I’m delighted to be selected for Axisweb’s weekly ‘Highlights’.
Loop, 2017 by Pippa Eason
Pippa Eason’s work makes observations of the abstraction/perception of nature, the tangible, the everyday, and considers it within the accelerating art world.
Install shot from Still Scrolling exhibition with Ellie Hoskins at The Trophy Room, The Royal Standard, Liverpool. The exhibition continues until 21 February 2017.
Fold, 2017 by Shelly Goldsmith
Shelly Goldsmith uses textile materials and processes as a metaphor for imagining how psychological states, emotions and memories associated with human fragility and loss can be made visible in cloth and pre-worn clothing.
Fold – one of a series of images of the unfolding of a blouse. The blouse is printed with my drawing of an incoming tornado in Cincinnati taken from community photographs of the 1974 ‘Super Outbreak’. This drawings is overlaid with drawings of family lockets; these have been printed using three different gold foils.
Here you can only see a limited view of the imagery but the blouse will be now be sewn and manipulated and then re-photographed to show the complete piece.
Gold and Steel, 2017 by Helen Latham
Why I love figurative painting today. Unlike the Middle Ages, when images were precious, we are inundated with jpegs and social media snapshots, which get a fleeting glance and are then discarded. Painting has a radical new role: it adds a layer of time, contemplation and introspection to an image. The very process of making a mark on a canvas, which just makes sense to me as a basic human gesture, is meditative and considered.
Looking at portraits of women in the 17th Century I was struck by the lack of real personality in them: they are stylised and formulaic – a mere comment on the wealth of the possession/person and nothing to do with the character. What would the women themselves have wanted? Subtle signs of rebellion, like a clenched fist, or a wilder dress colour – I’ve done that for them and us.
Here the focus is on the limp hand holding the weight of the satin, the face has been removed – no need for the actual woman to face up to the viewer, her wealth is conveyed without her.
Smother, 2017 by Alison O’Neill
Alison O’Neill’s work uses autobiographical narratives as a starting point and she is currently exploring memory and remembering in relation to subjectivity and the image. She is particularly interested in maternal subjectivity at the intersection of class and gender. Her work is informed by feminist theory and feminist art history.