All past exhibitions in all spaces..
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Exhibition continues the weekend of Saturday 18th - Sunday 19th 11 – 6pm.
Nicky Deeley and Bruce Ingram invite you to a joint exhibition of sculptural works that explore both artists shared interest in Ikebana.
Ikebana is the ancient Japanese art of flower arranging. The name comes from the Japanese ike, meaning ‘alive’ or ‘arrange’ and bana meaning ‘flower’
Both artists are interested in the formal qualities in the making of an ikebana arrangement, the power and precision in the handling and display of nature, alongside the philosophical meaning and concept behind a creation.
For this experimental exhibition, Nicky and Bruce will place nature central in the creation of new sculptural works. To start the project both artists will collect and forage seasonal flowers and foliage from gardens and allotments in Norfolk, this living material will form the basis of the artworks on display. Leading up to the show opening, both artists will work together in the gallery, taking over the space as an experimental studio. Working instinctively and collaboratively the gallery will become a three dimensional sketchbook, with ceiling, floor and walls activated by an impermanent display of colour and form, sense and movement.
Both artists have researched the topic through the many textbooks and instruction manuals on the subject; the visual poetry in the composition of flowers is often anchored in an instruction, occasion or purpose for creation. Acknowledging the poetic notion of these texts, Nicky and Bruce have invited artists and friends to write and exchange instructions as starting points to visually interpret with materials and nature.
‘Ever Changing Moods’ acknowledges the meaning and sense of occasion in the exchange of a flower arrangement but also the impermanent nature of the project. The exhibition will document a temporal and fleeting moment only witnessed in the moment of its creation. A celebration of the natural and a sculptural exercise in balance, composition, precision and placement.
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Emma Hampson
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Emilia Symis
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Pushkinism
Nunnsyard gallery
23rd - 24th February
PV Friday 23rd 5pm till 9.30
Emma Scothern, Billy Parkin and George Armstrong
Nunnsyard gallery
19th - 21st Feb
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Sacha Baldwin presents CONNECTED
Nunnsyard gallery
12th - 18th February
PV 12th 6pm - 8pm
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Alice Lambert and HanHee Shin
Nunnsyard gallery
8th February - 10th February
PV 9th Jan 5pm - 9pm
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Take 5 Exhibition
Nunnsyard gallery
December 2nd till 7th
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JULBORD
Paul Bommer
Nunnsyard gallery
November 24th - 26th
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Print to the People
Nunnsyard gallery
Printers' Devils: An Exhibition of Letterpress work by these 5 fine Devils:
Jane Kemp
Paul McNeill
Amy Muddle
Jo Stafford
Vanessa Vargo
Opening Times:
Friday 17th November: 11am - 5pm & 6-9pm (preview)
Saturday 18th November: 11am - 5pm
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Ballot.
Norwich university of the arts in collaboration with Crawford college of art and design. Invited .... Cork printmakers, Print to the People and Limerick School of art & design Tuesday 10th till 14th 12.00 to 18.00
PV Thursday 12th Oct 19.00 till 21.00
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Mandy Rogers
Nunnsyard gallery
October 2nd - 8th
Private view Monday 2nd 6pm - 8pm
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Alec Cummings & James Metsoja
Nunnsyard gallery
September 25th - 30th
Private view Wednesday 27th 6pm - 9pm
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Nunnsyard gallery
September 14th - 17th
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Jackie Potter
Nunnsyard gallery
July 28th - 31st
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LGBT Festival
Nunnsyard gallery
July 21st - July 26th
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Katherine Gilmartin
Nunnsyard gallery
July 12th - July 19th
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Kate Knowden
Nunnsyard gallery
July 7th - July 11th
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Exit Press
Nunnsyard gallery
June 23rd - June 25th
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Robert Nicol
Nunnsyard gallery
June 15th - June 18th
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Rise up
Nunnsyard gallery
May 29th - 7th June
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Michael James Lewis & Tazelaar Stevenson
Nunnsyard gallery
May 26th - 28th
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Letting Go
Diane Archer, Lesley Bennett, Bev Broadhead
Tricia Hall, Juliet Hayward, Natalie Odile Lang
Tim Mellors, Helen Otter, Sara Ross
Christina Violet Sabberton
Curated by Mark Scott-Wood
Nunnsyard gallery
May 20th - 25th
Letting Go – Artists Statements
Tim Mellors The work documents construction of an artist's studio and a parallel transition from the making of a space to the future activity within it.
Lesley Bennett A shoulder blade caught by the curved, barbed fluke of an anchor symbolises how our fear can fasten us down, however, if we turn our thoughts to creativity, there is winged release……..we can let go ….
Sara Ross From Rachmaninov to Hendrix. As the people of Russia migrate from the East their culture and identity changes - portrayed within their families as small movements of their bodies, signifying "death" .
Natalie Odile Lang Pardesi. Pardesi (Punjabi word for foreigner or distant)was painted in 2009 in my first year at Norwich art school. It depicts the shy 6 year old me. I have chosen to show this painting to mark the departure from my usual practice of painting landscape as a way to explore and ruminate on internal processing. Pardesi has become a tool for me to re-frame reality, it takes me up-close to my process of alignment and sets an intention to a commitment to self.
I choose to let go of the story that has underpinned my identity.
I choose to let go of outside influences and opinion that have imprinted a strong impression.
I choose to return to the truth of self.
Bev Broadhead The two paintings shown are based on a story about an imaginary, evil bird who lets go of its victim after drinking fermented fruit, drunk on its own success, his prey escapes.
Juliet Hayward Preconceptions. These photographic collages describe the process of letting go of, literally, the preconceptions I held of what my imagined child/ren would be.
Helen Otter Letting go of anything is not always as easy as it sounds. Ideas, feelings become concrete, refuse to be liberated, heavy, stubborn and needing accommodation. A little smoother and shinier and they'll be perfect!
Diane Archer No Animals from Abroad. Walking alone on an exploratory journey in my new city, in my home country of Canada after living 9 years in England. Everywhere I look I see and compare the old with the new. Nothing measures up, even in my memories. I cannot let go of the past. I am an animal from abroad, wherever I go.
Tricia Hall Don't Speak, Just Breathe. For me the title 'Letting Go' is an invitation, to see how it feels to say less, to gently 'let go' of any narrative at all.
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Emily Furber, Viv Allen and Ruth Brumby
Nunnsyard gallery
May 18th - 19th
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Mayuri Mistry
Nunnsyard gallery
April 27th - 30th
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Mixed Art Show
Nunnsyard gallery
Private view on Saturday 15th April at 5pm to 7pm
Open daily from 10am to 4pm until Saturday 22nd April
'Mixed Art Show' is a group art exhibition of photography, paintings and textiles respectively by Andrew, Geoffrey & Tom Unwin, Peter Lely, and Genevieve Rudd
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Sarah Lake & David Greeves
Nunnsyard gallery
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Nicholas Powell
Nunnsyard gallery
April 6th - April 9th PV 6th April 6pm - 9pm
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Jack Mackenzie
Nunnsyard gallery
April 1st - April 3rd
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Nunnsyard gallery
March 24th - 31st PV Friday 24th 6pm - 9pm
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Oliver Payne
Nunnsyard gallery
March 18th - 21st
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Words And Women, Print To The People & Clare Jarrett
www.wordsandwomennorwich.blogspot.co.uk
Nunnsyard gallery & 13a
March 6th - 11th
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Louise Webb
Nunnsyard gallery
February 27th - February 28th
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Move your homeland
Nunnsyard gallery
February 20th - February 25th
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Bethan Kerridge
"Pop My Mind"
January 31st - 3rd February
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Lily Troup & Sarah Lancaster
Nunnsyard gallery
January 9th - 11th PV Tuesday 10th 5pm - 8pm
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Nunnsyard gallery
Ellie Brine
January 2nd - 4th
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Paul Bommer
"A winters tale"
Nunnsyard Gallery
24th November - 27th November
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In between things
Michaela D'Agati and Naomi Harwin
Nunnsyard gallery
17th November - 19th November
PV 17th November
An investigative exhibition examining the shared dialogues and playful methodical approaches towards rationalizing and engaging with forms, objects, and shapes in relation to spatiality.
Drawing awareness towards a constant exchange of interactions, relations and interchangeable states of object-hood, the works are haptic and spatial things that acknowledge and negotiate their surrounding structures and the significance of the spaces between.
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Bev Broadhead, Natalie Odile Lang and Tricia Hall
Nunnsyard gallery
4th November - 12th November 11am - 5pm
The narrative that acts as a backdrop for this exhibition Why one stroke when a hundred will do, is the meeting of three artists Tricia Hall, Natalie Odile Lang and Bev Broadhead, who in 2012 spent a week’s residency working together. This opportunity for professional self development was initiated by previous semi formal discussion meetings where their work was critiqued and discussed. They meet again here in the Nunnsyard exhibition space to show their recent work. For these artists - making decisions, problem solving, reflecting, destroying, making and taking away, looking – all manner of physical and mental turmoil and glee occurs. The process most often occurs in isolation and is a lone pursuit. Linking with other critical minds, as with all professions, allows the creative output to speak for itself and to find its own place alongside other works. Questions and commonalities emerge as each piece jockeys for space and prominence. For the artist, this is an interesting situation to be in. For the viewer, it’s hoped, also.
A new series of sculptures and images have emerged from Tricia Hall's auto ethnographic response to the impact of diagnosis, treatment and recovery from serious illness. Consistent with the pared down aesthetic of her previous work, uncompromising yet ambiguous forms are screen printed or constructed using wood, Jesmonite and concrete.
Returning to work and a daily commute along Norfolk's impossibly direct Acle Straight, she has begun to re-acquaint herself with the objects that manifest as infrequent events in a sparse landscape. It is how these familiar events seem to correspond to parts of her own body and road to recovery that informs her response to the entirely unfamiliar experiences of her recent past.
Natalie Odile Lang has made a series of new paintings developed from the title “the fiction of dirty realism”. Natalie is painting on to pre existing landscapes, opening debate into authorship/ownership, transformation and the changing view. Her themes have been informed and developed from research and enquiry into the new geological age of the Anthropsean Epoc.
“These works are all on borrowed, found or bought prints that all ready exist and have an author. By way of an invasion of paint, ideas and college I change the narrative to encapsulate the reality of the times we are living in”.
Bev Broadhead is presently focussing on forms possibly found around her and reproduced as marks trapped in, and made by paint. By obliterating and remaking a background she isolates and fastens a form, freeing it from its natural environment, while at the same time fixing it in another space and time - the 'essential connection between spatiality and being'.
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Michael James Lewis
Nunnsyard Gallery
24th October - 31st October
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EMERALD MUTTON
STEPHANIE DOUET
Nunnsyard gallery
20th October - 22nd October
PV 20 October 6 - 9PM
EXHIBITION OPEN 11 - 5PM 21 - 22 OCTOBER 2016
Unruly Maharajah 2016 Acrylic on board 30cm x 30cm
EMERALD MUTTON explores misrepresentations, misunderstandings and subversions in the imagery of 'princely India' during the Victorian era.
When she first came across the photographs, Douet had an eery feeling of personal connection with the portraits through their vertiginously mesmerising eyes. The familiar reposes about photography drifted through her mind - the sitter and photographer negotiating presentation, costume, pose and background; the photographer looking through the hooded aperture, his minuscule reflection in the eyes of the subject; the various production outcomes of size, overpainting, purpose - the image becomes a carte de visit, a potter, part of a book. But ultimately, for Douet, painting was an act of magical eating.
'Emerald Mutton' is a stockpile of paintings and overpainted photographs inspired by reading Sean Willcock's 'Composing the Spectacle', an account of the 27ft long group portrait of the Imperial Assemblage in Delhi in 1877. Victorian artist Val Princep found that his attempts to make life-studies of maharajahs for his gigantic painting were thwarted by the princes who, fed up with being expected to play the British imperial game of exchanging portrait gifts, barely gave him time to knock off studies of their profiles with a bit of shiny sleeve for good measure.
'Unruly Maharajahs' is a set of small portrait heads taken from archive photos. Their direct gaze is negated by painterly devices that inhibit engagement, as the subjects refuse to play the role of decadently dressed foreigners in need of colonial care. Indian portraits were traditionally executed in profile, meaning that the Indian subject's gaze remains within the world of the painting, unlike the gee of classical European portraits which engage the viewer with stances of submission and domination.. And there is also the 'darshan' gaze of the Hindu deity which is reciprocal - you behold the god and the god beholds you.
Three large overpainted photographs of princes and political agents show the two societies confronting each other. The princes in silks and jewels, the agents of the raj in their trimmed and tasselled finery, facing each other with unreadable expressions. The instinctive discomfort generated by these confusing but dramatic images is expressed by Douet's overpainting of vapourous non-specific forms that express an ineffable tension between the figures.
The third part of the exhibition is 'Bollywood Mindmaps', the artist's attempt to make a meeting-place where different images and ideas can meet and thrash out some co-existence within the world of the picture. Their composition is based on posters where scale, tone and order shout their various claims at the viewer, and on mind maps where pieces of ideas float in space, making both random and ordered relationships.
With thanks to Sean Willcock of the Paul Mellon Institute for information about relevant Victorian images and reading material.
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Anna-Lise Horsley
Recent Paintings
Nunnsyard gallery
12th October - 16th October 11am - 5pm
Private view 12th October 6pm - 8pm
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"Plenty of time to lose your balance"
Molly Thomson, Sophie Marritt, Clare Jarrett, Barbara Howey
Nunnsyard gallery
5th October - 9th October 11.00am - 6.00pm
PV Thursday 6th October 6.00-8.00pm
Discussion with the artists (in the gallery): 2.00 Saturday 8th October
The four sets of work exhibited in plenty of time to lose your balance reflect in different ways ideas of transition, change and transformation - states of being or becoming which can seem both hope- ful and insecure. The exhibition is the result of conversations between the artists.
Barbara Howey’s series of paintings looks at the self-presentation of Goth girls and boys. The Goth sub-culture explores hyper-femininity in both genders. The boys seem comfortable in their guise whilst the girls appear somewhat precarious. Their costumes are elaborate and sexualised, yet in many cases their body language is self-conscious and awkward. They appear uncomfortable in their assumed identities, off-balance and unsure.
Through a process of cutting and re-shaping, Molly Thomson interferes with the stability of the rec- tangular panels she starts with, working until the pieces have established new contours. Allowing drawn elements and other components to slide into relationship with the panels she has recently been bringing together real and fictional spaces. She is interested in how the painting-objects act upon one another, generating temporary propositions, provisional what-ifs.
Clare Jarrett is interested in transformation and objecthood. Her current preoccupations are ideas of “the domestic”, of home, cohesion and disintegration. She is investigating gender distinctions and disappearance. The materials she uses, often discarded and/or collected, hold personal signif- icance. She is interested in how objects are connected and ideas about how we decide what we value and what we throw away.
In Sophie Marritt’s film the footage has been shot by a phone camera on a bus journey from down- town Los Angeles to LAX. The camera response time is too slow to keep up with the passing road- side, cars and landscape beyond, giving the film a rhythmic pulsation. This rhythm, combined with the repetition of lamp posts, concrete verges, windows and palm trees, needed a soundtrack and so, still at an experimental stage, the video is played with ‘Walls of Jericho’ and ‘Eddies Out’ by Cabaret Voltaire.
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Supraliminal
Nunnsyard gallery
27th September - 2nd October
A collection of artistic works giving an incite in to the perceptions made when an influence sparks creativity and evokes a response.
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Telfer Stokes
Nunnsyard gallery
23rd September - 25th September 11am - 5pm
Private view Thursday 22nd 5pm - 9pm
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"We put some art in a room"
Nunnsyard gallery
September 16th - September 18th
PV Friday 16th 7pm
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Berlin kommt nach Norwich...
Yallops, Nunnsyard and Thirteen a and Barber shop (Dyad creative)
14th September 5pm - 10pm
karl heinz jeron / www.jeron.org
ilse ermen / www.ilse-ermen.com
andres montes / www.espacio-naranjo.com/andres-montes/
stefan riebel / www.stefanriebel.de
plus others...
INSTITUT FÜR ALLES MÖGLICHE
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To welcome the British art show to Norwich, Nunnsyard is opening a new gallery showing 8 local artists for our first exhibition. Opens Saturday 25th June from 5pm till 9pm
Building Art Spaces 8 artists
Nunnsyard Gallery
Opens Saturday 25th 5pm - 9pm
25th June - 9th July
Wednesday till Saturday 11am - 5pm
Joni Smith, Michael James Lewis, Marcus Williams,
Joe Mouser, Ben Alden, Jody Annellis,
Jim Castle, Margie Britz.
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Jenny Swindells
Nunnsyard
April 29th - May 5th
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The Science of Destruction
Jay Manchand and Chloe Fisher
20th April - 24th April
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SIGN LANGUAGE
New Works by Palser, Pounds & Ridge.
Yallops, Nunnsyard and Thirteen a
25th March - 28th March
Richard Palser "A screen-based work reflecting the locality."
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Christine Leech & Jayne Bushell
Nunnsyard
March 16th - March 19th
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Charli Vince
Nunnsyard
21st February - 24th February
PV 5-7 21st February
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Fragile
Yallops, Nunnsyard and Thirteen a
25th October - 2nd November 11.00 - 17.00
www.ccn.ac.uk/news/creative-arts-lecturers-work-featured-fragile-exhibition
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16th June - 22nd June 11.00am - 3.00pm
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Presence of Absence
Mihaela Colibasu and Sasha Smith
Nunnsyard
12th May - 13th May PV 12th May 12.30 - 13.30
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As part of the Dandifest, artist Karl Somers
Back in Ten Minutes
Nunnsyard 31 St Augustines street
30th April - 10th May
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RAW
Billie Merrin and Emma Rushton
Nunnsyard 31 St Augustines street
28th April - 29th April
PV 28th April 5pm - 8pm
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Home Sweet Home
Sophie Purchase and Esme Harris
Nunnsyard 31 St Augustnes st
31st March - 1st April PV 1st April 5 - 8
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Recent Works
Barbara Howey and Molly Thomson
Nunnsyard and Thirteen A
31 and 13a St Augustines st NR3 3BY
24th January - 26th January
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2013
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Andrew Hornett
17th - 23rd November
Nunns yard
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Daniel Clegg
The Infinite
21st - 30th September
Nunns Yard
The conceptual concerns of the work relate to an awareness of the infinite on both the spatial and temporal scale and suggests the cyclical and symmetrical relationships present in these dimensions. Contextually drawing influence from process led art and Abstract Expressionism, the work intends an aesthetic that references microphotographic and telescopic images.
This process driven piece incorporates a multitude of gestures and movements in its production. The physicality of the creative act transfers considerable energy into the work which can offer a perpetuating visual and narrative engagement with the piece. The colours used offer distraction from the terror of infinity.
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Nunns Yard
Spanner. Plank. Tool.
Daniel Pounds
7th June - 11th June
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Nunns Yard
Confabulation
25th April - 26th April
A collection of works that subvert our preconceived ideas of comfort. Objects and conversations can have many more readings than we realise; the trace of an object or symbol and its history remain perpetually and therefore cause us to question their place each time we encounter them. The exhibition will bring together a group of pieces, both 2D and 3D, that cause the audience to fill in the gaps the pieces create with prefabricated ideas that one believes to be facts. Ultimately we aim to explore our social and societal links to objects and actions we come across in the everyday.
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Nunns Yard
Samantha Bedford & Claire Brace
Time of my life
22nd April - 24th April
Time of my Life is a collaborative exhibition by Samantha Bedford and Claire Brace, both year 2 Fine Art students whose work primarily focuses on individual experiences surrounding mental health. A mixture of drawings, textile and installation.
Claire Brace
My work focuses around the theme of mental health and grief, and how the two can affect each other. As depression and bi-polar seem to be hereditary in my family, spanning at least three generations, my work revolves around this. I believe that the physical act of creating this work is therapeutic, examining the issue of loss – the process of creating the work is just as important, if not more so, than the work itself.
Samantha Bedford
There is a certain stigma surrounding mental health.
My work is strongly based on how my depression affects me.
The ambiguity of my work requires the viewer to examine the collection and to form their opinion of what the work represents.
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Nunns Yard
Emma Jones
16th April - 21st April
Memories. We all have them, whether good or bad they are there. Plaguing our dreams and brightening our dark hours. A simple smell, colour or song can flood our minds with a simple yet satisfying recollection of a life that was, is and will be ours. A viewpoint that is remembered that way only in our minds. An experience shared but only seen that way by us. Colours smells and sights flooding back to us.
To me a memory is a flood of colour, a single moment in time represented by a single colour. Good or bad, fresh or old.
A photograph can bring back a flash of recognition, a moment of recollection, and a longing for what no longer is. A 7x5 rectangle of pure memory represented by a single colour.
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Nunns Yard
12th April - 14th April
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Nunns Yard
Thea Field and Jasmine Gaze
3rd April - 8th April
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Real Exhibition
Nunns Yard and Yallops Gallery
16th March - 19th March
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Nunns Yard
Julia Cunningham 6th March - 10th March
The 'Atlas of Julia' take a stroll in my brain.
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Nunns Yard
Martin Perring 25th February to 27th February 2013
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Nunns Yard
Holly Chatburn 17th January to 25th January 2013
This exhibition was constructed on-site and made of scrapings of beeswax tinted with makeup, which then cling onto my hap-hazardously constructed framework of chicken-wire. I make organically inspired sculptural installations which contain a multiplicity of possible interpretations.
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2012
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Amy French 26th November - 10th December
My practice aims to highlight the paradoxical notion of impermanence - it's role as the only constant. This piece is an inquiry into materials defining my position in the work as mediator.
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Helen Piffero 7th November - 14th November
If i were a painter i wouldn't paint this painting. I predominantly work with acrylic paint on canvas using the human form as a subject.
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Tristan Burfield
15th October - 20th October
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Chalk & Cheese by Tony George
St Augustines Festival
An Installation at Nunns Yard and Yallops gallery
12th October - 14th October
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Gary S Holt: Screen Prints
20th of September to 14th October 2012
Atoms for Peace - Gary S Holt Silk - Screen Print
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2012 The London Olympics come to Norwich
An Installation at Nunns Yard
27th July - 12th August
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Michael Ridge
22nd June - 28th June
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Tanya Cook
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An Installation at Nunns Yard
The Cubicle and Trumpet
15th June - 30 June
UBSURDIST
An Installation By Bogdan Bogdanov
Like many Polish artists, Bogdanov confronts the spectator with the absurd, clearly the cubicle is a ‘cubicle’, but a BB flat Bass is not a trumpet. Yet thinking of it as a trumpet one might be tempted to consider the destruction of Jericho.
However, like many poles of his generation, Bogdanov is not merely trifling with his audience. The Art critic David Hill commented on the work as defining air and space, seeing the two objects representing, on one hand, a still and contained volume of air, and on the other, an object which has the potential for moving a volume of air.
Bogdanov was, of course, deeply moved by the political unrest during the period known as ‘Solidarnosc’. One thinks of the clandestine meetings in candle lit cathedrals, though I’m not quite sure how the BB flat Bass comes to represent the State, perhaps just by being full of wind? But in considering it as a musical instrument, one can’t help noticing that it lacks a mouthpiece. One is again reminded of the dark period of State repression when the Krakov philharmonic orchestra where unable to play, having run out of violin strings!
For us to consider this work as a comment on the human condition, would doubtless cause Bogdanov to chuckle, as we are left with an ambiguity, Who is the winner, the State, or the individual? Bogdanov gives us no answers, but two objects with which to entertain ourselves with questions of confinement, solitude, futility, hopelessness, and, of course, wow! what would that sound like?
Opening Times are Varied
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Jan Keene