12may(may 12)10:0023jun(jun 23)17:00A Case for Place Exhibitions Artists (Main List page only): Artists include David Ainley, Jake Attree, David Walker Barker, Iain Biggs, Sian Bonnell, Filippa Dobson, Linda Ingham, Janette Kerr, Jane Millar, David Power, Rob Moore, Melanie Rose, George Rowlett, Harriet Tarlo & Judith Tucker Text Excerpt (Main List page only): A group show which showcases the diversity of approaches to landscape and place-based work by visual artists, poets and composers
A Case for Place is an interdisciplinary place-based project exhibiting work by artists, writers and composers with the support of the creative practice-led research
A Case for Place is an interdisciplinary place-based project exhibiting work by artists, writers and composers with the support of the creative practice-led research group, Land2.
The first group show launching the project includes work by David Ainley, Jake Attree, David Walker Barker, Iain Biggs, Sian Bonnell, Filippa Dobson, Linda Ingham, Janette Kerr, Jane Millar, Rob Moore, David Power, Melanie Rose, George Rowlett, Harriet Tarlo and Judith Tucker. The majority of the artists have responded to an invitation to occupy a metre of space with their work responding to the nature of ‘place’.
A Case for Place Artists
David Ainley : Following his first solo exhibition at Ikon, Birmingham (1966) David Ainley has exhibited regularly. He developed (1970) a systems method from the ‘Game of Life’ of mathematician John Horton Conway. From 1995 aspects of landscape and labour have informed his processes. His most recent one-man show was ‘Extractive Industry’ at the Westminster Art Reference Library (2017). Numerous selected exhibitions have included the Jerwood Drawing Prize (2000, 2005, 2017), the INGDiscerning Eye (2012) and ‘Contemporary British Abstraction’ (2015). A painting from the Priseman-Seabrook Collection toured galleries in China (2017/18). Entry in: Buckman, D (1998 & 2006) ‘Artists in Britain since 1945’.
Jake Attree: Born in York in 1950, Attree attended the Art School there in the late 1960s, going on to Liverpool College of Art on what was then the Diploma in Art & Design (DipAD) course, and later to the Royal Academy Schools to do Post-Graduate Studies. In 1987, he and his wife returned to Yorkshire, moving to the World Heritage village of Saltaire. He has a studio in Dean Clough, Halifax and exhibits regularly both nationally and internationally. His work is held by numerous private and public collections in Britain and abroad.
Attree’s interests have been exclusively with drawing and painting; he has consistently looked at a range of painters who would popularly be termed “painterly”, Constable, Cezanne, Rembrandt, etc. He was looking at these painters before he went to art school: Constable was certainly not regarded as a painter with anything to teach a young artist in the late 1960s but Attree had no choice but to be moved by the artists that he felt a direct affinity with. Certain tutors, both at Liverpool (Mike Knowles and Nicholas Horsfield) and at the Royal Academy (Peter Greenham and John Lessore) shared and encouraged his belief in the possibility of making authentic figurative paintings whose origins lay in an attempt to understand the visible external world through drawing.
He is represented internationally by Messum’s of Cork Street.
David Walker Barker
Lives in Elsecar, South Yorkshire.
His response to landscape is as an artist and a collector growing out of a desire to investigate it and to articulate perceptions and knowledge gained. Interest in the diversity of landscape environments trace innumerable histories that are visible upon its surface and the deeper transitions through time and scale evident through its geological fabric. Those contexts and their physical layering create the nexus for the convergence of geological and human contexts. The resulting artworks seek to reflect the relationship between geological and human histories and the narratives that emerge from those connections. Themes often represent a sense of underlying natural processes, the human appropriation of natural material into a cultural realm and the complexity of environmental contexts in relation to the time-span of geological history.
Such contexts have provided reference points for a range of paintings, drawings, painted constructions and cabinets housing collections of geological specimens and artefacts excavated from the landscape contexts explored and the fabricated objects made to accompany them. These histories are played out in the studio in South Yorkshire where I attempt to restructure the understanding of landscapes through the images and objects images that I produce.
David is a Companion of the Guild of St George and a member of LAND 2, and his artworks have been exhibited nationally and internationally and are in public and private collections at home and abroad.
Dr. Iain Biggs, RWA, divides his time between Bristol and Co. Durham, works as an independent artist/teacher/researcher, and is an Honorary Research Fellow at Duncan of Jordanstone College of Art and Design, University of Dundee. He gives occasional lectures, examines an MA in Myth and Ecology at Dartington College, has recently co-curated two exhibitions at the RWA, supervises and examines doctoral students, and publishes as a writer and blogger. He spent almost twenty years working on a deep mapping project in the Scottish borders, out of which he produced a series of art works and artist’s books, and has also published on the work of various artists and on academic topics related to his creative interests. (His most recent publication is ‘Re-Visioning “North” as an ecosophical context for creative practices’ in Timo Jokela & Glen Coutts (eds) Relate North: Culture, Community, and Communication, Rovaniemi, Lapland University Press. In 2014, he held a Moore Institute Visiting Fellowship at NUI, Galway. In 2015, he was awarded the RWA’s Derek Balmer PPRWA Painting Prize for his work Washington & Vicinity (Arlington betrayed). Between 2014-17 he worked on a major AHRC-funded project exploring notions of hydro-citizenship and last year started working collaboratively with the Midstream Collective and the poet Erin Kavanagh.
Sian Bonnell is a UK based artist and curator living and working in West Yorkshire. She is currently Reader in Photography at Manchester Metropolitan University. Her images have been exhibited and published widely, including the Victoria & Albert Museum in London throughout 2015 in A History of Photography: Series and Sequences.
Awarded an Honorary Fellowship at the Royal Photographic Society in 2010, the following year she was awarded the Photoworks Senior Research Fellowship at the British School at Rome.
In 1999 she established TRACE, the curation and publishing project. She recently curated China Conversation an exhibition of emerging Chinese photography for Open Eye Gallery as part of China Dream / Liverpool 2108 and is currently curating an exhibition of emerging UK photographers for Nanjing University of the Arts in China.
Filippa Dobson was born within sight of the Forth Bridges in Edinburgh. Her work weaves together print, performance and prose and expresses movement as land art. Her 2016 land art piece The First Cut was the first partnership between Ilkley Arts and the Ilkley Literature Festival and began a site responsive collaboration with the poet Mark Pajak. She was shortlisted for the ‘neo:art prize’ in 2015 and is a PhD Researcher, School of Design, University of Leeds.
Janette Kerr is a foul weather painter, drawn to the periphery of the land – margins between land and sea that blur with the ebb and flow of tides. Her work reflects the immersive experience of observing a changing land/seascape. Walking and making work en-plein-air is integral to her practice. She has sought to imbed herself in its landscape, focusing on the heritage of an historical relationship with land and sea (fishing industry, stories, lived realities), as well as engaging with oceanographic language, the unpredictability of waves and wind. Since 2010 she has been working with the sea and landscape on Shetland. Her paintings and drawings push at the boundaries between representation and abstraction.
An established artist, Janette Kerr PPRWA has a long-standing history of showing work, exhibiting regularly across the UK and abroad; her work is held in national and international collections. Elected a Royal West of England Academy Academician in 2013, and RWA President (2011-6) she is also an Honorary Royal Scottish Academician and a Visiting Research Fellow in Fine Art, UWE Bristol.
Jane Millar studied Fine Art at Canterbury Art College and at the Royal College of Art. She works as a curator, lecturer and her artistic practice is in painting and sculptural ceramics. Curated publicly funded projects include the Curious site-specific art projects in West Norwood Cemetery 2012 and 2013, an Arts Council funded research curatorship for A Fine Line, in contemporary crafts, in 2014, and an interactive art event The Curious Exchange commissioned by Southwark Council for the Dulwich Arts Festival.
Recent shows include the Creekside Open 2017, selected by Alison Wilding; Small Worlds at PS Mirabel for Manifest Arts Festival, Manchester, and an Arts Council England funded site-specific residency and installation in collaboration with sculptor Deborah Gardner at Conway Hall, London. Upcoming shows: Votive, an installation and performance with the Associated Clayworkers Union in Southwark Cathedral for the Thames Festival, 2018, and Space Shift, at APT Gallery, Deptford, curated by Sarah Kogan. www.jane-millar.co.uk
Power’s initial interest was rock music but David Bowie’s ‘Berlin’ albums led him to more experimental music and he turned to contemporary classical music.
His Three Chamber Pieces was premiered at the 1987 Huddersfield Contemporary Music Festival and since then his work has been performed widely throughout the UK and, more recently, in Europe and the USA. His work has been broadcast on BBC Radio 3, Ireland’s LyricFM and various regional UK radio stations. His work has been used as soundtracks for art installations and short films, notably with artist Linda Ingham as part of the Far and Near installation which has been shown in galleries in Grimsby, Barton-upon-Humber, Leeds and Sheffield. In 2012, his Eight Evening Songs appear on the acclaimed CD Songs Now: British Songs of the 21st Century on the Meridian label. In 2016, he co-wrote the song Matterplay with the Italian indie rock group Malenky Slovos for their album Mood Swings.
His Shades 3 and his arrangements of three of Bowie’s ‘Berlin’ instrumentals are on the latest Delta Saxophone Quartet CD and his Eight Miniatures has been recorded by Duncan Honeybourne for release later in the year.
Rob Moore makes paintings and prints from his studio in Scarborough UK after many years working art colleges as a lecturer and also up until 2013 running Hull School of Art and Design.
Since studying at Sheffield College of Art and then taking up the position as Granada Fellow in Fine Art at Manchester Polytechnic Rob has exhibited extensively in the UK and for six years ran Studio Eleven Gallery and Printmaking Workshops in Hull. He still curates exhibitions nationally including the highly successful “Living Landscape” show of contemporary painting. Rob has initiated and organized “Inprint” a fine art printmaking bienalle based across galleries in Hull with shows in 2015 and 2017.
Rob has established a new studio and workshops in North Yorkshire for artists and the wider public to access for making fine art prints. Alma Printmaking Studios is making an important contribution to the cultural life in Scarborough.
He is currently working towards a two-person exhibition at The Inspire Gallery in the Heritage Centre in The North Yorkshire National Park along with his partner Wendy Tate. He will be curating a parallel exhibition of printmaking inspired by artists working with landscape alongside that show in October 2019.
Melanie Rose is a visual artist whose practice is interdisciplinary; the constant theme running through her work is the relationship between the human form and the natural environment. Rose’s current focus is the ancient tracks that traverse the South Downs in England; this body of work relies on social geography as a way to explore and reflect through visual interpretations the historical and geographical narratives associated with these byways. Rose also has a history of collaboration working with institutions, filmmakers and fellow artists; it has been through collaborative projects that Rose has extended her practice, taking it in directions that have expanded her knowledge base and pushed the boundaries of her discipline. She graduated from Trent Polytechnic with a BA Honours degree in Fine Art in 1987 then studied at Central Saint Martins graduating with a MA in Fine Art in 2002; she is a member of the practice based research group Land2 and has exhibited extensively and has work in both public and private collections.
Born in Scotland in 1941, George attended Grimsby School of Art and then both Camberwell and the Royal Academy Schools. He was taught by Frank Auerbach and Euan Uglow who famously painted a nude portrait of a young Cherie Blair. Based in London and Walmer (Turner territory) for most of the year, he regularly travels on painting expeditions, enjoying invitations to experience and interpret new landscapes, and has most recently returned from a painting trip to Southern Spain. He is renowned for his landscape paintings using bold impasto, powerfully rendering a sense of place through strong colour and elemental composition. George is represented by The Art Space Gallery, Islington, London which was founded in 1986 by husband and wife duo, Michael and Oya Richardson.
Harriet Tarlo is a poet and academic interested in landscape and environment, and in experimental and open form writing. Work from her long-term collaboration with Judith Tucker has been shown throughout the U.K. and in exhibitions in Lyon, France; Minneapolis, U.S. and Yantai Landscape Biennal in China (forthcoming). Publications include Field (Shearsman 2016); Poems 2004 – 2014 (Shearsman 2014); Poems 1990 – 2003 (Shearsman 2004); Nab (Etruscan 2005) and Sound Unseen and behind land with Judith Tucker (Wild Pansy 2013, 2014). She is editor of The Ground Aslant: An Anthology of Radical Landscape Poetry (Shearsman, 2011), which is now taught in several universities. She writes academic essays around these subject areas for books and journals such as the Journal of Ecocriticism, Jacket, and Critical Survey. She is a Reader in Creative Writing at Sheffield Hallam University.
Judith Tucker is an artist and academic whose work explores the meeting of social history, personal memory and geography; it investigates their relationship through drawing, painting and scholarly writing. As well as working in her studio she is senior lecturer in the School of Design at the University of Leeds. She has exhibited widely both in the UK and abroad. Recent exhibition venues include London, Sheffield, Cambridge and many other regional galleries throughout the UK, and further afield Brno, Czech Republic, Vienna, Austria, Minneapolis and Virginia USA and Yantai, Nanjing and Tianjin in China. Later in 2018 she will be one of eight UK artists exhibiting in the Yantai Landscape Biennal in China. She is co-convener of the Land2 and of Mapping Spectral Traces networks and is part of Contemporary British Painting, a platform for contemporary painting in the UK. Tucker also writes academic essays which can be found in academic journals and in books published by Rodopi, Macmillan, Manchester University Press, Intellect and Gunter Narrverlag, Tübingen.