Alex Nelu the wind was blowing as I was walking on marshy ground (2024) Archival pigment prints on Hahnemühle Bamboo paper
Nelu is a Romanian photographic artist based in Lancashire, a Creative Technical Demonstrator at the University of Salford and a graduate in MA Contemporary Fine Art (2017). His practice lies at the intersection of documentary and fiction, using walking and image-making to map both physical and emotional landscapes.
These works are rooted in Nelu’s experience as an immigrant navigating the bleak and often isolating landscapes of the West Pennine Moors. Drawn to ancient infrastructure such as Roman roads or footpaths, as well as Victorian relics that have since blended into the natural environment (mine shafts, quarries, spoil heaps) he photographs the land in an idyllic, painterly style as a metaphor for his own sense of dislocation and projected resilience.
Central to this project is an ongoing exploration of sustainable photographic practices, carefully considering planning, image-making, post-production, and presentation, grounded in a commitment to photographing locally and leaving no trace, as part of an Arts Council England Developing Your Creative Practice grant.
The images above are close-up stills of Nelu’s work.
The image above is an install shot from the exhibition.
Peter Green OBE RE (1933-2023) was a British printmaker and educator. His work largely explored British landscapes – from the former coal mines and quarries in Wales, to derelict farms and coastal scenes; through an increasingly abstract visual style.
Time spent travelling and teaching printmaking around the world influenced his practice – from traditional stencil printing in Japan, to modernism in Europe and the legacy of the Bahaus movement. Many of his works were not derived from preliminary drawings but emerged through the making process, with works such as Sea Solar Blue evoking colours, textures and rhythms found in nature.
He was elected to the Royal Society of Printmakers in 1959, and awarded an OBE for Services to Art and Art Education in 1988. His work is held in numerous collections including the V&A, London and the National Museum of Wales, Cardiff.
The images above are close-up stills of Green’s work.
The images above are install shots from the exhibition.
Phil Greenwood White Sky (1977) Etching and Aquatint
Greenwoods’ vast body of printmaking focuses on landscapes, depicting lakes, parkland, woodland and coasts. Though they might appear to be familiar scenes, they are mostly recalled from memory – amalgamating elements and ideas from a variety of places. Often only a few colours of ink (sometimes only two or three) and plates are used, expertly combined in layers to create a range of tonal qualities. The resulting images have an atmospheric and dream-like quality, often capturing qualities of light and shadow and times of transition such as dawn, dusk, or a change in weather.
Greenwood was born in North Wales, studied at Harrow and Hornsey College of Art in London, and eventually settled in Kent. He became a full-time artist in 1971, pursuing both commercial and fine art practices, with works in public and private collections including the Arts Council and British Council.
The images above are close-up stills of Greenwood’s work.
The images above are install shots from the exhibition.
Halifax-born Derek Wilkinson (1929-2001) was an artist and teacher, working in painting, drawing and printmaking. His work largely captured rural and urban landscapes across the North, from Greater Manchester, to the Pennines, to the Lakes; using muted colour palettes and careful compositions. This work captures a winter’s day at Rydal, in Cumbria.
Wilkinson studied at Blackpool School of Art (1946-50), at Manchester’s Regional College of Art (1951-53); and taught at Stockport College from 1958. He has exhibited widely across the North as well as in London, and has works held in the collections of Manchester Art Gallery, Salford Museum & Art Gallery, and Stockport Heritage Services.
The images above are close-up stills of Wilkinson’s work
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).
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!
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).
Harold Riley, The Christmas Roundabout, Salford (1980) Monograph
Portrait of Edward Glennon in Albert Adams’ Studio taken by Jillian Edelstein (2012)
Courtesy of Art Quarterly 2012
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.
Self Portrait (1956) an etching made during Adams’ final months at the Slade, I believe this self-portrait characterises a shifting point in the artist’s life, the lines that make up his hair are thin and subtle, opposed to the lines around the nose and chin; bold and thick. He was about to start a journey at the Munich Academy of art – relocating again from London to Germany, there may have been feelings of hesitation in not being accepted by society due to white supremacist racial bias.
Last but not least, my personal favourite – Self-Portrait (1958) an oil painting of a handsome and stylish looking Adams in his vest top. A disparate and experimental approach in the use of colour, perhaps this particular style could be a precursor for Basquiat or Jarman. I feel that Self-Portrait (1958) is a prime example of how one could perceive Adams’ body of work through a queer lens, his style is fluid – constantly evolving his technical skills with no fixed medium for his output. Albert Adams was ahead of his time, not adhering to one theme but covering the complexities of his own identity, racial injustice and political oppression.
Human cruelty – war and apartheid
To view more artworks and gain further information on Albert Adams follow the link below!
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.
Albert Adams, Head – Final State (1956) Lithograph
Albert Adams, Figure Study (1977) Graphite on Paper
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.
Albert Adams in his studio. Courtesy the Artists’ Estate.
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.
Hi! Curatorial Intern Cami O’Hagan here taking over the Art Collection’s feed to bring you artwork(s) of the month for November!
I have been prompted to reflect on the past couple of months, working closely with Steph and Sam; having the incredible opportunity to be part of the collection audit. In performing condition checks on each artwork, this process has allowed me to explore the influential and multifaceted narratives within collection.
Image courtesy of Cami O’Hagan
Albert Adams, Self Portrait (recto), 1958, Woodcut. Image Courtesy the Artist Estate. Photography by Museums Photography North West.
Albert Adams, Animal Study, 1977, Drawing. Image Courtesy the Artist’s Estate. Photography by Museums Photography North West.
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.
Installation view of the Albert Adams Room by Photography North West
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.
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.
Condescending Order 1–5 (2015)
Meg Woods
Install Shot
Image: Courtesy of Jules Lister
‘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.
Condescending Order 1–5 (2015) Meg Woods Close-up Shots
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.
A Seat in the Shade (2020)
Install shot
Image: Courtesy of Jules Lister
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.
A Seat in the Shade (2020)
Close-up shot
Image: Courtesy of Sam Parker
