• 100% Design

      Shaw, Vicky (2001)
      Shaw was invited to develop a contemporary use of Jasper and to push the limits of the material while producing work with the potential for production. Shaw used her own specific finishing techniques of grinding and polishing to develop a collection of Jasperware that challenged both conceptual and aesthetic perceptions of traditional Jasperware by exploring the formal limits of the clay body, in relation to pattern and colour as well as perceptions of actual and metaphoric aspects of use.
    • 66.86m

      Wood, John; Harrison, Paul (2004)
      “66.86 m”, is a single channel video documentation of a ‘drawing contraption’ of the artists’ devising, in which ropes are pulled through a box in order to produce a three-dimensional object, in this instance a chair. This is the first work Harrison & Wood produced without a figure present within the frame, and shows the making of a three-dimensional drawing of a generic chair. The continuous take from a fixed camera, together with the jerky movements of the rope and pulleys (used to produce the drawing) re-enforces the distance between the mechanical work and current digital technologies. The work examines the relationship between what is present within the frame and what is excluded. A very direct relationship is formed in that it is evident that what is onscreen is being directly activated by what is off screen, contrary to most film making where this relationship is hidden. The work also examines the relationship between the three dimensional space in which the activity is taking place, the activity itself, and the video.
    • A Month in the Country

      Cornford, Matthew (2003)
      This commission called for a response to a historic photographic archive; we decided not to make new photographs but to hire existing ones, and appropriate them to focus attention on their ownership and control. Stock photography images may be understood as commodities in themselves, as signs produced in speculation of market demand. Such images are grouped in generic categories, which aim to ‘reflect current trends and aspirations’. The Corbis Corporation holds 70 million images, and is acknowledged as the world’s largest collection. Corbis is owned by the richest man in the world: Bill Gates, co-founder and chairman of Microsoft. We used our budget to hire images for one month, according to the conditions set by Corbis. Our picture search, ‘East Anglia Landscape’‚ yielded four images. Corbis permits its clients to produce prints of an image, whilst retaining ownership and control of the image’s appearance. After the contracted month, we kept the photographs on the gallery wall, but whitewashed over them. A Month in the Country trapped the image within the photograph, transforming the prints into abstract conceptual objects. During the Reformation, whitewash was used to obliterate paintings in Catholic churches, transforming them into austere places of worship. Today, a legacy of Modernism is the use of white painted walls as the defining visual statement of the art gallery. Within capitalism, whitewashing shop windows denotes bankruptcy. ‘A Month in the Country’ is the title of the novel by JL Carr, in which a young man attempts to recover from the trauma of the First World War. He spends his summer days in a mediaeval country church, meticulously revealing a biblical scene of damnation painted on the wall, which had been hidden by whitewash.
    • A-Wakening

      Foster, Christopher; Mills, Joanne; University of Wolverhampton (University of Wolverhampton, 2017-11)
      Installation: A-Wakening November 2017 Arena Theatre, Wolverhampton. A-Wakening: a multi-sensory environmental installation created to respond to the active and immersive relationship between audience and artwork. A collaboration between artist and PhD student Joanne Mills and Dr Chris Foster of the University of Wolverhampton, a dark space is filled with haze, visuals and a ‘dream-like’ soundscape to be experienced and explored.
    • Ali Baba and the Forty Thieves

      Arnott, Steve (London: Pollock’s Toy Theatres Ltd, 2006)
      This animation seeks to challenge traditional themes of narrative structure through the use of digital media. The resulting piece works on a number of levels and is accessible to a wide audience. It maintains the essence of toy theatre whilst being aware of current media practice, software and techniques. The visuals are influenced by 19th Century designs and rendered in three-dimensional effect with depth and lighting. Maintaining the story within the frame of the traditional toy theatre; Arnott’s research continues this traditional form of storytelling in current media form for the modern child. This research concerns the transposition of 18/19th century toy theatre storytelling into digital animations, keeping true to the original form and aesthetic which enabled rich imaginative play through effective staging of stories. The project was proposed to Pollock’s Toy Museum; production developed through meetings, collaboration and detailed research. The work reflects traditional aspects of toy theatre but is designed to appeal to a ‘media savvy’ public. It is a synthesis of ancient and modern methods of storytelling and production values
    • And Millions and Millions

      Böhm, Kathrin (2004)
      "And Millions and Millions" is a large-scale collage-installation that is manipulated and created by the participating gallery audience; by fixing sheets of paper with recurring geometric designs to the walls of the gallery. The work sets out to explore how an abstract visual language that derives from painting and ideas from site-specific work can be used to facilitate and demonstrate the ad hoc appropriation of a given physical space. The work questions the idea of art works in museums and galleries being static objects, and places the audience in the position of producer. By challenging the idea of solo authorship, technical skill, formal originality and inviting the viewer to add further elements to the installation, the work relates to theories explored in Nicolas Bourriaud’s books “Post-Production” and “Relational Aesthetics”. The material (printed paper) and facilities to do this are an integral part of the installation. The work is intended to proliferate into chaos over the duration of the exhibition and is never resolved.
    • Angles of Projection

      Kossoff, Adam (2006)
      “Angles of Projection” was a group show of artists’ film and video curated by Kossof. The show is a response to the predominance of narrative based work in the gallery. Challenging the ubiquitous ‘black cube’ of recent times, it promotes moving-image work that is site-related, investigating how the moving image positions the spectator in the gallery and in the cinema, and where there are overlaps or differences.
    • Animal Architecture

      Kossoff, Adam (2016-10-06)
      Animal Architecture tells the story of Dudley Zoo and the restoration of its unique animal enclosures, designed in 1937 by the modernist architect, Bernard Lubetkin. The film explores our ambivalent relationship to zoos and how humans define themselves in relation to the animal. Capturing the everyday, poetic feel of the zoo, the film, shot on 16m film, emulates the black and white documentary film style of the 1950's 'Free Cinema' movement.
    • Another Country

      Timberlake, John (2002)
      Solo exhibition of C-type prints, examining our visual and cultural relationship to the atom bomb.The interrelationship between constructions of landscape, constructions of history and the politics of landscape are explored through the legacies and tropes of the nuclear test photograph from the archives of the Imperial War Museum, English landscape painting and forms reflective of the popular imaginary. Through a process of juxtaposition and construction the work examines conceptions of truth; how they were to be derived, positively or negatively, from painting, model-making and photography. The series therefore comprised photographs of constructed dioramas, model figures and a painted backdrop depicting Romantic landscapes and nuclear clouds.
    • Austria and Monolith

      Payne, Alistair (2004)
      Payne’s two works in this exhibition were created by deconstructing the structural dynamics of painting and enfolding the resulting possibilities onto different external elements. The paintings exhibited not only their own particular structural/physical or material identity as painting, but also their relationship to other mediums. “Austria” was a floor-based work, made from high impact polystyrene (nine sheets cut into the form of paint spills laid over each other following the colours of the camouflage used by the Austrian army). “Monolith” contained nine blocks of polished 6x6x1 inch Perspex with sheets of solid acrylic paint between each one.
    • bdpq / Vowels & Consonants

      Sherwin, Guy (2005)
      The work developed from Sherwin’s successful AHRB application of 2003/4 to investigate if 16mm film can be successfully adapted for presentation in the gallery. “bdpq” questions the practical and aesthetic considerations of using a printing machine as projector within a gallery space, and asks if these indicators of geometry can be viewed as the aesthetic core of the artwork. “Vowels & Consonants” asks: what is the character of optical sound that can be generated directly from the physical shapes of letters? How does that sound relate to the sounds we associate with those letterforms? The work investigates chance at many levels. The letterforms b,d,p,q, were generated on a computer and printed onto raw 16mm film without a camera. Looped projection enabled an improvisatory form of projection facilitating live interaction with musicians. Effectively turn the process of film projection into an audio / visual art-form that can interact effectively with live music performance.
    • Belt

      Bird-Jones, Christine (2002)
      Chris Bird-Jones developed a series and then exhibited three glass/textile pieces, on the theme of the ‘Belt’ for the 7th Womens International Glass Network Exhibition, curated by Holly Sandford and Linda Chalmers, at the Lane Gallery. The Women’s Glass Network sustains dialogue that foregrounds experience and knowledge relative to practice. This includes observing and discussing the creative process of others as a key to developing tacit and technical knowledge. From this dialogue, Bird-Jones’ work stands out through her integration of Reusche enamels into the use of glass on textile objects to achieve special effects of colour and light. The glass components were painted and fired with Reusche enamels introduced by fellow-artist Marie Foucault-Phipps and predominantly used in restoration of stained glass. Through exploration of sample firings and finishes, trace colours were combined with silver nitrate. Bird-Jones developed an intricate pattern of filtered and coloured reflected light, characteristic of many of her works.
    • ‘Brainwave’, centrifugally cast forms

      Garfoot, Stuart (2004)
      Based on the conceptual intentions of previous work to capture the phenomenon of growth and decay in underwater environments. In this series Garfoot extended his investigation into the relationship of technical process and artistic expression through a specific focus on the use of one-off resin-sand moulds and the centrifuge to capture images and perceptions of coral formations and accretions. The process in this project was focused upon the manufacture and testing of single trip moulds; with detail inclusions of small glass elements to extend the use of the centrifuge. The intention being to create a diversity of texture and glass quality in the resulting form.
    • Camelot

      Cornford, Matthew (1996)
      For a group exhibition titled City Limits, we chose to invite reflection and debate on the physical and social boundaries which often determine the patterns of city life — in this case by denying people access to some small, neglected fragments of public urban land. Although the site we chose marks the entrance to Hanley town centre, it was defined only by three irregularly shaped patches of grass, flanked with sloping brickwork and cut off by traffic on either side. Rather than using a public art commission to superficially enhance the site, we decided to make an intervention which would engage with the very conception of ‘Public’. By reinforcing the boundaries of these grass verges with an excessive display of authority in the form of steel security fencing we allowed the public to see, but not to walk on the grass, raising the status of the land through its enclosure. In the context of the contemporary debate around security and access within town centres, Camelot explored the political notion of the ‘Tragedy of the Commons’ in which resources not under private ownership fall into neglect. The project title, Camelot, refers to the phenomenally successful United Kingdom National Lottery, an institution on which many artistic and cultural projects are becoming increasingly dependent for money. The Lottery organisers’ choice of ‘Camelot’ evokes a mythical ‘golden
    • Canyon Reflections

      Jones, David (2005)
      “Raku - Origins, Impact and Contemporary Expression” was a symposium and exhibition convened by Professor Jim Romberg, Southern Oregon University, to research the development of new potentials in western raku. The event brought together some of the leading raku specialists worldwide to develop work and an attendant critical discourse. Jones was an invited participant. The group discussed the ancient and the contemporary heritage of raku and then embarked on collaborative ventures to explore a set of propositions concerning the nature of raku practice, which had evolved from the discourse. Set in this context, Jones pieces were made as a reflection on, and reinterpretation of, the vessels made for tea ceremony in a contemporary context.
    • Childhood’s End

      Cornford, Matthew (2000)
      Anarchy symbol with smoke in the sky. This was filmed from a cine camera mounted on the weapon platform under the left wing, and from a miniature video camera inside the cockpit. The duration of the piece is about six minutes, being the time taken to complete the manoeuvre, and the length of one uncut roll of film. Aerobatic displays apply the skills and manoeuvres developed for aerial combat to create public spectacles; the demonstration of technological power and technical prowess serves to pre-empt critical thinking and popularise militarism. Cinema has rich associations with conceptions of utopia: the medium depends on and fuels people’s desire to be mentally ‘transported’; it offers dramatic possibilities to explore utopian and dystopian alternatives to existing social conditions, and it plays on the tensions between individual and collective fantasy. Flying and filming have been historically bound up with militarism on many levels, from the development of related gun and camera technologies to the strategic and cultural implications of new ways of seeing space and movement. ‘Childhood’s End’ is the title of a novel by Arthur C Clarke, which envisions a future where humanity undergoes the loss of innocence or the attainment of maturity, and becomes subject to forces that acknowledge no distinction between ‘good’ and ‘evil’. Inscribed by a fighter jet on the optimistic space of blue sky, the ambiguity of the Anarchy symbol is heightened, its utopian ideals of universal understanding and autonomy becoming enmeshed with the implied threat of violence. Simultaneously, the order and discipline of a militaristic activity is co-opted into displaying the transgressive impulse that lies beneath its urge to destroy.
    • Cinderella

      Arnott, Steve (London: Pollock’s Toy Theatres Ltd, 2007)
      Working with Pollock’s Toy Museum, this animation draws upon the traditions of toy theatre through the means of digital media and reinterpretation for a modern audience. The piece also contributes to the on going digitization of the Museum’s archive. The animation seeks to challenge traditional themes of narrative structure through the use of digital media. The visuals, although influenced by 19th Century designs and rendered into a three dimensional effects with depth and lighting. The work follows on from that done with “Ali Baba and the forty Thieves.” The text is adapted from the 1844 version of John Kilby Green (1790 -1860) – the story explores notions of the relationship between royalty and the public and echoes events in Britain and Europe during the 20th Century.
    • Colony

      Timberlake, John (2007)
      A solo exhibition of 10 framed photographic ink jet prints with drawing (108cm x 86cm). The installation addresses issues of realism and fiction in photography, and the construction of utopias and dystopias through the conceits of paradigms of realism, furthering Timberlake’s work concerning humanity, science and landscape. Timberlake is specifically interested in what kind of truths we expect from photography and drawing, in the context of his continued engagement with landscapes of the imaginary, and the role of photography in the construction of histories. In this series contrasts in scale and grids were combined with shifting perspectives to create compelling, unsettling and provocative images. The use of a large format rail camera allowed for an extended plane of focus and angled horizons similar to that of aerial photography; albeit over a very small patch of photographed land. In this way a field of detail was produced with a fragmented map of imagined spaces replacing the figure/ground dyad seen in some of the earlier work (for example the “Another Country” series). In this way Timberlake has sought to bring into question the position of the viewing subject.
    • Commemorative Window

      Bird-Jones, Christine (2003)
      A large (30’x12’) window in Bethania Chapel, Bethesda, North Wales, commissioned in memory of the 1900-1903 Slate Quarrymen’s Strike in Bethesda. The final window design was based upon ideas and images that address the village’s essential relationship to the landscape and its slate bedrock. Central feature of the work was a window within the window, placed upon a slate stone windowsill. The piece is constructed of three layers of antique glass, enamelled glass and blown glass. For this project, Bird-Jones researched the artistic translation of collective social memory. She conducted a significant collaborative inquiry with community members and school groups during her residency to understand local memory and contemporary narrative, as a basis for developing artistic and technical plans for the window. Extensive social, historical and visual research was conducted. Discovery of visual as well as social remnants of the strike directly influenced the design of the window. Images in texts etched into slate, in homes, the public space and in the landscape, and the particular weather and light qualities of the nearby mountains informed the transparency and opacity of the window design. Experience of the enduring social split following the strike led the design’s conceptual content, the inscriptions of 1000 villagers on the window, a process symbolically bringing together families split for a century. Bird-Jones worked with 3 German fabrication studios running experiments with technique, materials and processes before developing sample panels for the window.
    • Compositions colour-pattern-form

      Shaw, Vicky (2005)
      A solo exhibition comprising 120 pieces made over a period of 18 months. The artist is noted for an uncanny level of control and finish in her handwork with porcelain. Working with Jasper, the ‘signature’ clay body of Wedgwood which lacks the translucency and purity of porcelain, raised a range of technical questions concerning its plasticity and surface quality including colour. Shaw experimented with different combinations of form, colour, and surface finish usually used for porcelain, in particular the use of porcelain-mono-printing and screen-printing, which she has pioneered, to develop new perceptions and uses of Jasperware.