Bluecoat Display Centre’s new exhibition, Murmuration, is now open at the gallery on College Lane, with selected items available through the online shop.
Murmuration – “a word that perfectly describes the rustle of thousands of pairs of wings” (Cambridge Dictionary).
During the last couple of years, many of us have found a new enjoyment and meaning in our local nature and wildlife. This display brings together makers who celebrate the natural world – and in particular birds – through craft.
‘Traces Through The Landscape’ is a solo exhibition by Amanda Oliphant, featuring a new body of work exploring the emotions and ideas the landscape can conjure when walking through it.
Amanda Oliphant graduated with a BA (Hons) degree in Fine Art at LJMU followed by an MA in Art as Environment at MMU. As an Interdisciplinary Artist, working nationally and internationally, her interests lie within the changing landscape of Art and Ecologies. This new series of work continues her interest in creating artistic interventions that aim to engage the public, discovering hidden layers with shared experiences within art.
The artist says: “The feeling of my footsteps upon a broken path, obstacles I go around, breath-taking vistas that stop me in my tracks, taking my breath away. The noise of crows calling or the beauty of a songbird singing, hidden layers of colour and light, the force of the wind and rain upon my face, and the reassuring warmth of the sun gifting me a feeling of content.
All elements that seep into my own consciousness and that remain when I’m back in my studio transferring these experiences through paint – they are a journey of life, they are ‘traces through the landscape’.”
“Painting both outdoors and then back in the studio helps to build a painterly story, expressing many layers that sometimes I have to walk away from, find time to reflect, and then return. They are a reconnection to place, an interpretation of the natural world”.
Find original works in oil and cold wax by Amanda Oliphant highlighting the tones and mood of the Landscape.
All artworks are for sale.
Join dot-art for the Private View of the exhibition on Thursday 26th May from 5pm-7pm. All welcome, but please register here: https://traces-through-the-
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 27th May – 23rd July 2022.
Artist Lindsay Amanda Lowcock in collaboration with Louise Hardwick (University of Liverpool), Aidan Worsley (Uclan), and The Brain Charity.
This installation is part of a wider dissemination strategy to report on the findings from the study ‘Seeking recognition for people with severe disabilities on benefits’.
The installation is staged at University of Liverpool, School of Law and Justice, 4th Floor, 11am-4pm.
Voice is an important part of inclusion in life: being recognised; taking part; being heard. The participants in the study were given a rare opportunity to vocalise their experience, and, in response, the artist Lindsay Amanda Lowcock (www.lowcock.uk) has designed an installation to display their voices. This is achieved by the voices of the participants becoming vocal performances that are heard through six monolithic speakers.
Each performance consists of one word taken from the study which distils their experience of depending on disability benefits. The speakers appear like the standing stones of death monuments and create a space for the viewer/experiencer to wander around and hear the individual voices.
The combined audio and physical interactional experience creates an oppressive, confining, baffling, and demoralising response, akin to that experienced by study participants.
Beyond the field of sound, a light is situated: a tall and thin slit of simulated sunlight. This represents Judith Butler’s (2016) concept of recognition. In contrast, in the field of sound, the vocal performances and the people they represent occupy a hinterland not comprehended to the unimpaired, and in that hinterland they remain unrecognised.
The installation will also be staged 18-21 May, The Brain Charity, Norton Street, L3, 11am-4pm.
See here for details.
nil00 is a multidisciplinary artist making music, visuals, and writing.
Recently, nil00 has been releasing music, performing spoken word live and making digital artworks like the Magic Tree (2020) for FACT, and Digital Mysticism (2021) for Axis.
Since 2017 nil00 has been using coding/animation to create audioreactive glitchy visuals for musicians across the UK. nil00 curated Arrival City for FACT Liverpool in 2018.”
A part of the Convenience Gallery ‘In Cahoots’ 21/22 programme.
Exhibition launch and listening party for 00 an EP by nil00.
Opening Night: 6th May, 6:30pm
Listening Party will take place at 8:50pm (sunset).
Exhibition runs from: 06.05.22 – 20.05.22
On 11 May 2022, the Liver Sketching Club celebrates its 150th anniversary making it the oldest art club in England.
It was founded in Liverpool in 1872 and has been continuously active in the city ever since – never more so than today when around 100 members attend one or more of the 40 classes in our studio each month, all working from live models.
Many events are planned to mark this special year for Liver Sketching Club and details are listed on the club’s website: http://www.liversketchingclub.
The club is especially pleased to be exhibiting work by some of their current members at the Atkinson during the month of our anniversary.
Ali Hunter is an artist/illustrator, currently living in Liverpool, UK.
She draws and paints what visually inspires her. Ali’s current inspiration is drawn from home interiors and decor, and the bulk of her recent work has been focussed on painting rooms in people’s homes.
She is also working on a series of female portrait paintings, which combine fashion, pets and interiors. Ali likes to recreate an image that offers plenty of intricate details.
She’s found the wider community of female artists very supportive. The female artist pool is very diverse and vibrant, both locally and online.
Being a neuroatypical female artist, Ali found it challenging to self-publicise at first. Artists are expected to put themselves out there and approach people confidently, which is something she found difficult. However, she’s now starting to find her place and feel more at home within the female art world.
To mark the International Transgender Day of Visibility on March 31st, Open Eye Gallery are celebrating eight of the many faces of trans individuals living in Merseyside.
This day is dedicated to highlighting the accomplishments of transgender and gender non-conforming people, while raising awareness of the work that still needs to be done to achieve trans justice.
WE was produced in the National Trust’s Hardman House, the only known British example of an intact 20th century photographic studio. At its height in the 1930s and 1940s, the possession of a self portrait taken there signified wealth, social credit and a spot in society.
‘Visibility’ is a heavy word, and we must ask ourselves what effective visibility looks like — in photography and culture — but crucially also in legislation and policy. The question posed to the participants included in WE was: ‘what does the International Trans Day of Visibility mean to you?’.
Climate change solutions require both local and global perspectives. This exhibition brings together three photography projects from the African continent offering views on a changing world alongside ways of creating or contributing towards a more sustainable future.
They are a way of showing what the future may hold for us and how we can prepare ourselves for the impacts of climate change. In recognising work being done elsewhere, in seeing what sustainable ideas can be adapted and used, we can see how to actively learn from others and value the role that photography plays in sharing this knowledge.
In Gallery 1, Etinosa Yvonne’s series of diptychs show us everyday routines of sourcing clean water. The male water carriers have set a precedent for taking on this role, a break from the traditional association of women and girls as responsible for fetching water. While it may seem to be a process far removed from our lives here, it shows the flexibility we must have to move through a changing world.
The Slum Studio share the process of creating new garments from global clothes waste in Gallery 2. The influx of discarded, second hand clothes from charities in the West have inundated Accra. Through creativity and reimagining the potential of this material, Slum Studio have reworked, renewed, restored the life cycle of these clothes.
In Gallery 3, Dillon Marsh introduces us to the five zones of vegetation on the Rwenzori Mountains, which translates to “rain maker”. Forty-three glaciers were recorded in this area when it was first surveyed in 1906, now less than half that number remain. The warming climate and the shrinking number of glaciers directs us to think more clearly about the future and what else will be lost.
Colourful Stories: A Queer Retelling of Liverpool’s History, an exhibition organised by Comics Youth, open for one day only!
Queer culture has been erased from the history books for centuries, leaving so many with little knowledge of their heritage and identity. The very little information available often only covers major cities like London, Manchester, and Brighton.
Similarly, those depicting Liverpool’s history often look to a traditional and heteronormative route, completely omitting a single thought to Liverpool’s vibrant and diverse queer scene. At Colourful Stories they aim to explore the unique history and wide range of experiences that come with being a queer individual in Liverpool.
Comics Youth was founded in 2015 and is a creative community organisation led by young people, for young people. Their aim is to empower youth across the Liverpool City Region to flourish from the margins of society: Harnessing their own narratives, finding confidence within an inclusive community, and developing the resilience to succeed on their own path.
The show will be open from 12 – 5pm, 31 March, followed by a celebration event, from 6 – 8pm.
In summer 2022 Tate Liverpool will present Radical Landscapes, a major exhibition showing a century of landscape art revealing a never-before told social and cultural history of Britain through the themes of trespass, land use and the climate emergency.
The exhibition will include over 150 works and a special highlight will be Ruth Ewan’s Back to the Fields 2015-22, an immersive installation that will bring the gallery to life though a living installation of plants, farming tools and the fruits of the land. This will be accompanied by a new commission by Davinia-Ann Robinson, whose practice explores the relationship between Black, Brown and Indigenous soil conservation practices and what she terms as ‘Colonial Nature environments’.
Expanding on the traditional, picturesque portrayal of the landscape, Radical Landscapes will present art that reflects the diversity of Britain’s landscape and communities. From rural to radical, the exhibition reconsiders landscape art as a progressive genre, with artists drawing new meanings from the land to present it as a heartland for ideas of freedom, mysticism, experimentation and rebellion.
Radical Landscapes poses questions about who has the freedom to access, inhabit and enjoy this ‘green and pleasant land’. It will draw on themes of trespass and contested boundaries that are spurred by our cultural and emotional responses to accessing and protecting our rural landscape.
Key works looking at Britain’s landscape histories include Cerne Abbas 2019 by Jeremy Deller, Tacita Dean’s Majesty 2006 and Oceans Apart 1989 by Ingrid Pollard. Ideas about collective activism can be seen in banners, posters and photographs, such as the Greenham Common Women’s Peace Camp banners by Thalia Campbell and video installations by Tina Keane.