Looking to sharpen your art skills? Maybe you’ve never tried to draw before? Never heard of illustration?
PLACED are holding free workshops for young people aged 13-18 years old, with BA Illustration and Animation students Catherine, Reilley and Freya. Catherine and her friends will teach you some brilliant art skills at the sessions, suitable for beginners.
The workshop will focus on drawing still life. Catherine will arrange some interesting and contrasting objects for you to study before creating illustrations from your viewpoint.
All materials are provided, just show up and give it a go!
Refreshments included.
Please note
- These sessions are suitable for ages 13 – 18 years
- Please fill out the permission form before the session (you will be emailed this)
- Photos may be taken at the event
Looking to sharpen your art skills? Maybe you’ve never tried to draw before? Never heard of illustration? Ever created a sketchbook? Binded a book?
PLACED are holding free workshops for young people aged between 13-18 years old, with BA Illustration and Animation students Catherine, Reilley and Freya. Catherine and her friends will teach you some brilliant art skills.
This workshop will focus on the art of book binding and creating your own sketchbook. The team will teach you how to create a hard cover sewn sketchbook which you can then customise. It’s then yours to keep.
All materials are provided, just show up and give it a go!
Refreshments included.
Please note
- These sessions are suitable for ages 13 – 18 years
- Photos may be taken at the event
- Please ensure you fill out the permission form before the session (you will be emailed this)
Ashley Holmes is a multidisciplinary artist based in Sheffield, working across sound, video, radio broadcasts and performance.
His work brings together themes of collective memory, ownership and belonging with a specific focus on the nuances and unique authority of music from the Caribbean.
Ashley has been in residence at FACT over the past 9 months, as part of the 2022 Jerwood Arts / FACT Fellowship. During this time, he has been exploring the legacy of Black music, with particular focus on the social, geographical and musical influences of Dub – a subgenre of reggae music – in Britain, and in the context of Liverpool.
As an outcome of his residency, Ashley presents a three-channel sound piece developed from field recordings and conversations taken in the city. The sound work explores the ways music travels: allowing us to re-imagine notions of storytelling, and examine the ways Dub, as an experimental process, provides a perspective for understanding and re-defining links between the past and present.
Ashley also presents a collection of works on paper as part of an ongoing series titled Abyssal, made in response to some of the audio recordings. Elements of his research are displayed in the space including poetry anthologies, extracts from Loosen the Shackles – a publication documenting the first report into race relations in Liverpool, and a selection of vinyl records from Ashley’s personal collection by Dub musicians and producers who used pioneering techniques of echo, delay and storytelling.
Hope Strickland is an artist-filmmaker and researcher from Manchester, UK.
Her current practice is concerned with maroon ecologies and the bonds between resource extraction and racial violence. ‘Maroons’ are the name given to those who escaped from slavery and their descendants. Their existence outside plantation logics was often, in part, due to their successful navigation of inhospitable environments such as swamps and dense mountains.
Hope’s work also explores the temporal fractures and intimacies that can be found in working across 16mm, digital and archival film formats. Hope produced the short film I’ll be back! (2022) after being awarded a FACT Together digital residency in 2021.
I’ll Be Back! begins and ends with the story of the rebel slave Francois Mackandal. In 1758, Mackandal was condemned to be burned at the stake, not only for his crimes but for his radical powers of metamorphosis.
Celebrate this Mother’s Day with a unique experience – turning a cherished photograph, quote or image into a set of prints for you and your loved ones to keep.
During this one day course you will be guided through the basics of linocut, an enjoyable process that makes a perfect introduction to printmaking.
You will learn how to transfer an image onto your lino, carve your lino and create a set of 2-colour prints to take home with you. You will also gain insight on the materials and tools used, and how you can continue the process as home should you wish.
All materials are provided on the day and included in the price of your ticket.
All you will need to bring with you for this course is a copy of the photograph, quote or image you’d like to use for your linocut. (Please don’t bring the original as it may be damaged!)
The event is held Saturday, 18 March, 11am-5pm
Attendees must be 18+.
Tickets: £60
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
Join artist Michael Brennand-Wood as he leads a workshop based on his current exhibition and artistic processes.
Brennand-Wood says: “Pattern books of textile designs provide imagery and instruction to follow. I was always more interested in using patterns as a launch pad for new ideas. The aspiration was to learn from the past, reinvent and create a contemporary image. The Encirclement of Space contains several major works based on 16th century Renaissance Lace patterns. This short-day workshop is designed to explore that process, using collage, paint, coloured pencil and crayon.”
The workshop will begin with a walk around the exhibition, key works will be discussed especially in relation to how they were initially developed, how imagery derived from historical lace was sampled and reconfigured to create new imagery. This will be followed by a short technical and materials introduction/demonstration of key techniques.
You will be provided with a collection of pattern book pages that can be cut, shaped and interlaced together. These initial paperwork ideas can be further enhanced via the addition of paint, crayon and coloured pencils. There is no right or wrong approach to the workshop, no pre-set vision as to what you will produce. You may wish to view the workshop as a lace image jam session, an opportunity to explore new ideas and approaches within a supportive group – ideas that could be developed at home at a later stage.
At the close of the day’s activities, we will have round room look at what has been achieved. There is no pressure to produce a finished item, the focus of the workshop is on the individual generation of new ideas and approaches derived from lace.
Join the Williamson’s curator Niall Hodson for a guided tour of the exhibition and discover more about the artist’s ideas and techniques.
About the exhibition:
Kowal Post’s work considers the relationships we build with the natural world, other creatures, and each other. We are comfortable with embracing our shared physiology with animals, and have never considered ourselves physically superior to other members of the animal kingdom.
Yet we cannot help looking for traits which make us not just unique within nature, but exceptional. So we imagine ourselves as intellectually exceptional, disconnected from other beings and with the right to dominion over nature.
Join the Williamson’s curator Niall Hodson for a guided tour of the exhibition and discover more about the artist’s ideas and techniques.
About the exhibition:
“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.
