Posts in What’s on Category

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’ 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.

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.

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.

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.

Rawlinson is an abstract painter primarily working in oils. His work explores the natural world, with a particular focus on lichen – a symbiotic natural organism. He takes interest in their ‘often-unnoticed and underappreciated significance within our ecology, highlighting the extent of our vital relationship with everything that makes up life on earth’.

Using abstraction, gestural mark-making and a range of painterly techniques to ‘give life to’ his paintings, he builds up rich and textural images on large scale canvases. The works seek to manipulate the act and experience of looking; and provide spaces of contemplation and reflection. They form a basis for wider philosophical enquiries, drawing on existentialism and phenomenology, around ‘what it means to be alive’, and what our individual and collective place in the world might be.

Rawlinson has exhibited across the UK, including Chetham’s School of Music, Manchester, Brick Lane Gallery, London and The Alchemy Experiment Glasgow. Recently he was awarded a travel scholarship by The Aidan Threlfall Trust to the Scottish Highlands.

Lizzie King uses analogue and digital printmaking and photography to explore the ‘narratives of our human-centred universe’. This work was one of two pieces commissioned for Rediscovering Salford in 2020, a city-wide project inviting artists to respond to green spaces in the city.

King focussed on Peel Park and the importance of free and open ‘parks for the people’. Demand for public green spaces traces its roots to the Victorian era, and the park is widely recognised as one of the first ever public parks – and the first to be paid for by public subscription. This importance was heightened during the Covid-19 pandemic: while the artist was shielding it was one of the few safe places to visit.

The park bench became an important symbol of rest, relaxation and reflection: ‘The bench asks nothing of the sitter but ‘to be’’. In this work King reverses the roles – the bench itself becomes the ‘sitter’ of a ‘portrait’. Using an elaborate process of photography, engraving, enlarging and digitally combining 42 original images into one composition, the making of the work itself also became a meditative and reflective process.

Jameson is a queer multidisciplinary artist who works across physical and digital mediums to depict ‘unworldly narratives of the queer form… with fantastical narratives or comic depictions’. They see their work as a form of gender performance, and draw inspiration from across sci-fi, fantasy, technology, fashion and queer culture. Previous projects include direction, production design and costume for local film projects, music videos, and commercial campaigns.

Foraged from scrap,
Yet forged into treasure,
Here floats Arcadia.
A harmonious sanctuary.
Where water seeps,
rock weathers,
And minerals scatter,
Sprouting life.
Retold in this virtual realm of broken binaries and unbridled fantasy,
We prosper in imperfect harmony.
Here… We are one.

Jack Jameson’s work presents a model utopia, inspired by mythology and folklore. In this world nature prevails, and the ‘forest nymph, water siren and rock troll dwell in in harmony – free to be’. The work combines craft, costume, 3D scanning, printing and rendering, photography, and animation.

Glazzard is from West Yorkshire and based across the UK. Clients have included Calvin Klein, Adidas and Sony Music, and work has been featured in British Vogue, British GQ, British Journal of Photography, Elephant Magazine, The New Yorker, Dazed, and i-D.

Glazzard is a photographer and creative director working across personal, commercial and editorial fields. Their series LGBT+ Letters serves to counter the ‘complete lack of queer visibility’ the artist was met with upon coming- out while at secondary school; and aims to challenge the ‘stale stereotypes’ that still hamper the LGBTQIA+ community.

Through intimate snapshots accompanied by personal, hand-written accounts of the subjects’ own experiences of queerness and representation, a body of work is formed which celebrates the many different definitions of what ‘queer’ can be. ‘LGBT+ Letters is an attempt at providing, through portraits and texts, queer aesthetics for people who find themselves without meaningful representation in the world’.

Joe Fowler is a sound artist with a focus on the marriage of data, sound and visuals for the purpose of digital data conservation. His work includes code manipulation, microsound, sonification, and the deliberate corruption of common software. His work has been exhibited in hi-fi contexts such as TEDx and Jodrell Bank, and lo-fi context such as DIY shows at Islington Mill.

Outside of his work as a sound artist, he has provided composition and sound design to numerous media products, such as the 2023 Royal Television Society North West Best Animation ‘Wild Rides’. Fowler is now a lecturer in Creative Audio at the University of Salford.

‘Call to Industry’ is a ‘tongue-in-cheek exploration of Manchester’s fetishisation of industrial spaces and history, via a parody cult initiation video for an organisation which worships industry’.

The artist examines the frequent repurpose and reuse of former industrial spaces in the city, which often disregard the dark history of the buildings – including the exploitation and abuse of the working class. He considers the inequalities underlying the Industrial Revolution, which allowed those with enough money and power to continue to exploit those without such privileges. Today, property developers create expensive luxury apartments on the same sites, continuing to lock the working class out of the ability to ‘enjoy the greatest city on earth. Join the cult, worship the ruling class, worship industry…’

Elliott Flanagan is a poet, writer and artist. He was born in Burnley, a post-industrial town in the North of England. His work explores class, subcultures, and personal and social histories. A period spent playing football, working in sales and holiday repping contrasted with a ‘hidden pursuit’ of art via film, music, television, fashion, and rare gallery visits. His work is an exploration of the sometimes jarring intersection between these co-existing lives, and an ongoing dissection of contemporary masculinity.

He works regionally and internationally using poetry, installation, performance, sound, text, filmmaking, and collaborative practices. He was published by Burnley Words Festival in 2023 with Pendle Press; commissioned by Venture Arts in 2023 with artist Barry Finan, and exhibited new work at The Whitaker, Rossendale in 2022.

‘A piece of something bigger’ explores contemporary masculinity through the prism of package holiday culture. Flanagan looks at the ideas entrenched in the male gender stereotype that saturated his youth – misunderstood and under pressure to ‘conform and perform’. The artist studies a tension from his own experience between one’s own consciousness and social expectations.

‘The traditional form of masculinity and its lack of complexity is subverted, as the viewer is party to glimpses of real honesty in the chaos. The film discusses the camaraderie that exists in relationships between men and the value of the communal experience therein.’

With music by William Brown and Ashley Snook.

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.