Artist in Residence Yan Wang Preston launches OFFSHOOT at RHS Garden Bridgewater.
Join us at RHS Garden Bridgewater to meet photographer Yan, hear about her residency to date – and find out how you can become a ‘Memory Keeper’ for our magnificent 300 year old tree!
Saturday 21 June – 10:30am to 1pm at RHS Garden Bridgewater Learning Studio £5 entry (refreshments included)
In the historical grounds of RHS Garden Bridgewater stands a magnificent sweet chestnut tree, estimated to be around 300 years old. What vibrant, turbulent and wonderful memories could this tree tell us about our history? What memories does it keep?
Yan Wang Preston, OFFSHOOT Artist in Residence at RHS Garden Bridgewater plans to create an artwork to honour the sweet chestnut’s life, and to retrace and explore its preserved memories – with your help.
On Saturday 21 June 2025 – the summer solstice – Yan will launch the project and host the first memory-collecting event at RHS Garden Bridgewater.
Yan will be in conversation with Josh Corbett, Bridgewater’s arboriculture team manager and self-proclaimed tree enthusiast. They will discuss their respective roles as artist and arborist and focus on how to look after woodlands for the future.
Yan will then present the star of the show, the sweet chestnut, before explaining her idea behind the Memory Keepers project. Anyone who wishes to take part will join a raffle, where each person will be randomly assigned a year between 1720 and 2020.
If you would like to join Yan’s project and become a ‘Memory Keeper’ you will be invited to write a short story (5-10 sentences) inspired by your given year. It does not need to be connected to the tree and can be about any historical event that happened that year, anywhere in the world.
For inspiration you will go home with a beautifully designed folder containing a blank sheet alongside Yan’s photos of the tree and 19th century images too. You can then submit your short story in a stamped addressed envelope addressed to Salford Museum and Art Gallery.
We will gather stories over the next six months, and our Memory Keepers’ stories will eventually form a collaborative artwork celebrating the enduring presence of our sweet chestnut tree.
This will be exhibited at Salford Museum and Art Gallery in 2026/7. Memory Keepers is both a talk and a participatory event. Submitting a story is entirely optional.
OFFSHOOT Artist in Residence programme is a collaboration between University of Salford Art Collection, RHS Garden Bridgewater and Open Eye Gallery Liverpool and is generously supported using public funding by the National Lottery through Arts Council England.
Install shot from Between the Earth and the Sky Courtesy of Sam Parker
As a part of Between the Earth and the Sky our team assistant Sam Parker conducted a Q&A session with artist Alex Nelu to better understand his practice and thought process. As part of Arts Council England’s Developing Your Creative Practice grant, Nelu has continued to explore how to make a photographic practice more sustainable in multiple ways; like using photographing digitally rather than using harmful chemicals in a darkroom. Alongside this Nelu shares more information about his background and influences as an artist.
Starting off with a simple one; what equipment do you use? Be it cameras, scanners, other pieces of kit – what’s your go-to equipment bag got inside it?
“I prefer equipment that is lightweight and intuitive, something I can carry comfortably on long walks without it becoming a burden. Cameras are overloaded with menus and settings these days and I don’t enjoy wasting time when I’m out and about. Photography for me is about being present in the landscape, not buried in a screen.
For ‘the wind was blowing as I was walking on marshy ground’, I bought a second hand digital medium format camera which allowed me to capture the detail and depth I was after. The images were printed digitally on a bamboo-based paper, then presented in frames borrowed from the Art Collection, as part of ongoing efforts to test more sustainable approaches in my practice.
In the past I loved working using basic film cameras, either point-and-shoot or SLRs. I prefer to stay clear from any AI features and try to avoid getting lost in technical specs as that often feels very disconnected from the actual act of making images.”
Nelu’s camera in-situ. Courtesy of the artist
I know you’re accustomed to all sorts of processes and methods of producing imagery, so when it comes to Analogue or Digital media, which do you prefer?
“I love analogue photography and worked mostly on film for over a decade. But last year I challenged myself to try a digital workflow, purely because analogue seemed quite unsustainable, especially from my perspective as someone who was working mostly in colour. From the silver and gelatine in the film to the chemistry used in darkroom processing, there’s an obvious environmental impact there. That said, I’m also learning more about the hidden impact of digital, from the mining of rare metals for cameras to the energy-intensive nature of post-production workflows or cloud storage. Neither medium is better than the other in this regard as both come with their own issues, so I am keen to look into this more.
I do miss shooting film, and I’m not ready to part with it forever, that’s for sure. Many artists and creative researchers are actively working on ways to reduce the environmental impact of analogue practice, and I’m keen to see where that leads.”
Alex Nelu the wind was blowing as I was walking on marshy ground (2024) Archival pigment prints on Hahnemühle Bamboo paper
You’re images are always really well put together visually and lead the viewer to think more about the content within the work. How do you approach composition and storytelling within your photographs?
“Stephen Shore suggested that composition is about rearranging the three-dimensional world so it becomes interesting in two dimensions, and I relate to that. Photographic composition can be like solving an equation with multiple variables, and the challenge is to find a balance in the frame; but unlike maths the answer can be very subjective.
When I started studying photography 16 years ago, we had a module on cinema that introduced me to great films. As a teenager, cinematography certainly had a massive impact on me. Films like Paris, Texas, Meek’s Cutoff, and Red Desert still draw me back just for their visuals. I think it’s very important to train your eye by engaging with strong visual references early on and to work on developing an instinct for what makes an image compelling.
As for storytelling in photography, it’s quite different from cinema. You don’t have the same means to guide a narrative, so you work with much less, but to me that’s the beauty of it. Photobooks and exhibitions can function a bit more like films as the artist imposes a sequence, but photography is more suggestive. I love that it leaves space for interpretation to the viewer. I hope my work might allow others to bring their own emotions or experiences into it.
What I’m showing in ‘Between the Earth and the Sky’ is very personal, and it was a bit of a struggle to build the confidence to present it in this shape. Stephanie Fletcher’s input, the curator of the show, made a great difference as they were very supportive from the beginning, and I’m delighted that it’s out there like this.”
As artists we know that unexpected things pop up during the creative process – are there any technical challenges that you frequently face? And how do you overcome them?
“Of course, don’t we all! I sometimes end up on obscure, niche photographic forums trying to solve a problem, but I’ve learned to embrace the challenges rather than search for answers. They can become part of the work itself, whether it’s issues with equipment or process. I rarely set off with a rigid plan or chasing a specific, expected result; that sounds pretty boring to me so I will leave plenty of room for accidents to shape the work.”
Following that then, how big of a role is experimentation in your practice?
Close-up of Alex Nelu’s ‘the wind was blowing as I was walking on marshy ground‘ (2024) Courtesy of Sam Parker
“I guess experimentation sometimes starts with the technical challenges I mentioned above. Often an unexpected accident can open a new path. I like making beautiful images but I’m not really interested in chasing perfection. I’d rather accept and respond to what happens along the way and I believe somehow this approach also ties into finding a more sustainable balance.
Instead of discarding or spending time forcing something, I am actively trying to work with what I have, adapting or rethinking methods, which might reduce waste or energy use. Whether it’s testing techniques or materials, reconsidering workflows, or even letting limitations guide choices, experimentation is fundamental in photographic practice.”
Through this continuous development that you infuse into your practice, how do you think your style has changed over time?
“This work I show in ‘Between the Earth and the Sky’ marks a bit of a jump both visually and thematically from what I’ve done before. Moving to a more rural setting four years ago has inevitably shaped my practice. I spent a lot of time mapping the area, researching its history, figuring out what resonated with me, and eventually learning to embrace its bleakness throughout the year. Alongside that, personal things that were happening my life last year inherently translated in the work, making it more introspective. Walking, observing, and photographing have become more than just a part of my creative process; it was clear that they were also go-to coping mechanisms, ways of working through difficult emotions. Without wanting to say much more, ‘the wind was blowing as I was walking on marshy ground’ is in many ways the product of all the above. The opportunity to exhibit came at the right moment, giving me a chance to pause, take a breath, reflect and reset.
Us photographers can be incredibly stubborn; we resist change, we like to hold on to what feels safe. Staying open to new ways of working and challenging ourselves is essential. I’ve been fortunate to have people around me who taught me to accept that, I very much welcome it nowadays.”
Walking route in which Nelu took some of the images seen in ‘Between the Earth and the Sky‘ Courtesy of the artist.
As artists we’re always trying to improve our practices and how we do things – do you ever seek feedback on your work? And if so, how do you incorporate this feedback going forward?
“Even though I graduated 13 years ago, I still find showing my work in progress daunting. I’ve always been a quiet, shy person, which is why I picked up photography in the first place. It gave me a way to express things without having to explain them. That fear of not being able to articulate what I’m up to is still there and perhaps will always be, but I know how important it is to seek and accept feedback. You can probably work in isolation and make brilliant art, but I feel that sharing it with peers you trust will most likely at least help you get there faster, if not elevate it.
At the moment, I’m working with a few people as part of an Arts Council England Develop Your Creative Practice grant, so I’m slowly getting more comfortable with sharing work in progress and taking feedback on board. But even now, I still get a lump in my throat when it comes to it. That said, it’s been incredibly useful, and I am embracing it more. It’s quite funny because I am never one to shy away from giving feedback when asked.”
Many struggle with getting into the flow of making work as well as talking to others about it – do you have any tips or routines to get into a creative mindset?
A still from a brief video on one of Nelu’s walks.
Courtesy the artist.
“For me, it usually involves walking, browsing photobooks, even looking at old maps. These are the main things that allow my mind to wander. I also find that watching artist talks can be really inspiring. Even better when things don’t happen on a screen.
I also make notes whenever an idea comes up, and I often revisit them, writing them down properly to see if they’re worth pursuing. In my experience, even the smallest snippet can grow into something.
Ultimately, I’d say the key is to find a productive space or workflow where you can focus on your ideas and see what works for you.”
Speaking on creative process – which part of your creative process is your favourite?
“I enjoy being out, that’s the best part for me, and I feel lucky that’s one of the main components of my creative process. For me and many others, photography is about being outside, walking, observing, and responding to a place even in questionable weather.
My least favourite is being in front of a computer but that’s still necessary unfortunately, even though I am seeking new ways to streamline and shorten that, both for my own sanity and to use less energy.”
Your Practice
Close-up shot of Alex Nelu’s ‘the wind was blowing as I was walking on marshy ground‘ (2024) Courtesy of Sam Parker.
We’ve mentioned sustainability a few times already, but how big of a role is sustainability in your practice? And how have you implemented it?
“I’ll admit, I didn’t think much about sustainability until a few years ago when Lizzie King and Gwen Riley Jones ran an amazing programme of workshops and talks at Salford called ‘Sustaining Photography’, supported by the Art Collection and the Sustainability Team. I was already mindful of some things such as trying to produce less waste or buying second-hand equipment, but it made me realise the broader environmental impact of photography. It was a good wake up call.
Right now, I’m testing new approaches as part of a year-long grant on developing a more sustainable photographic practice. I have a sustainability statement on my website outlining the steps I’m currently taking, which I update as I learn more. I believe in being transparent about any positive changes I make, so others can apply or challenge them. Small adjustments across a wider community can add up to a significant positive impact, especially nowadays when we became so desensitized to snapping images on our phones without giving too much consideration to what happens to them afterwards.
Hopefully, I’ll find a carbon-neutral way to publish and distribute my findings next year, but for now, I’m happy to learn more and open conversations, especially in my front facing role at Salford as a Creative Technical Demonstrator. Even if the students might find it annoying sometimes, hopefully, it plants a seed.
Alongside Lizzie King and other academics, I am one of the founding members of the Sustainable Arts Practice Research Group (SAP) in SAMCT, so I actively contribute to interdisciplinary discussions and initiatives aimed at integrating eco-friendly practices within art and design curriculum. Our focus is on reducing environmental impact, promoting sustainability in artistic production, and fostering a culture of ecological responsibility within the academic and creative community.”
Working in this more sustainability focused way, have there been any big shocks in the way you’ve had to change your methods and processes?
“Well, stopping film photography for a bit was painful. At first, I overcompensated by taking too many pictures, something us photographers are guilty of, chasing that fear of missing out. But I started to feel guilty very quickly and finding that balance was so important.
I also had to change the software I was very familiar with, to move away from saving unnecessary duplicates of the same image. Old habits die hard, so it’s been a challenge, but I feel like I’m getting there. Making sustainable choices isn’t always easy, but simple things will make a difference.”
Image from Alex Nelu’s previous commercial photography career. Răzvan Mazilu – Theatre Director/Choreographer/Performer Client – C4US Magazine Courtesy of the artist.
Aside from sustainability, do you think your personal identity or background influences your work? If so, how?
“Everything I put out there is shaped by who I am, where I come from, and where I find myself now. Even though I’m now British, I still feel more Romanian as I lived there far longer than I’ve lived here. That immigrant identity remains a big part of me. It’s probably why nostalgia runs through my work. Perhaps photography for me is a way of processing that sort of emotion, the longing for a place, time or feeling. I often find myself looking for traces of familiarity in an unfamiliar landscape and it’s something I’m drawn to involuntarily. In that way, I think my identity is always present in my work, even if it’s not too explicit.
In my previous life as I often call the time before moving to the UK, I worked as a freelance photographer and a studio assistant, both fast-paced roles that equipped me with some resilience and gave me a strong technical foundation. Commercial work wasn’t always enjoyable, especially with the pressure you feel when you’re doing it in your early twenties. But looking back I’m very grateful for the experience and it equipped me with incredible skills that continue to inform my practice today, that’s for sure.”
Are there any other artists, practitioners, or themes that inspire and influence your practice?
“I was taught by Nicu Ilfoveanu during my BA, whose work is very influential to many Romanian landscape photographers, myself included. When I first moved to the UK, I was fortunate to meet Lizzie King and Craig Tattersall, both incredibly creative and prolific artists.
Since my work is rooted in exploring landscape, its historical context, and how we perceive it, Patrick Keiller has been a significant influence. His Robinson films and The View from the Train, which I read just before the pandemic, influenced my perspective on the intersections of geography, history and narrative.
I find that the outdoor environment itself can help map an emotional landscape. The West Pennine Moors have amazing colours in every season, and even at their bleakest moments, I find it hard not to enjoy being there. The themes I’ve been approaching for this are very personal: dealing with solitude, displacement and adapting to an unfamiliar place, but in a way the work is perhaps about embracing these emotions. By visiting spaces that hold past histories of their own such as disused quarries, reservoirs or the path that was once a Roman road, I contemplate and confront my own journey of relocation and adaptation. There’s just something about walking up there and facing the darkness head-on, like a ritual that becomes part of the work itself.”
How do you start a new project? Is there an extensive plan or do you just begin and roll with what comes?
Close-up shot of Alex Nelu’s ‘the wind was blowing as I was walking on marshy ground’ (2024) Courtesy of Sam Parker.
“I wouldn’t say I start with an extensive plan. If anything, the structure usually takes shape after I’ve already started. My projects usually evolve from something I’m already doing, whether that’s walking, researching, or just following a feeling that something is worth exploring further. If ideas linger in my mind, I try to pursue them and see where that takes me.
This project grew out of the time I spent on the moors after moving here in 2021. It was still very much a pandemic, and I think we all became more aware of how much we rely on being outside when we had to stay in. For me personally, that shift was quite significant, not just in terms of appreciating the landscape but in understanding how being out there affected me emotionally. I started observing, mapping and photographing, and that slowly morphed into a project rather than something I deliberately set out to make.”
Are there any dream projects or collaborations you’d love to pursue in future?
“I’d love to work with other people who have a deep connection to landscape, whether that’s artists, writers, researchers or the local community. I’m particularly interested in long-term projects that allow for a slow, considered engagement with a place-based subject and multiple angles and contributions would only enrich the work. I think I would also enjoy being an artist in residence somewhere with a layered history, I love sites that invites exploration and reinterpretation, whether natural or man-made. Hopefully, I can also find sustainable ways to engage with the communities that inhabit it and make a positive contribution.”
Thinking about the future – how do you see your work evolving in the next few years?
“While my work is deeply personal, I’m interested in expanding my engagement with others through collaborations, residencies, or conversations that bring new perspectives into my process. I can also see my practice becoming more research-driven, perhaps incorporating more data, either historical or scientific while still being quite personal. I imagine my work will continue to explore similar themes, but I hope to find ways to refine my approach, both in terms of sustainability and how I communicate these ideas visually.”
Close-up shot of Alex Nelu’s ‘the wind was blowing as I was walking on marshy ground‘ (2024) Courtesy of Sam Parker.
Plenty of students and other early career artists all want to know how artists they look up to would advise on beginning a career – so, what advice would you give to someone starting out in your field?
“Keep taking pictures every day, it’s the best way to improve. Go see art and artist talks as often as you can. Watch good films. If you’re a student, spend time in the library’s photobook section; if not, visit a bookshop or the local library. Don’t get caught up chasing the best equipment, you don’t need it. Find something that works for you and focus on making work, not collecting gear. It can be a difficult, competitive field so please remember to pause sometimes, take a breath, and remind yourself why you’re doing it. Your work should make you happy and bring you fulfilment, don’t try to please others and don’t let them dictate what your photography should look like or be about. And please try to be mindful about the environmental impact of your work and see if there’s any changes you can make as there might be plenty of actions you can take without compromising your artistic vision or process.”
And finally, the big one – do you think art, and by extension photography, has a specific role in shaping society?
“100%. Photography is such a powerful medium and I believe that studying photography is important, not just for the technical skills but as a way to understand its historical and political impact. While photojournalism can be the most obvious example, documentary and conceptual photography have also been instrumental in questioning structures of power and shifting cultural perspectives. Socially engaged photography is another crucial area where the medium can have a direct impact on communities. Projects that involve collaboration with participants rather than just documentation can empower individuals and challenge narratives.”
Installation shot of Alex Nelu’s ‘the wind was blowing as I was walking on marshy ground‘ (2024) Courtesy of Sam Parker
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.
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).
Back in February the Art Collection team returned to the Williamson Art Gallery & Museum to host a final event for the Craig Easton Is Anybody Listening? and Our Time, Our Place touring programme. The symposium ‘Commissioning and Collecting Socially Engaged Photography’ brought together partners and stakeholders along with artists and participating communities to ask again: Is Anybody Listening? It was a full day of talks from artists and facilitators, as well as audience feedback sessions based around the concept of ‘socially engaged practices’ and their place in the art world.
In the morning, we heard directly from Craig Easton, along with artists/facilitators Liz Wewiora, Poppy Cain, and Gwen Riley Jones; celebrating the work of the young people and emerging photographers that they supported, as well as discovering what impact each project had.
Gwen Riley Jones, Lindsay Taylor, and Rob Fulton enjoying their time on the discussion panel. Photo credit : Roger Sinek
Stemming from questions that have arisen during the project, the afternoon focused more closely on the ethics surrounding socially engaged photographic practice – from commissioning and collecting through to what is valued, by who – and why? Speakers including Sarah Fisher (Executive Director of Open Eye Gallery, Liverpool), Lindsay Taylor (Curator, University of Salford), Laura Jamieson (Creative Producer, LeftCoast), Craig Easton (exhibiting artist/documentarian), Gwen Riley Jones (socially engaged photographer and Creative Director of Stockroom), and Rob Fulton (Youth Work Manager, Salford Youth Service) each presented a response to the question: From the spectrum of socially engaged photographic practice, what should we be collecting?
The panel went on to answer questions about what evidence there was that our audience are interested in socially engaged photographic practice, whether we are omitting an important part of art history by failing to collect socially engaged practice, and how we might begin to think about recompense for those co-authoring the work; this led to a very engaged and thought-provoking debate amongst the delegates.
The event then finished with a touching reading from poet Abdul Aziz Hafiz; collaborator on Craig Easton’s Bank Top project.
Abdul Aziz Hafiz reading his poem to the room. Photo credit : Sam Parker
At the Art Collection, we know that our recent socially-engaged work with young people has already made a huge impact on the way we work – including the way we think about commissioning, collecting, and reaching audiences and participants. In particular, our projects with Salford Youth Service have proved particularly inspiring, and we hope to find ways to develop this work further in future.
Sam Parker, Art Collection Team Assistant, April 2024
LOOK Climate Lab is a biennial programme exploring how photography can be a relevant and powerful medium for talking about climate change. The Open Eye Gallery has been transformed into a lab: bringing together researchers and artists to collaborate, test their ideas, and encourage audiences to discuss systematic changes needed for dealing with the climate crisis.
The exhibition is open now! However there is a private view and launch alongside the We Feed The UK project on the 8th of February, 6-8 pm. Come along if you can!
Featuring Stephanie Wynne, Nazar Furyk, our artist in residence at Energy House 2 Mishka Henner, John Davies, Mario Popham, Johannes Pretorius, Hellen Songa, one of our previous Graduate Scholars Lizzie King, and Gwen Riley Jones!
RSVP and find out more through the Open Eye Gallery website – link below!
LOOK Climate Lab is partnered with Gaia Foundation, Energy House 2.0 Salford, Royal Horticultural Society, The Tree Council, Impressions Gallery, Peloton Liverpool Coop, Wigan Council, The Mersey Forest, Liverpool ONE and many others to bring people and ideas together, explore the complexities of human-nature relationships and make positive changes to live more sustainable and connected lives.
Free Admission – Thursday 29th of February 2024, 9:30am
Williamson Art Gallery & Museum
Slatey Road, Birkenhead, CH43 4UE
Our friends at the Williamson Art Gallery & Museum are hosting the last leg of the ‘Is Anybody Listening?’ tour, this also includes a thought-provoking symposium on the theme of socially engaged photography.
Facilitated by the Culture Lead for Liverpool City Region, Sarah Lovell, the symposium will explore the ethical considerations of socially engaged photography, and ask “What should we be collecting?”
Attending will be the award-winning photographer Craig Easton alongside socially-engaged practitioners and educators Liz Wewiora, Suzanne St Clare, and Gwen Riley Jones.
Expert Speakers include Sarah Fisher (Open Eye Gallery), our own Lindsay Taylor (University of Salford Art Collection), Laura Jamieson (LeftCoast), and Abdul Aziz Hafiz (Blackburn College).
There are limited spots for this event, so make sure you secure your place sooner rather than later!
Is Anybody Listening? Our Time, Our Place is presented by University of Salford Art Collection and generously supported by The National Lottery Heritage Fund. Special thanks go to National Lottery players.
Throughout November, artist Lizzie King and Socially Engaged Photographer Gwen Riley Jones have been sharing recipes and reflections from their project Sustaining Photography.
Sustaining Photography is a project led by Lizzie and Gwen, exploring and promoting plant-based and sustainable alternatives to traditional photographic processes.
You can read all four blogs, including recipes for anthotypes and 35mm film developer from Gwen and Lizzie and find out more about the project here: Sustaining Photography
In 2019, The British Youth Council declared the climate emergency the “biggest issue facing young people”. This headline is taken from the Planting for the Planet exhibition, held at RHS Garden Bridgewater in 2022. In this exhibition, I worked with young people from Action for Conservation to explore nature-based solutions to climate change. Through the process of collaborating with, and learning from, a group of young people to make images for the exhibition, my creative practice changed forever.
We were making work about nature-based solutions to climate change, so I wondered, are there any plant-based photographic techniques? Turns out there’s loads.
As soon as I started to learn about it – it made total sense – plants create energy using light – they are light sensitive, they contain pigments that adapt and change with changes in light intensity. My mind was blown, I was hooked.
But what hooked me in deeper was that I could suddenly create photographs in my kitchen at home. The process is safe and non-toxic, even edible, and I could create anthotype paper at home in my kitchen whilst I made my daughter’s breakfast. I’ve been a photographer for 20 years but setting up a home darkroom has always felt like too big a task – for many reasons, not least, toxic waste.
A participant exploring sustainable photographic methods as part of Gwen’s workshops during Rediscovering Salford.
Perfection in the imperfection.
It is a parody of the industrial world that in searching for photographic perfection, faster shutter speeds, sharper images – steps towards the sublime – we have created a toxic world. Maybe the perfection is actually found in the imperfections, in these green pictures which will fade to nothing when left out in the sun.
And from here, well it makes you wonder, if we don’t need to use these harmful substances, why do we?
So I now work with sustainable photographic processes almost as a metaphor for sustainable practices, sustainable lives. As a way of starting a conversation – if we can do this using only plants – what else can we do using only plants?
I grew some beetroot, made anthotypes out of the juice, film developer out of the peelings, and pickled the beets to eat for lunch. You don’t need much money and you certainly don’t need perfection. The beauty of this process is in the imperfection, and the accessibility of the practice.
So we invite you to join us: pick some spinach from the community growing space (but also make sure you join in and plant some more!) make some anthotypes, cook a curry, use the vegetable peelings to develop your film, ask some new questions.
Share the spoils of your practice with those around you. Put up a picture, pass on a plate of food, share your experience. And let us know what else you decide to do differently.
Sustaining Photography is a collaborative project by Lizzie King & Gwen Riley Jones to connect and engage students at the University of Salford with sustainable photographic processes, using produce from the University’s Community Growing Space. The project is based at The University of Salford and has been funded by the Salford Advantage Fund and The University of Salford Art Collection.
Want to give green film developing a go? Here are the instructions for making film developer from vegetable food waste.
What you’ll need:
900ml water
3 heaped tsp Vitamin C (powdered not tablet)
9 tsp Soda Crystals (Can usually be found in the household cleaning area)
Suggestions of foods we have used:
potato peelings
spinach, ½ romaine lettuce, and ½ savoy cabbage
Red onion, tomatoes, broccoli, green bean, cabbage, bananas
Behind the scenes with Sustaining Photography. Courtesy Lizzie King.
Behind the scenes with Sustaining Photography. Courtesy Lizzie King.
Method:
Step 1: Place vegetable waste in a container with a lid, a mason jar or pan works well. Cover the vegetable waste with boiling water and leave overnight. Or boil the contents like you would for eating. (If you are making your tea by boiling veg you could just save the water from this and use it in your developing mix)
Step 2: After 12 hours remove the vegetable waste and keep the water
Step 3: Add the vitamin C and the soda crystals into your water (Make sure you are doing this in a container that has extra space. When you add them together as it can fizz up.)
Step 4: Mix well
Step 5: You can now develop your film as you normally would but using your homemade developer.
I. For Ilford HP5 we developed for 15 mins agitating continuously for the first minute then once every minute (Check the resources page for a suggestion on where to look for time information for different films)
II. Then stop bath and fix as you normally would.
Step 6: It is safe to just pour this developer down the sink as it only contains things you would find in your kitchen!
Sustaining Photography is a collaborative project by Lizzie King & Gwen Riley Jones to connect and engage students at the University of Salford with sustainable photographic processes, using produce from the University’s Community Growing Space. The project is based at The University of Salford and has been funded by the Salford Advantage Fund and The University of Salford Art Collection.
