Do you want to help inform our events, exhibitions, and give us ideas for new additions to our programme? Then give us your feedback with the new 2025 Annual Survey!
2025 Annual Survey
You can tell us about your ideas, what you like, what you don’t like, and what you’d like to see more of – and as a bonus, there is a prize draw!
The survey is anonymous but you may leave your contact details at the end of the survey if you would like to be entered into our prize draw to win a £15 cafe voucher with our partners at Salford Museum and Art Gallery. The winner will be drawn at random. The survey is open to students, staff and public, however please note that unfortunately University staff members are not eligible for the prize draw due to tax rules.
Group photo at Hot Bed Press Left to right: Lindsay Taylor, Sam Parker, Sean Rorke, Jessica Bennett, Elliott Flanagan, Robin Standring, Jess Robinson, Iqra Saied Image Courtesy of Helen Wewiora, Castlefield Gallery
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.
Iqra Saied
Iqra has made excellent use of her space so far, acquiring some photography equipment, and figuring out what processes and other pieces of equipment she might need to better develop her practice. Iqra has also secured quite a bit of experience in the past few months:
Participating in a Creative Content course hosted by HEADS at the Factory Academy – covering ways of working with brands and creatives in Manchester.
Becoming a rehearsal assistant for the production of ARK, United States, performed by Laurie Anderson.
Undertaking many freelance working opportunities with brands, organisations, and creative collectives.
Conducting shoots with different ideas of culture and place in mind – with artists in Iqra’s new studio, and with others.
We look forward to seeing how Iqra continues to develop her practice over the next year – whether it be through professional practices, experimental techniques, or something entirely new!
Image courtesy of Iqra Saied
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.
New animation by India Buxton
20:20 Print Exchange submission by India Buxton
Robin Standring
Robin Standring presenting in his studio
Image courtesy of Sam Parker
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.
A selection of Robin Standring’s work
Image courtesy of Sam Parker
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!
Jess Robinson
Jess Robinson showing work in her studio
Image courtesy of Sam Parker
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.
New experiments by Jess Robinsion
Image courtesy of Sam Parker
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.
Grecia Balassone
Grecia Balassone’s studio
Image courtesy of Sam Parker
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.
Photos of clog maker
Image courtesy of Sam Parker
Grecia’s work and research into traditional craft practices and the continued loss of these practices is an interesting theme running through, especially in the North West of England where we have the Canals that used to transport goods from various industries, the textile mills from Manchester up to Nelson and across the North, and all the handcrafted ways of working that are slowly receding from view. Grecia tells us about their home country, and how they did not take the time to learn these traditional skills whilst there, and the passion that they now have to preserve these skills; to learn them and to spread awareness about these beautifully crafted trades.
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.
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).
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!
“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
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.
About the Programme
The focus of the Artist in Residence programme at RHS Bridgewater will develop organically, initially exploring the former historic site of Worsley New Hall. This area of the garden, which at present is largely inaccessible to visitors, is key to the story of the garden. A cosmopolitan wilderness shaped by its geology, industrial past and horticultural redevelopment – themes that connect RHS Bridgewater to a global history and diverse cultures. The residency offers a window into this wilderness and a chance to explore the horticultural and heritage stories it holds.
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.
Meet the Artist
Dr Yan Wang Preston is a multi-award-winning visual artist and photographer who is passionate about the natural world and our positions within it.
She has completed many challenging projects, including photographing the entire 6,211km Yangtze River in China at 100m intervals for Mother River (2010–2014), and walking to and photographing the same heart-shaped rhododendron bush on the South Pennine Moors every other day over an entire year for With Love. From an Invader. (2020–2021).
“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
Yan’s work has won many prestigious awards, including the Royal Photographic Society’s inaugural Photographer of Environmental Responsibility in 2023 and first prize in the Professional Landscape competition at the Sony World Photography Awards in 2019.
Her work is shown in numerous exhibitions, such as the Taylor Wessing Photo Portrait Prize at the National Portrait Gallery in 2024, With Love. From an Invader. at the Royal Botanical Garden Edinburgh in 2022 and Mother River in the 2015 UK-China Year of Cultural Exchange in China.
Yan has published two books: Mother River, and Forest, both with Hatje Cantz in 2018. Her work is collected by leading public institutions, such as the Victoria and Albert Museum, Los Angeles County Museum of Art and Wuhan Art Museum in China.
Based in West Yorkshire, Yan is a passionate gardener. Her favourite plants are peonies, rhododendrons and water lilies. Besides her artistic career, she also lectures in photography at the University of Huddersfield.
“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.”
Join the curators from the University of Salford Art Collection for an informal lunchtime tour of current exhibition: Catalyst.
CATALYST: Celebrating 10 years of the Graduate Scholarship Programme Install shot Image: Courtesy of Jules Lister
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.
Recently, the Hybrid Futures: Hypersea event premiered at Salford Museum & Art Gallery as part of Fat Out Fest, our team assistant Sam gives his thoughts:
Hybrid Futures: Hypersea Image: Courtesy of Sam Parker.
The Hybrid Futures event was exciting from start to finish – welcoming public audiences from a variety of backgrounds to experience this contemporary exhibit of sound.
This was born out of a 10 day residency for Hypersea to respond to Shezad Dawood’s ‘Leviathan: From the Forest to the Sea‘ supported by Samarbeta Music Residency, IKLECTIK ART LAB , and the University of Salford Art Collection.
Hybrid Futures: Hypersea, I Am Fya Image: Courtesy of Sam Parker.
Starting with I Am Fya – an eclectic mix of vocals, digital sound, and sporadic imagery progressing through the performance. A spontaneous vocal reaction to candid configuration of music and sound, accompanied by collaged video. Each individual piece both reacted to and stimulated each other, pushing the piece to develop into a unique response to the moment. Some danced, some stood, some sat and embraced the mix of sensory stimulation as the performance existed in uncertainty and unfolded into something irreplicable.
Hybrid Futures: Hypersea Image: Courtesy of Sam Parker.
Hypersea‘s response to Shezad Dawood’s ‘Leviathan: From the Forest to the Sea‘ was an encompassing mix of existentialism and possible outcomes for our futures. The sound was engaging, relaxing, and overall allowed the public to experience it how they wanted – the more lively of people danced, those who wanted to experience the sound (and sound only) sat down, closed their eyes, a couple even lay flat on their back to fully immerse themselves in the soundscape. For those with their eyes open, the lighting only added to the immersion of Hypersea’s performance – although lacking any change throughout the performance, the red light cast around the room kept the audience engaged and attentive. The soundtrack that Hypersea was constructed from sonified ocean data and used motion to control the composition – which I found extremely interesting, it gave the performance a real sense of weight and gravitas to know what was being presented.
A fitting closing celebration of the 3 year Hybrid Futures project, championing partnership working and collaboration across the North West.
Hybrid Futures: Hypersea Image: Courtesy of Sam Parker.
Wavy Lady install shot Image: Courtesy of Jules Lister
Donely is a fibre artist specialising in rug-tufting using vegan materials. Wavy Lady is a hand-tufted rug inspired by a stewarding fellowship Donely undertook in 2019 at the 58th Venice Biennale, through the British Council. The work depicts a woman, hanging upside down, in the foetal position, tufted in various shades of blue. She represents vulnerability and the emotional experience of ‘fallingin love with unfamiliar places; with atmospheres, with experiences, with strangers… the fleeting nature of these floating away in the water as quickly as they appeared’.
“Alena Donely’s practice has gone from strength to strength since graduating and completing her Salford Scholarship. The transition from university to being independent can be very challenging, with many adjustments including sourcing access to space and equipment. Through Alena’s own resourcefulness and dedication she has her built up her fully equipped workshop from where she can work on an ambitious scale and welcome people from all over the country and from overseas for her workshops and sharing of skills and experience.
The combination of the physicality of the heavy pneumatic tufting gun and the soft and colourful work it produces is not lost on Donely or the experience of her work. The tactile balance of the cold and the soft speaks of the expression of conflicting emotions. The roots of Donely’s practice flow from a personal place, drawing from her own mental health and telling her own story, whilst sharing works and a practice that is ever-accessible for others to engage and be inspired to both read and share their own experiences.
Donely’s welcoming and generous spirit of sharing has not stopped at the doors of her own studio – since taking on her own space at Islington Mill she has been an engaged member of the community, extending to her active involvement in the long-term security and future of the studios for others to come.”
~Rachel Goodyear, Co-director at Islington Mill
Wavy Lady close-up shot Image: Courtesy of Sam Parker
Wavy Lady, 2020 Hand-tufted rug in acrylic and linen yarn Alena Ruth Donely (2018/19)
The work reflects contrasting notions of ‘holding on’ and ‘letting’ go as a constant presence in the artists life, in a practice that draws on modern existentialism, experience of mental illness, trauma, and self-soothing – as well as being ‘unapologetically technicolour, playful and emotive’. She describes the object of the rug as an ‘island of play’ as a child – a place of storytelling, emotional connection and a comforting nostalgia.
Wavy Lady close-up shot Image: Courtesy of Jules Lister
Donely has exhibited work in group shows at Castlefield Gallery, Salford Museum and Art Gallery, HOME, and The Whitworth. She has also collaborated with Salford Lads and Girls Club, and made new work for the reopening of Rochdale Town Hall. Still based at Islington Mill, Alena now runs the Manchester Tufting Workshop, delivering commissions, workshops, courses and private tuition; as well as running collaborative sessions with the public at events including The Manchester Contemporary, 2023 and We Invented the Weekend, 2024.
Also showing: The evening is a double celebration with MA Degree Show Present/Continuouslaunching at the same time in the New Adelphi Atrium. See new work from across the MA Pathways (Socially Engaged Art, Socially Engaged Photography, Contemporary Fine Art, Visual Communication) as well as MA Animation, MSc Games and Extended Reality and MA Fashion Business and Marketing.
Launch night: Wednesday 9th October, 4.30 – 7.00pm Speeches at 5.30pm. Refreshments served. All welcome.
Exhibition continues: to 10th January 2025, 10am to 4pm weekdays, except for bank holidays and Christmas closures.
Aird is a photographer and art director based in Manchester, working across fine art, photography, and commercial and editorial work. Her work has been featured by the United Nations, Redeye: The Photography Network, and Lomography. She recently published two zines: Only Fans and Lost and Styled. This work also featured at the University of Salford Art Collection booth at The Manchester Contemporary 2023.
Aird utilises 35mm photography and experimental techniques to explore cycles of life, death, and infinite energy. Her work is inspired by the concept of ‘entropy’ from thermodynamics – which concerns energy, order and disorder – and how it relates to human psychology. Original images of flowers – which symbolise the cycles of nature and regeneration that are part of everyday life – are distorted through a process of ‘scanography’ – using a flatbed scanner as a camera to manipulate light and form in unexpected ways.
Adekola was born in 1983. He is a Nigerian artist currently living in Manchester. His work is informed by post-colonial narratives, through painting, installation, and drawing, he uses elements of contemporary and historical material to explore themes of migration, globalisation, identity politics, equality, diversity, and inclusivity. He has exhibited work internationally including in London and Nigeria.
“It was a real joy to spend time with Suraj during his time on the Scholars programme. Perhaps more importantly it was great to see his work and thinking develop. His recent series of works The Treasure (2024) made with Adire (tie-dye) fabric, spray paints, and oil sticks on canvas retain the attitude of the first works that I saw by him but they also display an evolving sense of confidence in the way he is working with his mix mediums. I look forward to seeing him continue to be as ambitious with his work in the future, as I’m sure he will be.“
~Matthew Pendergast, Curator at Castlefield Gallery
Image: Install shot courtesy of Jules Lister
We Should All Be Blacks 6, 2022 Mixed Media Suraj Adekola (2022/23)
This work is part of a series titled We Should All Be Blacks, which Adekola began during his 2022 MA studies. The artist uses the traditional ‘Adire’ fabric as the foundation of the work – a popular indigenous tie-dyed fabric made in his hometown of Egbaland, Abeokuta (the ‘capital of Adire-making’ in Nigeria). The artist deconstructs, fragments, weaves and stitches the material together, creating vibrant forms and patterns inspired by Cubism. On the surface he uses spray paint, oil stick, and bleach to draw figurative and abstract motifs. This stitching together of fragmented forms and varied mediums symbolises a deep-seated desire for belonging and inclusion, ‘mirroring the Black experience – a tapestry woven from diverse threads’. The work and material are imbued with personal narrative, memories, cultural references, and celebrates art as a way to share Black histories.
