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Charity No: 1157364
|The artists listed alphabetically below have
worked with Art and Sacred Places in various capacities. The images,
where provided, are of their personal work.
|Abake is a partnership of four graphic designers.
Patrick Lacey, Benjamin Reichen, Kajsa Stahl and Make Suzuki formed the
association in July 2000, after graduating from the Royal College of Art,
having accumulated a quarter of a century of design education between
them. The obvious realisation that interesting content is a prerequisite
to interesting design lead them to organise events often, but not
exclusively, involving food or dancing. Their work is anything which has
a story and telling it. They teach in London at the Royal College of Art
and Central Saint Martins. Contact them by dialling +44(0)20 7249 2380.
Abake ran a workshop on Spirituality for the Art and Sacred Places' AGM
|Turner Prize nominee Nathan Coley was born in
Glasgow in 1967. He studied Fine Art at Glasgow School of Art and is now
based in Dundee. Nathan has exhibited worldwide including Show Home
across the city of Newcastle upon Tyne and The Black Maria as part of
The Christchurch Biennial, New Zealand as well as featuring in the major
survey show of Scottish Art "Here and Now".
Nathan is interested in the way the values of a society are reflected in
its built environment. As the stage upon which our lives unfold how does
the architecture we are surrounded by determine our sense of what is
possible? Throughout his practice Nathan has investigated the way that
constructed spaces add meaning to our cultural identity. Nathan's past
works have involved researching and responding to existing buildings
such as the Tower of Belem and Jeronimo's Monastery in Portugal, both
declared World Heritage by UNESCO, the fourteen Churches within Munster
Germany, Bournville Rest House Birmingham, York Minster and the 161
Places of Worship listed within the yellow pages in Birmingham.
The project which best reflects Coley's practice in terms of context and
research is his Urban Sanctuary: a public art work commissioned by
Stills Gallery, Edinburgh in 1997.
|Rose Finn-Kelcey's work has embraced an
extraordinarily wide variety of media and styles including performance,
sculpture, sound and a series of works using LED technology. References
to the spiritual and the use of language are recurring motifs in her
work and these themes are often explored within a public context by
siting her moving/animated messages outdoors, in direct view of passers
by. Through the use of subtle interventions, Kelcey subverts existing
social mechanisms or conventions to portray an entirely different
message, usually with witty and ironic results.
Rose Finn-Kelcey has a history of exhibiting in public spaces and
buildings throughout London. Solo exhibitions include the Camden Arts
Centre in 1997 and the Chisenhale Gallery in 1992. She has also
exhibited 'a shot in the locker' at the Conventa X Teresa, Mexico City
and 'Jolly God' at the Total Museum in Seoul, South Korea. In March 2001
she showed in 'Dead' at the Roundhouse, London. Her work is in the
Welkunst Foundation, Bernard Starkman and the Arts Council of England
Mach RA, born in Fife was a Turner Prize nominee in 1988. He is a
Scottish sculptor and installation artist whose artistic style is based
on flowing assemblages of mass-produced objects. Typicall these include
magazines, vicious teddy bears, newspapers, car tyres, match sticks and
coat hangers. His major works include Temple of Tyre in Edinburgh, the
Sumo Wrestler, the Brick Train in Darlington, the Acropolis of
magazines, the Big Heids off the M8 and the UK's Self Portrait - an epic
collage, commissioned for the Millennium Dome.
His 2011 exhibition 'Precious Light' for Edinburgh City Arts, exploring
the themes and legacy of the King James Bible in the year of its 400th
anniversary, was his largest solo show to that date. Mach gave a talk
about the exhibition for the 20121 ASP AGM.
Peak, born in Desborough, Northamptonshire, and Ivan Morison, born in
Istanbul, Turkey, together have an international practice which
specialises in bringing together different peoples, cultures and
histories in the creation of works of fantasy and escape. The rituals of
sharing and exchange which they employ often involve random acts of
kindness. They live and work in Brighton and North Wales.
I am so sorry. Goodbye, illustrated here, comprises two intersecting
geodesic spheres, hand-built from wood harvested from naturally fallen
trees in Tatton Park, and functions as shelter, observatory and
performance space, where visitors are served tea. The Morisons' 'escape
vehicle' unifies two acts, of making and use, in a way that can be read
as a complex set of social rituals. It was commissioned by Tatton Park
Biennial in 2008, and in 2009 was installed at the Barbican Centre.
The Morisons have created a new work to mark the launch of The Hepworth
Wakefield. It takes the form of an outdoor shelter for people to gather,
relax, entertain and enjoy the waterfront location. The Black Cloud,
originally commissioned by Situations at the University of the West of
England for Victoria Park, Bristol in 2009,.has been repositioned and
modified in response to the architectural and industrial backdrop of The
In addition to representing Wales at the 2007 Venice Biennale Heather
and Ivan have exhibited their work as far afield as Tasmania, New York,
Toronto and Vancouver. Other more local solo exhibitions and projects
have taken place at the Bloomberg Space, Camden Arts, Ikon Gallery
Birmingham and Void Derry in Northern Ireland. They are represented by
Danielle Arnaud contemporary art.
Newling was born in Birmingham and after completing MA and M.Phil
degrees at Chelsea and Wolverhampton he was awarded the first Fulbright
Fellowship in Visual Art in 1985.
During his time in America, Newling produced works in hotels, swimming
pools, burnt out cars and on the streets of major cities. This
experience marked the beginning of his enduring interest in notions of
Place both in terms of cartography and context. This has generated many
gallery based and site specific works.
Newling constantly reviews 'The tacit agreements of Place' and this has
coalesced into a view of the pathology of institutions such as banks and
churches. This process of review is the initial impetus for a work for a
With works installed across Europe and the USA including large scale
commissions for, for example, the Post Office and The Inland Revenue
Newling has an international reputation.. John Newling lives in
Nottingham where he is currently Professor of Installation Sculpture at
The Nottingham Trent University.
Mine, shown above, which was exhibited at St Mary Woolnoth, Lombard
Street, City of London from 27th June to 13th July 2005 during the Art
and Sacred Places' supported Insight series of exhibitions for the City
of London Festival.
Reed is a visual artist based in Surrey. At the heart of her
inter-disciplinary practice is a curiosity about contemporary belief and
value systems which finds expression through the interplay of words and
image. In 2010 she exhibited work at 'Art in Romney March 2010', '
Bourne Hall Contemporary Arts Festival 2010'; Ewell; 'Fruition' at UCA,
Farnham; and the Bargehouse, Oxo Tower Wharf, London. Claire has been
Project Assistant for ASP since May 2010.
|Duncan Whitley studied Music Technology at South
Thames College in London, before going on to complete a BA in Fine Art
Intermedia at Kingston-upon-Thames University, Surrey. Exhibitions
include: Masterpoint curated by Artlab at the Imperial College, London,
in 1999; Breaks and Pieces at the Stanley Picker Gallery, Kingston-
Upon-Thames; Untitled Work for Headphones, a limited-edition audio
compact disk published in 1999; I love Your Work at Hoxton House,
London, 2001; Minimal Existence at the Isokon Flats, Belsize Park,
London, 2001. Duncan Whitley currently lives and works in London.
|Richard Wentworth was born in 1947 in Samoa. He
worked as an assistant to Henry Moore in 1967 and went on to gain his MA
from the Royal College of Art in 1970. He taught at Goldsmith’s College
between 1971-1987, and was awarded the Berlin DAAD Fellowship 1993/94.
His work has been exhibited in institutions worldwide including the
Hayward Gallery, London; Serpentine Gallery, London; Institute of
Contemporary Art, Philadelphia; Irish Museum of Modern Art, Dublin;
Musée d’Art Moderne de la Ville de Paris, Paris. In 1998 Richard
Wentworth curated Thinking Aloud for the South Bank Centre and in 2000
he completed Gallery Square, a major commission for The New Art Gallery
Walsall. Richard Wentworth lives and works in London. Having been the
Master of Ruskin College, Oxford University, he is currently Head of
Sculpture at the Royal College of Art.
|Tamsin Williams graduated in Fine Art Printmaking
from Brighton University in 1996. In 1999 she completed a certificate in
Multimedia (Digital Arts) at the University of Sussex. Audio-visual
installations include Epitaph for an Ephemerist in St Peter’s Church,
Brighton, 1999. Artist-in-residence projects include: the De La Warr
Pavilion, Bexhill-on-Sea, February 2000, creating a web site from the
public’s responses to the Maximum Cube exhibition (www.lighthouse.org.uk/minimumcube/);
Year of the Artist residency on Connex trains in May 2001 Familiar
Strangers; artist-in-residence at Caterham School in Surrey 2001-2002.
Tamsin Williams currently lives and works in Brighton, East Sussex.
Biswas was born in Calcutta, educated in England and has developed an
international practice in a wide variety of contexts including music,
film, live art, installation, writing and theatre. Over the last fifteen
years this practice has encompassed directing Shakespeare in America,
translating Tagore's poetry from the Bengali, making underwater
sculptures in the Red Sea, living with wandering minstrels in India,
being employed as an ornamental hermit in the English countryside,
travelling with shamans in the Gobi Desert, working with neuroscientists
in Arizona, touring with Björk, spending two days blindfolded on Exmoor,
playing with Oasis, co-ordinating grassroots activists in Soweto, being
sealed in a box for ten days with no food or light, making a musical in
a maximum security prison, holding seminars with monks in a Burmese
monastery, and flying on a magic carpet in Russia.
|Daniel Coombs studied at the Ruskin School of
Fine Art and Drawing, Oxford University, 1989-92, before completing an
MA in Fine Art Painting at the Royal College of Art, London, in 1994.
The following year he won the Rome Scholarship for Painting and spent
one year at the British School at Rome. His early canvas-based works
featured in the historic Young British Artists VI at the Saatchi Gallery
in 1996. He has had three solo exhibitions at the Approach Gallery,
London between 1997 - 2001, also at the Zwemmer Gallery London in 2000.
He has been in many international shows including: The Death of the
Death of Painting, Wooster Street New York, organised by Kenny Schachter
and British Art Part 1: Installations, Diehl Vorderwuelbecke, Berlin
2000. Daniel Coombs currently lives and works in London.
|Dion Ellis completed a BA (Hons) in Fine Art at
Staffordshire University 1996 before going on to study for a certificate
in Multimedia (Digital Arts) at the University of Sussex, 1999. Recent
works include: Painted Lady, an interactive art work installed at the
Fabrica Gallery in Brighton; Virtual Rosary, a CD-ROM exhibited within
multimedia installations at the Gardner Arts Centre and the Pallant
House Gallery. Ellis is director of Visibilia, an arts organisation
working with video and new media and has made projects for the web sites
of the Arts Council, The Towner Gallery, Eastbourne, and Pallant House,
Chichester. Dion Ellis lives and works in Brighton.
Hadzi-Vasileva was born in Macedonia but has lived and worked in the UK
for eighteen years. She graduated from the GSA, Glasgow in 1996 and the
RCA, London in 1998.
The fact that a large percentage of her country of origin is forest is
reflected in an artistic practice which has the immediacy of nature as a
significant element. With an original intensity and richness
Hadzi-Vasileva's work exposes the relationships between the human and
naturally occurring landscapes.
The use of unusual materials, such as chicken and fish skins, butter and
rice, and new methods of working, which are often founded on
traditional, work-intensive techniques, are the result of thorough
research into particular places, especially those not normally
Hadzi-Vasileva's solo exhibitions include 'We Are Shadows' at Unit2',
Whitechapel in London, 'Butterflies in the Stomach' at l'H du Siege in
Valenciennes, 'Kilmainham Gaol Museum' in Dublin and 'Resort' for
Fabrica in Brighton. She was shortlisted for the Spitalfields Sculpture
Prize in 2009-10 and the Jerwood Sculpture Prize in 2001 and has
received numerous awards, including the Pollock-Krasner Foundation Award
in 2002. These have enabled her to travel as far afield as Canada and
the USA. In 2009 she was awarded a grant by the European Cultural
Foundation to travel to Macedonia with Dr Fiona Dean to share ideas
between Macedonia and Scotland.
Narkevicius was born in Utena, Lithuania in 1964. He lives and works in
Vilnius. He has developed a facility for storytelling, using film as his
Narkevicius often switches back and forth between recollections of the
past and experiences of the present day, using found footage in
juxtaposition with his own film-making. His approach is reflective of
the techniques and styles of amateur and professional documentary films
made in his home country during
the 60s and 70s. The proximity between two sources of imagery makes the
passing of time more evident and each film becomes defined both by its
past and its present, lending additional weight to the narrative.
It is the relationship between subjects culled from personal memory and
the wider historical context that creates a sense of familiarity and
specificity in the content of his films. His protagonists are not
presented as if their experiences are history lessons learnt. Their
narratives trace the development of individuals' lives that would
otherwise go without comment and
unnoticed within the broader spectrum of national and international
Michael Pinsky, who was born in Scotland and lives and works in London,
graduated from the Royal College of Art with an MA in Fine Art in 1995.
His fluid explorations of humanity's connection to nature and the issues
which shape our use of the public realm have resulted in challenging and
innovative work which has been exhibited internationally.
The apparent simplicity of projects such as 'Weather Cluster' 2005,
'Horror Vacui' 2007 and 'L'Appât' (see image) belies Pinsky's more
complex investigation, during the commissioning process, into the
relationship between artistic intention and the local audience's
appreciation of context. Playing with symbols, objects and actions
Pinsky allows the ambiguities and tensions in the work to surface and
bubble forming an imaginative re-invention of visual traditions.
In addition to numerous public art projects Pinsky has exhibited
extensively in galleries and festivals such as TATE Britain, the Saatchi
Gallery, the ICA London, BALTIC Gateshead, Centre for Contemporary Art
Glasgow, Modern Art Oxford, John Hansard Gallery Southampton, Milton
Keynes Gallery, Cornerhouse Manchester, Liverpool Biennial, Archilab
Orleans, CCC Tours France, Armory Center of the Arts Los Angeles, and
the Rotterdam International Architectural Biennial.
Symonds' 'Lexicon' (see image) is his personal photographic journey
through a dictionary. The box which houses 'Lexicon' contains 144
photographs each one illustrating a chosen word or phrase. Placed in
alphabetical order, they are classified according to part of speech and
date of first usage. 'Lexicon' is designed so that the number of
photographs for each letter reflects actual lexicographic frequency in
Symonds is inspired by journeys, both literal and metaphorical; by the
way in which a walk can connect seemingly disparate things, as a
medieval wood may back onto an industrial estate. Likewise in a
dictionary you can travel anywhere and everywhere and yet still find the
narrative is maintained. For an artist, a dictionary can be a tool with
which which to weave diverse experiences into a coherent whole.
Dictionaries are liberating.
Around any corner something extraordinary may happen; this is what
drives Symonds on as a photographer, and that curiosity also lies at the
heart of a dictionary and this is why they are never finished, but
ever-changing, always searching and brilliantly alive
Winston began to use typography when he started to
write. He found writing incredibly difficult and its format restrictive.
A fascination with language and a desire to use letterform to explore it
Over the years this led to a series of outcomes (graphic projects; self
publishing), but predominately, interest came from galleries and
collectors: so the results began to be called artworks and artist's
His work is always about finding structures in already-existing
language, whether it be inside the text, the typography, the
structure or the book itself. Most of the work revolves around the gap
between 'looking' at an image and 'reading' a text.
Winston's typographic stories became widely collectable after he sold
them through London's ICA. His books can now be found in the special
collections of MoMA New York, Tate Galleries London, the Victoria &
Albert Museum and the British Library.
Winston is also a visiting lecturer at The Royal College of Art and
Camberwell College of Art. He has written for Baseline magazine and
worked on design projects, e.g. the third Muse album, and typographic
consultancy work for Ogilvy & Mather.