Category: Lives of Artists

Lives of Artists: The Graduate



Sarah Smizz

I first met Sarah through the #class project’s webby-internet tweetings and noticed she already knew the organising artists, William Powhida and many of the people involved hands on at Ed Winkleman’s in NY. Including Magda Sawon from Postmasters Gallery who did a very lively talk and discussion on running such a place from small beginnings to very independently focused well run gallery.

So I was intrigued when Sarah’s work was also posted onto the #class web-blog by William Powhida. I knew Sarah was at Sheffield Hallam Uni and was either finishing or part way through a BA or MA course. Along with the vague idea she had recently been to NY.

But nothing prepared me for the sheer energy in her response when I asked her about a post in this series.

Mostly this is Sarah’s wonderful reply – I have to say it completely blew me away! – a lot of me doesn’t want to faff around changing anything (& styling it into a me-neat little blog post)…….at all!!

Take it away Sarah!…..

“so errrrrm about me?”

“I’m a working class kid from Doncaster, UK. (Souf Yorkshire) or as I like to call it – the DONXX in New YorKshire- hehe ;)”

George Dickie

“My story is an odd story. Basically, I grew up in a single parent family (my mom and my younger bro).

My mom gave birth to me when she was 16, and had no support so we’ve always lived in relative poverty really as she has no qualifications and racked up a crazy amount of debt.

And then my mom got super ill and we missed a tonne of rent payments and got kicked out of our house because it was a great excuse to then build luxury apartments in place of the place that we lived in.

As the world gets smaller

So I was made homeless for about 8 months in total when I was 15, with my mom.

But we got things sorted eventually and things went back to semi normal. (I bring this up cuz its key in how/why I position myself and my practice).

Sarah Smizz

I LOVE working in my studio –

feels like it gives me a sense of purpose and just really living the dream!!!

Shadow Cities Favela Nice

I got to university at 18 to study contemporary fine art – first 1 in my family – in 2006 – Sheffield Hallam Uni – without a foundation. I got accepted to all 6 Uni’s I applied to, but SHU felt like the right decision, and I still stand by it today.   After 1st year I went over and did Camp America – I worked in the craft shop at a camp and I LOVED it!!!

I hitched hiked half way across the US (as a 19 yr old on my own) and got frauded! so I had NO cash for the last 2 weeks of my trip. It was like Into the Wild for real; and I thought this was awesome!

Shadow Cities Favela Nice

I got back to England, started my 2nd year and realised I loved working with people on projects like I started at camp.

So I got a group of my hommies together (which extended as we put a call out for interest) and started a thing called StreetForm.

The return to Dollershiem

This is a non-profits arts organization which delivers contemporary arts workshops for free in schools in South Yorkshire – priority at deprived schools as a way to engage kids with different learning techniques and kinda re-inspire their ideas and interests.

This turned out really successful.


Slam jam


Slam jam night


Utopian protagonist


At the same time we just got this new professor called Michael Corris from NYC.;

He was one of the players in art & language NY – I was interested in how dialogue and artists groups could engage in criticality as a community.

As the world is getting smaller

So I started another collective group called CAAD (contemporary art as dialogue). We started as a project like – the art school in the art school.

We went by our own rules and did collaborative shows engaging in different ideas surrounding the periphery and the art world. We put on our own art festival which you can see from the website too!

Street Performances production of space


Street Performances Production of Space



Sarah NYC

Contemporary Luxury Studio Showflat


I was kinda taken aback by Michael Corris and he gave me some much needed confidence in my own ability as an artist – his knowledge is awesome in my research background – which was completely lacking in my other lecturers knowledge.

I felt like if I wanted to make it in the artworld (or critique it)  that I gotta experience it properly! and not just from Sheff art scene.


Poverty is a gift that keeps on giving


Poverty is a gift that keeps on giving

So I managed to name drop Michael Corris to Magda Sawon at Postmasters gallery in NYC (He’s good friends with David Diao who Postmasters represent).  I’m the type of kid that doesn’t get amazing opportunities like this, I don’t look good on paper – state school educated, totally very rough around the edges – veryyy hopeful – thus naive about the world surrounding me; (naivety = I still get annoyed by people getting opportunities because of whom they know, and not from experience/applications)

Lucky for me Magda is one of the most kind, thoughtful, smart, risk-taking and generous women I have ever met. And she took a risk on me and let me work for her during the summer of 2008 in NYC.  I Had of course saved up all my own cash, and *it* still – despite all the other stuff I’ve done – is like THE BEST thing I’ve done – I learnt so much, made friends for life.

Turns out what I was missing was a strong smart woman role-model in the artworld/general, and Magda is just that for me. It was perfect working at Postmasters for me, because it allows my research to be a lot more even.

Postmasters allowed me not 2 be completely judgmental towards this ‘elite’ art world. I learnt that it’s not all bad (despite what I’d like to believe purely because of my outsider position).

That there are people who are willing to take risks and don’t put shows on just for commercial success. And even though some commercial galleries are ultimately a business, they treat their artists like family.

It inspired my practice because it taught me that artists do have to be competent at what they do, relevant and risk-taking not just good at networking (although that totally helps).

Being in NYC at that time (during the boom) taught me how important criticality in an artist’s practice is. I just gotta accept that  I’m not that strong of an artist yet !. That’s ok though; got another – what 9 years? (me, with interjection …errr Sarah maybe!, just maybe a mold has been broken here with that one!!)

In my 3rd year I switched from BA to a MART course, which is half a masters- integrated course. You do an extra year doing double credits in your 3rd yr and the LEA still pays all your tuition fees.

I had my 1st real London show at re-placed.  And got published in two books one of which was released at the Canadian Center of Architecture.

I was interested in the idea against the white cube space, and how collectives can have revolutionary potential. I used to make collages of buildings and fly poster them around the city in run down places.

You can see this work on my website Sarah Smizz


#class a reflection (also placed on thier web-blog by William Powhida)


We also did a project where we critiqued the biennale structure of art festivals – focusing on the Venice biennale.  It’s focus (of the project) was on curation and collaboration.

We created a biennale in a book talking about the periphery! and released it at the Venice biennale 2009 (

It was a fantastic project that is still on-going!

I taught Spanish kids English over the summer of 2009 and worked in a bookies, lol, saving cash for my internship at AREA Chicago in Chicago for 3 months.

This was my research about the artist as a social double agent. Can collectivism help to make change? Is institutional critique re-invented?

Have u ever been to Chicago? I suggest you check it out if you haven’t, there is SO MUCH stuff going on. it’s this vibrant art community that doesn’t get acknowledged in the way it should!

Magda invited me to put some work in her emerging artist show in Dec 2009. And then obviously I saw the proposal call for #class which suited me perfectly with my background, my research interests and the plain rejection that I feel/felt by both academia and the art world, amongst other systems; and did that show.

I felt like after the class experience I truly needed to embrace this investigation into collectivism – to a new level.

So I took a risk and changed the look of my work. And I’m really enjoying it. I’m not sure whether the risk will pay off for my degree show grade wise.

We also just curated a talk at TATE Britain on the contingencies in curation – some of this debate was brought up at #class!

I hate degree shows. I think that they’re contrived. They don’t represent a person’s practice properly, especially not one that’s diverse and exists in a different format. And so everything is compromised.

As part of the MArt – the deal is that you get a MA Place – and it’s one-module-studio-work;  and it only costs £800 of your own money. I’m not finishing my degree next year into a full MA because it doesn’t interest me now I’ve learnt what I needed to learn.

I’m sure I will go back and finish it when I’m stacking shelves in Asda or something but right now, the institution has grinded me down.  It doesn’t really accept me because my ideas don’t fit into the ‘white cube’ or ‘relational aesthetics’ lark.

Yet out of my whole graduating year (BA and MART) I’ve been the most ‘successful’/done the most thus far. So it shouldn’t be the grade that matters to me, but I’ve had to overcome certain barriers to get where I have got right now.

On June 23rd I’m heading back to the USA for four months; two months in Boston working with kids and a residency. Getting paid for it all – and good pay!.

Then I’m going to Syracuse University in NY State to hopefully start a project with an amazing professor up there who has similar research ideals as myself.

Then I’ll do a lil’ travel and come back to the UK for my November Residency with international film festival DocFest – which is also paid.

After November – gosh knows what is in store for me! ha!

I need a normal job – to make ends meet and pay off my crazy over-draft. I’ll probably move back to Sheffield cuz its convenient and my network of folks from Uni lies there, just whilst I sorta relay adulthood out in my head!

I will be starting my new project though “temporary department for (kinda) academic research”. A curated project, and I want to release the bi-annual publication objekt that we set also set up this year.

I have an exhibition in Canada in May in 2011 to look forward to, (moving to Canada is on the cards for the year after).

I would ultimately LOVE to teach, from high school to university level as you have the chance to help change someone else’s future. But feel like I wanna give my practice a good taste of what it means for an artist to set up projects and continue in the real world with a 9-5 soul destroying job first.  I’m totally looking forward to it! (not liking the idea of paying council tax! haa) but let’s see how this optimism fades eh? 😛

For me the journey of learning and experience is just as important as the practice itself cuz for me it all just seems to add up/inform the research (in the best respects). I don’t have a specifically special focus. I’m just interested in the idea of power in systems – regardless of what system. The ideas of access/ and class boundaries are always present.

Dialogue is very important for me; it’s all interesting for me, that and collectivism, I truly believe art does have the power to change the world, but more in helping, teaching, helping people to be optimistic, bringing people together etc.”.


Work in progress

Sarah Smizz

And, if I were ever to think *what’s the point* as we artists all do at various stages for various reasons:

Sarah, I hold a torch up to you and your inspiration!!!

Back on Wednesday …….

Lives of Artists: The Artist



Man Bartlett

A few weeks ago the name Man Bartlett meant nothing to me, but that is I believe, down to my location Nottingham UK, and not New York US nor even London UK for that matter.

I think location can and does count. Ok not so much in these internet driven times but still location draws on the local, especially in the arts through live exhibitions and events.

However with Man’s work the first thing I noticed was he always seemed to include some form of internet access whether YouTube, Ustream or Twitter or all three depending on the type of art involved.

So, the first time I caught any of his art was of a webcam showing him blowing up balloons inside a gallery for 24 hours. The gallery being Winkleman and the overall project #class which I posted back in February and March.

This was a Ustream/Twitter interaction, with him all the while blowing balloons and engaging with responses, which after 24 hours became more fervoured, especially toward the end involving a mass balloon-burst.

Starting pile
Jerry Saltz in the nest

24h #class action
24h #class action

24h#class burst
24h#class burst
web-cam-view of the balloon burst



So on that basis I was not expecting the next exhibition to show quite the images I found. And in this instance I would have loved to have been able to actually see not just ‘cos it’s my sort of thing, (and no less the performance art either) but also sometimes the whole atmosphere, even the minutiae of things like the smell and sound of the space can enter into the work.

But that’s just me I always want to look further. And let’s face it no matter how much the net does for us, it doesn’t do that yet!.


Systema mundi installation
Systema mundi drawing
Systema Mundi Installation at Flux Factory


Man mentions on his web site, in small print and very briefly, that he is “also son of artist Bo Bartlett”

And in a city like New York many would jump at the chance to promote themselves through this avenue – I think with Man it is mere fact – an artistic family. Creativity comes in many different forms and within that individual meaning.

And as the daughter of a mother who realised too late, as she saw it, that she loved to write I sometimes wonder how many of us have creative notions left untapped.

I asked Man if he had any qualms; “Only that I’m still in the process (and hope to always be) of finding out what works and what doesn’t. Part of the construct of the performances is that they develop in real time. This can be a scary and exhilarating place to be. Some experiments work, some don’t.”

His next two performances certainly seemed to with these twitter based interactions:

#24hEcho at PPOW Gallery

#24hOpen at the Whitney Museum

Man’s description:

Beginning Thursday, May 27th at 6pm, I will spend 24 hours in the Whitney Museum.

I will remain engaged with the work on display, and conscious of the space in which it is exhibited.

Man equates with his work so: “While there is sometimes an element of endurance in my performance practice, I prefer the term “duration”.

This distinction draws attention to the fact that the performances are simply happening in an extended amount of time, not specifically that pain or suffering is an integral part of that time. Labelling is a tricky thing as I also create drawings and installations. So usually I just say I’m an artist with practices in performance art, drawing, and installation”.

He went on to add…. “I strive to make art that’s both fun and serious. Art that is solitary yet inclusive. Art that sees life through a lens of one part ‘everything is nothing,’ and one part ‘nothing is everything’”.

He has recently started a monthly block print sale on line,which he rendered this video of work in process.


May lens


“I’m still exploring different ways to earn income from the performances. One thing I’m getting more interested in is creating ‘tangible’ works from the detritus of these performances.

For example I affixed the Whitney admission sticker for #24hOpen to a piece of archival paper. This serves as both a document of the performance and a separate work of art.”

One of the earlier 24 hour performance durations before #class saw him walking round the streets of NY in Theseus.

#Theseus walk

“Additional References (besides the obvious):
– Spiral Jetty
– The mazes I used to draw as a child”

Man was a regular visitor to the #class debates and events, the points of which he is very much aware;
“The ideas raised in #class are still percolating. It was so much to take in. The accessibility aspect is definitely something I keep coming back to though.

Particularly with the performances I strive to make them entertaining/interesting/valuable to both artworld folks and to complete strangers, who may not be too familiar with art at all”.

There is no doubt Man is living in a very art centred city and with access to things like Marina Abramovic’s recent MOMA exhibition The Artist is Present……..

and his fun, insightful tweetings and images from that event as he queued and waited his turn for hours (for a thwarted attempt) to sit opposite her, highlights the double edge spin offs from being around those benefits.

Marina Abramovic the Artist is Present

Marina Abramovic The Artist is Present

image wikipedia


There in is an idea I think Man would maybe agree with. The energy of input for artist’s in places like New York is the draw. The benefit being, You Create.

And also in such places the pressure to make and pay your way with *more of the same* the accepted, the patronised, cannot be far away. I get the idea that this is not on the cards for Man.

“I will never compromise my work. I may adapt it when/where necessary, but compromise is really just not in my vocabulary”.

Quite simply what it means to create.

Thank you Man!

And Man’s up-and-coming events and happenings include:

A re-performance of #cleandream as part of the Escape From New York exhibition on June 12th.

Followed by a group show in Seattle at Platform Gallery (the details of which are being listed as this is posted) “where I’ll have an installation, opening July 1st.Then hopefully a few weeks “off”, before holding a solo show with performance in Houston, Texas in 2011”.

In the meantime, as well as being artist in residence at Flux Factory which involves a collaboration at Lumen Fest June 26th, Man will be planning on “assembling” a group show for the fall/early winter.

And I will be back on Sunday with more in this current series of Lives of Artists:

Fourth in this series is someone who I was completely blown away by. Her sheer enthusiasm and energy – for someone so young (in my terms!) – at 22 and a Graduate BA/MA fine artist Sarah Smizz

Sarah Smizz
I know this is Sarahs web-page and is not strictly her art but …..: )

Back on Sunday…

Lives of Artists: The Photographer



Helen McCabe


It’s that time of year again, I remember it well – spring sort of breaks out of winter and all that you have been working towards suddenly hits like a bolt out of the blue – your show is upon you, imminent, no time left whichever way you look at it; the last minute detail rears its fickle head again.


This year I literally stumbled upon a series of pop-ups scattered around Nottingham’s city centre, they have been showing degree shows like this for a while now, but it always fascinates me to find art tucked away in spaces on the restaurant and shopping routes, like a treasure hunt in waiting.

It was just such a space that I found off Bridle Smith Gate. The space under the NTU umbrella degree show name of Raw-photo 2010.


Quite simply I wandered in and glanced around four walls of what seemed like very different works. Usually I will start looking at the first to hand, but found I had a momentary-without-thinking not sure I want to look at these just yet. I don’t know why I changed my mind but on looking closer a lot became clearer.


There, without embellishments were a series of 7 photographic portraits of unadorned and simply positioned, male soldiers faces.


The photographs didn’t scream out at you they were subtly lit and exuded a sense of calm.


My subconscious I believe, had initially took in the uniform, an image especially of late that has reverberated through the media in the UK and indeed around the globe. But the images I, and we all see in the press usually come with a traumatic message, a thing maybe we don’t readily succumb to – and there has been so much.

Hence my hesitation.

I continued to look and noticed a small amount of explanatory text at the beginning of the line of photographs. My knee jerk reaction is usually don’t tell me! I want to receive my own impression. But the information was simple and subtle; these men were on their way to Afghanistan.


The thing that struck me most about the work was it was all about the faces, whatever lay behind the process it was the compelling nature of the expressions that quietly reflected their momentary pause in front of camera.

I will stop there as the images should speak for themselves, here are two of the seven:

Helen McCabe Soldier

Helen McCabe Soldier

Soldier  :   by Helen McCabe

One very astounding thing for me was the difference but similarity of their collective gaze.

Underneath the images were a few randomly placed quotes from the soldiers echoing a resolve and recognition of imminent dispatch.


I really recommend looking at the images on her website to see how Helen intended to portray them.




Helen’s show and the Raw exhibitions are now coming to a close. With the inevitable packing and clearing of the space I asked her what she saw ahead of her…

Part of raw-photo 2010
RAW2010 space in Bridle Smith Gate


“My future, is quite unknown at the moment.  I want to stay within the industry of Photography, be it in a Photographic gallery or an archive.  But I also hope to bring what I love about Photography to others by way of photographic workshops, that suit beginners or people with experience.  Hopefully visiting places like photography clubs, schools or colleges”.

And the immediate future?  ….

“As for my work…I hope that by carrying this on alongside a job Photography will continue to be something I do because I enjoy it and not just something to keep me living.  But we shall see in the coming months”.

I also asked her about the inevitable student loans, and, on leaving the University space; how she was planning to afford her own studio, equipment and the like….


“At the moment the only ‘debt’ per se is my student loan (and an overdraft). But thankfully I’m not too worried about this because of the leniency of the repaying. Knowing that until I’m earning I do not have to pay it back, and then its rather small increments which are automatically deducted so no worrying about forgetting to pay it!”.


“So it’s not going to hinder me I hope or at least I don’t plan to let it”.


“As for things such as equipment and studio space. At the moment I am lucky enough to have parents with a garage not in use. So with some persuading and hard work I want to turn this into a studio for myself, at least for now (everyone’s got to start somewhere!).


Equipment wise, when I land a job after graduation I will be saving money as much as possible to buy the equipment I need, and I plan to get it second hand.


Thankfully there are a fair amount of photographers with a lot more money than me, who like to upgrade their kit, often leaving me with their cheaper (but usually in perfect condition) older equipment. This is how I afforded my camera; a hobbyist who’s upgraded leaving me with a barely used, new looking camera”.


I did initially return to the space and was really pleased to see the quality of all the work involved. And wondered what if this had been shown in a different city?. Not to say that Nottingham hasn’t always had some sort of connection to London based Art through local galleries. But It is still a provincial city.

Helen had been keen to stress that although she is from London she liked the idea of branching out of art centric cities.


And with the thought of location very much on my mind. I was extremely pleased to come across a Degree/MA pool of images, info and events now available via web ushered in by the combined Universities of Leicester De Montfort, Nottingham Trent, Loughborough and Derby along with the Arts Council called UK Young Artists; for all who are interested, be they artists, curators, buyers, collectors or whatever.


Which is kind of blowing away the usual suspect’s habit of hovering around the same Universities like Goldsmiths, St Martin’s and the like; creating the safe bets of recent times.

It’s a start!

Having said that! Helen is also excited to be included in Free Range 2010. A big independently sponsored graduate show based at the Truman Brewery Building in London which shows Art and Design practices from all over the UK.

With the obvious quality of work emanating from this show, the signs are it’s looking very good!.


And as Helen and her contemporaries prepare to embark on a new phase in their creative lives, where time, money and studio space all come into play big time. Events like this by both the Arts Council and Free Range can really, only be a good thing.

I will be including another Photographer in the next series with works by Zoe Boundry


And will be back this Wednesday with New York Artist Man Bartlett

Lives of Artists: The Curator

Louise Starkey

Opposite one of Robin Hood’s favourite residence’s to rob, Nottingham Castle, sits the aptly named Castle Bar. Here was the site for Louise Starkey’s latest exhibition; Stop Robbing The Rich. I’m sure if there was any indication in the title it was the RH scenario, but aside from that they found a unique space to hold something, and well, something I was surprised to see.

I was expecting a local event, if you like, artists brought together with nothing more in common than their city, and found instead a group of Urban Artists from all over the UK and beyond under the banner Affordable Art in the Heart of Nottingham.

Stop Robbing The Rich is Louise’s second show, and the first one in Nottingham.

She is a keen collector of Urban and Contemporary work and sometimes sells to finance her own art *habit* as she calls it!. So it was around two years ago that she sold a piece to an enthusiast in California. And usually keeping in touch with the people she deals with, as they have common passions a rapport ensued.

This particular buyer was also involved in the music industry and had got together with other likeminded people to buy an art gallery in Philadelphia.

When Louise found out about this she asked when she could have a show.  He replied “May 2009” which in her own words she said she “was shocked, as I didn’t think he would take my request seriously”.

That was the start really for Louise and she hasn’t looked back. She still works full time at Nottingham Trent University, and also works as a part time chef. So her enthusiasm for her art and artists is palpable.

The show, which she called ‘Cruel Britannia’ “was to be an invasion of Urban-Contemporary work from the UK”.

Setting up Cruel Britannia at the then T & P Gallery, Philadelphia

Cruel Brittania Gallery View


Cruel Brittania Gallery View

Cruel Brittania Gallery View

Louise mentioned it didn’t go unnoticed and joked

“The USA fought back with a Shepard Fairey paste up outside the gallery”.

Paste Up

When she got the unsold work back from Cruel she decided to recycle it, mash it up, and add to it, and show in a place which was more accessible to the UK where the work originated to balance the showing.

It was The Castle Bar that she chose and although in hind sight she noted “It was slightly shabbier than I would have liked when I got in the space last week so spent three solid days painting.  I wanted the show to look good but also to be a success for the artists and saw no point in making really expensive work available.  I wanted people to come and have a look, see something that they might like, but not have to really think it over and be concerned about a massive financial commitment that would make things difficult”. Going on to emphasise the fact “I had original work available from £10, and have enabled people to pay for work over a period of time if it makes it more affordable”.

Final touches to the exhibition

Opening Night

Opening Night

Opening night of Stop Robbing The Rich, at The Castle Bar


Many of the artists in this exhibition are established and well known names in urban contemporary like:

Replete who has worked with people like Cold Cut (Matt Black & Jonathan More) and their Ninja Tune label.

DON who was brought up in Borneo and in his own words

” When I came back to England felt the confines of the concrete jungle around me. But it was to be a blessing. I looked at the stone and concrete walls in a different light, I saw them as vast spaces ready to be painted and moving spaces were even better, trains…like cheetahs in the wild, were fast, got everywhere, but most importantly, were always ‘spotted’ . I quickly learnt that a jungle kid could fast settle into his new pack when he earnt himself respect from his name and ‘got up’ . I was 12.

Old habits die hard and as important to me as it was then, it is now. I’ve taught East End children at an East End school to nicely mural a wall. I’ve convinced myself that you don’t have to cling onto a carriage late at night, under tungsten light, to be seen the next day. I’ve had my knuckles slapped and paid the price.

I have conformed as much as I am able for now, bringing my art to TV and Film. Employed to TAG a Batman set. WOW one of the best cities I’ve tagged….graff stays in my soul, the movement, the colours, the people, the sounds. Beat street, hiphop and those crazy, crazy legs are going to be around for a while longer and I’ll grow with it, its time has come”.

DON & DBO's work


Dan Kitchener's work

Dan Kitchener


Luke Twigger's work
Luke Twigger

Louise went on to say “Kev Munday recently had his first solo show in Covent Garden called ‘Making it up as I go along’ and Matt Jordan enjoyed great success with a solo show in Athens earlier in the year”. Louise is also hoping to do a solo show of Matt’s work soon.

Matt Jordan's Dyeing Of Hirst Skull

Matt’s skull – yes they are smarties! the flash is slightly obliterating the Hirst reference.

Matt Jordan & Kev Munday
Matt Jordan (top) & Kev Munday

see the links for Matt in Athens and Kev in Covent Garden


As the result of 6 months hard work. Louise was more than delighted with how it looked, and for the three days it was showing, does seem a shame that it’s gone already.

She is planning her next show for November, workload permitting, but apparently it’s all in a rather dream like stage for now, once she gets cracking though, I’m sure it will be so much more than ok.

It’s going to be called ‘Hardly Original’ and will, as she puts it “feature affordable prints from my little army of willing artists, that will have been made especially for the show and will be unavailable elsewhere”.

There were 16 artists involved in the exhibition and I hope to do a more in depth interview style post with some of them in the future.

For now though, here is a taste of the Stop Robbing The Rich exhibition with a list of the artists involved:

As Louise said later “I enlisted some of the artists I had approached for America, and approached some more.  For quite a few of the local artists it was their first show….(MaxRock, Kresh)”

In no particular order;

Jonny Norridge Jonny Norridge

Finbarr Dac
Finbarr Dac


James Baker
James Baker




Dan Kitchner
Dan Kitchener


The Shaw
The Shaw


Matt Jordan
Matt Jordan




Kev Munday Kev Munday





Ben Allen
Ben Allen


Ame 72


Kid 30



Max Rock

Kresh  :  no link as yet but will update


Luke Twigger
Luke Twigger



All the above images have been sourced from the artist’s websites.


Back on Sunday with a look at Photographer Helen McCabe fresh from her degree with her very enigmatic work

Also a quick mention pre-post of Wednesday’s Man Bartlett article – he is also doing something at this weekends Bushwick Open Studio (BOS) see here as well for NYTimes mention.