgmPuvj_4iOutM6Re7kpKkA8KuvPSE6VXqnJ7L4x2R0nuxVJd8PaKdCAU-nc6xu6ll48Equo62qK-EF8YpjFWAD2784sYUYqk-BNrvpyYTtuZoReSObAhTRErKvX_v-jov4M9-X_VYOow/s400/Emily+Speed.jpg" style="cursor: pointer; display: block; height: 318px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>Doorknob. A functional object made specifically to indicate an entrance to a space for reading, thinking and plotting.<br />
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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.<br />
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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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Rebecca Strain</span></span><br />
<span style="font-style: italic;">The Book Of Us</span>, Mail Art, 2011<br />
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‘One cannot erase things once they have been written on paper. There is no going back’ Kenya Hara<br />
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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.<br />
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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.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Louise Tett</span><br />
<span style="font-style: italic;">And You Are</span>, Vintage Book, 2011<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4bLUBCG8WzCzKczlnxkCdcu42Zhfi6INO9G7sKA21V9N6PFUUuPJk_JiHxjcQ66hk6MmbCAf03uesO-yKAi5Tll9eS2T6JETwTU-IKpB71V188U2yWFT9H9Bdi0TKiMH047-ivEQjYUE/s1600/Louise+Tett.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576612289353788274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4bLUBCG8WzCzKczlnxkCdcu42Zhfi6INO9G7sKA21V9N6PFUUuPJk_JiHxjcQ66hk6MmbCAf03uesO-yKAi5Tll9eS2T6JETwTU-IKpB71V188U2yWFT9H9Bdi0TKiMH047-ivEQjYUE/s400/Louise+Tett.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Kim Thornton</span><br />
<span style="font-style: italic;">The Domestic Alchemist: Scoop</span>, Ultrachrome Print, 2009<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTuUjaM5AkR1iJ7d-4bjbRrxZWqphtt4IwLADSO5wktpeZ7_oKr1ubMWL9XAYqc6LjThypzhTOmhNBF9QkI0xJ_bSbc6da_83NU7zTy7bDxv49rhsDvBcS48yJnXP9kGPhpVjFC7QTvUg/s1600/Kim+Thornton+2.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576611516910339746" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTuUjaM5AkR1iJ7d-4bjbRrxZWqphtt4IwLADSO5wktpeZ7_oKr1ubMWL9XAYqc6LjThypzhTOmhNBF9QkI0xJ_bSbc6da_83NU7zTy7bDxv49rhsDvBcS48yJnXP9kGPhpVjFC7QTvUg/s400/Kim+Thornton+2.jpg" style="cursor: pointer; display: block; height: 280px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Lidia Vega Fuentes</span><br />
<span style="font-style: italic;">Rewriting History II</span>, Mixed Media, 2010<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUMKOBsYcb0OY7u4jN9Q8XyjaRl-5ii7AnnYk6Xo5bJuwFaaHIKc6OkM1lNa7ZzIl20A8Ge65Ykduw4i4DWygPgqk8ps3czsQJsupU75dOIoel_nAj-4WYdMFRLhyMZp3msDJBPEn8sZg/s1600/lidiavega.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5576640964314765202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUMKOBsYcb0OY7u4jN9Q8XyjaRl-5ii7AnnYk6Xo5bJuwFaaHIKc6OkM1lNa7ZzIl20A8Ge65Ykduw4i4DWygPgqk8ps3czsQJsupU75dOIoel_nAj-4WYdMFRLhyMZp3msDJBPEn8sZg/s400/lidiavega.jpg" style="cursor: pointer; display: block; height: 313px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>In 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.<br />
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<span style="font-size: 130%; font-weight: bold;">Sandra Whyles</span><br />
<span style="font-style: italic;">Blue and White with Red, Yellow, Green and Black</span>, Handmade Artist Book with Paper Clay Ceramic Box, 2009<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfl78JCiOpSXvSeL4A6fpkRhDpEjU5a5A6T7zLUW3prwMhEZOlVKVQOprq5gf_ZStJop9iw0PCz12_kBnHC0fKigYGOOBvBEaW6WEEyPzCrzXMFQTXFSfQKTic09JrlVK37A4IDB4QkW8/s1600/sandra.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578091142455439074" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfl78JCiOpSXvSeL4A6fpkRhDpEjU5a5A6T7zLUW3prwMhEZOlVKVQOprq5gf_ZStJop9iw0PCz12_kBnHC0fKigYGOOBvBEaW6WEEyPzCrzXMFQTXFSfQKTic09JrlVK37A4IDB4QkW8/s400/sandra.jpg" style="cursor: pointer; display: block; height: 193px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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.<br />
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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.<br />
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<span style="font-size: 130%; font-weight: bold;">Lynette Willoughby</span><br />
<span style="font-style: italic;">Nest,</span> Feathers, Books, Paper, Cloth, Nest, 2009-11<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnjj2nVwExSIMilhb_6ECSI2VNhuyI6iONkN4bqDeLSp5UMk89fCW6YRLUigP8MkuL7V0I-Zkj_bFPMt5a_4yZGm7yQHnbt9Ox98yW10n1MCQpsGKmHouqswMEb06lR5KXLGn1nwkMneo/s1600/lynette+willoughby.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578072343104605458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnjj2nVwExSIMilhb_6ECSI2VNhuyI6iONkN4bqDeLSp5UMk89fCW6YRLUigP8MkuL7V0I-Zkj_bFPMt5a_4yZGm7yQHnbt9Ox98yW10n1MCQpsGKmHouqswMEb06lR5KXLGn1nwkMneo/s400/lynette+willoughby.jpg" style="cursor: pointer; display: block; height: 387px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Jayne Wilson</span></span><br />
<span style="font-style: italic;">Wax Wallpaper 1,</span> Wax Encaustic on Found Wallpaper, 2009<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy4vdBbLxtM4xwryos6IM10Po_KQ9vWl55wzNdc3boHHDRag0N0tjR3p7WS5wFLdAJqJY8nQ-Nlj26_8ji75BNwkUj2Oekgrl1sJ-Q7hYWVdy3j8AWsRe5un6XLr05RmQiU6AD1w_nyV8/s1600/Wax+wallpaper+1.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578850266495962642" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy4vdBbLxtM4xwryos6IM10Po_KQ9vWl55wzNdc3boHHDRag0N0tjR3p7WS5wFLdAJqJY8nQ-Nlj26_8ji75BNwkUj2Oekgrl1sJ-Q7hYWVdy3j8AWsRe5un6XLr05RmQiU6AD1w_nyV8/s400/Wax+wallpaper+1.jpg" style="cursor: pointer; float: left; height: 400px; margin: 0pt 10px 10px 0pt; width: 238px;" /></a>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.<br />
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<span style="font-size: 130%; font-weight: bold;">Leslie Wilson-Rutterford</span><br />
<span style="font-style: italic;">Stitched Up</span>, 13 Embroidered Hoops, 2010<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPubdmJAuNxClzler7tO3wjQmGNfwncG_KSXj2bEUiX0KPNks3QffXsqI6TddlZA3Squn33D8gKDLbAEQatDJE8ZDK1PMxrkT5Y3hqsWdt4PNA0M3-VnFY-YJPWsHLtZrYb5Nh_ipoPuY/s1600/Leslie+WR.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578069606003773138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPubdmJAuNxClzler7tO3wjQmGNfwncG_KSXj2bEUiX0KPNks3QffXsqI6TddlZA3Squn33D8gKDLbAEQatDJE8ZDK1PMxrkT5Y3hqsWdt4PNA0M3-VnFY-YJPWsHLtZrYb5Nh_ipoPuY/s400/Leslie+WR.jpg" style="cursor: pointer; display: block; height: 382px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>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 <span style="font-style: italic;">Home From Home</span> delve into my lifelong pre-occupation with health, medicine, aging and illness.<br />
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In the first, <span style="font-style: italic;">Stitched Up</span>, 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.<br />
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<span style="font-style: italic;">The Four Sufferings</span> (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.<br />
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<span style="font-size: 130%;"><span style="font-weight: bold;">Kate Woodfield</span></span><br />
<span style="font-style: italic;">Cage</span>, Paper, Wood, 2011<br />
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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.</div>Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com0tag:blogger.com,1999:blog-7680926498434887333.post-12374252853714592252010-03-18T05:21:00.001-07:002010-04-01T04:36:28.209-07:00Cabinet of Curiosities<span style="font-weight:bold;">Old Mining Building, University of Leeds</span><br /><span style="font-style:italic;">8th - 19th March 2010</span><br />Curated by Louise Atkinson<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPqly1uopsNyhl0AQ737noHAO-kdS9lSc3Epi5-oqyd7NG-_Ai5gxN_tlwKqS45GAW_Tv7UAjlS95o2dhulXJiKOCDx0X-MST0yy2tzjiItxZavtioYone1O-_CTTg5eCmfRPJTlU7ybc/s1600/CAB13+flyer.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 226px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPqly1uopsNyhl0AQ737noHAO-kdS9lSc3Epi5-oqyd7NG-_Ai5gxN_tlwKqS45GAW_Tv7UAjlS95o2dhulXJiKOCDx0X-MST0yy2tzjiItxZavtioYone1O-_CTTg5eCmfRPJTlU7ybc/s320/CAB13+flyer.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5452531944465043202" /></a>As part of the 13th Leeds International Book Fair, Artist Book Collective was invited by organizer Chris Taylor to present Cabinet of Curiosities, an exhibition of relational bookworks by local, national and international artists. The focus of the exhibition was a large cabinet with 14 drawers. Each drawer contained site-specific work by a different artist, pushing the boundaries of book art through the use of found objects, text, audio, sculpture and photography. Instructions were provided as part of, or alongside artworks, producing an interactive element to encourage the audience to contribute to the creation and dissemination of the work. By bringing together text, performance and collaborative practice, the work also referenced previous art movements including Surrealism and Fluxus and was complimented by additional bookworks exploring interaction and collaboration.<div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicpLh0jXtBZf6NkB8hGhuh3hkGvlf1L7iT7vzBJXOMiyUnMEDSPpwLDkXwH4oQ3Fi_mAzb_dE8EVArN6ItiVszt13UYDQCYVHnFd5q7eipiLpHx9koQV4Iq8VuBEFg3PPhiVgdXBHIDBY/s1600/cabinet72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 319px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicpLh0jXtBZf6NkB8hGhuh3hkGvlf1L7iT7vzBJXOMiyUnMEDSPpwLDkXwH4oQ3Fi_mAzb_dE8EVArN6ItiVszt13UYDQCYVHnFd5q7eipiLpHx9koQV4Iq8VuBEFg3PPhiVgdXBHIDBY/s400/cabinet72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454712465856541346" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgevpMC85IwEhr8pG3CUCeg2KGBw-4tAmS7gQgnvwRkWDy2ZZD2Kj_PzOTGwb6_JaV8O_O01xGAKfBMM7mmR_B12lTyT0piTiwbbZZ0cjeCpcvbnU8ycpl4INorjv5TGvrQGUv4RHKkCoI/s1600/cabin72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 241px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgevpMC85IwEhr8pG3CUCeg2KGBw-4tAmS7gQgnvwRkWDy2ZZD2Kj_PzOTGwb6_JaV8O_O01xGAKfBMM7mmR_B12lTyT0piTiwbbZZ0cjeCpcvbnU8ycpl4INorjv5TGvrQGUv4RHKkCoI/s400/cabin72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454708119337817906" /></a><br /><span style="font-weight:bold;">Ellie Sanders</span><br /><span style="font-style:italic;">Book-binding</span><br />A collection of abridged life stories built up over the course of the exhibition and woven into a cohesive frame by the authors.<br /><br />Select a thread from the pile. Write your life story in 20 words or less on the strand of paper attached. Tip the rocker forward (you may need to move it back up the frame, away from you). Weave your story between the threads. Tip the rocker back again. Weave back the other way. <div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4enyIlDJv61gyWI1GuXM55VDK2bcwgam711h7nH24qPSFkC4XVqbQH0-i1Sz5-_tm5nI3q1RurwciXkT6FZaNJEgutNljHHDWfVVvsLSygYsTJMX0cXxZ4ZYLEHMyjeVMMaUcFONnvr8/s1600/ellie72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 291px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4enyIlDJv61gyWI1GuXM55VDK2bcwgam711h7nH24qPSFkC4XVqbQH0-i1Sz5-_tm5nI3q1RurwciXkT6FZaNJEgutNljHHDWfVVvsLSygYsTJMX0cXxZ4ZYLEHMyjeVMMaUcFONnvr8/s400/ellie72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454708693196286034" /></a><br /><span style="font-weight:bold;">Linda Ingham</span><br /><span style="font-style:italic;">‘Open’ series: Specimen</span><br />The ‘Open’ series is inspired by a particular place of importance to me, close by my coastal home . . .The ever-changing nature of the estuary, the equal beauty of the calm and fury of water and wind, and the uncountable multitude of lives and deaths and the fullness and emptiness of shells; my parents’ courtship, my childhood summers, the long-past, mid-summer night suicide of a close one, in this place; the watery and skyful horizon as viewed through the hollow carcass of a gull, spied on the sea-wall whilst in transit to this destination; the frozen perfection of a dead starfish in the ice at the edge of the receding tide, the importance of movement - both of freight, lives and time and the needfulness of shadow to appreciate the light.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDAKX0M9XLKDb1V75i-AjS5xkDgQmKdz3kdH_fCYG1ttee3jUapKXkA3xZi7TsEa2OL5M5GPdjUfsDM7rIOnU4v_uAkOKX2hD_enc29NRil8kkja-bJJKwB0JBRcLEW2svbal25UmDJvI/s1600/drawerwithclosedbook72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 314px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDAKX0M9XLKDb1V75i-AjS5xkDgQmKdz3kdH_fCYG1ttee3jUapKXkA3xZi7TsEa2OL5M5GPdjUfsDM7rIOnU4v_uAkOKX2hD_enc29NRil8kkja-bJJKwB0JBRcLEW2svbal25UmDJvI/s400/drawerwithclosedbook72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455119907583037186" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWrghPQNHx8SCiOH6XlJf8hyphenhyphenKNtt_2yW1nfcHoH621LXh1zkl0FVb_f-eCFo5jz5XZzcMlFJu5L5ev5r-_2rKtwv9DHPlJ96yufBxT2Dg4pq1x5_q4hZLQxL5P3HTRe9DS5ofFmLXMzAA/s1600/drawerwithopenbook272.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 292px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWrghPQNHx8SCiOH6XlJf8hyphenhyphenKNtt_2yW1nfcHoH621LXh1zkl0FVb_f-eCFo5jz5XZzcMlFJu5L5ev5r-_2rKtwv9DHPlJ96yufBxT2Dg4pq1x5_q4hZLQxL5P3HTRe9DS5ofFmLXMzAA/s400/drawerwithopenbook272.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455119911730473586" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1cYmtR9tnmaaCzqe0O3J_RJ0S_xfiQt0WQJZnPMro7AJCgD09R9ZI7yoBvkG5Hv4Llgoxu45cEQANLqDwxB0MVwWZeahF3UN7z4OKndZA84sAUHkvbAnZE4meMXg4BWUpblHpU4FlJho/s1600/openbook2a72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 208px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1cYmtR9tnmaaCzqe0O3J_RJ0S_xfiQt0WQJZnPMro7AJCgD09R9ZI7yoBvkG5Hv4Llgoxu45cEQANLqDwxB0MVwWZeahF3UN7z4OKndZA84sAUHkvbAnZE4meMXg4BWUpblHpU4FlJho/s400/openbook2a72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455120441732454338" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmlVqGgPIyjh3-IoMhD0cRHp7R4cal2LpK13v7wT5yKSgdtMoAhvQJhvykyuO6D10yyhUV2ra0D7E9LtOArxVgJ0zjucE_VUgMgbJZAKlrNrboLG8HH7boHRWU83CuzH4X-yDkZs0k25o/s1600/Openbook2b72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 187px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmlVqGgPIyjh3-IoMhD0cRHp7R4cal2LpK13v7wT5yKSgdtMoAhvQJhvykyuO6D10yyhUV2ra0D7E9LtOArxVgJ0zjucE_VUgMgbJZAKlrNrboLG8HH7boHRWU83CuzH4X-yDkZs0k25o/s400/Openbook2b72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455120445654400562" /></a><br /><span style="font-weight:bold;">Kathryn Desforges</span><br /><span style="font-style:italic;">A Collection of Moments 02/03/2010</span><br />Created on the above date, this individual boxed bookwork contains a collection of drawings from surfaces around my home. Rather than being simply rubbings, each is a drawing in its own right, stemming from an intuitive interaction with each surface. Sound was recorded simultaneously, and no time limit was imposed, instead I simply stopped when I thought each one was finished.<br /><br />The drawings are read from left to right, and each tells a story of the moment in which it was made. A timing, (relative to the time it took to make), is specified for the viewer to study each drawing, and the soundtrack which goes with it follows these timings. The aim is for the viewer to recapture the moment in which the drawings were made following each mark and sound to culminate in a final image.</div><div><br /><span style="font-weight:bold;">Darren Bryant</span><br /><span style="font-style:italic;">Ludic Pocket Action & Pop-up</span><br />Accordions can fold in many ways, making interesting page folds and pockets for you the audience to draw, write, add, re-organize, or change. These pockets can be used to store bits of paper, making for an interesting instant book: A depository for exquisite corpse collaboration.<br /><br />Exquisite corpse (devised by the surrealists) is a technique used for producing visual or literary art in which several people collaborate in creating a text or an image. Based on old parlor games in which players take turns writing on a sheet of folded paper, concealing part of the writing. Similar visual games can be conducted individually or collaboratively using collage and book folds. Feel free to draw, write, add, re-organize, or just turn the pages.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYVYLCVS1czYCqZ1P2FjIOTfoWktaE-JicyiCuvcRu1Eu0pwBLISrIDM8TYSl_F4jGKN1Mrnj9dntI1N941iEmSpUFb6CXaZulhSqiJ6IBNESTFZJ037oExMIaR98Xz0v42OcpTeq2AUE/s1600/LudicPocketDB172.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYVYLCVS1czYCqZ1P2FjIOTfoWktaE-JicyiCuvcRu1Eu0pwBLISrIDM8TYSl_F4jGKN1Mrnj9dntI1N941iEmSpUFb6CXaZulhSqiJ6IBNESTFZJ037oExMIaR98Xz0v42OcpTeq2AUE/s400/LudicPocketDB172.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455120423490258434" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirq4oqmPcbauVUgW7LzK6Pr7_x7MEqgW9WVOE3zLz7E9IIrHBKCH7-AMN_lNqs0QPvqeLWKRqwUcX8yBI5LWWAProJjS2w3FlbqRSDYT-LkHqQLsEKWyYUzkXXErDDyo75aJCgqHOyWR8/s1600/LudicPocketDB272.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 203px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirq4oqmPcbauVUgW7LzK6Pr7_x7MEqgW9WVOE3zLz7E9IIrHBKCH7-AMN_lNqs0QPvqeLWKRqwUcX8yBI5LWWAProJjS2w3FlbqRSDYT-LkHqQLsEKWyYUzkXXErDDyo75aJCgqHOyWR8/s400/LudicPocketDB272.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455120427752259154" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixxgMBa4L7inJi91t-IXRXqgKrBBzrCw1mxbKZl8Andj1wZQ3cghfGR-5eqsb-MAb4XbX0_Da5iYVQxzrDTazpy806wyNqmCgLWQ5kif_-m1VqRuicdt797nu_CoMQfNhwmKUyTAzGZGE/s1600/LudicPopUpDB372.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 186px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixxgMBa4L7inJi91t-IXRXqgKrBBzrCw1mxbKZl8Andj1wZQ3cghfGR-5eqsb-MAb4XbX0_Da5iYVQxzrDTazpy806wyNqmCgLWQ5kif_-m1VqRuicdt797nu_CoMQfNhwmKUyTAzGZGE/s400/LudicPopUpDB372.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455120432346775522" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXSwIqmHZ7lOjE5mEqXV4eJMbr0QCEMlBftHtEcoDZ7Jbhp_DxbE9kwwauRe_TjswkpAigeNJRmqXDxd1qL2hhAeEC549gYapU4e_Gq_aD7ENPKo3mJQ37BmzUd6Rys11PBVYViGB50Y/s1600/darren72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 258px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXSwIqmHZ7lOjE5mEqXV4eJMbr0QCEMlBftHtEcoDZ7Jbhp_DxbE9kwwauRe_TjswkpAigeNJRmqXDxd1qL2hhAeEC549gYapU4e_Gq_aD7ENPKo3mJQ37BmzUd6Rys11PBVYViGB50Y/s400/darren72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454708680758316066" /></a><br /><span style="font-weight:bold;">Rebecca Strain</span><br /><span style="font-style:italic;">Quiet Please</span><br />My work is mainly concerned with collaboration and accumulation, defabrication and then refabrication, and circumstantial connections. I am interested in place, ownership and value. I explore this in my work which embraces and challenges creative processes.<br /><br />In this drawer you will find sections of eight books that I have read, most of which I have swapped or been given. I now present them to you the public as a library where your role is both librarian and borrower. I am interested to see what will happen when administration is taken out of the process and the rules are left to the people.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCPzwBXeLjmUFyCoRsiQxrKtsFrYi6lUcbR0zYH7mOCUzk_xaW3Ek0FTlMZ_XLK6gjU2Ca6axQsrCLQiPOCWYPdrOU5qukSiPcANS9t3iZQHrd8nhyphenhyphenUc9RRT_f1a4ef9xI00YtY6PiQYs/s1600/becs72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 273px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCPzwBXeLjmUFyCoRsiQxrKtsFrYi6lUcbR0zYH7mOCUzk_xaW3Ek0FTlMZ_XLK6gjU2Ca6axQsrCLQiPOCWYPdrOU5qukSiPcANS9t3iZQHrd8nhyphenhyphenUc9RRT_f1a4ef9xI00YtY6PiQYs/s400/becs72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454707743859232498" /></a><br /><span style="font-weight:bold;">Alison Herbert</span><br /><span style="font-style:italic;">Inbox</span><br />An interactive piece of artwork that builds into one book or several small books. Write down 1 or 2 text messages from the inbox on your mobile, on the sheets of paper provided or on a blank page of any book. If you’re feeling arty, add a doodle with your message or on another blank sheet to add to the fun. You may include your name – this is optional!<br /><br />This artwork is a play with words and phrases from ‘received responses’ or, ‘half’ a conversation. The unrelated messages from various people give the piece its narrative. It considers how and what we communicate, together with the snippets of conversations we have every day that are sometimes misconstrued.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTN5RrvEfkrB-FAE3zVa311nKXOG1xipM1iixka7Qpu3nO3QFYdbW5LOYRCk95OXsqk8ioCemIS51JzmdCaI4xLYshJEssuptW2u3XGYGTui_p2rxwVWWfkENYNFUPwu235iFyhPOchHI/s1600/Inbox172.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTN5RrvEfkrB-FAE3zVa311nKXOG1xipM1iixka7Qpu3nO3QFYdbW5LOYRCk95OXsqk8ioCemIS51JzmdCaI4xLYshJEssuptW2u3XGYGTui_p2rxwVWWfkENYNFUPwu235iFyhPOchHI/s400/Inbox172.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455119919047892242" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW6jqPFrxYs9rwU30bdHgVWF_Ee5MY4EQoppnPaFCa8f6PJeKfexZa46ti4z14cCV7aTNxVAq6wk4TMQVSZyUyYiYIv99p_HgaJ6Ao3CiJAJ1txYrj95727ayiFPiI2uQeN3ZyQSElLto/s1600/Inbox472.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 292px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW6jqPFrxYs9rwU30bdHgVWF_Ee5MY4EQoppnPaFCa8f6PJeKfexZa46ti4z14cCV7aTNxVAq6wk4TMQVSZyUyYiYIv99p_HgaJ6Ao3CiJAJ1txYrj95727ayiFPiI2uQeN3ZyQSElLto/s400/Inbox472.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455119921678585954" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisPWaMW3hpxZdCYdPUikO4elZXLrJ9lpsK4lOLe6NyWmFFsHRe8h986b1Q73-sghK1E4_myXbx00n2lfDBzzId9j3L2igEwGxwYAmFJ26c9fhSL1fRlOTNza0nUo5Bu7l_s-LNtEa7HhM/s1600/herbert72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisPWaMW3hpxZdCYdPUikO4elZXLrJ9lpsK4lOLe6NyWmFFsHRe8h986b1Q73-sghK1E4_myXbx00n2lfDBzzId9j3L2igEwGxwYAmFJ26c9fhSL1fRlOTNza0nUo5Bu7l_s-LNtEa7HhM/s400/herbert72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454708707389111522" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu5T7CYwuXTNCHStWbnVMuFCaM-S4XWf0Plx1mMHWLwz2KIWlc4U_2AkM0-ZfX3_UeZ0zXauuAu0Qp4XbEVVIndLLa_2PlUHWlqhD8uB9CNJyg1elXQI1ANgfIb_bV4QROdy7WtCte-9w/s1600/alison72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 270px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu5T7CYwuXTNCHStWbnVMuFCaM-S4XWf0Plx1mMHWLwz2KIWlc4U_2AkM0-ZfX3_UeZ0zXauuAu0Qp4XbEVVIndLLa_2PlUHWlqhD8uB9CNJyg1elXQI1ANgfIb_bV4QROdy7WtCte-9w/s400/alison72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454707737992507074" /></a><br /><span style="font-weight:bold;">Shaeron Caton-Rose</span><br /><span style="font-style:italic;">EverAfter</span><br />This drawer of books is part of a larger project called EverAfter. So far, this consists of three artist books each telling the story of a different woman known to the artist in the format of a fairytale with illustrations. Accompanying this is a soundtrack in which the three women concerned tell their life stories as fact. The contrast between the two elements – the spoken and written, the tale and the story, highlights the differences and similarities between our ideals and actuality and how dreams still inform day-to-day living.<br /><br />Now the artist would like you to contribute to this project by making your own little storybook. Add to or take away from one of the small books provided using any of the materials in this box – cut, collage, tear, write, draw. Use a story from your childhood as inspiration.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDVfkzz_aUQIjY1_Hbc27vWPuM2lReNnCSTIALjLWROR1-TxQXZDRtbCNBT4yZIVnj4FyGH7yFkrB38qkW9Y0sqToO4VxWqu7znMU-etClLwdzhW0yNdOLMewhhyphenhyphenLbkCvGvUHa1jwbYk/s1600/shaeron72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 264px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDVfkzz_aUQIjY1_Hbc27vWPuM2lReNnCSTIALjLWROR1-TxQXZDRtbCNBT4yZIVnj4FyGH7yFkrB38qkW9Y0sqToO4VxWqu7znMU-etClLwdzhW0yNdOLMewhhyphenhyphenLbkCvGvUHa1jwbYk/s400/shaeron72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454709267231642514" /></a><br /><span style="font-weight:bold;">Sophie Vrettos</span><br /><span style="font-style:italic;">What Brings Me Gladness: Daytrips and Donkeys</span><br />After watching the news one evening, I felt that the portrayal of Britain was all a bit grim; I really wanted to create something that celebrated our country. The Great British holiday seemed to the perfect subject, whether you love or hate them, I think this is something we should be proud of. Even now, as we are going through the credit crunch, the Brits have resorted back to holidaying in the UK. I created this book from my own family photographs, on day trips and caravanning holidays, as sentimental the book is to me and my family, I hope that you are able to flick through and be able to relate to my memories, and smile at our similarities.<br /><br />Please take a postcard and write down your Great British holiday memories, they can be good, bad and ugly as you like! From caravanning catastrophes to amusements at Butlins, share some stories...</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0dcGbx4ESgla2ym_1UzMo7wLN0eE6a1j9ynfowBDW7-NEjPb8VYrs_v-FOpKJ0sT8B1X_h8pvRI6CG-e2O9OHVqYq6w6VecdhmZGQE_tHZF8mvjlcAtOUBhssQizWbUpoWA8ioz9mHUc/s1600/vrettos72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 283px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0dcGbx4ESgla2ym_1UzMo7wLN0eE6a1j9ynfowBDW7-NEjPb8VYrs_v-FOpKJ0sT8B1X_h8pvRI6CG-e2O9OHVqYq6w6VecdhmZGQE_tHZF8mvjlcAtOUBhssQizWbUpoWA8ioz9mHUc/s400/vrettos72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454706222348261266" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPZMdOudUgGUDMyqxI2AwYw-GW57q_fuWLhJcTSE9RnsP5tALXXOPZZuOK5JGaru2I3WTZZN_4rfv5E4F7PLl59RQR1P7Yz0AUxbSGO1NsMFhryv2coUwKB2j5AfYFlngznRDFsXH0Va4/s1600/soph72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 249px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPZMdOudUgGUDMyqxI2AwYw-GW57q_fuWLhJcTSE9RnsP5tALXXOPZZuOK5JGaru2I3WTZZN_4rfv5E4F7PLl59RQR1P7Yz0AUxbSGO1NsMFhryv2coUwKB2j5AfYFlngznRDFsXH0Va4/s400/soph72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454709557808912898" /></a><br /><span><b>Francis Elliot</b></span><br /><span style="font-style:italic;">Void Pebbles</span><br />Based on a piece by the recently deceased George Brecht, in which he carved the word 'Void' into a large boulder, I have filled a drawer with small pebbles, each with the word 'VOID' written on it. Brecht’s idea is that anyone who sees the piece - or a photograph of it - owns it as surely as the person who actually owns the original rocks, and thus anyone who opens the drawer and sees the work can remove a small pebble as a symbol of a transference from an idea to a memory.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB7oD1TD38EaIXHMt6gCu5ADAK_VRZSGYlxoBKqNOCB6jvJXSOsfWsPly5jqjoYESNasq-EUSlInKeqxdr_xtxt24xDOhjXsIb8qAo3It0XUKedUeg2SmB-bgSmcEzfGdpfPP_37rE7S0/s1600/GeorgeBrechtVoidStone72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB7oD1TD38EaIXHMt6gCu5ADAK_VRZSGYlxoBKqNOCB6jvJXSOsfWsPly5jqjoYESNasq-EUSlInKeqxdr_xtxt24xDOhjXsIb8qAo3It0XUKedUeg2SmB-bgSmcEzfGdpfPP_37rE7S0/s400/GeorgeBrechtVoidStone72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455131334206632114" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4UnlIpnhmBpCOf76gSmHY5YNCBFvBUs-LEERMrc-bx1i3iK4J8oa2g_YfUSSlkjmnAUh8b_AEwuQiyQNzL7i1L1SnhYyVf3MLIiZPM9UTsmJUDNao09ozlZ9zEK8GtgTB5uMCDl6KC0Q/s1600/francis72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 246px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4UnlIpnhmBpCOf76gSmHY5YNCBFvBUs-LEERMrc-bx1i3iK4J8oa2g_YfUSSlkjmnAUh8b_AEwuQiyQNzL7i1L1SnhYyVf3MLIiZPM9UTsmJUDNao09ozlZ9zEK8GtgTB5uMCDl6KC0Q/s400/francis72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454708696485003426" /></a><br /><span style="font-weight:bold;">Bob Milner</span><br /><span style="font-style:italic;">Milk, 2 Sugars</span><br />Be your own editor. Bind together classic pages of the zine with a new cover specially created for this show. Use one page, ten pages, upside-down pages, it’s up to you.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbxmGFcF-V1HADbM45tc_8Y0LWI6W7E9HKoNkp3ZTZwTpNCCatJa0vqb7En4PGIT32bJlm_uEONSCbuwOHKkbYDwk7Eql6mZ7sMP-bmYsyg4I2WkNDCO4RRzFsAgIcRITRvFPyrQRbH4w/s1600/bob72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbxmGFcF-V1HADbM45tc_8Y0LWI6W7E9HKoNkp3ZTZwTpNCCatJa0vqb7En4PGIT32bJlm_uEONSCbuwOHKkbYDwk7Eql6mZ7sMP-bmYsyg4I2WkNDCO4RRzFsAgIcRITRvFPyrQRbH4w/s400/bob72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454707746881654290" /></a><br /><span style="font-weight:bold;">Carrie Scott-Huby</span><br /><span style="font-style:italic;">Lifeloom - Strange Attractors</span><br />Chaos Theory is the inspiration for the development of this new Lifeloom series of artworks. Each series tells a visual and textual personal story. The text is inspired from the book ‘The Tao of Pooh and Te of Piglet’ by Benjamin Hoff. Chaos is realised by the participant’s responses creating different ways to the designed (final) outcome. Read the installation as a whole or read the individual tags. Choose one or more of the loose tags from the grey wool basket. Create your own response/s and tie it/them to the installation.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5vIaslQSicb6NEPU_Xa7DSMrcEQLj_wqEi3RSXsagxDMH3AtLELz095V8Izwq_THB0cFOu8Ze-6E7Uf4lb9mCbrty0x0RxAX7GnlVACXbr9JcoNXESIp-qYnqvn75WauBIUjXk_jqa8o/s1600/carrie72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5vIaslQSicb6NEPU_Xa7DSMrcEQLj_wqEi3RSXsagxDMH3AtLELz095V8Izwq_THB0cFOu8Ze-6E7Uf4lb9mCbrty0x0RxAX7GnlVACXbr9JcoNXESIp-qYnqvn75WauBIUjXk_jqa8o/s400/carrie72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454708143439677778" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiYcLUjz8yZK_f1GfM_xOdoMl_4PcZ8_N_vUwpO4ByZx6cCpoOnwfa8MmwxwgTEuyp0cSHvMwLaobc10bzWp5jbOsn-Zm5927zypevz4KhKB3h_SIGGBy006vmPUzl1IYbUa9qa-U83qc/s1600/car72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 248px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiYcLUjz8yZK_f1GfM_xOdoMl_4PcZ8_N_vUwpO4ByZx6cCpoOnwfa8MmwxwgTEuyp0cSHvMwLaobc10bzWp5jbOsn-Zm5927zypevz4KhKB3h_SIGGBy006vmPUzl1IYbUa9qa-U83qc/s400/car72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454708136036017362" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR7-x7YRIoQ30qGdd92UFnUbozMaDPdNRSCDYgOHxLvlwa6fP3iMtldXHeHHTi76G1nAOSlW-6rrLOTObb3y51get1F00r9NjjWC1QurForMGhOnHpSwFOBGtjfIY_OV5N9Lzne2-qkd4/s1600/huby72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 263px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR7-x7YRIoQ30qGdd92UFnUbozMaDPdNRSCDYgOHxLvlwa6fP3iMtldXHeHHTi76G1nAOSlW-6rrLOTObb3y51get1F00r9NjjWC1QurForMGhOnHpSwFOBGtjfIY_OV5N9Lzne2-qkd4/s400/huby72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454709242671747122" /></a><br /><span style="font-weight:bold;">Larna Campbell</span><br /><span style="font-style:italic;">Correspondus</span><br />Contribute to the growth of this evolving book sculpture by leaving something inside one of the envelope pages and labelling the envelope. You can leave an object or item that you have in your pocket or bag; an old receipt or a button perhaps.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaqW02VEvpRDpwlPJs7BVglJi7GcpVN3y4WDqTCcMzx5VbQ9M0gzwKs5-jo_LghPsYZ15q6JCT5jelsqfS2LXpYUvlzuXNo-bBUbUECVG7EJ1tryfrp9rCQkIl3_HjNnbzAgscyX3EpC0/s1600/larna72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaqW02VEvpRDpwlPJs7BVglJi7GcpVN3y4WDqTCcMzx5VbQ9M0gzwKs5-jo_LghPsYZ15q6JCT5jelsqfS2LXpYUvlzuXNo-bBUbUECVG7EJ1tryfrp9rCQkIl3_HjNnbzAgscyX3EpC0/s400/larna72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454709249782320210" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOYN9aidyGGd7Vt6oSKBjCWMHbd2-UPW-NIyrl2jfMiWk4o966LcJNrwNtnPmucukLqATWsmrcl6HDpetCr1ueIjk5sHs7aGyukDV1RAw1Mory2H6mb2QLqh8se-VgkAmGyucEWrTbt_0/s1600/campbell72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOYN9aidyGGd7Vt6oSKBjCWMHbd2-UPW-NIyrl2jfMiWk4o966LcJNrwNtnPmucukLqATWsmrcl6HDpetCr1ueIjk5sHs7aGyukDV1RAw1Mory2H6mb2QLqh8se-VgkAmGyucEWrTbt_0/s400/campbell72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454708127797869890" /></a><br /><span style="font-weight:bold;">Victoria Lucas</span><br /><span style="font-style:italic;">Existence 2010</span><br />Today’s obsession with collecting lies in the act of photographing. Our digital footprints allow us to become immortal, and moments, places and people are captured; documenting the passage of time through the archive of imagery and the changing faces staring out from the paper. Facebook is an extraordinary example of this, individuals documenting their own existence and projecting it back in to the world as evidence.<br /><br />Existence is an interactive artwork, in which participants exchange a passport-sized photo for a link to a blog upon which all the images will be added. The photos can be from any year, and can be a portrait of friends, family, or of the participant themselves. The images will also be compiled as part of a book, acting as a mini museum that documents a series of faces belonging to strangers brought together by the project.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9mE1vkN6f-18r-jDfa9fI_XG1VhbCGwlM6C7uL1S29mphrFm6onh2lVbCvyhv84fhygQdZRSpexvz4pvvNXTKKhtu0vYEAMzCdEpzgiNr5PCinwoOl1Bkdq6V39-pi10G0GWfySk05VE/s1600/vicky72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 363px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9mE1vkN6f-18r-jDfa9fI_XG1VhbCGwlM6C7uL1S29mphrFm6onh2lVbCvyhv84fhygQdZRSpexvz4pvvNXTKKhtu0vYEAMzCdEpzgiNr5PCinwoOl1Bkdq6V39-pi10G0GWfySk05VE/s400/vicky72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454706213529370354" /></a><br /><span style="font-weight:bold;">Debra Eck</span><br /><span style="font-style:italic;">Three layer accordion fold</span><br />A three layer accordion fold with pockets and boxes that contain small books and artworks that the viewer may either a) alter or b) take if they leave something in exchange. I am interested in the intersection of art and everyday life so would prefer the audience to leave something that they happen to have with them, sweet wrapper, dry cleaning bill, etc.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghWHn9mA5uFL7hVQbHerYI11Q42JZ2UwGDL5t2617f8WbIcDlFm9B0N4NXCCWim-IHt7y_0pFtoylshKJ1vtEI5YOCrak0G6KTDrGghAvgwSNzzBxovJuO2R0ZJRagswl1m70ipm60h_4/s1600/DSCI120772.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 274px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghWHn9mA5uFL7hVQbHerYI11Q42JZ2UwGDL5t2617f8WbIcDlFm9B0N4NXCCWim-IHt7y_0pFtoylshKJ1vtEI5YOCrak0G6KTDrGghAvgwSNzzBxovJuO2R0ZJRagswl1m70ipm60h_4/s400/DSCI120772.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5455119924855032034" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgptXqV74eb_DONUpnr1vhrCk4Cq9-OymCCe5KuCkLfxdpum1JcnxbHmwHnmn3olRMmZ3AQmCmoKl9EnxREJXLZzQdFthvLiqyVpe9jxvY8gqdS2wvyvTjo-QcfBSnnp9gYcyqV7NpLBjM/s1600/debra72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 263px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgptXqV74eb_DONUpnr1vhrCk4Cq9-OymCCe5KuCkLfxdpum1JcnxbHmwHnmn3olRMmZ3AQmCmoKl9EnxREJXLZzQdFthvLiqyVpe9jxvY8gqdS2wvyvTjo-QcfBSnnp9gYcyqV7NpLBjM/s400/debra72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454708687457742690" /></a><br /><span style="font-weight:bold;">Louise Atkinson</span><br /><span style="font-style:italic;">Book is a four-letter word</span><br />Turn the cubes to create your own poetry. The piece is based on the idea of an ideograph, a graphic symbol representing a word and used to convey a concept as a whole, such as in Arabic or Chinese. Using one or more cubes select words to convey your concept.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7t9UI_Pbssrw8GhkHPrsKQT4ZKTgmkY6GnV82_TDWylAxVwzcg7DROSDOymkESC6GY4RLtRLHtCQqfC1HfRG1BzmHnKUsLAoq4zg51KXeZ_C8AYwLGm3BPCEJ_udzgz4cIFYaWsSG8r8/s1600/boxes72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 280px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7t9UI_Pbssrw8GhkHPrsKQT4ZKTgmkY6GnV82_TDWylAxVwzcg7DROSDOymkESC6GY4RLtRLHtCQqfC1HfRG1BzmHnKUsLAoq4zg51KXeZ_C8AYwLGm3BPCEJ_udzgz4cIFYaWsSG8r8/s400/boxes72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454707749305419570" /></a><br /><span style="font-weight:bold;">Alice Bradshaw</span><br /><span style="font-style:italic;">Static (2009)</span><br />The remains of a hole-punched text The Rocks Remain in constant motion.<br />I work 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. I create or accentuate subtleties, blurring distinctions between the absurd and the mundane, with the notion that the environment the work exists in becomes integral to the work itself.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVGsYu9lFRT6WlBYBgi7KYI3NvoXwD7F-Fez2ziRSljTjyDUIhNkE2zzNrWl6P9sgb0wkLmdPn780UF95t7E7CqMRq-2xhBesgpx08yK3dNGfK9a486ATIj5saCICoWwrwEqsRvyJHTC8/s1600/alice72.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 323px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVGsYu9lFRT6WlBYBgi7KYI3NvoXwD7F-Fez2ziRSljTjyDUIhNkE2zzNrWl6P9sgb0wkLmdPn780UF95t7E7CqMRq-2xhBesgpx08yK3dNGfK9a486ATIj5saCICoWwrwEqsRvyJHTC8/s400/alice72.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5454707731350888786" /></a></div></div>Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com2tag:blogger.com,1999:blog-7680926498434887333.post-19348080942335035342009-03-09T12:26:00.000-07:002012-10-30T06:19:25.346-07:00(sub)Missive<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYQNATB9TLix8Mr3i-DIWdt_lHcweZdwHuoy5xCPL8LczcvVnFZjXtB2L7aPgxkwMMWUjjLzcDivbDkpJidaLuNH4YkCl6SezvRTt1UjSdYVVyk5zIib8zOheu87_HvqHUUR3OuZNQARY/s1600-h/vivien3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><span style="font-weight: bold;">Corridor Gallery, University of Leeds</span><br />
<span style="font-style: italic;">6th - 18th March 2009</span><br />
Curated by Louise Atkinson<br />
Photos by Amy Balderston<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKIp7Ai5VT6OKXin3UZW9aPkSgnlJqnl0XFm1K2LpupRSwdC16qjp58X_XDZ1NUibwfbRXRXmfCzWKynyRhYAyytOiBfsdWK0Bn1WfZEKZMFqCpMERG3fkidNvM3LVdbgvQJ0ata03xts/s1600-h/misc2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319053903351884642" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKIp7Ai5VT6OKXin3UZW9aPkSgnlJqnl0XFm1K2LpupRSwdC16qjp58X_XDZ1NUibwfbRXRXmfCzWKynyRhYAyytOiBfsdWK0Bn1WfZEKZMFqCpMERG3fkidNvM3LVdbgvQJ0ata03xts/s400/misc2.jpg" style="cursor: pointer; display: block; height: 215px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>(sub)Missive was the culmination of a mail art project in which artists from the UK, Europe, US, Canada and Australia each collaborated with an artist partner to create a new book work. Using the social networking forum as a platform for collaboration, artists investigated the dissemination of ideas with particular reference to (mis)communication and power relations.<br />
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Taking the hierarchical construct as a brief, each participant devised a set of instructions ranging from the single word to the diagrammatic and distributed them for their collaborative partner to make work from. The results of this experiment were displayed as part of the 12th International Contemporary Artists Book Fair from Friday 6th till Wednesday 18th March 2009 @ Corridor Gallery, School Of Design, University of Leeds, LS2 9JT.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb8A0TldxfFHpC7Nvsfwi9uWYeMCYYzScumxg1RDg8_2EqH1AhMVVwpBDQtR20-q-7MMjKRRIjTDJvmzhuVu3FtSghv94f0h7ZZ2o0J6q2evve6SRejq_mQeyY8o6l8zxPu9RGWvPN2PU/s1600-h/misc1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319053702073094018" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb8A0TldxfFHpC7Nvsfwi9uWYeMCYYzScumxg1RDg8_2EqH1AhMVVwpBDQtR20-q-7MMjKRRIjTDJvmzhuVu3FtSghv94f0h7ZZ2o0J6q2evve6SRejq_mQeyY8o6l8zxPu9RGWvPN2PU/s400/misc1.jpg" style="cursor: pointer; display: block; height: 267px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span><br />
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Aimee Bebhinn Larkin </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Larna Campbell </span></span></span><br />
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<span style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Aimee Day</span></span><span class="Apple-style-span" style="color: #cc0000;"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">with Darren Bryant</span></span></span><br />
My book instructions were from Darren Bryant (Australia) and came in the form of a concertina-style book, which I was to make with clearly set out instructions. Within the book were a series of cards detailing a step-by-step brief to form a sentence or poem from a provided selection of cut out words as inspiration for a visual piece. There were also cards provided to display my artwork within the book, which would allow viewers to interrupt and move around the order of the work.<br />
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I chose to respond to the sentence I constructed with a series of pencil line drawings forming an animation of myself within my domestic environment. This is a theme running through a lot of my work and ideas. My work observes issues of the visibility and invisibility of recorded transience as well as commenting on chance and how nothing can be controlled or repeated precisely. I’m trying to encapsulate what it is to be in a particular place at a unique moment, whilst capturing its physicality and the constant loss through time. The drawings are in sequence but still allow for interruption and can be moved about so as to highlight each individual action and draw attention to their relationship to each other in recreating movement.</div>
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<span class="Apple-style-span" style="font-size: x-small;"><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnoa0zVWyw4znjC8pdL1puPBPAs67wnHXmi_RKBJ4e_fZ4aAX_rqf1G6fir_WuW2GIbW_JDfK1LBqt8hqYu1r8-HWax-m4AAJre2P53zAWYBh28qOm5OyQ01H96WpXcxUMDZbLIo3Fbmc/s1600-h/amie2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319051466777290674" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnoa0zVWyw4znjC8pdL1puPBPAs67wnHXmi_RKBJ4e_fZ4aAX_rqf1G6fir_WuW2GIbW_JDfK1LBqt8hqYu1r8-HWax-m4AAJre2P53zAWYBh28qOm5OyQ01H96WpXcxUMDZbLIo3Fbmc/s400/amie2.jpg" style="cursor: pointer; display: block; height: 181px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX0gk-_K1t8U16CExTkjGVOxovW6eardtbZWQNvuKQTGlLGBsrlpUwMHso9PBnBMtj3vdcy_ob37to9GMz9AYPBx7M-xT0QHzJLhM3hfVLXs_y29BZNF-NnrTOqdiDYR_tlvxpSnyUXUo/s1600-h/amie1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319051321220662514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX0gk-_K1t8U16CExTkjGVOxovW6eardtbZWQNvuKQTGlLGBsrlpUwMHso9PBnBMtj3vdcy_ob37to9GMz9AYPBx7M-xT0QHzJLhM3hfVLXs_y29BZNF-NnrTOqdiDYR_tlvxpSnyUXUo/s400/amie1.jpg" style="cursor: pointer; display: block; height: 215px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></div>
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<span style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Alice Bradshaw</span></span><span style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Dovile Mikalauskaite</span></span></span><br />
I am interested in the structure of language and have created a body of work exploring the physical deconstruction of texts often into morpheme- and phoneme-sized segments which are often left in an unfixed position.<br />
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<span style="font-style: italic;">Instruction: French Kiss</span><br />
English and French language are relatively similar as they share Latin roots, compared to Slavic or Arabic rooted languages for example. However, my understanding of the French language is limited. I took a book, La Linguistique Structurale, Sa Portee, Ses Limites, (Structural Linguistics: its Range, its Limits) and deconstructed its 255 pages into circular pieces with a hole-punch. The tiny bits of paper fill a small cardboard box which has a volume of 444cm².</div>
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<span class="Apple-style-span" style="color: #0000ee;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319050951972261122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_r89CTEAbw2gAC5kiFuCis3kOQYJSGUuknQw3KPOsBGMnbB1sRz0UBO6t7VOrhZV4Kz24UQgb4mnmH7hijlrqRIa01aSN2sCBOHm9eWtLZF0fLXp707RzbTxA9SZfi-YBalas4CO4pgk/s400/alice.jpg" style="cursor: pointer; display: block; height: 200px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Amy Balderston</span></span><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Suna Xie</span></span></span></div>
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The instructions received instructed exploration how one would construct oneself in visual means. Much of my work circulates taking the literal written interpretation and creating a complex image through a large archive of found/acquired objects and materials. Therefore I chose to isolate my surname as a means of inspiration. Then using the Collins Dictionary as a tool, simply combing through each letter of 'Balderston' noting each word holding a personal affinity. From this point sifting through my personal archive of images to create illustrations of each letter.<br />
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Taking 'a' for example, the form of the letter is created through images of Astigmatism, Australia, Abodes, Asparagus. This allowed me to create a unique typeface. In terms of format the book work required flexibility to be viewed as the full word but also conform to some imitation binding. The concertina method worked perfectly.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVEiPIlLRBZA1y8njX4FvhLhacXuUW0oqVZUWuZqVBvXWsw7tKnQYzchLJgxBjDO-ecW6bGp8EoyVaY-1EqtAoXYAsO2pQD88LQWBL0QLbFyuZ7tc94o7HJjjRYDvLirZq6J1uhFyaZ4E/s1600-h/amy1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319053103736369154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVEiPIlLRBZA1y8njX4FvhLhacXuUW0oqVZUWuZqVBvXWsw7tKnQYzchLJgxBjDO-ecW6bGp8EoyVaY-1EqtAoXYAsO2pQD88LQWBL0QLbFyuZ7tc94o7HJjjRYDvLirZq6J1uhFyaZ4E/s400/amy1.jpg" style="cursor: pointer; display: block; height: 110px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></div>
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<span class="Apple-style-span" style="font-size: medium;">Caroline Twidle</span></span><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Louise Atkinson</span></span></span>
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My book instructions were from Louise Atkinson from Leeds and arrived in the form of a mind map on a sheet of paper. The mind map examined communication in a sociological way. Due to the textual nature of the map I decided to focus on using text in the book. I created a folded book made up of collaged text, this orginal copy was then photocopied twice to make three books. I created badges to go with the books as I wanted to focus upon one word which in my opinion somes up communication at the moment. That word was 'digital'. The photocopied books offered a contrast with the 'digital badges' as the new digital technology is gradually replacing the older forms of technology.</div>
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<span class="Apple-style-span" style="font-size: 18px;"><span class="Apple-style-span" style="color: #0000ee; font-size: 16px;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319057231677969394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhqU7cS05SpEJ4V281vWwf2saaKgDTXw0yx1jaYzGErLSz9TQ8BjQBj6MIx5H7KChrNcnAdwoL7aVFnYqVyE6GPzfh1wNW5wdnNEBp4f2ED5LrBGiZyCaTuXDzueo7C__UYvWSR8MrryY/s400/caroline.jpg" style="cursor: pointer; display: block; height: 204px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size: medium;">Darren Bryant </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Kathryn Desforges </span></span></span><span class="Apple-style-span" style="font-size: medium;"></span></span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #0000ee; font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319057535536741154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-bV0h6WZyt7rlChvouzF3oWqydrvxz2XtGUSmb63DkHvmejI84SiPJUgisb7HD5BW28Pjejp5_TbGACyYMY6dCMuLt-nH4hweQsYBXIEqgAAAgbiXVdUFMBYhKcUmKbsJTT55I1DCKio/s400/darren.jpg" style="cursor: pointer; display: block; height: 291px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Dawn Hoskin </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Holly Willis</span></span></span></div>
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<span class="Apple-style-span" style="font-style: italic; font-weight: bold;"><span class="Apple-style-span" style="color: #0000ee; font-style: normal; font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335617736408008274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij7P5vu0yxPv9EgXrNDfLLFZdh7eJb01BEi-2UDwqJqunwkK0t0aG1xwPGkc-Hfcs83eBgXf4Bt1aNtbOpEgnQvbu7-1m6PmpDwCu6cQyASCaKuPsNY35p_DAI9EjpPOn5zyoK9UGGmHs/s400/dawn1.jpg" style="cursor: pointer; display: block; height: 279px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span></div>
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<span style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Francis Elliott</span></span><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">with Tom Hobson</span></span></span><span class="Apple-style-span" style="font-size: large;"><br /></span></div>
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Unable to secure a concept from Tom Hobson my designated collaborator, I looked around for ways to use the absence of material to record the problems facing collaboration. Struck by the constant archiving inherent within web 2.0, and impressed by my printer's ability to typeset without any direct intervention (just press apple+P), i added a love of removing things (in this case the opacity of the paper itself) with a series of archived conversations with the curator, et voila! Ether was printed, published and named on the last friday before the bookfair. Briefly revising the work on Sunday morning when I discovered that facebook even stored my unanswered texts to Tom Hobson, Ether was finished and in the post monday morning, an ephemeral record of cyberspace conversations.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQuWCMWwFlUZEvxnP-yDPqyi7dgN038r0V4t4xtbe4Dn9HxusjsUomlDGczuX3IbHDCrYuF5sfNEAqIClKvBdJjCShlisXsQrbscNBJMOLuwRRNJJ9AuS9TnUt8cn_L1ZGjq3PIa2yvU/s1600-h/francis.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319055411176609090" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQuWCMWwFlUZEvxnP-yDPqyi7dgN038r0V4t4xtbe4Dn9HxusjsUomlDGczuX3IbHDCrYuF5sfNEAqIClKvBdJjCShlisXsQrbscNBJMOLuwRRNJJ9AuS9TnUt8cn_L1ZGjq3PIa2yvU/s400/francis.jpg" style="cursor: pointer; display: block; height: 249px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Heather Gentleman </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Caroline Twidle</span></span></span></div>
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<span class="Apple-style-span" style="font-style: italic; font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="color: #0000ee; font-style: normal; font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335618802403798354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ1MzDju5BTeTVyRq-tdlIlb4NIHBxfFUOP0ZONuZ8CAYgWhAOHFjWbsRcRKtOfHZQQEtTrTCIYdmJynXa0RjZdvn2XvE2UHGmeW_qkeaVyEyO9x0K4_5LkBkj_G2ql2r9skOpybKgm3Q/s400/heather3.jpg" style="cursor: pointer; display: block; height: 359px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></span></div>
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Jenni Allen</span></span></span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Aimee Day</span></span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4T4c_oUsMIoxEEGFNjvMtDocB1l-fQoMsmDnHPiyUDdb5JB5VfswcDmbchIlI2U9EmuER5fhEu3kppXxEitRHWwmaLKW6FGqX7VkmSgmZLJcYXI5e_vv8hMrcmu_D30B_u6EfmfjKtB4/s1600-h/jenni1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319060436410288514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4T4c_oUsMIoxEEGFNjvMtDocB1l-fQoMsmDnHPiyUDdb5JB5VfswcDmbchIlI2U9EmuER5fhEu3kppXxEitRHWwmaLKW6FGqX7VkmSgmZLJcYXI5e_vv8hMrcmu_D30B_u6EfmfjKtB4/s400/jenni1.jpg" style="cursor: pointer; float: left; height: 400px; margin: 0px 10px 10px 0px; width: 288px;" /></a>My instructions were make a 'Walk Book' - to record a journey from A to B which I take regularly. Then to use a second hand book as a base to present the finished journey, using the text within the book to narrate or hint at my journey. At the start of this year I had a major operation so during my recovery I could only take short walks. This mostly consisted of journeys to my doctor’s surgery twice a week and a trip to my local library to loan a dvd. I photographed and listed what I saw, smelled, heard, feelings I experienced etc. Using a second hand book that I purchased from the “discarded books” sale at the library I used snippets of text from the story inside the book to create a new book jacket, which depicts a map of my ‘road to recovery’.</div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Jennifer McQuistion</span></span><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Joanna Kambourian</span></span></span></div>
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I received instructions from Joanna Kambourian on how to make what she called a "Gobbledygook". The book form is based on several folds and two cuts that create a square book which can be opened and viewed several different ways. Joanna threw in a challenge by adding a soft spine cover to the book which resulted in the image never being seen in its entirety again!</div>
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As I considered the concept of mis-communication and the disjointed way in which this book would be viewed, I began to recall an incidence from my teen years. When I was 11 years old my mother gave me the diary she had kept during her engagement, marriage and divorce from my father. One of the final entries was made shortly after my sister Angel was born (the third child). In it mom talked about what a blessing she was and that if not for God sending "her little Angel" she would have taken her own life. </div>
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<span class="Apple-style-span" style="font-style: italic; font-weight: bold;"><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguehK4Sb9WQ8wwd1DfLT8DXNf9sTI27MBJjesv8MxWMW7uiS3ZIm5iu_914ojg-qT_acSO_aEimotW4qt26k59pNB6T-Er3VcTZc76U0w7RAwrsDbGEzc8WQPFo9Nlo4hl1s-A4zDvcSU/s1600-h/jo2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319066134409183522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguehK4Sb9WQ8wwd1DfLT8DXNf9sTI27MBJjesv8MxWMW7uiS3ZIm5iu_914ojg-qT_acSO_aEimotW4qt26k59pNB6T-Er3VcTZc76U0w7RAwrsDbGEzc8WQPFo9Nlo4hl1s-A4zDvcSU/s400/jo2.jpg" style="cursor: pointer; display: block; height: 236px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>As you could imagine, that entry had a powerful effect on me at such a young age. The mis-communication happened as I read her words without the ability to place them in context. As a result, I believed that my existence was not enough to keep her in my life. It wasn't until years later, after experiencing heart break of my own that I began to understand the emotion behind such an impulsive statement and the insignificance of such statements once that pain has healed. </span></span></div>
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In my book I illustrate a scene where God has sent a holy child to a praying woman. The color red plays a predominant role as a symbol of blood and spirit which is a connecting force between the woman, the child, and the wild life surrounding them. My emotional presence is represented by this wild life, it does not play a central role but it is surrounds and embraces the central figures.</div>
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<span class="Apple-style-span" style="color: #551a8b; text-decoration: underline;"><span class="Apple-style-span" style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpMmioPmiohZ1IAQoEJmXFh_7Y4gN8dISUG6W9xaMt1Tyux7-lvk2-TDKl-ukY1Vro0iAyGQuMjRbVsfB7JOLKjimjglWm4wNhf4byB2Ba26AhOi_DJ8Ec5nDhEwHTg1OaYZgmEUv6rwg/s1600-h/jo1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319066127420014834" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpMmioPmiohZ1IAQoEJmXFh_7Y4gN8dISUG6W9xaMt1Tyux7-lvk2-TDKl-ukY1Vro0iAyGQuMjRbVsfB7JOLKjimjglWm4wNhf4byB2Ba26AhOi_DJ8Ec5nDhEwHTg1OaYZgmEUv6rwg/s400/jo1.jpg" style="cursor: pointer; display: block; height: 354px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Jodie Goddard</span></span><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Kate Freeborough</span></span></span></div>
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The title that I was given was ‘things that make me smile’ I couldn’t bring myself to make an earnest piece of work about things which genuinely make me smile so I thought of occasions which had raised a smile out of visceral satisfaction rather than happiness. I thought about images from films that I found satisfying in their ridiculous gore or over the top explosions. One of the images that struck me was from the final scene of Tremors. In this film, a monster is lured to a cliff face where it crushes through and splatters on the floor in a brilliant spray of orange gunge and bodily organs.<br />
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My work often investigates desire and control and how desire can override logic and have disastrous outcomes. I like how this scene absurdly illustrates this notion as the monster is lured to a humiliating end through its desire to eat people. I felt that it was important to draw these images rather than take them from the film as stills, as this shows more commitment to the images that I wanted to recreate. I also wanted to use a medium which reminded me of childhood when this scene affected me most.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB3IBJ0L52RLr6a3cXCjG4B1Xm6hm-mw0M1VRQ_IgN5-FeGlG0nmBKpV1VpfSBia6UYlq5jaVkJzzPWD5mjbR01xeu8Ym_GW-QMRYlxpa9AUNkjke5VaN0ylJaiQ5fnagxDP3VpLk_uAU/s1600-h/jodie1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319051942399597362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB3IBJ0L52RLr6a3cXCjG4B1Xm6hm-mw0M1VRQ_IgN5-FeGlG0nmBKpV1VpfSBia6UYlq5jaVkJzzPWD5mjbR01xeu8Ym_GW-QMRYlxpa9AUNkjke5VaN0ylJaiQ5fnagxDP3VpLk_uAU/s400/jodie1.jpg" style="cursor: pointer; display: block; height: 156px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></div>
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<span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: medium;">Kate Freeborough</span></span></span><span class="Apple-style-span" style="font-size: medium;"> </span><span style="font-style: italic;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">with Amy Balderston </span></span></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_mKdH61UehELcpeE9HWh2OmykpeQhuFKEmi0JV6zm6HuPtWwlRLLt3C0R5axDvTXqHRA-SrE0x-j688RlyXhAF5s9vIzLqc4Q0hef1niTgS3xiltbmkbS4njODtQ6Ef_E2oNwxgPlmPM/s1600-h/kate1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319061134171101602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_mKdH61UehELcpeE9HWh2OmykpeQhuFKEmi0JV6zm6HuPtWwlRLLt3C0R5axDvTXqHRA-SrE0x-j688RlyXhAF5s9vIzLqc4Q0hef1niTgS3xiltbmkbS4njODtQ6Ef_E2oNwxgPlmPM/s400/kate1.jpg" style="cursor: pointer; float: left; height: 400px; margin: 0px 10px 10px 0px; width: 255px;" /></a>"Recreate. Reconstruct. Reuse". I created a coptic stitch book using papers, postcards, drawings, envelopes found in places I frequent, all which were folded to A6. The covers were created from an old drawer found gathering dust in the store room at work. Each page tells it's own story.<br />
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Kathryn Desforges</span></span></span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">with Aimee Bebhinn Larkin</span></span></span></span></div>
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After pondering the instruction object for quite a long time, I was less concerned with what the box physically contained, and more concerned with what it seemed to represent. The main ideas which kept coming up were those of inside/outside, within/without. I took photographs looking through the holes in the box, and really liked their ambiguity. They give little glimpses of a world elsewhere. I decided to put the images themselves into boxes, touching on the idea of containment. The books are meant to be played with, and can be re-arranged into numerous different patterns, sometimes very open, and sometimes closed off and secretive.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9hbPknQAUSN65WQoUenO_OiPygIIPcVcSiWoL2qIXooDwWg6WWaUu511e3Ik3ww7FaSJXr36COTflYKr62fwnqn3QbSUUqdBDWu1nRMisNlHap_rlPG68UuiC2YFPXwOky4IT2wdicw/s1600-h/kathryn3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319052395142490338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9hbPknQAUSN65WQoUenO_OiPygIIPcVcSiWoL2qIXooDwWg6WWaUu511e3Ik3ww7FaSJXr36COTflYKr62fwnqn3QbSUUqdBDWu1nRMisNlHap_rlPG68UuiC2YFPXwOky4IT2wdicw/s400/kathryn3.jpg" style="cursor: pointer; display: block; height: 138px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Ur5eYe41J81DTwLR6AmasSa1fz0gru4pE3Mm2absKWQuLgDzCPcHtISk2yZTmDS1mZqeVf1FxeKqrmtmL67eN3dOLRlMp_C4UGzRPjOxz080OvKbmjzQ_NMmbXsGTHtw57dV0qwy-XI/s1600-h/kathryn2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319052391940396978" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Ur5eYe41J81DTwLR6AmasSa1fz0gru4pE3Mm2absKWQuLgDzCPcHtISk2yZTmDS1mZqeVf1FxeKqrmtmL67eN3dOLRlMp_C4UGzRPjOxz080OvKbmjzQ_NMmbXsGTHtw57dV0qwy-XI/s400/kathryn2.jpg" style="cursor: pointer; display: block; height: 221px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAexUVF-A919m3Rr-5j0E9F3fmH28cu7EJ1nSJq1vbw-tD6ITxkARswunJG1HEO0B2LvTpxA7TWsZeGKwkkAHbH57CfF1JciHyBBZdJQ9LpPTX0Fh7EnkEmA_Ss8fH2Yi22ziIk8Q7WyI/s1600-h/kathryn1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319052089358654146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAexUVF-A919m3Rr-5j0E9F3fmH28cu7EJ1nSJq1vbw-tD6ITxkARswunJG1HEO0B2LvTpxA7TWsZeGKwkkAHbH57CfF1JciHyBBZdJQ9LpPTX0Fh7EnkEmA_Ss8fH2Yi22ziIk8Q7WyI/s400/kathryn1.jpg" style="cursor: pointer; display: block; height: 302px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Larna Campbell </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Dawn Hoskin</span></span></span></div>
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<span class="Apple-style-span" style="font-style: italic; font-weight: bold;"><span class="Apple-style-span" style="color: #0000ee; font-style: normal; font-weight: normal;"><span class="Apple-style-span" style="color: black;">I thought a lot about the instructions, the door and what it means, both literally in terms of form and colour, and metaphorically in terms of entrance, exit, arrival, departure, movement and journeys, and the passing of time and through space. I had lots of different ideas of what to make. In the end I decided to use sheet materials, mostly papers, cardboard, and some fabric, each of which represents a specific door. For a period of one day I recorded each door that I passed through and then used this documentation to inform the bookmaking process. </span><br /><br /><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335619477674393218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrsr_D9IPNLe1rVPoGqD6U8MTG7Q0wOc6TiS7yTNFSnaFzYaIvk9GKWgeAiWPL38s6V7ijZJ52egYQ8vOxfo4eYMAlcyR-Yl5aMiTteEPzCMRfoTNnj8O4LPXEyUCZ_dbSn9E1x1RfmEg/s400/larna1.jpg" style="cursor: pointer; display: block; height: 384px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Laura Frame</span></span><span style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Heather Gentleman</span></span></span><span class="Apple-style-span" style="font-size: medium;"><br /></span>My received instructions: <span style="font-style: italic;">“Now my ladder is gone, I must lie down where all the ladders start”, “Rag and bone shop of the heart”</span> and <span style="font-style: italic;">'directions'.</span><br />
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I was fortunate not to have read the prose from which these quotes had been lifted (W.B.Yeats - the Circus Animals' Desertion) therefore could weight them with my own interpretation. Ladders – up/down(direction) – bones – ladder – ribs – escalate – body/bones as commodity – using such to ascend oneself in certain cultures.<br />
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I believe humankind is part of the animal kingdom. We are top of the chain however and have evolved to be such, as have our consciences. The former is not a fault, but we have a responsibility to be aware of truths thanks to the latter. I guess that is one of the scarce reasons to prefer to be human. With this project I wanted to highlight how some people use themselves (and, in cases, others) as pawns, devaluing themselves as interchangeable products in the process. This attitude is already rife towards other animals. The second quote above brought to mind operations to remove bones to achieve a certain body shape. If we were a bag of contents and we could just throw away bones - I think a lot of people think they would be very glad if that were the case.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxJ9iIxRolneZuwF8qLG0MF6-p8xs7zsVe2NZRjJEe7KOfq976JXQ81i586SSr9FErTkbs0YY2UBL6ODrbtthnH6oD8knDY8Lv7N5bGTzn1VVAgcGrplcNk7sZwLXWK6qbmK730NUaGo/s1600-h/laura1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5329022096203279234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxJ9iIxRolneZuwF8qLG0MF6-p8xs7zsVe2NZRjJEe7KOfq976JXQ81i586SSr9FErTkbs0YY2UBL6ODrbtthnH6oD8knDY8Lv7N5bGTzn1VVAgcGrplcNk7sZwLXWK6qbmK730NUaGo/s400/laura1.jpg" style="cursor: pointer; display: block; height: 371px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilc2aQJF2GBUeJ-G39liibTEd9d7OX2l014qgIg398kRvJbhYj42ZgmhvV6U-l3_PvNdMAvvO5GO93DhMmBwo-fkt15YNg0qz366qLG_GiNUgOC_jhj1ukZRVSIH4qw13tlwgAw7xWxxU/s1600-h/laura.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5329023324685255346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilc2aQJF2GBUeJ-G39liibTEd9d7OX2l014qgIg398kRvJbhYj42ZgmhvV6U-l3_PvNdMAvvO5GO93DhMmBwo-fkt15YNg0qz366qLG_GiNUgOC_jhj1ukZRVSIH4qw13tlwgAw7xWxxU/s400/laura.jpg" style="cursor: pointer; display: block; height: 339px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoPeuJvd8Z3xCQLIdTCybjbEZYHvGrHCS0U78lmwIjg-9KtATc3ioGIfw722NOyrv_rMSdZ0nmFOQ7-MhZZ0SNJc8_G-rc9ZYFzuS1u4xmuzLD7n3HZrqVGO6FMwkQPro4xNceqxclt74/s1600-h/laura2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5329022099852536626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoPeuJvd8Z3xCQLIdTCybjbEZYHvGrHCS0U78lmwIjg-9KtATc3ioGIfw722NOyrv_rMSdZ0nmFOQ7-MhZZ0SNJc8_G-rc9ZYFzuS1u4xmuzLD7n3HZrqVGO6FMwkQPro4xNceqxclt74/s400/laura2.jpg" style="cursor: pointer; display: block; height: 310px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></div>
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<span style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Leslie Wilson-Rutterford</span></span><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">with Alice Bradshaw</span></span></span><br />
IF YOU CAN'T BEAT 'EM, JOIN 'EM: A presentation, a setting, a reading.<br />
4 beer mats and a facsimile pub table present a setting to glimpse at women’s progress with alcohol, through the 20th C, from ‘protesting liquor prude’ to ‘shameless imprudent drinking hussy’. Whether tea-total or drunk, women are more harshly judged than men by society.The 20th C was marked by women’s attempt to escape oppression, subjugation and belittlement by men. At the turn of the century a few women tried to control men and their vile habits by trying to outlaw liquor. Unfortunately, this back lashed, and made them look like bad sports, and rather unattractive to men.<br />
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Later, with new found freedom, and a realisation that drinking was kinda nice after all they demanded the right to drink alongside men in bars and pubs. But, still on men’s terms, a woman could only enter the pub with a man, or with a group of women. If she went on her own, she was seen as a lush.Later still, a new dawn of women’s lib hit both sides of the Atlantic, and women took to drinking with confidence. It still wasn’t that cool to go out drinking on your own, unless you knew the barman by name, were middle-aged and a bit scarred emotionally.<br />
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Now, women everywhere have finally caught up with the opposite sex, and are drinking with complete abandon: clubbing all night, throwing up in the toilet, and collapsing in the gutter. Although a woman might end up alone on one of these binges, she probably started out with a man or a bunch of females, as society still has hypocritical views on women and drinking. On the surface women have equal rights to drink themselves to death, but society, and health authorities, still judges them more harshly for it. 4 beer mats provide a brief reading of 4 stages of women and drink: promoting them on the surface; elaborating in a facetious way on the reverse side, and covering up the insidious stain on women’s lives, ingrained in reality. </div>
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<span class="Apple-style-span" style="color: #0000ee;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335621065465986178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjg-WNvsO3viU8hoiaV6QpaRvwk09rCeTuRACSecbrJvbuHzGuFi3pRQGE4lTSiMbEA4s5dX6fo2XgyuG0J4hBZuJ_vMbDAasKIPC2Bemtn2IAtcmYDra2I0yYSEF0x4bI8bPhLR818eo/s400/leslie3.jpg" style="cursor: pointer; display: block; height: 197px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Louise Atkinson </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Tara Bryan</span></span></span></div>
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<span class="Apple-style-span" style="font-style: italic; font-weight: bold;"><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCaro8CaIEQe_oz40pkvB9r2VeYN7Ta29ihvmRU59ZuljibY3EwwCt42lwsnlETAcZ47JPMGkSniE-LLLRnDEfiat0d39IAn4n8vOygZmnDc9NTU8utuvGSQyXBl-5wZ8VR18z_O1rrY/s1600-h/lou2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5333863859117780786" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDCaro8CaIEQe_oz40pkvB9r2VeYN7Ta29ihvmRU59ZuljibY3EwwCt42lwsnlETAcZ47JPMGkSniE-LLLRnDEfiat0d39IAn4n8vOygZmnDc9NTU8utuvGSQyXBl-5wZ8VR18z_O1rrY/s400/lou2.jpg" style="cursor: pointer; display: block; height: 255px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlJOPxCCt5j1zB-XCVOT0Uaf65pI8CbOr9el3KLXgiWeKAaPXbiGNrjUoOFFkhXb3coktMxv_UCKIup3_0ZOgEMTbL7T03GYTp3HdaxtWITPhmGPe_ysHomRfGl1-jvjKlem8LFw-LH0Q/s1600-h/lou1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5333863853081385378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlJOPxCCt5j1zB-XCVOT0Uaf65pI8CbOr9el3KLXgiWeKAaPXbiGNrjUoOFFkhXb3coktMxv_UCKIup3_0ZOgEMTbL7T03GYTp3HdaxtWITPhmGPe_ysHomRfGl1-jvjKlem8LFw-LH0Q/s400/lou1.jpg" style="cursor: pointer; display: block; height: 263px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Mandy Woodmansey </span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">with Jennifer McQuistion</span></span></span></span></div>
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I started the book with the idea of my friend Betty. I once built a house next to her's and she helped so much. She even hammered some of the roof on. We now live 2000km apart so when I collected things that reminded me of her they were maps of where we go when we meet and postcards she has sent me. We have brought up children side by side and worked and sewn together. She is very intellectual so the book form was appropriate and her many hours of garden design I included by surrounding the house shapes with garden gates. The cover paper is made with cardomom as Betty has introduced me to many spices from her European background.</div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="color: #0000ee; font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335626330304671618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAVHDlpPigb9KqWYRtNPMbNETcuUbdKf-AWcoWLMmsD3fEwFoVpGq1_kRnEalOGo48gDScP1iA4gNOvf1IdEFrZAM-wOnxBk2DqyT8QQKK_i21MDMbmzPLs5pSsN-DJd6E_3U_8StwNvA/s400/mandy1.jpg" style="cursor: pointer; display: block; height: 258px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span></div>
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<span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Rebecca Strain </span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">with Tracey Turner</span></span></span></span></span></span><br />
I was really excited about this project as I had not taken part in a mail art project before and I was attracted by the randomness. I spent quite some time thinking about how to put together my instructions so that they would be inspiring to whomever got them. The final draft was completed in the early hours of the morning and sent to Australia in early January.</div>
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Then I awaited my instructions. After a short delay they arrived. Initially I was amused by their playful format as 'Turners Patient Artist Book Generator' yet as time went on I became more and more bothered about how to approach this request.</div>
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In March I travelled to West Dean College to visit an artist and friend Emma Dexter. Whilst there we played the game of chance sent to me as my instructions. Then and there the book began to form. It became a source of reference for all of the possibilities that lay within that game of chance. I spoke to the librarian, the tutors and the artists at the college about the resulting statement, 'She felt hurt, betrayed, torn, beleaguered, what could she do?' and together we came up with a list of references for starting points that spanned from 'Eleanor Glovers work Shadow/Self which deals with some of Jung's theories to She's always a woman to me' by Billy Joel. The book is called BLUE, 4, 8 as these were the selections made that resulted in the work.</div>
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<span class="Apple-style-span" style="color: #0000ee;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335622743995423778" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Fkjhp8OU7Bx2hWo4l7UKf4lX7wPLk4uR5XfFo_tCaSXsNgDvidaQp3xuo5z6wuLfuzlINEreGuYYDySbmsOWXPmYDtaa7GU1F3tPcdmpMBF0cCN3Becc89YZdo5NT_emqxbB1ZMwd8A/s400/rebecca3.jpg" style="cursor: pointer; display: block; height: 235px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Rosie Brigden Kearton</span></span><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Samantha Harris</span></span></span></div>
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My work for (sub)missive was made from recycled materials, envelopes, milk cartons, and used postal items. The overall theme was based on a quote from Yoko Ono on 'In- structure' - words containing IN were central to the concept. The instructions I received from Samantha Harris were very loose so and so I was able to interpret them into the way I wanted to work. I used her processes to construct a postal box containing 6 envelopes made from milk cartons and reconstructed envelopes. I incorporated typewriting, sewing, cutting, folding, collage and drawing. It was my first book work and it gave me an opportunity to explore different ways of working with different materials. I feel it has opened a door for my work to follow new directions and has been a valuable learning process. I used my blog to follow the process and the feedback from others during the period of the project was very supportive and positive.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEFM4B0UcfYXTAE_bl_uAc3vaQ8XG6KUoBF_jkyUfy3uNZVaPn7EqaU5zP0xpI47OJlSOJxHbpbKVby6OTeisG2r2k6gpZY5WCJ8iwoNAGnj6mSnHA_Qk83w2tzqZ7XSCQYfkZeFAI6N0/s1600-h/rosie.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5329012170805034274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEFM4B0UcfYXTAE_bl_uAc3vaQ8XG6KUoBF_jkyUfy3uNZVaPn7EqaU5zP0xpI47OJlSOJxHbpbKVby6OTeisG2r2k6gpZY5WCJ8iwoNAGnj6mSnHA_Qk83w2tzqZ7XSCQYfkZeFAI6N0/s400/rosie.jpg" style="cursor: pointer; display: block; height: 314px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></div>
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Tara Bryan</span></span></span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Vivien Stokes</span></span></span><span class="Apple-style-span" style="font-size: large;"><br /></span>My instructions were minimal. They came in a decorated, shellacked brown paper envelope- a kidney-shaped piece of paper that said, simply, Earth Beans. My first thought was of the rocks that mysteriously (result of frost heaving) appear in my garden every year, in spite of my certainty that I dug them all out LAST year. Then to beach rocks- definitely rocks as small offerings of the planet. I googled earth beans and got the web site of an organic bean company in China.<br />
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I wanted to keep the book as minimal as the instructions, so I used the book structure Louise had on the submissive event page, printed a photo of rocks on one side and the Earth from space on the other, coated with acrylic medium, folded, cut, Voila! A book. It reversed nicely, so you can have the Earth OR the rocks on the outside, or you can set it up so you see the image on back in an open square. Then I made another one. Still couldn’t quite get those organic beans out of my head, so I made a flexagon with images of the Earth, a soybean field (repeated for kaleidoscope effect) and a close-up of soya beans, the versatile bean that feeds so many people and animals around the world.<span class="Apple-style-span" style="font-size: medium;"><br /></span></div>
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<span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="color: #0000ee;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335624188231976626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWE6l8PT5fgENe8IX-gGW7_ZlPwuG0nRTY6TonvbsMDvjwNC2E7lrbdy8nKiXqJItoc7fTYaiC2vfCbBuCYWuPWCaHBgqMiZoNCXKw5WkclxdLFuVlq8eryiOSkf1oXqJCU4atfJhZFlg/s400/tara4.jpg" style="cursor: pointer; display: block; height: 183px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></span></div>
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Tracey Turner</span></span></span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;"> </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Laura Frame</span></span></span><br />
The instructions I received described the resulting book to be 'something impalpable', incorporating a map, and for text to flow from one page to the next. As a result I made my book out of maps and each word wrapped onto the next, in turn making another word incorporating the end of one word and the start of the next.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrDGdBwlw5fx47j58mYS5ECTTgtqX6HNX2dCkpPpL-YA5RF7kDCmj6GP2FzMsPjNP0cUvC8RAi837Bo8iWQ3CEPMegTr8gk89eGNTddEyhqJ8tvd1bud9OFY2DxMbQbQ3N6LHNvIEGVWI/s1600-h/tracey2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5319067674728249426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrDGdBwlw5fx47j58mYS5ECTTgtqX6HNX2dCkpPpL-YA5RF7kDCmj6GP2FzMsPjNP0cUvC8RAi837Bo8iWQ3CEPMegTr8gk89eGNTddEyhqJ8tvd1bud9OFY2DxMbQbQ3N6LHNvIEGVWI/s400/tracey2.jpg" style="cursor: pointer; display: block; height: 323px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="font-size: medium;"><br /></span><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-size: medium;">Vivien Stokes </span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span" style="font-size: medium;">with Rosie Brigden Kearton </span></span></span></span></div>
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<span class="Apple-style-span" style="font-style: italic; font-weight: bold;"><span class="Apple-style-span" style="color: #0000ee; font-style: normal; font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335627562327306018" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYQNATB9TLix8Mr3i-DIWdt_lHcweZdwHuoy5xCPL8LczcvVnFZjXtB2L7aPgxkwMMWUjjLzcDivbDkpJidaLuNH4YkCl6SezvRTt1UjSdYVVyk5zIib8zOheu87_HvqHUUR3OuZNQARY/s400/vivien3.jpg" style="cursor: pointer; display: block; height: 235px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span></div>
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<span class="Apple-style-span" style="font-style: italic; font-weight: bold;"><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">Julie Barratt </span></span><span class="Apple-style-span" style="font-style: italic;"><span class="Apple-style-span"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-size: medium;">with Jennifer Henderson</span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-style: italic; font-weight: bold;"><span class="Apple-style-span" style="color: #0000ee; font-style: normal; font-weight: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335626860861939218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV0VomuSlxUXaGcgnurJ7Kb3wqeVPOC6AXwNLIpo2lqT7nisfnkB2gfKoc_DGdcPJseuqcwNwu4-5HvNTR4smpegyZcTyaJK_JCmnARSeO-3Bf7wVFa72obMwxrHaIKawcoYzQ4pMyXLo/s400/misc4.jpg" style="cursor: pointer; display: block; height: 329px; margin: 0px auto 10px; text-align: center; width: 400px;" /></span></span></div>
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Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com1tag:blogger.com,1999:blog-7680926498434887333.post-65104762131977355882009-03-09T12:25:00.001-07:002010-03-25T03:07:03.973-07:00Time and Space<span style="font-weight:bold;">Bowery, Headingley</span><br /><span style="font-style:italic;">13th June - 15th August</span><br />Curated by Louise Atkinson<br /><br />Set within the confines of a domestic living space, Time and Space examined new book works created in response to nostalgic associations of place and memory, alluding to the obsolete, discarded and lost. The show included work by national and international artists, across the breadth of book art practice, exploring the book as a time-based medium in various forms, including sculpture, found objects, audio, tactile and conceptual. <br /><br />Contextualised within a living room environment, the work functioned to question how we curate our own private spaces, how we present ourselves and what we choose to reveal to, and conceal from, the outside world. This environment also afforded the audience the opportunity to fully appreciate and experience contemporary book works, while allowing them time and space to reflect on their own associations and memories.Anonymoushttp://www.blogger.com/profile/06528735825593843735noreply@blogger.com1