Monday 10 December 2012

Introducing FOUR...

The next exhibition to feature my work will be FOUR.

Liz West will be part of FOUR, an exhibition of four new commissions specifically created for the Cornerhouse show including work by Tristram Aver, Nicola Ellis, Kate Sully and Liz West.

Curated and developed by Cornerhouse’s Young Curators team, three talented people from the Greater Manchester region, FOUR will feature inspiring and thought-provoking art that has been carefully selected from over 600 international applications.


Thursday 15 November 2012

Liverpool Biennial v. World Event Young Artists


Liverpool: 242 artists in 27 locations for 72 days.

Nottingham: 1000 artists in 37 locations for 10 days.

Having been lucky enough to have attended both these major art events within the last few months, I feel that there are several comparisons to be made between the two. Maybe the Liverpool Biennial would be been a completely different experience had I been a exhibiting artist as I was for the World Event Young Artists (WEYA) in Nottingham, but both depended on the viewer or participant giving a lot of time, energy and dedication to seeing the ‘whole’ thing rather than just a snippet.

I have heard first hand from the people who only managed a ‘snippet’ of both, and the story was not good. They felt that the promises made in advertisements and general hype around the event was far more than what it actually delivered. I can see how this can be true. In order to fully appreciate the Biennial or the World Event you had to be prepared to immerse yourself in the art. Don your best walking shoes; make sure you packed a waterproof coat (and sun-cream – always living in hope); camera; event leaflet/guide; and some food… after all I am talking about long days here. Oh, and for me it helped if you took a friend along for the ride. It’s always great to have conversations about what you have just seen, whether it be positive, negative or indifferent.

For the World Event Young Artists the organisers made sure the artists were in the city for the full 10 days of the festival. This certainly helped enrich our experience. There was nothing else to do except throw yourself into seeing and doing. Every morning was spent walking around the city intentionally searching for or stumbling upon venues hosting the visual art side of the event. I normally managed between 3 and 5 a day; so much depended on how close together in proximity the galleries or spaces were. In the afternoon workshops were programmed or a matinee of a performance was attended (musical/theatrical/other). The evening was spent eating with new friends made at the event and going to another performance (mainly at Lakeside Arts Centre, Nottingham Trent University or Market Square). The days certainly went quickly as they were action packed. Although we were all rather tired towards the end of the 10 days – everyone knew it was totally worth it.

Liverpool Biennial opened on the last day of WEYA, meaning sadly I couldn’t get to the Biennial launch events (instead I was at the WEYA wrap party at Nottingham Contemporary – ah-hem). I did however; make the short un-arduous journey from Manchester to Liverpool once I got home form the World Event. One day is not enough to see a Biennial that is for sure. I went back for second day of Biennialing – and I really packed it in. Unfortunately I didn’t even touch on The Independents really – only making it to one: the Fallout Factory, which is a great little space that I intend to visit again. The guys running the space were friendly and enthusiastic about what they were planning, although I couldn’t help feel at only two months old, they had a lot to contend with and lots to learn still. Fallout Factory reminded me of Surface Gallery in Nottingham – very similar size space, run voluntarily and pretty central within the city.

The use of interesting spaces and usually not accessible for the general public were used as venues in both. In Liverpool there was notably Liverpool John Moores University Copperas Hill Building (old Royal Mail sorting Office), The Cunard Building and The Munro which were exciting for me (as a nosy parker) to explore and encouraged me to think how I, as a site-specific installation artist, might make work and respond to that space. At the World Event I was charmed by Primary, an artist’s studio and gallery facility that has been transformed from an old primary school, as the name suggests. If I were a Nottingham-based artist I would crave a studio space there. It is THE most exciting space I have seen for a long time. Other studio’s were used as venues in the Biennial and World Event: The Royal Standard in Liverpool and Backlit and One Thoresby Street in Nottingham… All places where you could see there were artist communities and spaces available to make work of all scales. For these venues to be used in the two events seemed natural.

As well as studios, bigger, more established gallery spaces were taken over by participating/selected artists. Conventional gallery spaces in Liverpool such as: Tate Liverpool, Walker Art Gallery, Victoria Gallery & Museum, The Bluecoat and FACT were used (some successfully, other less so – a nod to the Bluecoat here is necessary as there Biennial exhibition was a triumph). The Tate pulled out old pieces from their permanent collection much to my disappointment, for me this wasn’t in keeping with the ethos of the Biennial – of bringing new ideas, work and artists to the city. They surely have more budget than the artist-lead spaces to curate and develop a special exhibition – yet it was the smaller galleries that were pushing themselves and introducing us into international or lesser-know artists. Bravo to them.

In Nottingham a slightly different story – every venue was taken over by WEYA artists – an eclectic mix of national and international artists with varying levels of craftsmanship, age and experience were all exhibited side-by-side. Nottingham’s best-known galleries were used, including: Bonington Gallery (where my work was), Lakeside Arts Centre (where Alana’s work was), New Art Exchange, Nottingham Castle and the Lace Market Gallery. The decision to exhibit our work in these type of venues made by the galleries and event organisers was refreshing, and allowed us as artists to be taken as seriously as other more prestigious names.

I thoroughly enjoyed both and am glad I made the effort to attend. For both the World Event and Liverpool Biennial there was a real buzz created on social media and within my artistic circles. I am so glad that I gave both the time they deserved. As a participating artist in WEYA, I know how important it felt that people were making the effort to go search out your work in a city full of things to explore.

Friday 9 November 2012

Press Release: ' The Div/sion of Power' Exhibition


INSTITUTE OF TEMPORARY ART PRESENTS FLETCHER MOSS ART GALLERY WITH THE DIVISION OF POWER, AN EXHIBITION WHICH, FOCUSES ON THE STRUCTURES OF CURATORIAL PRACTICE PLACING THE ARTIST, CURATOR INSTITUTION AND AUDIENCE UNDER EXAMINATION.

SUPPORTED BY THE DIDSBURY PASONAGE TRUST UNDER THE CURATORIAL DIRECTION OF HIGGINS AND RENSHAW, DIRECTOR OF IOTA JOHN LYNCH WILL PRESENT WORK BY ARTISTS PRACTICING IN THE NORTH OF ENGLAND.

THE EXHIBITION WILL OPEN 16TH NOVEMBER 2012 AND WILL CONTINUE UNTIL THE 25TH NOVEMBER 2
012.

Adopting its title from a governmental blueprint to define the separation or division of power between constitutional authorities to establish a balance within the body politic. Reference is made to the separation of powers; within this context we define the roles as artist-curator- institution- audience.

After splitting the practice of curation and of exhibitions themselves, the exhibition represents the idea of a gallery reinstated. Fletcher Moss Art Gallery (Didsbury Parsonage) was once a branch of Manchester City Art Gallery. At its peak Fletcher Moss Art Gallery exhibited works of Goya, Lowry, Turner and other eminent artists of the time. Fletcher Moss Art Gallery closed its doors for the last time in the late 1980’s, the space since languishing in the care of the local authority.

The Institute of Temporary Art in association with Higgins & Renshaw presents the idea of Fletcher Moss Art Gallery returning. The ‘temporary’ notion of exhibitions within contemporary society in many ways exemplifies the relationship of curatorial practice (within the four stages stated) as having fluidity.

The exhibition challenges the audience and the artists, providing the opportunity for them to reappraise and reconsider the nature of conventional exhibition etiquette. IOTA will present work by over 40 artists, which is specifically commissioned to respond to the space and its environs.

‘The Division Of Power is an exhibition that aims to examine the very nature of curatorial practice. In many ways it is a research methodology, which we are presenting to the public. The discussion about curatorial practice is a key topic, which is seemingly becoming a catalyst for debate and intrigue in this area.

The exhibition can be viewed as a complete examination of institutional critique in its presentation. This exhibition has been developed to shine a spotlight on the four key stages involved in the process of curating this exhibition. The artist, curator, institution and audience become part of a wider conversation about the very nature of Fletcher Moss Art Gallery, and by extension all artistic institutions’.

EXHIBITION: THE DIVISION OF POWER

DATES: 16TH NOVEMBER – 25TH NOVEMBER 2012.

PREVIEW: 16TH NOVEMBER 2012. TIME: 17:00 – 21.00

VENUE: DIDSBURY PARSONAGE, STENNER LANE, DIDSBURY, MANCHESTER, M20 2RQ.

ENTRY: FREE

Tuesday 6 November 2012

Autumn Newsletter... Coming up 2013!

Hello,

Below is a quick update of various exhibitions and events that I am involved with in next few months and into the new year. Exciting times ahead!

Liz


Exhibition

Institute of Temporary Art

Div/sion of Power
Opening 16th November
Exhibition runs from 17th - 25th November

Liz West will be part of 'The Div/sion of Power' exhibition, curated/hosted by the Institute of Temporary Art at Didsbury Parsonage Trust. West will be making a new performance work on the opening night... don't miss it!

West states, "As a live performance I want to arrange my vast collection of single-coloured objects inside Didsbury Parsonage. I will respond to the space around me when assembling my collection. After I have finished my arrangement (using my own systems) I will open the work up for public engagement. I would like other people to arrange my collected objects using their own invented systems. Others could potentially use alternative spaces, tactics and select or deselect objects. This work questions how we each make choices, selections and categorise the everyday. Using found objects (recognisable from the world around us), each person reinvents the objects’ identity by including it in this ever-evolving work."  

Fletcher Moss Art Gallery
Didsbury Parsonage
Stenner Lane
Didsbury
Manchester
M20 2RQ



Exhibition

Cornerhouse

Four
Opening 25th January
Exhibition runs from 26th January - 24th February 2013

Liz is pleased to announce that she will be part of FOUR, an exhibition of four new commissions specifically created for the Cornerhouse show including work by Tristram Aver, Nicola Ellis, Kate Sully and Liz West. Curated and developed by Cornerhouse’s Young Curators team, three talented people from the Greater Manchester region, FOUR will feature inspiring and thought-provoking art that has been carefully selected from over 600 international applications.

West's new work will reference the domestic, presenting the vessel of a second-hand wooden wardrobe allowing the viewer a glimpse through the partially open doors. Inside, a video work will be mirrored to infinity, creating an immeasurable landscape within the wardrobe, alongside an endless expanse of single-colour objects that will glimmer and entice audiences to look further. The piece will continue the artist’s investigation into the use of physical constructs to experience the viewer’s own emotional and psychological relationships with colour.


Cornerhouse
70 Oxford Road
Manchester
M1 5NH



Blog

WEYA After Ours

weyaafterours.wordpress.com
Ongoing

Liz West (UK) and Alana Tyson (Canada/UK) met at World Event Young Artists (WEYA) in Nottingham as two participating visual artists. After spending 10 days together at WEYA, they formed a close friendship and joint interest in the future of each other's careers. Both share many interests, one being obsessive behaviour, which is often implemented in the making of their work.

Liz and Alana intend to share their thoughts post WEYA on this blog: explaining how the World Event has helped them, discussing future exhibitions/works and inviting other WEYA artists to guest blog and join in the fun.
  
  


Book

Revolutionary Sculpture Book

By Jac Scott
Published in 2014

Liz West is delighted to announce that she has been selected for inclusion in a new publication written by award winning artist and an associate of the Royal British Society of Sculptors; Jac Scott. ‘Revolutionary Sculpture: New Attitudes in Mixed-Media Art’ will be a visual feast featuring 30 international artists. The book will be published by The Crowood Press Ltd in 2014. 

Other artists selected are: Andre Woodward, Catherine Bertola, Elpida Hadzi-Vasileva, Liliana Porter, Mary Giehl, Marilene Oliver, Pascale Pollier, Kate MccGwire, Niko Neelova, Michael Shaw, YaYa Chou, Yuebin Gong, Peter Freeman, Paul Moss, Rachel Allen, Eliza Bennett, Awst & Walther, Andrew Burton, Noam Ben-Javov, Ricardo O'Nascimento, Stelios Manganis, Mark Houghton, Janet Curley-Cannon, Cath Keay, Liz West, David Alesworth, Dorcas Casey and Andrea Hasler.

Monday 5 November 2012

'The Div/sion of Power' Exhibition at Fletcher Moss Art Gallery


I will be part of this exciting exhibition 'The Div/sion of Power' curated by the Institute of Temporary Art at Didsbury Parsonage. I will be doing a performance work on the opening night... don't miss it! 

"As a live performance I want to arrange my vast collection of single-coloured objects inside Didsbury Parsonage. I will respond to the space around me when making my arrangement. After I have finished my arrangement (using my own systems) I will open the work up for public engagement. I would like other people to arrange my collected objects using their own invented systems. Others could potentially use alternative spaces, tactics and select or deselect objects. This work questions how we each make choices, selections and categorise the everyday. Using found objects (recognisable from the world around us), each person reinvents the objects’ identity by including it in this ever-evolving work."

Hosted by the Institute of Temporary Art at Fletcher Moss Art Gallery (M20 2RQ)
Preview is on Friday 16 November 2012, 17:00 to 21:00. Performance by Kathryn Edwards.
Open from Saturday 17th November to Sunday 25th November 11:00 to 16:00

Friday 26 October 2012

'Beyond The Material World' Exhibition, York

My work is currently on show in York at Bar Lane Gallery. The exhibition opened last Saturday, but there is still a week left to see this facinating show, curated by Diana Ali and Jean Harlow. Open until 2nd November.


"International Association of Quantum Physics (IAQA) aim is to explore the art/science interface by participating in activities which aim to transform human understanding of the world in which we live. At present these include theories and philosophies incorporating sustainability, quantum theory, parallel worlds, Multiverse, higher dimensional spaces and cosmology.

The IAQA is a new contemporary art collective, based in the UK, comprising of Jean Harlow (Founder Artist) and Diana Ali (Curator Artist). The collective was initiated to unite artists whose work explores intuitively explores alternative visions and possible realities. This first show will feature work which explores the statement ‘Seeing Beyond the Material World’. It aims to be inspirational, encouraging others to reach out towards more positive and sustainable futures. We are taking the view that art can provide a platform for multiple expressions of social ideals.

FEATURED ARTISTS & WORKS:
Seventeen artists were selected to build an interactive space around their work’s focus. Each acts as a separate ‘world’, but is integrated with other exhibits occupying the same space. Together these therefore act as parallel worlds occupying the same space, but which are perceived in different ways. The audience is invited to participate and sometimes, to intervene within these different artistic spaces. Exhibits move away from static or fixed theories and viewpoints. The works considered depict transformation towards positive alternative futures: they consider change as an ongoing transformational process."


TO FIND OUT MORE PLEASE GO TO:
http://iaqa.blogspot.co.uk

Thursday 25 October 2012

Launching 'WEYA After Ours' Blog

weyaafterours.wordpress.com/

Liz West (UK) and Alana Tyson (Canada/UK) met at World Event Young Artists (WEYA) in Nottingham as two participating visual artists. After spending 10 days together at WEYA, they formed a close friendship and joint interest in the future of each other’s careers. Both share many interests, one being obsessive behaviour, which is often implemented in the making of their work.

Liz and Alana intend to share their thoughts post WEYA on this blog; explaining how the World Event has helped them, discussing future exhibitions/works and inviting other WEYA artists to join in the fun.

Follow us on Twitter: @WEYAAfterOurs


Here's my first post on the blog: 

Liz’s Week at WEYA… 1 Month After


Before my train pulled into Nottingham station on the 6th September, I had no idea what to expect from World Event Young Artists. The information given out to us as artists about what exactly was going to fill our time for 10 days was… basic but sounded exciting. I knew I was going to be part of something great. In the days leading up to the beginning of WEYA the organisers had announced several seminars, talks, performances and film screenings by participating artists or ambassadors for us to book onto. At around this time, The Independent on Sunday ran a large article ‘Young, Gifted and British’ in their supplement magazine about the event, featuring my work as the main image on the opening double-page spread. Inside there was a quote from artist Hetain Patel (former participant – 2008) about my practice, which of course made me very happy. I immediately booked myself onto Hetain’s ‘Practice Session’ during WEYA in the hope to meet him and thank him. Hetain’s session was with dramaturge Michael Pinchbeck investigating the reasons behind his new theatre piece ‘The Beginning’.

When I booked myself onto the ‘Practice Session’ I realised there were many other events to go to during the 10 days, so put aside half a day to sit down and properly look through them all and sign myself up. Arriving in Nottingham, I had no idea what I was going to be doing besides these few events. It didn’t take long to figure it out though. I was welcomed by friendly faces and given keys to my room, coincidentally bumping into fellow artist Joe Doldon, who I had met whilst exhibiting in Blank Media Collective’s The Title Art Prize in November 2011. We decided to explore the city before our first WEYA evening meal in Nottingham Castle grounds. Stopping at the gate of the castle I decided to ask the guard millions of questions about when we could go in, what was the set-up, etc. At that point a friendly looking girl with a Canadian accent approached the guard to ask something too. He stopped the conversation with me to ask what she wanted, her reply was, ‘I wanted to know the same as these people’… it was Alana. She too had made an effort to find out what was going on and had booked herself onto a few events. Not many others had done this to my surprise. We were two of a kind… organisational freaks.

So a little group was formed, which grew over the coming days. It was nice to go to see exhibitions together across the city and go to performances in the afternoons and evening. Eating meals together felt very civilized and appropriate to the ethos of the whole event. For me WEYA was as much about meeting other creative’s as seeing the art on show (of which there was lots). Alana, myself and Kim Stewart (a fellow Glasgow School of Art alumni who graduated the same year as me) stuck together the most, we all had/have similar tastes and wanted to go to a lot of the same things. Kim did a great blog over the event – which you can see HERE, see if you can spot some familiar faces? This was a fantastic record of what I did over the time I was in Nottingham and something I can use to look back on.

Highlights were the Richard Hancock Practice Session – one I suggested Alana join me at, no-one else took up my offer as they were daunted by the ‘practical’ element of the workshop. Their loss! It was engerising and all-consuming… both in terms of what we were asked to do and in Richard’s work. Another highlight was seeing the work of artists from all over the world – seeing how different cultures effect how others create, their limitations and traditions. Putting the art aside for one moment – one of the best experiences for me was Alana and I having conversations at 1am/2am as we walked back to our digs. Personal, emotional, frank. It wasn’t often you open up to someone like this. This brings me to where we are today. We have started this blog together, our conversations will continue….

Since coming back to Manchester from my time in Nottingham, I have had time to reflect. I think it is really important to keep those relationships that began at WEYA going. There were so many interesting people to talk to at any given time about our work and lives as artists; I have come back enriched and feeling positive about my future as a practicing artist. In the month since WEYA I have been selected to make a new piece as a commission by Cornerhouse in Manchester to be shown in a exhibition opening in January 2013. I have been back in the studio and made new work, organised myself in time for Open Studios at Rogue, where I am based and had conversations with people about more interesting opportunities on the horizon. On top of that, I am currently part of a group exhibition ‘Beyond The Material World’ at Bar Lane Gallery in York which opened last weekend. Busy and exciting times…

Friday 19 October 2012

'Illumination' New work from Rogue Open Studios

Installation (light box, found objects)
150cm x 150cm x 40cm
2012




Thursday 27 September 2012

'Taxonomy' A new collaboration between Liz West and Mark Devereux

Taxonomy, - 2012

Taxonomy is the first piece of collaborative work between Liz West and Mark Devereux. This mixed media installation explores their joint interests in colour and light, bringing together West's interests in collecting and classification and Devereux's interest in scientific representations within art.

50cm x 50cm x 140cm

Mixed Media (acrylic, wood, capsuals, found substances)






Wednesday 5 September 2012

World Young Artist (Liz West Interviewed by Maude Magazine)

by Catherine Ailsa Jones

The first ever World Event Young Artists is opening in Nottingham this September. Showcased is the work from 1000 artists, from 100 countries.

Different media, different political ideologies, different languages–WEYA is a brilliant opportunity for international exchange on a global scale. Nottingham will not know what’s hit it.

We interviewed Manchester born artist Liz West, who has been selected.

Liz is best known for her intensely coloured installations, but also employs photography, drawing, and video to investigate notions of collecting and systemizing in relation to consumer items.



Do you think your work represents a British aesthetic, in relation to the art scene in the U.K, or perhaps the cultural associations of your work?
The UK economy is notoriously associated with disposable culture – many artists making work in the UK at the moment are using consumables and ‘ready-mades’ as inspiration or as materials; an artists’ immediate surroundings are always going to play into the work somehow. In my work I always refer to the domestic everyday environment through the type of throwaway plastic objects and materials I make my work with.

Tell us about the doll’s house piece you are exhibiting in the show.
Once my art college tutor told me that when you made a photographic slide, it should always look like a jewel; an intense burst of colour. I aim to make all my work applying the same theory – A little jewel: Something that you are inclined to investigate, move around, explore, are intrigued by, glows, is alluring. Repeated Everyday is sited within a 1/12-scale antique Edwardian doll’s house. The house was built by my parents and given to me twenty-two years ago on Christmas Day. I have played with it, loved it and intended at some point to decorate and furnish it throughout. With an urge to develop my Chamber installation work on various scales, I wanted to give the house a new identity.



Your work is filled with giddiness and excess, yet there is a subtlety and a quietness, maybe because of the spiritual associations that colour has. How much do you play with this tension?
As part of ‘Chroma’ (July 2012), I invited a colour therapy mediation group to ‘experience’ the work. This explored what it felt like to be surrounded by intense colour in a completely immersive environment. The meditation session had a profound affect on all attendee’s; it is not a regularity to be met with room’s completely drenched floor to ceiling in raw/pure colour. At the preview there was a lot of giddiness about the extreme use of colour, however the meditation event allowed for a more spiritial and quiet reaction.

With your chamber series you literally drench objects with colour. Your installations are immersive, they appeal to a sense of touch. Given that you work with the senses in this way, and also that you often refer to domestic items, for example in the trolley series, how far would you describe your stance as a feminist one?
I am not trying to be a feminist or make a comment on feminism. I make work and am interested in the domestic, but so are a lot of male artists. My biggest artistic inspirations are all men. Look at the work of David Batchelor; his work is all about creating tactile, sensory worlds using domestic items but because his is a man, he never gets labeled as having a feminist stance.

How does your identity as the world record holder for the biggest Spice Girls collection inform your art?
It informs my ideas of how to make a collection successfully, which I then utilize in my work as an artist. Many of my ideas and interests include objects en-mass in one form or another – mostly mass-produced colourful detritus. Spice girls ephemera (which I started collecting as an 11 year old) is also brightly coloured, mass-marketed, mass-produced throw-away commodities. There is a clear link between the two; one is just a more nature version of the other. 
My identity as Liz West: Spice Girls collector rarely overlaps with Liz West: artist in terms of what audience I am entertaining. To me, popular culture and art (possibly identified as high-culture) are different things – they should remain separate in terms of cultural standing, yet meet occasionally for a brief moment to inform each other. At the end of the day I want people to take me seriously as a (emerging and contemporary) visual artist.

Would you say your work is more about collecting, or a statement about consumer excess–or both?
It has to be about both. You can’t reference one without the other. I collect manufactured objects as they are an attractive raw material to work with and because they are readily available en mass. They come in all sorts of interesting shapes, sizes and colours. As an artist who chooses to use them, I am of course aware of the inevitable association with consumer excess. Growing up in a throwaway society everything seemed to be mass-produced and increasingly made of plastic, rather than wood or other more traditional materials used by previous generations. Whether my use of plastic objects and materials, so associated with my generation, is a direct statement on consumerism or simply a pragmatic reflection of the times in which we live, I am not sure.


LIZ WEST WILL BE…..exhibiting in Beyond the Material World at Bar Lane Gallery in York in October, conceived and curated by the International Association of Quantum Artists.

World Event Young Artists 2012 is hosted by UK Young Artists and supported by Arts Council England, Cultural Olympiad East Midlands, Nottingham Trent University and Nottingham City Council.

www.worldeventyoungartists.com
www.liz-west.com

Friday 31 August 2012

World Event Young Artists @ Bonington Gallery, Nottingham (7-15 Sept))

 
 
World Event Young Artists (WEYA) is the first of its kind and will take place in the cultural city of Nottingham, England in September 2012. This global event will showcase a selection of the best international creative talent, across a spectrum of artforms, in one city, providing an opportunity for 1000 artists from 100 nations to join together and share their creativity on an international platform. The World Event will be a chance for international exchange on a global scale, bringing the city to life; it is as much about intercultural dialogue across political borders as it is about the practice of young artists.

This unique combination of factors will ensure an unforgettable experience for all who take part and its audiences. Its public programme and web resources will offer space for collaborative development, workshops, debates and symposiums across a mixture of structured and informal settings. Artists will take part in workshops and interactive engaging sessions which will be delivered by an exciting range of creative individuals and artform specialists, exclusively tailored for young artists of the 21st century.

This once in a lifetime event will thrive on discussion and collaboration with like minded artistic talents from across the globe and aims to encourage future partnerships.

World Event Young Artists 2012 is hosted by UK Young Artists and supported by Arts Council England, Cultural Olympiad East Midlands, Nottingham Trent University and Nottingham City Council.


BONINGTON GALLERY
Friday 7th September 2012 - 10:00 - Sunday 16th September 2012 - 18:00

As part of the WEYA exhibitions and events, NTU’s Bonington building will be hosting a variety of visual arts, moving image, jewellery and fashion. We will be presenting 42 international and national artists, including selected recent graduates of BA (Hons) Fine Art and Photography from NTU.

Ira Skopljak - Bosnia
Nelisa Bazdar - Bosnia
Fabricio Lopez - Brazil
Laura Sanz - Brazil
Kim Hak - Cambodia
Samuel Mercure - Canada
Bingbing Cheng - China
Yao Liang - China
Jiang Luo - China
Jingjing Jia - China
Yan Jin - China
Yanwei Gong - China
Naoki Miyasaka - Japan
Anastasiya Markelova - Russia
Questal Tay - Singapore
Julia Castaño - Spain
Aimee Betts - UK
Farniyaz Zaker - UK
Grace Page - UK
Liz West - UK
Nicholas William Hughes - UK
Rob Reed - UK
Tom De Freston - UK
Diego Andres Peña Gonzalez - Uruguay
Hui Luo - China
Alice Gale Feeny - UK
Alice Georgina Thickett - UK
Laura Jane Blake - UK
Jelena Kostica - Serbia
Yixuan Chen - China
Katie Colclough - UK
Paul B Johnson - UK
Sarah Barber - UK
Rui Wang - China
Mohanakrishnan Haridasan - India
Tarek Korkomoz - Lebanon
Paola Valeria Montoya - Mexico
Juan Manuel Calvo -Spain
Emily Macinnes - UK
Marcelo Pérez del Carpìo - Bolivia
Qianru Wang - China
Studio Azzurro/Ramona Zordini - Italy

Housed within the School of Art and Design is the Bonington Gallery, one of the foremost spaces for contemporary art in the Midlands. The School presents a number of exhibitions throughout the year as part of a comprehensive programme of visual arts and design events. Exhibitors include national and international artists and designers, current students and staff from within the University and NTU alumni. Exhibitions are also presented in the impressive atrium of the Bonington Building which houses the school and gallery.