German illustrator Severus Heyn brings his first public exhibition, “Consuming me” to Liverpool Arts Bar.
The artist otherwise known as @queerartisan creates bold and often explicit images, in a fun and colourful way to explore themes of intimacy, desire, heartbreak and conformity.
This collection of work, curated by Laura McCann, offers thoughts on how we consume and are consumed in modern society.
Kathleen Guthrie and John Cecil Stephenson were key figures of 20th century British modernism. Married from 1942 until Stephenson’s death in 1965, this exhibition will be the first time that their work has been exhibited side-by-side.
Though Guthrie and Stephenson were both established and successful artists prior to their marriage, this exhibition explores the development of their individual styles under each other’s influence.
The exhibition will be open 25th January – 8th April 2023 in Galleries 4 & 5. For full visiting information check our Visit Us page.
About The Artists:
Kathleen Guthrie (1905-1981) exhibited widely from the 1930s onwards. Following her marriage to Stephenson in 1942 her work moved increasingly towards abstraction. Guthrie also wrote and illustrated children’s books, most notably The Magic Button to the Moon which was published in 1958, and during the 1960s impressed with her work in silk screen printing.
Stephenson (1889-1965) took on Walter Sickert’s studio at 6 Mall Studios, Hampstead in 1919, where he was later joined by Herbert Read, Barbara Hepworth, and Henry Moore. From 1922 until 1955 he was Head of Art at the Northern Polytechnic on Holloway Road.
Stephenson began making his predominantly abstract work in the 1930s, exhibiting widely – though during the Second World War he returned to figurative work, making paintings of the Blitz. A series of strokes Stephenson suffered in 1958 left him unable to move or talk. Partly for this reason he is today less well-known than many of his contemporaries, despite being a key figure in the development of abstract art in Britain.
Stephenson’s work was re-visited by Guthrie in her screen prints of his paintings, including Egg Tempera 1936 and Egg Tempera 1937.
Image courtesy of Liss Llewellyn Fine Art
Liverpool Cathedral is set to host the world debut of an art installation called Coalescence, created by award-winning British designer Paul Cocksedge, whose work is celebrated around the globe. The breathtaking artwork, which is free to experience, will open on 9 February and run until 12 March.
Visitors will be invited to admire the extraordinary sculpture, which will be illuminated and suspended from the magnificent Gothic ceiling of the Grade I listed building, as thousands of pieces of coal sparkle in the light to reveal their surprising beauty.
Prompting questions around energy consumption, the history of fossil fuels and the need to reach net zero, Coalescence features ove
The installation also encourages visitors to explore the beauty and value of different types of materials. Challenging the perception that all coal is dirty and polluting, the impressive installation, spanning six metres in diameter, is made from anthracite, a type of coal with a high lustre that is low in impurities. The anthracite used to create the artwork has been specially sourced from one of the last remaining coal mines in the UK.
For more information about Coalescence and the wider events programme at Liverpool Cathedral, please visit liverpoolcathedral.org.
For further details on Paul Cocksedge, please visit www.paulcocksedgestudio.
The art of contemporary printmaking is set to be explored in an exhibition at The LAKE gallery in West Kirby.
PrintWorks will be on show at The LAKE Gallery in West Kirby from February 9 to March 25 and will feature a range of print methods including linocut, etching, collagraph and monotype in works from eight artists.
The six-week run also includes an artists’ talk with print demonstrations on Saturday February 25, 3 – 5pm. Places are free but should be booked in advance via the gallery website.
The Grange Road venue is a new artist-led space, opened last September, which hosts a changing programme of exhibitions of fine arts and contemporary crafts by established and emerging artists.
The gallery is open from 10am-4pm, Thursday, Friday and Saturday.
People from Africa and the Caribbean have shaped Liverpool, establishing the UK’s earliest Black communities that can be traced back to the 1730s.
These contemporary photographic portraits, and the conversations that took place during the sittings, offers a new perspective on those seen as part of the Windrush Generation and their descendants.
‘Taking Up Space is an amalgamation of the work Ellsquared – Ella Matthew’s and Elisa Sallis – have made during their time at The Royal Standard as our 22/23 LJMU Poly-Residency Artists.
Focusing on the domestic, they’ve independently created pieces which, once combined in the gallery, reflect the relationship between spaces we occupy and the items we accumulate over time. Sculptures depict objects which they’ve taken from studio to studio, alongside familiar household items, to investigate how the context of said-objects changes when they’re removed from their original homes and brought into a new space’
Join us for one night only at The Royal Standard’s first exhibition of 2023 ✨
Featuring Amanda Oliphant, Chris Routledge, Simon Cooper and Samantha Danford Jones
“The sea is as near as we come to another world.” – Anne Stevenson
High tides and rolling waves – take in the wonder of our ‘blue world’ through paintings and photographs in “The Sea”. The great beauty of the deep can represent many things; endless possibilities, brewing storms, a calm horizon, or a place of pollution – the artists in this exhibition take on some of these concepts in their artwork.
Chris Routledge – “These cyanotype prints, of Whitehaven and Maryport harbours, are early works from a larger and ongoing series about the Cumbrian coast. These towns were once important ports, but were overtaken two centuries ago by better-connected cities like Liverpool and Bristol. Harbours are always interesting, outward-looking places, but like the past, the sea keeps melancholy secrets.
I spent several hours standing with my large format camera looking out to sea and thinking about all the people who have come and gone through these harbour entrances, of fortunes made and lost, and lives changed forever.”
Amanda Oliphant – “Painting the landscape presents endless challenges, with constant changing weather, light and atmosphere, whether it is on the Wirral Peninsula or along visiting coastlines, I am always being driven by the elements that collide everyday but also by the peaceful serenity of a place, never two days being the same.”
Samantha Danford Jones – “The sea holds an immeasurable presence to me, with a depth and impenetrable life of its own; I have the utmost respect for her mystery which is both powerfully tremendous and fascinating. I have lived near or on the sea my entire life; for me, the flow of the ocean represents freedom, peace, solitude, sensuality and life.
I am always keen to raise awareness and encourage conservation of the ocean by supporting and following organisations such as Mission Blue, led by the legendary Dr Sylvia Earle who campaigns to protect swathes of ocean designated ‘Hope Spots’, around the world, Greenpeace who put huge boulders in the sea to stop trawlers dragging netting and over fishing, Zero Plastic Waste, coral gardeners who are re planting coral around the globe or divers planting mangroves to help protect low lying coastal areas from flood and devastation.”
Simon Cooper – “With these paintings, I’m not truly sure as to what they represent; do they describe better now than then, a situation so dreadful and devastatingly life-levelling that it was extremely difficult to paint whilst experiencing, or do they show what is happening now and which continues to happen every day – that of life flooding in at every opportunity?
They definitely show a massive change of direction within myself and within my art; instead of a frozen moment in time, an ‘Eno-esque’ ambient mood of momentary stillness & stasis that has saturated my work since the mid-1980’s, these new works show movement, albeit upon stormy and tempestuous waters, with swell that threatens to capsize and swallow at any and every moment. My trajectory is altered, destination unknown – yet the content clearly shows a new and very real way forward…”
All artworks are for sale.
Join dot-art for the Private View of the exhibition on Thursday 2nd February from 5pm-7pm.
All welcome, but you must register here: https://TheSeaPV.eventbrite.
The dot-art Gallery can be found at 14 Queen Avenue, Castle Street, Liverpool, L2 4TX (just 5 minutes’ walk from Liverpool One).
Opening times: Tuesday – Saturday, 10am-6pm
The exhibition runs 3rd February – 25th March 2023.
Craig Easton’s solo exhibition Is Anybody Listening? features two projects: Bank Top and Thatcher’s Children.
This exhibition forms the starting point of a regional tour accompanied by an engagement programme Our Time, Our Place, to empower young people in local communities. This programme will include discussions on photo ethics, photography workshops and a mentoring programme.
Craig Easton won the Sony World Photographer of the Year in 2021 with his series Bank Top. He shoots long-term documentary projects exploring issues around social policy, identity and a sense of place. His new book, Thatcher’s Children, is published February 2023.
The Encirclement Of Space charts the influence of lace on Michael Brennand-Wood’s work from the earliest examples made as a student in the 1970’s to his most recent commission. The exhibition contains the largest collection of his lace works ever shown together, representing all stages of his lace research.
Many of the works are of a very large scale, in a wide range of media: paper, fabric, thread, metal, mosaic, wood, slate, wax and resin. The works are monumental, exploratory and designed to challenge our perception of what we understand and associate with lace.
As part of the exhibition a brand-new commission specifically for the Williamson will be unveiled. Return to Origin-Musical Chairs is based on our archive of designs and fabric samples from the Arthur H. Lee & Sons fabrics company. The commission was supported by The Contemporary Art Society.
Anthony Wong is a classically trained goldsmith running a studio practice from the Bluecoat, one of the oldest buildings in Liverpool, designing and making by hand using traditional methods.
Throughout January you are invited to the jewellery showcase, ‘Cabinet of Curiosities’, here at the Bluecoat Display Centre to view his exquisite pieces.
“I am a jeweller, storyteller, the son of a Chinese immigrant. I tell the stories of others through their commissioned objects and pieces, by encapsulating these messages and memories that they share with me.
A spotlight showing of work following on from my masters work from RCA Jewellery and Metals Course and in connection with my most recent DYCP Arts Council England Award and supported time entitled, ‘I Thought I was Here but I Must Have Been Mistaken’, a journey-based activity time including journeys North, South, East and West in the UK.
Questions of belonging, placement and connections to home, in reference to my fathers original journey of 597 miles to join the Merchant Navy, at the turn of WWII.” – Anthony Wong
Image: ‘A Thousand Dinners Later’ by Anthony Wong. Silver, gilding metal, Lapis Lazuli, stainless steel. 2018.