SMALL WORKS

15th August – 5th October 2024

A group exhibition celebrating all artists who have exhibited in the Tinker Gallery since its opening two years ago.

TINKER GALLERY

25 Church Street, Ilkley, West Yorkshire. LS29 9DR

Open: Thursday – Saturday 10.00am - 4.00pm

Other hours by appointment only.

https://www.tinkergallery.com/contact

LONDON GRAPHICS ART PRIZE - Online Exhibition – July-September 2024

LGC’s mission has remained the same for over 50 years: supporting artists and creatives at all stages of their journey. We have been fortunate enough to witness the unwavering dedication of our artist community, who pour their passion and energy into their craft, daily. In recognition of their talent, supported by entrepreneur extraordinaire Theo Paphitis, we wanted to shine a spotlight on their work and give back to the community by launching our very own art prize.

THEME: 'JOY'

As the quote from C.S. Lewis goes, “Into the void of silence, into the empty space of nothing, the joy of life is unfurled.”, we are reminded that joy can flourish even in the darkest times. That is why we have chosen to celebrate and dedicate this year’s LGC X Theo Paphitis Art Prize to: Joy.

This theme can be interpreted in countless ways, allowing you, the artist, to explore what Joy means to you. Joy can be anything from nuanced to expansive, personal to poignant, carousing to heartbreaking, and everything in between, meaning there’s no limit to where Joy can take you. 

TITLE: That way to Panjim 

MEDIUM: Monoprint with Drypoint, Etching, Collage

DIMENSIONS: Image size - 42 x 43cm, With Mount - 65 x 67cm

For an artist the discovery of new contrasts in colour is a joyful experience. This can come along at any time in everyday life and evolves into a permanent reference library. It can unconsciously filter into your work but can also hit you like a ton of bricks! Travel into different cultures often does this for me as it did with a series of works about a place called Panjim in India. It was the last place I visited before lockdown, and the memories of the joy of the colour there resulted in a series of works using various printmaking techniques with collage. Lockdown brought strange times for all, and working with pure colour again provided great solace.

The Story of INC starts with a chance encounter.

In 2019 Asma Hashimi visited a print exhibition by Reveal Printmakers Collective at Salford Art Gallery and chatted to a couple of the artists. Reveal Collective are 2017 graduates of the Complete Makers course: Asma Hashimi lives in Oxford and is a member of both Magdalen Arts and Oxford Printmakers. 

Asma is the author of many innovative print initiatives including a print swap between Magdalen Arts and a group of women printmakers in Pakistan. She asked if Reveal would be interested in something similar and they agreed that indeed they would

To everyone’s slight astonishment the idea survived the pandemic and the many forces that life, lassitude and lack of organisation throw at such projects and became the inspiring exhibition that is on display here. 

Each of the 18 artists has produced an edition of 25 prints and in return received a beautifully packaged gift set of each print and the exhibition will move to Oxford later in the year. 

The shared experience of making and working like this has created a personal connection to the artwork, motivation and techniques used by people who have never met. We can highly recommend it as a way to broaden your horizons and have Asma to thank for her belief in the rewards provided by collaboration. We hope that the prints and stories behind them encourage you to swap and share too.

All framed prints are on sale for £225 and unframed prints for £185

‘A fingerprint, scratch or trace of handwriting marks a memory in time, a memory that is personal and dear’.

Bansal is currently undertaking a new and personal direction in her work tracing the history of a collection of objects inherited from her late father. Deeply rooted within cataloguing, conservation, and archives, Bansal has started to meticulously record the varying marks and handwriting mainly through drawing and printmaking. The resulting work will not only act as a personal remembrance but create a unique insight into their past.

Her initial experimentation of this subject matter has been through intaglio printmaking using both etching and collagraph plates and chine Colle. Each object/set of objects has naturally evolved into these series of prints.

Paulette Bansal Traces … A Review

Memory functions by interpreting the past in order to give it meaning.*

How we remember and what we choose to remember underpins artist printmaker, Paulette Bansal’s poignant and celebratory solo exhibition at the Hilton Street Gallery in Manchester’s Northern Quarter.  Traces… draws on artefacts inherited from the artist’s late father and explores how she might visually interpret the emotional resonance and connection she feels to these objects.  Alongside this, there are also considerations of how such artefacts might be archived and conserved.  A final important question this very personal exhibition raises, relates to the role of the visitor to the gallery: as they view the prints and objects, what connections do they make?  What is the emotional response of the viewer?

Bansal has employed a variety of print methods in presenting her material.  The larger prints are created using multiple etching plates with chine Colle. Here the layering of fine, handwritten ledgers shot through with bold colour, communicate both precision and creativity.  There is artistry in such records, that speaks of the mind that created, and the hand that wrote.  In re-presenting these records visually, Bansal is celebrating her memory of the industry and skill of her father in a way that transcends the commonplace.  She is also inviting the viewer to reach into their own memories and make their own connections.  Nowhere was this more apparent than in the archived presentation of her father’s possessions, which include his slide rule and collection of ancient and battered, small tins. Such items, often old tobacco tins, are eminently collectable in today’s throwaway society and are works of art in their own way.  However, these tins had been put to use, to store and organise the day to day hardware of a working life.  These familiar objects have the power to invoke what Harold Rosen might describe as a constellation of connected memories, moving beyond form and function into the realms of place and context, bound up with sensory recollections of colours, smells and feelings.

I found the exhibition very moving.  In the larger prints, the juxtaposition of closely filled lines of legers with numerical records and structural diagrams, spoke to me of my grandfather, an engineer by profession.  A quiet, skilled man of few words, he was never without his pipe, and old tobacco tins provided for him the same eclectic storage of the minutiae of the workshop.  As I looked at Bansal’s archived presentation of objects she had inherited from her father I felt I could have been looking at my grandfather’s workbench in his garage, a comforting space with the clean smell of oil and wood – a place where he was in his element; a small memory but one which contains a trace of the whole man.

Bansal’s work demonstrates her love and care and the desire to remember and preserve what these objects mean to her. In tracing the many overlaying memories an artefact might hold she is creating a collection of work that interprets the ways in which objects and memories connect to provide meaning.  For the viewer, the exhibition provides a uniquely personal invitation to explore traces of their own memories through Bansal’s artistic prints and archive.

*Harold Rosen 1996 citing Frederic Bartlett 1932  

Review by Dr Carole Page

PRACTICE Exhibition is culmination of the AA2A artist residency showing the research, design and artworks made by the 2022-2023 cohort in PR1 Gallery, University of Central Lancashire, Preston, Lancashire.

AA2A (Artists Access to Art Colleges) is a national project providing artists and designer-makers with access to workshops and equipment in host universities and colleges, including technical and research support from staff.

This year’s residency group have developed works in ceramics, print, installation, textiles, and performance.

The PRACTICE cohort are:

Paulette Bansal 

Phil Barton

Tim Copsey

Jackie Haynes

Vicky Price

Gavin Webster

AA2A Residency Information: 

Paulette Bansal’s work examines the unearthing of memories through inherited objects.

Phil Barton’s projection the history and restoration of Lindow Moss is expressed through drawing, screenprint and outdoor installations.

Tim Copsey makes ‘Beautifully ugly space debris’, the AA2A residency allowed him time and space to investigate scale.

Jackie Haynes developed screen printing onto textiles for performance and exhibiting, with an emphasis on re-use and repurposing of materials.

Vicky Price is creating lithography prints in response to on-site drawings from the historic Cotton Famine Road. 

Gavin Webster’s works are new composite ceramic work incorporating reclaimed materials.

PRACTICE runs from 10th November until 24th November 2023. 

Monday - Friday, 10am - 5pm, also open Saturday 11th + 18th Nov 10am - 4pm. 

The PRACTICE Exhibition Opening event is on Thursday 9th November 5pm – 8pm. 

Venue: PR1 Gallery, University of Central Lancashire, Victoria Building, Adelphi St, Preston PR1 7HD

PRINT NORTH will showcase eighteen renowned artists, all of whom are from or work in the North of England and have been selected for their innovative use of both traditional and contemporary printmaking techniques.

The exhibition runs from 2nd to 23rd September. 

Featuring John Angus, Paulette Bansal, Suzanne Bethell, Neil Bousfield, Louisa Boyd, Joey Collins, Kathryn Desforges, Anne Desmet R.A, Julia Midgely R.E, Lindsey Moran, Nigel Morris, John Pedder, Clare Phelan, Kevin Pocock, Anthony Ratcliffe MAFA, Lucy May Schofield, Alan Stones, and Theresa Taylor.​

The exhibition will include cutting edge examples of the use of the printmaking techniques of etching, mokulito & mokuhanga, lithography, linocut, wood cut, wood engraving, screen print, photogravure, woodblock, pochoir, collagraph, monoprint, digital, experimental and 3D etching.

Bury Art Museum’s first ever OPEN exhibition shows the best of the North West and is open to all regional residents.

The exhibition will be selected by a panel of highly esteemed judges:
Paulette Brien (Curator - Grundy Art Gallery, Blackpool)

Mike Chavez-Dawson (Artist/Curator)

Jez Dolan (Artist)

Tony Heaton OBE (Artist)

Bury Art Museum’s first ever OPEN exhibition shows the best of the North West and is open to all regional residents.

The exhibition will be selected by a panel of highly esteemed judges:
Paulette Brien (Curator - Grundy Art Gallery, Blackpool)

Mike Chavez-Dawson (Artist/Curator)

Jez Dolan (Artist)

Tony Heaton OBE (Artist)

Fronteer Gallery invite UK based artists to submit work to our exhibition COLOUR. This could be work in any medium (except audio or video) that responds to the brief of colour.