My interests are very diverse. I enjoy things; hand stitching, printmaking, wire-work, bookmaking and recycling. I started with textiles - exploring its potential - stitching, manipulating reusing, enjoying its properties. Another layer to my work is printing especially collagraphs. It is an extension of the techniques I use when stitching or bookmaking.
Originally I couched wire onto my fabric pieces then gradually the wire became the work. Recycling using various items/fabrics that I have around the house interests me greatly - to give things another purpose- exploiting their previous life. As you can see my interests are quite eclectic. I enjoy experimenting and trying new things.
Indepth work within communities, negotiating new relationship where everybody's expertise is acknowledged and creating works which are truly specific to the dynamics of particular communities.
Seeking inspiration from real world issues and communicating complex issues simply.
“I am interested in transience and how this is incorporated into my work both in the making of it and the presentation of it.”
Changing coastlines are often the subject of Jacqui’s abstract landscapes where she focuses on the remembered sensation of place. She works in a metaphorical abstract painterly language that transfers how we process memory. Her compositions are often without horizons and have restless movement which suggests that memory, like water, is in constant flux and therefore unreliable. Her work explores the relationship in us between identity and territory and demonstrates that they are integral to what we are. This resulted in a body of work, Exile, which she curated with invited Cuban artists and exiled poets.
She is motivated by a strong conceptual basis in her work and with each project challenges her practice to contextualize it within a contemporary field.
Jacqui exhibits widely in the North West of England, nationally and internationally in the Florence Biennial 2011 where she co-founded a global artist’s collective, MOSAIC, which toured Australia and USA, 2013 -2014. Her current work explores how we consume nature through transient man-made temporary botanical shows for exhibition in the Liverpool Independents Fringe Festival 2016
Jane’s work has evolved through her personal investigation into the allure of natural form, real and imagined, obvious and ambiguous. Jane’s current work ranges from the descriptive to the surreal, creating ambiguity and duality of readings. Completely unique and unusual hybrid drawings are created which rely on the viewer’s responses to fragility, vulnerability, beauty and of course the capacity to look beyond initial perceptions.
Being a multi-disciplinary artist, using both traditional and modern techniques Jane has exhibited to high acclaim a diverse variety of work using varied media, involving drawing, painting, sculpture, print, book art, installation and photography. She has work in private collections in both Europe and South America and currently sells commercial work in the UK and Germany.
Landscape is a powerful container of personal experience.
The work I produce is a direct, and intuitive response to the ephemera I collect and the Photographs I take when out walking in the countryside around my home. I am reflecting on absences and presences, loss and recovery, on minute details in nature that 'catch my eye', and are on the point of disappearance.
Using Photography, Etching, Screen Print and Sculpture, I try to make images that have a tactile quality, yet create spatial ambiguities, that disorientate and disrupt, that provoke an emotional and meditative response in the viewer's psyche. Very often it is the organic materials themselves that make the work.
My current work is related to basketmaking and inspired by feelings of shelter and containment. I like the way a two dimensional material is transformed into a three dimensional object, and particularly how thoughts, words and ideas can be integrated into the material and hidden within the work.
My work is a study of the function of clothes and accessories in memory. These things are visual evidence of where and what we are in life at any given time. I use free-machine embroidery to produce interesting and varied surfaces. My work is devised from multiple layers of distressed and recycled silk, interspersed with fragments of metallic gauzes and tissues, scraps of gold net, and pieces from my collection of fabrics from different eras in my life. I utilise controlled wear and distressing to reveal glimpses of this variety of colours, patterns, and texture, and to mirror the wear which blurs and alters our perceptions of the past. Use of sketching and the study of garments from a range of times are important to my work.
I am a Printmaker based in the North West of England. My work includes many different aspects of Printmaking, including Linocut, Woodcut, Rhenalon Etching, Monoprint and Collograph. I am interested in how even the smallest events in our lives have significance and consequences, for as Michael Cunningham says
" There are no insignificant people, objects or events, only insufficient ways of looking at them" *
What we are is shaped by the day-to-day small things that create the world within which we live. Everyone's experiences and memories are different and this makes each one of us unique. This current work explores through Collograph and Encaustic, the daily world within which I live. Those spaces, both physical and psychological, that I occupy and which have an influence on the way I see and experience things. They are not just about the physicality of spaces, people, or the events themselves, but about the way they impact on me, both visually and emotionally. These ideas are combined within the prints with images of the natural world, emphasising my place within the order of things, within the 'bigger picture' and the significance that this has for me.
*Michael Cunningham. Specimen Days. 2005. publ. Harper Perennia
Owen Anthony Jones
I taught Art & Design at Secondary school level and was Head of a Creative Arts Faculty. I have now retired and am developing my own visual imagery based on Mixed Media and Printmaking. I am presently involved with research with the University of Liverpool into laser cutting plates for etching. I work from my own studio and at the Regional Print centre, Yale College, Wrexham. My work is based on the landscape around where I live on the border between England & Wales which I explore using my recumbent trike. I am also a fully qualified Shiatsu therapist.
The work I make in my practice consists of several projects that usually run concurrently, I use paint and print to make art which exist on a flat surface such as paper or canvas. These artworks can be described as, “Visual experiments engaging traditional artistic values applying a contemporary conceptuality.”
The focus of my work is to produce art that is visually interesting, but has more to offer than a pleasant object to look at, which is where the conceptuality comes into it.
Themes running through the practice concurrently are;
The relationship of text and Image, writing as mark making, drawing as word objects.
An alphabet could be described as a code that we as humans use to document and communicate, if the knowledge to decipher the code is removed what is the alphabet but a series of marks, by creating non readable alphabets, marks become characters ‘graphemes’ visual objects, symbols of shapes and form. They become a visual device open to a different interpretation.
Abstraction as graphic symbols, the interpretation and its function as pattern and decoration in society.
Abstract art is generally regarded as evocative expressionistic painting that can arouse an experience to the viewer, The abstract work I make considers the visual experience and the association with memory, much like the Rorschach ‘Ink Blots’. Visual shapes and symbols in the image trigger a memory, a familiarity.
In contemporary society graphic symbols are more prevalent than ever before, the concept of infographics proposes a new technology to engage our interest in absorbing information. While pattern and decoration was once defined as low art in the “Artworld”, it has now become accepted as part of that world (Philip Taafe, Richard Wright). By engaging this ideology I make art that assesses the relation of abstraction and design.
The majority of the art I make engages process while experimentation is a crucial part of the practice and the craft/skill is something that endures in the imagery made. It incorporates a tradition of skill which can be traced back through history to William Morris and the Arts and Craft movement. This is relative to the aesthetic of each piece and the importance of the visual interpretation and the beautiful.
Future work will examine the Illuminated manuscript contextualising language, the readable/unreadable, time, place, image words and text images.
Jeni McConnell is a North-West based artist who is hooked into engaging with places and people. Delving into collections and archives that document the history of passing time in a place, she is intrigued by how we as individuals and groups respond. She often uses objects and archives as the trigger for conversation, both for her own creative responses, and for those she engages with.
Jeni’s creative works are conceptual and delve into the personal and emotional connections we have as people experiencing place over time, thus communication, language, history, archives, stories and personal tales all become part of an interwoven practice with people. She works with physical materials, found objects, books, archives, sound and image to encourage people to question the past and present, visible and hidden around them.
I am a visual artist interested in the natural world. I am interested in exploratory printing techniques building on my improving knowledge of dry point and relief printing.
My practice is based on drawing. I draw from my natural locality trying to immerse myself to be enclosed.
Prints develop from the drawings or from direct markmaking from natural pigments and contact with the natural environment.
With a background in textiles and a degree in embroidery my work is often concerned with the physical engagement with materials. This has developed as three dimensional sculptural forms and handmade books. I am currently exploring print as a medium, working with relief print: referencing woodblock illustrations in cautionary tales, collagraphs: building up textures and surfaces to create atmosphere and reference environment, and more recently experimenting with non-toxic etching. My work is engaged with tradition and narrative and with the impact of English folklore on modern culture.
Susan Meyerhoff Sharples
An international visual artist, based in North West England, UK, Fellow of Wirral Art School and a Batchelor of Arts with honours. Exhibitions, commissions, collections include: America, Canada, Spain, Austria, Israel, Croatia, Montenegro, Eire and UK.
Predominately a sculptor, my work is concerned with evolutionary processes, provocative defence systems and the primal instinct for survival achieved via diversity, adaptation and mutation. Recent work explores ethnology and the evolution of multiculturalism from its most primitive origins to modern manifestations. It embodies the concept that we share the same human family, are interdependent and no longer live in relative isolation continuing our own traditions, but in an interconnected contemporary world that reflects a world-wide cultural diffusion.
I am a sculptor and community artist working predominantly in wood, textiles, wire and natural/found materials - creating sculpture for myself, exhibitions and public spaces. My work often responds directly to environment and its history. Animals also reoccur in my work - dominant in my life their presence and beauty remain a constant inspiration to me.
A lifetime passion for art and crafts in Education motivated me to turn my hobby into a commercial activity. I gained an MA in Education and professional Development at MMU in 2000. Since completing my City and Guilds Qualification in Textiles, Design and Embroidery, I have worked with the TX Group of artists in Frodsham, Cheshire, developing skills in the creative use of free style machine embroidery techniques. I joined the Markmakers group in 2009.
Initially my photographs or sketches of places visited are interpreted to form the basis of a range of textile work which I have successfully displayed in local galleries over the last five years. If an image can be drawn or captured digitally it can be interpreted using the sewing machine as drawing tool on canvas. I use digital images transferred onto fabrics and photo collage as backgrounds in my pictures. Working in these digitally enhanced images and textiles offers opportunities to bring together the rich diversity of texture, colour, depth and energy inherent in textiles. My materials are usually canvas, papers, ribbons, braids, sheers and a range of machine sewing threads.
When not actively engaged in my own textile work I am able to offer workshops to support others in their pursuits and hobbies. Workshops presented by myself on art techniques were well received at the Cheshire WestDeputy Head and Head teachers’ Conferences. The staff in a local nursery were very interested in developing art skills with young children in preparation for Christmas based on my workshop. I have delivered workshops on design development and textiles at Reaseheath College for the summer Downtime courses.
Maria Walker is a contemporary visual artist who uses the evocative qualities of cloth to explore concepts such as the body, memory, objects and domesticity. She carries out historical research to unearth narratives from the past, and is particularly interested in telling the stories of working class women as their voices have often been hidden in the past. Working across a variety of disciplines and processes, she often uses old fabrics, garments and personal objects to tell these stories, through her embroideries, prints and installations. Her Lightfoot Letters exhibition tells the story contained in a bundle of old letters from the 1920’s, which she discovered in an antique shop, and has been exhibited widely around the UK. More recently Maria has expanded her practice into creating large scale textile-based sculptures exploring concepts of the body, which she developed for her MA in Fine Art from the University of Chester.
Maria is a workshop facilitator and qualified adult education teacher. She runs art and craft workshops for families, adults and children, and delivers memory collage workshops to older people. She also gives talks about her work.
Claireis interested in how her art can be created in public spaces, in the places where the movement that she follows takes place. When situating herself in these locations, she creates interventions that not only document movement, but also seeks to alter the day-to-day movement of people within that space; Lines of water painted onto the floor that people feel the need to jump over, a pedestrian needing to alter their course to pass the artist at work or an audience member 'playing' with the artist drawing a line to see who is in control.
Weetman uses drawing processes combined with interventions in public spaces, responding to, recording, measuring and altering movement. Using bold calligraphic lines combined with video projections, she records the motion of people on everyday journeys; Flowing pencil drawings, charting transient and fleeting traces, noting how movement alters according to environment; Interventions into public spaces interact with an audience by both measuring and interrupting natural movement.
Much of Weetman's work is created in a live context, which reflects her wont to document the transient and temporal. This transience translates into notions of presence and absence such as in the fading water traces painted onto a floor in Watermark or the empty outlines that are suggested in her earlier One Minute drawings.