Last Tuesday we got together with our associates at Castlefield Gallery and the directors of both Hot Bed Press and Paradise Works to have a look at what our Graduate Scholars had been up to in their new studios. We had 2 presentations, 1 from Iqra Saied on her new space at the Castlefield New Art Spaces in Warrington, and the other from India Buxton who unfortunately couldn’t join us in person. Then visited Robin Standring, Jess Robinson, and Grecia Balassone’s studios respectively at Hot Bed Press, Islington Mill, and Paradise Works.

We also had the new Graduate Scholar liaison who will be their point of call for questions about the programme and whatever else they may wish to discuss. This is our previous Graduate Scholar whom we have exhibited twice in the past year at the New Adelphi Exhibition Gallery; Elliott Flanagan.

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Iqra Saied

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India Buxton

Although India couldn’t join us on the day, she did send in a presentation and a video of her current studio space. India is currently maximizing the use of her new flat, exploring this new area and the culture it has – she is aiming to use this new place as a new starting point to continue pushing her practice forward.

India has been developing her practice, looking into colour theory in her work, as well as delving into more research surrounding local heritage both in and out of Manchester; applying for opportunities, going on research trips, and taking commissions onboard. All of this while maintaining the themes of Greek mythology an philosophy through her work; sewing the fates and other elements of her work into each piece developed.

India’s research into philosophy (currently reading Alain De Botton’s The Consolations of Philosophy) is also informing her practice contextually as well as physically through her work. Moving to a new place, the local area has changed, it is different than home. No longer a student at university, India is using this to explore this transition in life and location.

India is also currently a part of 2 exhibitions – one of which is the 20:20 print exchange run by Hot Bed Press; so keep a lookout if you’ve taken part as you may receive one! And the other being The Omnipotence of Dream featuring students from the University of Salford, Leeds Art University, Angela Tait, Jeffrey Knopf, David Hancock, and many others. This show is open until the end of February 2025, pop by if you can.

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Robin Standring

Robin has been experimenting with a variety of different mediums – screenprint, textiles and stitching, spray paint, paint pens, photography, digital work, and a lot more. Using his studio at Hot Bed Press to the fullest, Robin’s studio is full of print work, inspiration, and plenty of visual intrigue for us to look at.

Robin then talked us through his process from ideas to creation, along with the context behind it – bouncing ideas and possible research avenues between us all. Whether it be an exploration of self in the every day hustle and bustle of life – or through loves for football that has been a constant through his upbringing and continues to play a vital role now. Telling us of LGBTQIA+ teams for official clubs that people can join to feel safer and to get into the sport; providing support and a healthy environment for all.

We spoke a lot about mental health and ways of working on Tuesday, with all of the scholars present – whether it be support and help with direction within their practices, or methods and processes to help get the ball rolling. We all struggle with knowing what to do next, having too many ideas and not knowing where to start – having a blank page in front of you and unsure which thought to put to page. Our curator Lindsay, Elliott, Gass and Helen from Castlefield, Sean from Hot Bed Press, and Jess from Paradise Works all provided their insight and support to our Scholars; offering a hand when needed. Talking about their own practices, relating moments they have had, and how they overcame them – knowing each story is invaluable to a new graduate, who can then form their own way of working strong going forward.

We’re expecting plenty of work on the walls next time we visit Robin, and we can’t wait to see what direction his work takes!

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Jess Robinson

Jess has never had a proper studio space before, and was full of ideas when first moving in. Wanting to move away from traditional photography and its aesthetics, Jess has already begun experimenting with what photographs are, why we are drawn to certain images, and how an image can be developed after being captured.

Brimming with ideas, Jess told us about all of her current work on the go – bouncing between digital photography, analogue photography, cyanotypes, mixed media with paint, collage, and methods of display. Jess showed us a new line of work that she has been working on with paint over images, creating pockets of photographs within a heavily textured surface – making the viewer delve closer to the work to discover the image within.

We again spoke to Jess, with others weighing in on focus within an art practice, how to move forward when we have so many ideas, or narrowing down from so many images – best practice for experimenting and creating work whilst struggling with going through the motions. Jess’ experiments combining different mediums together is a testament to the drive that she has – saying that rather than overthinking and waiting for all the blocks to be in place, she has begun to just create when an idea strikes; using the materials available and just cracking on. It doesn’t have to be perfect, as nothing is, but we can still find beauty in unexpected places. Jess has also chosen to do more creative writing, as a way to connect herself and contextualize concepts and stories behind her work – we all agreed that this creative writing might be the key to deciphering more about her and her practice moving forward.

We again wish Jess the best and look forward to seeing what wonderful things emerge during her time on the Graduate Scholarship Programme.

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Grecia Balassone

Grecia was also unfortunately not available, but on the day provided us with a 25 minute video in which they told us what they had been up to, opportunities that they had, and explaining the different processes and background to their current work. Grecia also provided us some chocolate as a gift upon entering their studio – we all sincerely thank you for this Grecia.

Whilst looking at Grecia’s work in their studio, we all listened to what they had to say about it – the thoughts, the feelings, and the stories from earlier in their life about security, exploring the self, and the struggles that they are going through. Grecia’s video was heartfelt, informative, and extremely brave – no cuts, no edits, just a raw explanation of passion and drive. What has gone well, what has gone not so well, current research themes, current experiments that whilst Grecia was talking about we could see in the studio and further inspect; it was honestly a really great way of doing it whilst not being there in person. It was almost like an Easter egg hunt as they brought up an artwork only for Jess from Paradise Works to find it and for us all to then admire it.

We spoke about possible avenues of research for Grecia, including perhaps travelling to some older mills that haven’t been converted yet, or to contact some organisations (like Super Slow Way, or insitu) that work a lot with preserving the memory and culture that these industries made.

As with all of our scholars, we very much look forward to how Grecia continues to expand their practice and delves more into these traditional ways of working; bringing them to the forefront.

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This day was a great way to get to know what our newest scholars have been up to , with their practices, their lives, what’s going well, and what they might need support with. Our associates from the other organisations providing input and new ways of viewing things was extremely useful for the scholars, and we hope that they all got as much out of it as we did.

We’d like to thank Iqra, India, Robin, Jess, and Grecia for allowing us into their studios, and talking to us about everything and anything. We know great things will come from each of them over this next year, and we wish them the best in all they do.

Many thanks to those who attended to discuss and feedback to our scholars: Lindsay Taylor and Sam Parker (UoS Art Collection), Matthew (Gass) Pendergast and Helen Wewiora (Castlefield Gallery), Elliott Flanagan (Artist), Jessica Bennett (Paradise Works), and Sean Rorke (Hot Bed Press).

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Hello Curatorial Intern Cami O’Hagan here, this will be my final takeover for spotlighting these artworks. It has been a privilege in showing you my journey in discovering the work of Albert Adams through auditing the University’s Special Collection!

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What is the connection between Adams and Salford?

It was at the Slade that he became close friends with the English painter Harold Riley, through this friendship Adams visited Salford to spend the Winter holidays with Riley and his family – this link to Salford could be the reason why Adams’ life-long partner Edward Glennon generously donated such a substantial amount of the artist’s works and studio materials to the University (with the support of ArtFund).

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Although moving away from South Africa, he had revisited many times between 1959-90 – it is clear that his home-country and its government’s exclusionary history is embedded within the direction of his artistry. With over 75 of Adams’ artworks in this Special Collection, Adams produced a substantial number of self-portraits throughout his artistic career.

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Human cruelty – war and apartheid

To view more artworks and gain further information on Albert Adams follow the link below!

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Hello, Cami O’Hagan back again! Covering all things Albert Adams in celebration of the University’s Special Collection!

To familiarise you with his life and work, Adams born in Johannesburg 1929 of African-Indian heritage, he was excluded from having a formal arts education in South Africa due to the apartheid legislation; segregating the country’s populace into ‘white’ and ‘coloured’ peoples.

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This racial segregation policy did not stop Adams from gaining access to a university scholarship in 1953, where he relocated to London to study at the Slade School of Art until 1956. After he graduated, he was awarded another scholarship at the Munich Academy of Arts (1956-57), then completed further education at the School of Vision, Salzburg (1957).  Producing his artworks through drawing, etching, printmaking and painting, building up an impressive technical skillset Adams spent many years teaching art in secondary schools in London’s East End.

It is clear to me that this impressive academic career shaped the expressionist style and macabre-like atmosphere that can be seen and felt from Adams’ work for example, Head – Final State and Figure Study (images 2 and 3). The emphasis on stark distinctions between shape, form and the monochromatic palette to symbolise the toughest of realities; the uncertainty, alienation and urgency to survive as a Black gay man who was ostracized from his own country, and also trying to navigate the sophisticated arts and culture scene in London.

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The distorted head with huge, clouded but peering eyes (image 2) in my opinion, represents Adams’ attention on the subjugation of citizens under the state violence caused by the apartheid. The interplay of shadows within the abstracted figure with an obliterated face and a clearly visible era (image 3), this blurring technique making this subject unknown – signifying Adams grappling with his identity and sexuality. The graphite on paper, creating the impenetrable blackness around the struggling figure opens up a window to the intersectionality of themed possibilities that this work could be centred around.  

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Want to know more about our Artists in Residence at Energy House 2.0? In this special edition of Talking Salford Podcast, both Mishka Henner and Emily Speed talk about their practices, projects, careers, and the work they are doing in collaboration with Energy House 2.0!

Available on your preferred Podcasting platform, or on YouTube at the link below!

Talking Salford S2E11 – Energy House 2.0’s Artist in Residence Special – Mishka Henner & Emily Speed

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The Energy House 2.0 Artist Residencies are hosted in partnership with Open Eye Gallery, Liverpool and Castlefield Gallery, Manchester.

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I want to spotlight artworks from the University’s Special collection; The Albert Adam’s Collection. Over these next few posts, I will be sharing my concepts on the work of South African Expressionist artist Albert Adams (1929 – 2006), not only to celebrate Black Culture and queer identity but also to generate opportunity for the wider community to learn about the struggles and resilience of this magnificent artist.

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Did you know there is a room dedicated to the artist in The Old Fire Station building, located across from the Peel Building – the Albert Adams room has a large selection of the artist’s work on display!

Stay tuned for more in depth details on how the University of Salford holds the largest archive of Albert Adams’ artwork and personal ephemera.

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“We’re delighted to be working with RHS Bridgewater, which is such a beautiful asset right on our doorstep. I’ve been aware of Yan’s amazing work and her focus on the natural world for some time, and have been waiting for the right opportunity to work with her – we’re very excited.”

~Lindsay Taylor, Curator of the University’s Art Collection

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Discover more about the Artist in Residence programme from award-winning artist and photographer Dr Yan Wang Preston and Lindsay Taylor, Curator of the University of Salford Art Collection.

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Working in partnership with the University of Salford Art Collection, the first stage of the residency is a research and development period from September 2024 to January 2025. From March 2025 there will be a full development period, including a series of public workshops and a pop up display at RHS Bridgewater. In spring and summer 2026, the new work created by Artist in Residence Dr Yan Wang Preston will be presented outdoors in the garden, before an exhibition in autumn at Salford Museum and Art Gallery concludes the residency.

The Artist in Residence project with RHS Bridgewater helps the University deliver on some of its core ambitions, which are to enable healthier living, to nurture creativity and innovation, and to improve sustainability. It will also ensure that the Art Collection team continues to serve the University’s students, staff and wider communities – now and in the future.

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“I’m delighted to have this opportunity to work with RHS Bridgewater. Plants and flowers enrich our lives with so much beauty and vitality. Like people, they come from long journeys that are full of moving stories.”

~Dr Yan Wang Preston, Artist in Residence

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“For the research stage of this residency, I would like to prepare the ground first – to gain an understanding of the journey of RHS Bridgewater, and to try to grasp why the plants mean so much to us from personal, collective and artistic angles.”

~Dr Yan Wang Preston

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Woods works across collage, zine- making, sculpture, textile and quilting. They were part of the first cohort of Graduate Scholars in 2014. They exhibited with the Collection at The Manchester Contemporary in 2018, at ‘More T’North‘ at the Harris Museum & Art Gallery, Preston, in 2020, and at A Modest Show, Manchester in 2022.

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‘Condescending Order’ is a series of zines produced on a monthly basis in 2015, reflecting current political themes. Usually produced in an A5 booklet format, each zine has a variety of formats including poetry, collage and illustration.

Woods’ work critiques capitalism, inequality and societal structures with the intent to inform and empower. She explores these concepts through a variety of mediums with a focus on experimentation and humour. Woods intends to make work which confronts institutions of power and politics, while remaining inclusive and accessible. A decade on, the zines’ themes of ‘broken britain’, political debate, electoral tensions and mistrust of government still hold particular resonance.

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This year, I was selected for a Travel Bursary from the Contemporary Art Society, allowing me to head down to London with them to explore Frieze, and to attend a panel discussion with Valeria Napoleone.

Alongside this I also saw 2 other exhibitions whilst in London; Chun Kwang Young’s Inherent Memory, and Strange Wonders: Jizi and pioneers of contemporary ink from China.

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Chun Kwang Young : Inherent Memory

Tristan Hoare Gallery

I had previously seen some of Chun Kwang Young’s work at the 2021 Venice Biennale – the intricacy of the small triangular forms wrapped in antique mulberry paper, tinted with various teas or pigments; it is a feast for the eyes. The volume of jagged forms, contrasted with each shadow and reflection of light from a multitude of different angles encapsulates the viewer to pause and get lost in each of the works.

Chun’s signature technique is reminiscent of childhood memories, medical herbs wrapped in Mulberry paper and hung from the ceilings of the local doctor’s office. This link to his Korean heritage and merging these techniques into his art is astounding. Chun takes countless Korean books and wraps the pages around polystyrene shapes, giving each one its own individuality. Although not able to read Korean, I find the writing upon each shape inspiring, as it further emphasizes the nature of our species – history being lost to time, and yet reused or rebirthed into new and exciting ventures. Chun’s work will always be a treat to witness firsthand.

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Strange Wonders: Jizi and pioneers of contemporary ink from China

Brunei Gallery

After this I then went to the Brunei Gallery at the SOAS University of London, where the Strange Wonders: Jizi and pioneers of contemporary ink from China was on display. This exhibition was intriguing, for the way it was hung and put together, but also the content. Large ink works on rice paper clad the walls throughout the lower level of the Brunei Gallery, a mix of celestial and the everyday amalgamated into various pieces; pockets of space and entrances to other worlds.

“The rules say ‘use form to draw spirit’, but I in fact ‘use spirit to draw form’.”

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FRIEZE LONDON

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Valeria Napoleone xx Contemporary Art Society

CAS then took us to Valeria Napoleone’s residence/ gallery – the walls of this London Terrace were filled with artwork by various female artists over the years; as Napoleone has been collecting work since the 1990s, there is no lack of it. Ranging from paintings to sculpture, small and large, it was a collection to behold.

The following talk between the CAS members and Napoleone was interesting to me as it was an in-depth introduction to select works that VN xx CAS has acquired since its founding in 2016, and then gone onto be presented in various CAS affiliated Museums such as: Leeds Art Gallery, Norwich Castle Museum & Art Gallery, Manchester Art Gallery, Royal Pavilion & Museums Trust, The Hunterian, Bristol Museum & Art Gallery, York Art Gallery, and the Scottish National Gallery of Modern Art.

I was intrigued by the 1973 film Antepartum by Mary Kelly – a film acquired for Brighton & Hove Museums through VN xx CAS. Kelly’s work is renowned for introducing feminist concerns into the male dominated space. This film being part of a series of works that focus on the experience of pregnancy and motherhood. Black and white close-up shots, the film portrays a pregnant stomach at full term; the film showing the subtle rising and falling of the abdomen as breath is drawn and then exhaled. Part of the reason for my intrigue is that of physicality and the material that is used to capture this work – analogue film (converted to DVD for digital conservation). The look and feel of film is one that captures natural environments and life so well compared to the digital medium of today (in my opinion); it has a unique quality that captures the soft details and subtle movements to great effect.

The kindness of Napoleone, everyone at the Contemporary Art Society, and the other organisational representatives knew no bounds. Even a full month later I am still digesting the amazing work I saw, and cannot thank the Contemporary Art Society enough for this opportunity.

Also a quick shout out to Kate from Tate, Megan from North Yorkshire Council, and Kirsty from Dundee as we spent most of the day discussing art and our different roles respectively.

Turner is a photographic artist exploring narratives of symbiosis between the landscape and the individual. ‘A Seat in the Shade’ is part of a larger body of work produced during the Venice Biennale 2019, where the artist undertook a stewarding fellowship co-ordinated by the British Council.

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The series, which includes a self- published photobook, is a meditation of the claustrophobia of Venice; this work encapsulating a search for a moment of solitude in the city. The print was handmade by the artist in the colour darkroom in an edition of 2.

Turners’ wider practice investigates interactions with landscape as a way to navigate social and cultural themes and issues, through both personal and existential experiences. He has exhibited at the Open Eye Gallery Hub in Leigh Spinners Mill, London Metropolitan School of Art, The Brunswick Leeds, and Paradise Works in Salford. His writing has been published online and in print, including with Redeye: The photography Network. He is currently Photographic Technical Demonstrator at the University of Salford.

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Join the curators from the University of Salford Art Collection for an informal lunchtime tour of current exhibition: Catalyst.

The exhibition features work from 16 University alumni, across painting, printmaking, photography, video, sculpture and more.

Covering a range of topics, their works exemplify the exciting and urgent emerging practices happening in the North West right now. From personal identity, LGBTQ+ visibility, wellbeing and politics; thoughts on place, landscape and nature; to passionate enquiries into form, shape, colour and the nature of image-making, the artworks reflect some of the many issues of the past decade.

Find out more about the works on display; the University’s art collection; and our graduate artist support scheme, now in its tenth year.

Open to public, students and staff. Tour runs 1pm for approximately 20mins, with time for questions.