Tuesday, 6 December 2011

Leeds United

Vernon Street 5 January - 9 February

Printed Matter

August 2002 - ongoing, and back

Vernon Street 16 November - 16 December

Giles Bailey, Lucy Clout, Sam Kennedy, Oliver Rees, Matthew Robinson, Louise
Shelley, Laura Smith, Jens Strandberg and Rebecca Wilcox.

August 2002 - ongoing, and back considers ideas of collaboration, translation and
alliance in artistic practice.

The exhibition has grown out of a year-long weekly correspondence, in letter-form,
between Rebecca Wilcox and Laura Smith. This process was initiated in November
2010 with the intention of informing both the content and structure of the show.

The letter as traditional mode of communication allows for slippages, crossovers, repetition and miscommunication; the exhibition alludes to the divergences and similarities that this sort of collaborative practice entails. The works presented include Wilcox and Smith as well as a selection of invited artists who have been cited, via chance meetings and encounters, in the letter writing process. These artists have been asked to respond to notions of perspective in collaboration,
most of them having worked collaboratively at some point.

As such the exhibition seeks to build variations of perspective and chance into
its construction. It traces links between individuals and their work, and expands
and contracts relationships in order to shift an audience’s expectations regarding what collaboration means in how we view and understand a work of art’s meanings.

Garry Barker

Vernon Street 13 October - 11 November

In the shadow of the Hand - narrative drawings

“In some ways, Barker’s drawings are simply documentary. In Neither a burrower
or a lender be, we see a circle of dancers outside a Ukranian club (‘Dancing is
important, it seems to me,’ says the artist). There is also group of people marching
(there are frequent marches in Chapeltown, both political and religious). But more than ust recording the times, Barker mentally replays, pen-to-paper, the multifarious things he sees people doing: the stories of the place. He re-enacts and enlivens in much the way that children do when they draw”.
Angela Kingston