July 2024

Each year, a number of bespoke scholarships are awarded to graduating students from the University of Salford School of Arts, Media, and Creative Technology, through a scheme led by The University of Salford Art Collection in partnership with Castlefield Gallery. This year we are delighted to welcome fine art products company Wallace Seymour as a partner in the scheme, supporting a new Painting Scholarship.

Aiming to support graduates to begin their careers in the art sector, each 12-month award includes a tailored package of support which can include: studio space, mentoring, coaching, research trips, and a bursary for materials, equipment or research travel.

For the 2024 cohort we are pleased to announce Grecia Balassone, India Buxton, Iqra Saied, Jess Robinson and Robin Standring. Find out more about each artist below.

“The Scheme has supported over 50 artists across 10 years, and it has been a joy to see each artists’ practice and career develop over time. The standard of applications was as high as ever this year and is always a difficult choice. However we are delighted to welcome Grecia, India, Iqra, Jess and Robin this year and look forward to supporting them. We are also particularly grateful for Wallace Seymour for sponsoring the scheme this year, and taking part in the selection process” – Assistant Curator, Stephanie Fletcher

Grecia Balassone
Grecia is from the BA (Hons) Fine Art degree, and will be recieving a studio placement at Paradise Works.

“I am a multidisciplinary artist, experimenting with a range of ways to tell the stories surrounding a subject. Due to my lived experiences of immigration, neurodivergence, and developmental trauma, my work explores themes of identity, nostalgia, community and belonging.
My research approach is immersive. I like to understand the themes I work with from first-hand experience, or the closest to that I am possibly able to get. I find people to be a great source of information, and with stories worth telling. I am also interested in preservation (of history, memories, media, processes), which leads me to create my own archives.”

Grecia Balassone

India Buxton
India is also from BA (Hons) Fine Art, and has earned the Wallace Seymour Painting Scholarship.
“My practice is interested in exploring the representation and depiction of ancient folklore and mythology in the 21st century. My work draws upon the theories of ancient Greek Philosopher Plato and the ancient stories of their time. The figurative paintings reappropriate old stories into a new visual language that a modern audience can find their own narratives within. These paintings display my chosen stories, which are then modernised into personification of moral fables.“

India Buxton

Iqra Saied
Iqra is from BA (Hons) Photography and will be one of the first to be given a studio placement at Castlefield Gallery New Art Space in Warrington.

“Portrait photography is a powerful medium to explore ideas of culture, identity and engage in contemporary debates. ‘Unfamiliar’ starts from my own personal experience of dual heritage.
As a British Pakistani, I feel closer to my home in Manchester than I do to Pakistan and these feelings are often difficult to navigate. I have collaborated with Hafsah, Caitlin and Rohan who resonate with the project and understand the sense of guilt associated with not knowing enough about the other place. The photographs aim to communicate the difficulty in building a sense of belonging with a place you have no knowledge of. However, accepting who you are is the best journey of self-discovery. I hope people of dual heritage will find inspiration to embrace their identity and celebrate their heritage.”

Iqra Saied

Jess Robinson
Jess comes from the Visual Communication MA, and will be given a studio placement at Islington Mill.
“My current work now draws upon an interest in ancient eastern philosophy and spirituality that provides a refreshing contrast to modern, western values. Using predominantly black and white photography, I am producing imagery which attempts to visualise hidden moments of balance and moments of presence within the live music scene, against the chaos of movement and sound. These images sit alongside my own immersion and connection to natural spaces as an anti-dote to the chaos, finding a common ground and relationship between the two settings. My hope is that through practicing a mindful and connected approach to my creative process, I can step out of conditioned patterns and follow a more intuitive path.”

Jess Robinson

Robin Standring
Robin comes from BA (Hons) Fine Art and will be using the facilities at Hot Bed Press.

“My practice revolves around exploring my own identity, primarily the experiences and interactions I have as a transgender individual, focusing on the aspect of being ‘stealth’ within society today. Being ‘stealth’ in the terms of being transgender, is to live as the gender you identify with but not being openly out as trans, something many trans individuals do in order to avoid discrimination.
Through the use of an avatar affectionately named Baghead which I have created in my own self-image, I insert him in a variety of environments and scenarios, often mundane, in which almost everyone experiences, regardless of their race, gender or class; such as waiting for the bus, falling asleep on the train or even standing outside during a fire alarm.”

Robin Standring

Abandon Normal Devices (AND) Festival, Manchester.
Co-commissioned Liam Young’s Where the City Can’t See with AND and St. Helen’s Heart of Glass.
We are programme partners for AND Festival 2020.

Castlefield Gallery, Manchester.
The Art Collection run the Graduate Scholarship Programme and co-commissioned the exhibition by Ruth Barker and Hannah Leighton-Boyce with Castlefield Gallery.
In 2019, we co-commissioned Everything I Have Is Yours by Eileen Simpson and Ben White.

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.

Adekola was born in 1983. He is a Nigerian artist currently living in Manchester. His work is informed by post-colonial narratives, through painting, installation, and drawing, he uses elements of contemporary and historical material to explore themes of migration, globalisation, identity politics, equality, diversity, and inclusivity. He has exhibited work internationally including in London and Nigeria.

“It was a real joy to spend time with Suraj during his time on the Scholars programme. Perhaps more importantly it was great to see his work and thinking develop. His recent series of works The Treasure (2024) made with Adire (tie-dye) fabric, spray paints, and oil sticks on canvas retain the attitude of the first works that I saw by him but they also display an evolving sense of confidence in the way he is working with his mix mediums. I look forward to seeing him continue to be as ambitious with his work in the future, as I’m sure he will be.“

~Matthew Pendergast, Curator at Castlefield Gallery

We Should All Be Blacks 6, 2022
Mixed Media
Suraj Adekola (2022/23)

This work is part of a series titled We Should All Be Blacks, which Adekola began during his 2022 MA studies. The artist uses the traditional ‘Adire’ fabric as the foundation of the work – a popular indigenous tie-dyed fabric made in his hometown of Egbaland, Abeokuta (the ‘capital of Adire-making’ in Nigeria). The artist deconstructs, fragments, weaves and stitches the material together, creating vibrant forms and patterns inspired by Cubism. On the surface he uses spray paint, oil stick, and bleach to draw figurative and abstract motifs. This stitching together of fragmented forms and varied mediums symbolises a deep-seated desire for belonging and inclusion, ‘mirroring the Black experience – a tapestry woven from diverse threads’. The work and material are imbued with personal narrative, memories, cultural references, and celebrates art as a way to share Black histories.

Centre for Chinese Contemporary Art (CFCCA), Manchester. This partnership is multi-faceted and includes numerous commissions and acquisitions, shared events programme, student live briefs, shared research trips, co-curated exhibitions such as Harmonious Society (Asia Triennial Manchester 2014/ATM14), and the evolving Asia Research Network for Arts and Media (ARNAM) partnership with Manchester Metropolitan University and Manchester University.

Friday 27th September 2024
6 – 8 pm 
esea contemporary 
Free to attend | Booking recommended

Our partners at esea contemporary are holding an exhibition preview for Steph Huang’s There is nothing old under the sun, featuring a new co-commission with the University of Salford Art Collection.

In this new exhibition, Huang continues her investigation into mass production and commerce, the transcultural and historical dimensions of the food industry, and the implications of such markets on our natural environment. Using a variety of manual techniques, Huang transforms everyday spaces and objects, resulting in minimalist sculptures and poetically charged installations of quiet resonance.

The exhibition is generously supported by MTSA and Arts Council England. Exhibition catalogue supported by the Henry Moore Foundation. Co-commission supported by the University of Salford Art Collection.

FACT (Foundation for Art and Creative Technology), Liverpool.
This includes a co-commission with Ryoichi Kurokawa in 2016.

Forma, London.
Co-commissioned and produced Song for Armageddon by Nick Crowe and Ian Rawlinson, in association with BALTIC Centre for Contemporary Art and supported by Arts Council England.

To coincide with the celebration of Harold Riley’s life through the Every Line Is Me exhibition at Salford Museum and Gallery (April 2024 – April 2025) we have installed 4 works from the University of Salford Art Collection in The Old Fire Station Bakery this Summer.

Harold Riley work on display in The Old Fire Station.
Right to left: St Luke’s Church, Seedley (1975), charcoal and chalk. City Motorway (1977), pastel over lithography. Building by the Railway, Trafford Park (1976), chalk pastel. View of Manchester from Salford (1975), gouache and chalk.
Photographed by Sam Parker.

Artist Harold Riley was born in Salford in 1934. After studying at the Slade School of Art, London, and undertaking scholarships in Spain and Italy, he returned to Salford and lived and worked here until his passing in 2023. He dedicated much of his practice to documenting life in Salford and Greater Manchester – from both everyday urban streetscapes to portraits of local sporting stars – particularly at Manchester United FC. Further afield, he also achieved success with portraits of Nelson Mandela, John F Kennedy, and other important public figures.

The University of Salford Art Collection holds more than 100 paintings, drawings, and mixed media artworks by Riley, including local landscapes that capture the changing skylines of Salford and Manchester for over 60 years. Some places, views, and landmarks are still visible today; whilst others have been lost over time to new developments and regeneration.

Do you recognise the locations of City Motorway or View of Manchester from Salford? Get in touch with us by email or Instagram! Photograph it, tag us, let us know how these places have changed over the years.

The 4 works are on display at the Old Fire Station until the end of July 2024. We have also loaned a number of works to the display at Salford Museum & Art Gallery; please visit their website for opening times.

Haven’t visited the Old Fire Station Bakery yet? It’s the newest venue on campus, open to staff students and the public. The cafe, bar and bakery serves speciality coffee, homemade breads and bakes, and a delicious breakfast and lunch menu – including sustainable and locally-sourced options. From 4pm you can also enjoy craft beers, pop-up kitchen vendors, and a range of events from quizzes to live music. Visit the Bakery website for more info and full opening times!

Every Line is Me, Salford Museum & Art Gallery – opening night.
Photographed by Sam Parker.

“Bringing together all of Harold’s many disciplines and subject matter including painting, drawing, digital fusions, and photography. It tells the story of the man, showing works that portray places and people that were important to him. There are quotes from the artist that help illustrate the person Harold was, the legacy that he leaves behind, and the strong connection he had with the City of Salford.“

Every Line is Me at Salford Museum and Gallery celebrates Riley’s life and includes several loans from the University of Salford Art Collection (open 19^th April 2024 – 27^th April 2025; see Museum for full opening days and times).

HOME, Manchester.
University of Salford is a founding partner of HOME. The Art Collection team co-commissioned The Most Cruel of all Goddesses by Declan Clarke as part of the inaugural exhibition in 2015, including a special screening and artist talk. In 2016, we co-commission It’s What’s Inside That Counts (2016) by Rachel Maclean. We support the co-commission of The Scar, a fiction film installation by Noor Afshan Mirza and Brad Butler, in 2018.

Hot Bed Press, Salford.  Hot Bed Press are partners in the Graduate Scholarship Programme and were exhibition partners for PRINT UnLtd. 

Islington Mill, Salford.
The University partners with Islington Mill in many ways. The Art Collection Team have supported Islington Mill’s capital project and the Mill is a partner in the Graduate Scholarship Programme.

The Lowry, Salford.
Art Curator Lindsay Taylor co-curated the 2015/16 the Lowry exhibition Right Here, Right Now and the gallery borrowed 4 works from our collection for the exhibition. Narcia Fitting out at the Tyne, 1968, by L.S. Lowry, from our collection, was loaned to The Lowry (in 2017) for their permanent exhibition LS Lowry: The Art & The Artist .

Mark Devereux Projects (MDP), Salford: The Art Collection team supported the MDP StudioBook project  including running a commissioning competition, won by Mandy Payne in 2017.

Open Eye Gallery, Liverpool.
Lindsay Taylor guest curated the Culture Shifts: Global exhibition as part of the LOOK/17 Liverpool International Photography Festival. For the LOOK/17 festival Open Eye Gallery and the University of Salford Art Collection co-commissioned Window (Day 2): Room 118, Titanic Hotel, Stanley Dock, Regent Road, Liverpool, 2017 and Wall: Room 118, Titanic Hotel, Stanley Dock, Regent Road, Liverpool, 2017 by Luke Ching.  Open Eye Gallery were exhibition partners for the PRESENCE: A Window into Chinese Contemporary Art(February – June 2018) and as a legacy from this exhibition the Art Collection and Open Eye Gallery, along with Liverpool City Council, co-commissioned work by Liang Yue, which exhibited as part of This is Shanghai (July – September 2018).

Lindsay Taylor co-curated Peer to Peer as part of the LOOK Photo Biennial 2019.

Paradise Works, Salford. Partners in the Graduate Scholarship Programme.

Quays Culture, Salford. A number of public realm commissions took place between 2013 and 2016 including Aeolian Light . The Art Collection supports the Northern Artist Film Commission (2016 & 2019) and the winning work from the ‘new commission’ category in 2016, One Square Mile by Chris Paul Daniels and Sam Meech has entered our collection. The 2019 winner Homage to the Rain will also enter the collection following its premier at the Lightwaves light festival in December 2019.

Salford Museum and Art Gallery, Salford. The Art Collection have an ongoing working relationship with Salford Museum and Art Gallery, which forms part the strategic work with Salford Community Leisure (who operate the Museum and Gallery) through our joint Memorandum of Understanding signed in December 2017.

Since 2017, the following partnership exhibitions have taken place at the Museum and Art Gallery:

• What’s in Store? (May – November 2017): an exhibition, showcasing work from the University of Salford Art Collection.
• PRINT UnLtd.  (May – October 2018): an exhibition by Salford Museum and Art Gallery and Salford Community Leisure in partnership with University of Salford Art Collection and Hot Bed Press. Funded by Arts Council England: Grants for the Arts.
• Acquired: a century of collecting  (November 2018 – June 2019): an exhibition exploring artworks from Salford Museum and Art Gallery and the University of Salford collections.
• Everything I Have Is Yours, Eileen Simpson and Ben White (Open Music Archive (July – November 2019): Film and sound work that looked back to the first decade of the UK pop charts (1952-62) Commissioned by Film and Video Umbrella, the Contemporary Art Society, University of Salford Art Collection and Castlefield Gallery through ‘Equal Shares’ 2019.

Art Fund: have supported a number of acquisitions including the Albert Adams Collection, Cao Fei’s La Town and Yang Yongliang’s Mountains of Crowds.

Arts Council England are a strategic partner.