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I’ve been google mapped (since June 2015). Thanks for spotting me Martin.

After a false start my New Expressions 3 New Opportunities Award – supporting artists to make work with museums – is now going ahead.

Earlier this year I was looking intently at the former schoolroom in the attic of the Long Mill (1782-1789) at Darley Abbey Mills, near Derby. For a short time I thought this was it but it turns out it wasn’t and I haven’t been able to include it in the film. But I did do a Pecha Kucha presentation about the relic that is the schoolroom and the veracity of the photograph for the FORMAT 15 Conference at QUAD in April.

An Action Repeated (Tim Shore)
These stills are from the Pecha Kucha. In an attempt to fix the pristine digital image I printed the 20 photographs for the presentation on my inkjet printer – as the colour cartridge ran out. Which was good. I then rescanned them for the presentation.

Thanks to Anthony Attwood at Darley Abbey Mills for permission to photograph the schoolroom.

I’m now working with the National Trust to make a film installation called Blind Spot for The Workhouse, Southwell, Nottinghamshire. The Workshouse was built in 1824 and remained in use up until the 1980’s when the site was used for residential care for the elderly. Blind Spot will be projected in a small partitioned room off one of the former dormitories on the top floor of the Workhouse. It will be on show from 24 July to 1 November 2015.

TWH Workhouse IMG_4417The Workhouse, Southwell

TWH Oakum IMG_1522Oakum. One of the many arduous tasks that the ealry Workhouse inmates had to perform was to pick and untwist old tarred rope into individual fibres. Oakum was used to caulk ship’s timbers and lag pipes.

Oakum, junk, caulk, lag.

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Christmas 2014. Inspired by Barrie Tullet. Sorry Barrie. And typed very badly on my Smith Corona Sterling ‘Floating Shift’ typwriter. I’m very pleased with the opportunity to apply Tipp-Ex, but can’t believe how badly I’ve done it.

01 Punched_roll 02 Time 03 Wood 04 Hole 05 Shingle 06 Shingle again 07 Mast

The Industrial Museum, Bradford and the Yorkshire Sculpture Park, nr. Wakefield

Last weekend we travelled up to South Square Gallery, Thornton (nr. Bradford) to collect my installation ‘Place Setting’ which was shown in ‘The Most Beautiful Things Cannot Be Seen’ exhibition.

Then we retraced our steps to Bradford and the Industrial Museum. Which was interesting, especially the detailed self-guided trail explaining the journey from wool to worsted cloth. Also interesting is the monotype typecaster, with its punched role of instruction. Good description here but no pictures!

Then on Sunday after enjoying a view of Bradford’s infamous hole (thank you Westfield) from the window of our room in the Midland Hotel we went home via the Yorkshire Sculpture Park.

The second and third images are small details from the very large work of Ursula von Rydingsvard. The lovely shingle, which really was this bleached out colour clads the ‘Eat, drink, Enjoy’ snack shack sitting outside the Longside Gallery where the survey show ‘Uncommon Ground: Land Art in Britain 1966 – 1979’ is currently on.

Uncommon Ground features some lovely Boyle Family work and a surprising Derek Jarman film that reminded me of an early work by Marvin Gaye Chetwynd (formerly Spartacus Chetwynd) called The Walk to Dover (2005) which I saw at Studio Voltaire, Clapham. In that film she performed David Copperfield’s seven-day journey from London to Dover described in the book of the same name by Charles Dickens.

The last picture is of the Emley Moor transmitting station seen from Basket #7.Oxley Bank by Winter/Hörbelt.


Howarth, Saturday, 8 February 2014.
Last Saturday we walked from Haworth up on to the moor and Top Withens, on the Pennine Way, a little below Withins Height.

Top Withens

This farmhouse has been associated with “Wuthering Heights”, the Earnshaw home in Emily Brontë’s novel. The buildings, even when complete, bore no resemblance to the house she described, but the situation may have been in her mind when she wrote of the moorland setting of the Heights.

Bronte Society, 1964
This plaque has been placed here in response to many inquiries

See Simon Warner’s 2012 project ‘Ways to the stone house‘, commissoned by The Watershed Landscape Project and the Brontë Parsonage Museum, for more information about the site and its landscape. The exhibition included iconic images of Top Withens by Bill Brandt, Fay Godwin and a drawing by Slyvia Plath, who also wrote the poem Wuthering Heights (1961).

IBavaria, Schumann, Arzberg, Germany
IIBohemia, Made in Czechoslavakia
IIIBone China, England
IIIICovent Garden, Wedgwood, of Etruria & Barlaston, Made in England
IIIIICrown Ming, Fine China, Made in China, Jian Shiang
IIIIIIDuchess. Bone China. England
IIIIIIIEvesham, Royal Worcester, Fine Porcelain, Made in England
IIIIIIIIFairfield, Royal Doulton, Made in England
IIIIIIIIIFancy Free, Royal Standard, Fine Bone China, England
IIIIIIIIIIGainsborough, Bone China, Made in England
IIIIIIIIIIILongton. Stoke on Trent
IIIIIIIIIIIIPoole, England (x3)
IIIIIIIIIIIIIRainbow, Royal Albert, Bone China, England (x3)
IIIIIIIIIIIIIIRondeley, Fine English Bone China, Made in England (x6)
IIIIIIIIIIIIIIIRoyal Kent, Bone China, Made In Staffordshire, England
IIIIIIIIIIIIIIIISpindrift, Doulton & Co. Limited, Made in England
IIIIIIIIIIIIIIIIIStudio, J & G Meakin, England

Place_Setting_A Place_Setting_B Place_Setting_C Place_Setting_D

The Most Beautiful Things Cannot Be Seen

Place Setting is a new work for the group exhibition ‘The Most Beautiful Things Cannot Be Seen’ at South Square Centre, Thornton. The show opens tomorrow (Saturday 8 February) and closes on Sunday 2 March 2014.

Place Setting is made up of 22 china tea and coffee cups turned upside down, to create a fairy ring of china ‘mushrooms’ on the gallery floor.

The cheap, mass-produced, mostly transfer printed, china challenges William Morris’s romance of craft and production and his command ‘‘to have nothing in your houses that you do not know to be useful, or believe to be beautiful’.

Place Setting exploits the transformative power of the ‘ready-made’ or found object. The act of making a cup resemble a mushroom responds to the natural world and the flora and fauna that the Arts and Crafts Movement referenced in their work. In arranging the cups in the form of a fairy ring, I also want to make a connection between the idealism of Morris and the location of Thornton. It is a place setting rich in folklore and myth making from Brontë shrines, Cottingley with its dubious photographic fairies, to nearby Keighley, once the centre of British theosophy and spiritualism.

Place Setting
22 China cups, 22 Tesco Toilet Tissue cardboard cores, some IKEA cardboard packaging

The Most Beautiful Things Cannot Be Seen
Taking the work of William Morris as a starting point, this group exhibition explores the relationship between beauty, nature and imagination.

Curated by Samina Hamid.

South Square Centre
South Square
BD13 3LD



Derby yesterday, early morning, wiley, windy.

Screenshot 2013 F HA 1 Screenshot 2013 F HA 2 Screenshot 2013 F HA 3 Screenshot 2013 F HA 4

Happy accidents in translation

Marzipan_01 Marzipan_02 Marzipan_03 Marzipan_04This book is devoted to Marzipan and its many uses. We will not argue the merits or otherwise of using our Ground Almonds or Marzipan or Macaroon Paste. It is sufficient to say that all three, providing correct mixings are used, will do the job, but we would stress that modern practice is to use properly balanced manufactured products which do not vary in quality or consistency.

You can do no better than continue to put your faith in RENSHAW.

From the forward to MARZIPAN by John F. Renshaw & Co., Ltd, Mitcham, Surrey, England (n.d.)