4.11.11
23.9.11
Invite design: Gareth Jackson
Sandra Christie, Phil Elbourne, Estelle Woolley, Jo Marsh and Nigel Morris - photo shoot at Telfords for the press release
Links/ Press Coverage:
August 18th, The Chester Standard, Page 33
August 12th, The University Of Chester, news, http://www.chester.ac.uk/node/9942http://www.chester.ac.uk/node/9942
August 10 2011 The Chester Chronicle
August 10 2011 The Crewe Chronicle
August 8th, Creative Boom, http://www.creativeboom.co.uk/wales/events/chesters-artist-collective-set-to-take-over-telfords-warehouse-one-night-only/
Web pages:
The Art Guide: http://www.theartguide.co.uk/Events/?Event=2645
Caroline Backhouse
Waste Not Want Not
(Rags, 2011)
The installation has been made from recycled fabrics, using traditional rag-rugging techniques, echoing the traditions of life on the canal.
http://artupclose.org/2011/11/02/caroline-backhouse/
The installation has been made from recycled fabrics, using traditional rag-rugging techniques, echoing the traditions of life on the canal.
http://artupclose.org/2011/11/02/caroline-backhouse/
Sandra Christie
Telford’s Glory Days
(Copper, wood, plastic, paint, 2011)
The 19th Century saw the rise and the decline of the canals as railways took over the cargo trade. In this work, Christie suggests the remnants of canal life of the boats, the lock gates, and the folk art of the canal families.
Ruth Cullis
Dolly Daydream
(Mixed Media, 2011)
Cullis is a practising artist working in collage using mixed media, which includes drawing, painting sewing, photography and found objects. The original vintage materials are sourced from family members, friends and flea markets. The inspiration behind her work has always been Nostalgia, that innate British Nostalgia, the warm comforting feeling we experience, and the innocence of childhood.
Jo Marsh
What we want around us and Why
(Sculpture / Performance, 2011)
(Sculpture / Performance, 2011)
Marsh is interested in exploring the relationship between different physical components within her work. This evening she will be showing a set of 10 textile based sculptures, which attendees will be invited to interact with. Through carrying or ‘wearing’ the pieces, the bodies of performers and guests will become support structures for the work. Their movements and activities both on and off the stage will reveal the different colours and patterns within the work, blurring the boundaries between sculpture, prop and performance.
Nigel Morris
Rorschach 1
(Paper, ink, writing, 2011)
This interactive wall installation is based on the inkblot test. We all see shapes and figures in images, but after an evening at Telford’s what do you see? Write on the installation and tell us! Keep it clean or the shapes might not go away.
Brenda Sharp
Love Letters
(Envelopes, photographs, MDF board, 2011)
Sharp’s Love Letters are fragments taken from a body of work called Jim’s Yard, documenting the contents of a junk yard over several years. The Love Letters are presented to highlight the intimate details of the insignificant; the textures, stains and patina that record the passage of time.
Jill Pears
(Watercolour prints, phone box, 2000- 2011)
Pears is displaying a series of prints on the theme of water, which feature bridges, rivers, streams, canals, and narrow boats in different British locations.
She also paints iconic city landmarks, picturesque cottages and can often be found showing her work on the groves by the River Dee in Chester.
Helen Smith
Elbow Pads
(Textiles, 2011)
Although seemingly innocent at first glance, the piece’s subversive potential to interact with the body is realised through openings and elbow pads and so on, inviting uncomfortable bodily contortions. A barrier that simultaneously connects and separates wearers, Smith aims to reveal the uncomfortable internal struggle we may undergo within a social environment such as this.
Sally Starborg
Phoenix?
(Plastic, votive wax, 2011)
Taking the image of an oil-soaked Pelican from the Gulf Oil Spill, Starborg creates a symbol of the increasingly hazardous quest for oil; oil that is used not only for petrol but to make plastic for our consumerist culture.
Wax from votive candles is used to create symbols of desired objects. In Mediaeval times, these were images of parts of the body requiring healing; here they represent consumer goods.
Telford’s stands at the junction of canals, once a low carbon way of transporting goods, before our increasing reliance on road transport and our pursuit of the latest products. The Phoenix rose again from the ashes. Here, there is a hope that we recognise the damage we are doing and accept that Less is More.
Estelle Woolley
From The Deep
(Rusted shopping trolley, clay, fish-fingers, mirror, nylon thread, fishing hook, 2011)
Woolley playfully uses found, sculpted, and sourced materials here which aim to construct a narrative questioning and reflecting aspects of the history of the canal and the sea, the development of consumerism, and the actions of mankind.
Summertime
(Gershwin arr. Estelle Woolley) Interactive performance
9.30pm
(Clarinet, post it notes, music notes, participants, 2009-2011)
Musical notes taken from Gershwin’s Summertime are individually cut out from a score and glued onto post it notes. These are given to the participants, acting as human music stands. Asked to stick the notes to their foreheads (which will in turn fall off), the notes are read and played in this constantly changing sequence by the performer (Woolley). The melody is disjointed and unpredictable, yet may have hints of the familiar. The music stops when the last note falls to the floor.
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