To celebrate World Mental Health Day 2024, we’ve launched a new self-guided mindful gallery tour. Pickup a leaflet in the gallery, or download a copy online here, and enjoy a new way of experiencing the artwork.
This years’ theme is workplace mental health, so why not take a break from your screen, or meet a colleague in the gallery, and hopefully enjoy a few minutes of calm.
As always our gallery (and the activity sheet) are open to staff, students and public.
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:
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.
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.
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.
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 ‘falling in 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, 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.
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.
Hi I’m Cami O’Hagan and I am over the moon to be working with the University of Salford Art Collection team as a Curatorial Intern. Recently having graduated from the BA (Hons) Photography programme in July of this year, I am now able to fulfil my professional aspirations in developing the curatorial side of my practice, with the support of the amazing members of this team; Curator Lindsay Taylor, Assistant Curator Stephanie Fletcher and Team Assistant Sam Parker!
I relocated to Manchester over three years ago to begin my academic journey at the Salford School of Arts, Media and Creative Technology. Born and raised in Belfast, Ireland by two parents who grew up during The Troubles – my work is profoundly rooted in socio-political issues within the UK and Western World. Completing my bachelor’s degree has shaped my decision in wanting dive deeper into the ‘behind the scenes’ of what it means to work in museum/gallery environment as an individual, but more importantly as a team.
This opportunity in working with the Art Collection has helped me navigate the daunting period that most people face when transitioning from student to graduate, I couldn’t have asked for a more rewarding and insightful experience. Beginning this internship in July, I have already gained a deeper insight and new perspective into how one handles and engages with a museum/gallery collection. Expanding my knowledge and skillset within the different branches of curatorial practices; my first responsibility in this role consisted of creating holistic blog posts on the Collection’s recent artwork acquisitions from the Derbyshire SLS/Buxton Museum (read more here) and also being given autonomy over selecting the ‘Artwork of the Month’ (coming soon!)
Additionally, to completing research and writing tasks, part of my role has also involved supporting the curation of the Art Collection’s most recent New Adelphi Exhibition Gallery exhibition ‘CATALYST’ which celebrates 10 years of the Graduate Scholarship Programme. Working with Steph and Sam in the preparation and installation process, creating a cohesive show that embodies the work from a variety of artists that have been part of the programme has been eye opening! Throughout the development of this exhibition, I have been prompted to step out of my usual stance as an artist, and step into the view of a curator. Grasping the challenges that come with this role; carrying out conditions checks, handling and displaying the artworks in a format that respects and amplifies the talent and intentions of each artist – I have learnt that this process is both delicate and complex.
Before starting this internship, I gained previous work experience within in the University of Salford’s Archive, working with Head Archivist Alexandra Mitchell on cataloguing and digitisation of the Walter Greenwood Archive. During this placement I came to realise the important role that archival practices hold within the area of curatorial and contemporary art projects, regarding the elements of researching and viewing materials and imagery through a different lens – in curating collections and archives.
Outside my role within the Art Collection, I uphold my own practice as a Creative Practitioner – currently I am investigating the connection between art, curation and activism. My artistry focuses on amplifying marginalised voices through photographic, archival and printmaking techniques. I produce large installation pieces through a hybrid-medium of collaged screen printing. My most recent projects focus on the themes of Queer oppression and restoration in the 21st century. Recently my ‘From the Top Down’ (2023) piece had been selected to be shown at Rosetta Art’s (London) ‘Queer in Newham’ exhibition back in March. Alongside my artistry, I have been developing my curatorial practice in cultivating my knowledge by researching and applying inclusive curatorial practices within the UK’s heteronormative arts and heritage sector. My determination in putting 100% into my research and practical experiments has recently granted me a nomination for the Dean’s Award for Academic Achievement at the 2024 Create Student Awards.
Now nearly two months into this internship, I am feeling inspired and ready to take on the next challenges set within my role; taking a further deep dive into the logistics of collection care and handling procedures. Putting my technical knowledge and skills gained within my last three years to the test in photographing, cataloguing, digitising the collection. I’m excited to explore the intriguing and varied strands within the collection, and most importantly to be part of the process which enables staff, students and the community of Salford to further discover what this collection has to offer.
Cami O’Hagan – September 2024
You can find more of Cami’s artwork and curatorial projects on their Instagram and website:
Instagram: @coh_visuals
Website: https://cohagan1.wixsite.com/camiohagan
Aidan Doyle was born in West Yorkshire and lives in Manchester. He has exhibited across the North including at Star and Shadow Cinema, Newcastle, HOME Manchester, and Harewood House, Leeds.
Doyle’s practice considers topics of self-perception, personal identity, and societal expectations, including the idea of ‘dissimulation of oneself’ – the hiding of one’s true feelings and thoughts. He combines traditional, manual and digital image making techniques, and explores the transition of two-dimensional imagery to tactile three-dimensional objects. His imagery often leans towards abstraction, creating a space for individual interpretation and connection.
New works ‘I just can’t bring myself to…’ ‘teeter on the balance of being visible and invisible’ and explore the relationship with the inner self and the outside world. Using fragmented imagery devoid of original context, the artist considers the choices we have to make on how we portray ourselves to the world: what we choose to share and perform, and what we choose to hide from view. Layered and collaged together, some areas torn and patched, others fragile or with abrasive textures, the works consider how we similarly ‘collage together’ small parts of ourselves to create an outward image.
Bell’s broader work revolves around socially engaged photography, often actively collaborating with communities to capture their stories and experiences. She uses both film and digital mediums and seeks to shed light on untold narratives, spark conversations, and ‘foster a deeper understanding of the world we inhabit’. During the Covid-19 pandemic, the artist was active in the Islington Mill ‘Masks 4 Life’ project making, selling and donating limited edition face masks featuring works by the studios’ artists.
Rorschach Women is part of a larger body of work titled Bathing in the Rorschach. Using a Go Pro camera submerged underwater, the artist captures ethereal and fluid moments, which are then digitally manipulated to create intriguing semi-abstracted imagery, intricate patterns, and symmetrical forms. The work explores the mysteries of the Rorschach Test – a series of abstract inkblot images which ask the viewer for subjective interpretations and psychological associations. Historically these were used to examine personality traits, emotional functioning, or patterns of thinking.
Juxtaposing the fluidity of water, the abstracted human body, and the enigmatic Rorschach form, the artist seeks to blur the boundaries between reality and perception. Her work evokes a sense of introspection and invites viewers to project their own interpretations and meanings.
Join us on the 9th of October 2024 to celebrate our newest exhibition CATALYST – featuring 16 artists from across the North West.
Artists include: Suraj Adekola, Katie Aird, Lubna Ali, Mollie Balshaw, Joe Beedles, Heather Bell, Alena Ruth Donely, Aidan Doyle, Elliott Flanagan, Joe Fowler, Jesse Glazzard, Jack Jameson, Lizzie King, Adam Rawlinson, Joshua Turner, and Meg Woods.
CATALYST install shot
Image: Courtesy of Jules Lister
Also showing:
The evening is a double celebration with MA Degree Show Present/Continuous launching 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.
Beedles’ wider practice as a sound and visual artist explores club, techno and electroacoustic music, with an interest in both experimental and ambient soundscapes. His current focus is on generative systems for live performances, providing audiences with compelling and immersive audio-reactive imagery. His work has featured in gallery, venue and club contexts internationally, and he has held residencies in Chongqing, China (2017), Wysing Arts Centre, UK (2019), and in Johannesburg, South Africa & Maputo, Mozambique with the British Council (2019).
Beedles’ audiovisual work combines music and digital video with generative technologies, to create abstracted works that explore time, memory, and the ‘threshold between the real and the simulated’. This work explores the idea of ‘compressed memory’ – a term that might equally apply to digital or human memory retrieval, considering how recollections can blur and distort over time.
The artist uses a custom made patch (a piece of coding) which selects from a bank of audio tracks made by the artist, ranging from his first musical recordings through to his most recent compositions: ‘Soundbites suddenly burst to the foreground like a forgotten memory, before receding again into the distance’ Accompanying the sounds, an abstract visual is triggered simultaneously and ‘undergoes a similar process of obfuscation’.
Balshaw is an artist and curator based at Islington Mill in Salford, and a co-director of artist-led organisation Short Supply. Their work was most recently exhibited at the John Moores Painting Prize 2023.
Painting in the expanded field, Balshaw’s work extends beyond the traditional bounds and restrictions of painting, exploring the painting as an ‘object rather than an image’. They consider the deconstruction and reconstruction of structures and surfaces, applying and manipulating thick brushes of brightly coloured paint on – and in between – layers of cardboard in abstract gestures.
Their work also considers the intertwined histories of gender and painting practice, where painting is ‘caught up in a push and pull between femininity and masculinity Identifying as non-binary, I find myself stuck in this whirlwind of tropes, questioning where a painter like me fits amongst the history of painting.’
Ali is based in Manchester. She has exhibited in the UK and has work in public and private collections. In 2018 she was artist-in-residence at The Whitworth Gallery, Manchester. She was also a founder and member of print collective Rhubarb & Custard. Print Unltd was presented by the University of Salford Art Collection in partnership with Salford Museum and Art Gallery, Salford Community Leisure, Hot Bed Press, and was funded by Arts Council England.
Ali’s My Tiles was originally commissioned for Print Unltd, an exhibition of four North West based artists making new work which aims to celebrate and challenge printmaking practices today. My Tiles is inspired by the tradition of Islamic geometric pattern-making, which uses tessellated shapes and repeated motifs to create often intricate designs. They may be used to consider topics of unity, infinity and connection.
Rather than using digital scanning or editing, Ali’s works are all carefully drawn by hand before being exposed directly on screens. The first image in the series consists of a simple diamond shape; and as the work progresses new patterns and colours are added to each print. As the edition number increases, further pattern and colour is added – creating an unusual method of editioning the work wherein higher edition numbers become more complex works. In total Ali created an edition of 50 prints with 6 sub-editions. The first and last in the series, on display here, were acquired into the Collection.
“Lubna was not only a scholar but was selected from an open submission to take part in Print UnLtd a major exhibition of 4 commissioned artists at Salford Museum & Art Gallery in 2018. Responding to the brief to challenge the preconceptions of printmaking Lubna went on to produce a large series of prints building from one colour and one pattern design to over 30 colours in an evolving series of prints.
Each print in the series was different and grew from the last print. The full set of large prints existed as a whole art piece and individually. The concept of value of prints based on amount of work put in incrementally increasing each print was also integral to the work with the first print in one colour priced at less than the next, each colour adding value to the print, building to the most expensive 30 colour last print. Seeing Lubna question the nature and understanding of printmaking in this was a real highlight and opened quite a few people’s eyes to challenging print and gallery constructs. Oh and they are beautiful prints too!”
~ Sean Rorke, Artistic Director at Hot Bed Press