Archives for posts with tag: Art

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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


Thornton & Bradford 01 Thornton & Bradford 02 Thornton & Bradford 03 Thornton & Bradford 04 Thornton & Bradford 05 Thornton & Bradford 06 Thornton & Bradford 07 Thornton & Bradford 08 Thornton & Bradford 09

Walking from Thornton to Bradford.

My proposal to South Square Centre’s ‘The Most Beautiful Things Cannot Be Seen’ exhibition has been accepted and so a week last Friday I visited the gallery in Thornton. I decided not to wait for the bus to get back to the train station in Bradford and instead walked down the B6145 from Thornton to Bradford, passing the Brontë birthplace on the way . A marker plaque records that ‘In This House Were Born The Following Members of the Brontë Family, Charlotte 1816, Patrick Branwell 1817, Emily Jane 1818, Anne 1820’. Haworth and the Brontë parsonage (where the family lived from 1820) is about 6 miles north-west of Thornton.

Thornton & Bradford 10

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Cambridge, 17 October  – 13 November

Yesterday I attacked Cambridge with my corrugated cardboard quiver of one hundred arrow shaped ‘cautionary’ paper bookmarks.

My targets were Adam Smith, Darwin, Malthus, Riccardo et al. in the stacks of the Philosophy Library at the University of Cambridge, Sidgwick site.

I didn’t find Smith’s ‘An Inquiry into the Nature and Causes of the Wealth of Nations’ (1776) but I did discover his ‘Essays on Philosophical subjects’ (1795) under Modern Philosophy in the Metaphysics section A32 – A42.

I set to work. Because the bookmarks work best when massed together I clustered them around Adam Smith in a small space between two book stacks and now that the bookmarks are installed I’ve realised that /CAUTION/ is a sculptural and spatial installation that disrupts the grid of the library system.

The bookmarks are oversized and too large to be placed inside books so instead they are positioned in the spaces between the individual books, projecting out of the stack and into the library space. The bookmark’s diagonal motif – seen in its design and structure and its use of metaphor – extends the Cartesian x y plane of the library structure, experienced in book case, spine and shelf by extending along the z axis into three dimensional space.

The bookmarks themselves will be prone to disruption and displacement because the 70 or so placed in the Philosophy Library impede the students access to books. Over the duration of the art:language:location exhibition the installation is liable to displacement, replacement and destruction. Its final form is largely dependent on the engagement and playfulness of the faculty’s Philosophy students.

Or maybe they will stay away and not touch, because when I had finished making the installation I saw that the massed bookmarks presented an angry cluster of dense yellow and black darts or quills to the library suggesting that (the) books are not for reading.

A smaller cluster of bookmarks has also been installed in the stock of Plurabelle Books.

Casimir Lewy Library
Faculty of Philosophy
Sidgwick Avenue

Library Opening Hours
Monday to Friday 9am to 6pm
Saturday 10am to 5pm

Plurabelle Books
Homerton Business Centre
Bldg 3
Purbeck Road

CAUTION TShore 72DPI Border


A small cautionary bookmark that acts as sign, symbol, warning and placeholder.

The bookmarks will be deployed randomly within the open access stock of the University of Cambridge’s Philosophy Library.

The form of the bookmark is based on the alternate black and yellow oblique stripe pattern of hazard or caution tape, also known as Barricade tape – a visual warning system that is understood to communicate danger, caution or hazard.

The bookmark duplicates and reverses the oblique stripe pattern to create a chevron that is then crudely fashioned into an arrow or pointer that is aimed at the library stack.

A cautionary warning is contained within the bookmark.


October 17 – November 3 2013

Casimir Lewy Library
Faculty of Philosophy
Sidgwick Avenue

Library Opening Hours
Monday to Friday 9am to 6pm
Saturday 10am to 5pm


Installing ‘Full Employment in a Free Society (1944)’ on last Sunday afternoon in the basement of Strutt’s North Mill Belper.


The Belper Art Trail 2013 is on from Monday 8 to Sunday 21 July at venues across Belper and more information about the trail and a trail guide, which lists the 17 artists and the venues for their work, is available from Corridor Arts.

Andrew Martyn Sugars (Corridor Arts) who has curated the trail and Sarah Skinner, the Mill manager, were interviewed in last week’s Belper News (3/7/13) about the Art Trail and my imminent arrival! In the article Sarah said, ‘The Strutt Mill complex harnessed the power of the Derwent to produce cotton thread that wound its way across the world so Tim Shore’s work is really appropriate here, referencing as it does weaving, workforce and mechanisation as well as commenting on the austere times we live in today.’

Here’s a link to Strutt’s North Mill Belper and the Belper News article.



In Cambridge a couple of weeks ago to meet Robert Good and Matthew Wilson (a:l:l organisers) and fellow artists. We talked about our ideas for October and then toured the different venues in Cambridge where work may be sited. It was a great day that generated lots of ideas about the project. Much more information and photographs on the art language location blog.


A recent purchase, research for ‘Tape Measure’. One old typewriter ribbon from Imperial Business Equipment Ltd., Leicester, England. BLK/RED

Tape Measure Final 96DPI

This is my first working drawing for Tape Measure, an installation for the Wirksworth Festival 2013. I was thinking of a blueprint when I made it and I do realise that I have to stop using that image > adjustment > invert button in Photoshop. The dimensions are not fixed yet or a decision made on how I’m going to make it. I think there may be some structural issues to overcome because the disc will be made from a continuous winding of paper, carbon paper and typewriter ribbon.

Misery generates hate Square

I moved to Derby at the end of March 2013 and soon after heard that my proposals for the Wirksworth Festival and the Belper Art Trail were both successful. Belper and Wirksworth are both just up the road from Derby. The Belper Art Trail is in July, and the Wirksworth Festival is in September. Also a proposal to art:language:location, an art exhibition in Cambridge (October) was successful too.

I’m going to be making two installations, ‘Full Employment in a Free Society (1944)’ for Belper and ‘Tape Measure’ for Wirksworth and one intervention ‘Caution: Misery generates hate’ for Cambridge.

All three works are concerned with language and text.

‘Misery generates hate’ is the clarion call of ‘Full Employment in a Free Society’ (1944) by the British economist and social reformer William Beveridge. This book and the report that preceded it (Social Insurance and Allied Services, known as the ‘Beveridge Report’, 1942) mapped out the blueprint for the post war welfare state and its attendant qualities of publicness, common ownership and the public good. ‘Misery generates hate’ is from the novel ‘Shirley’ (1849) by Charlotte Brontë. Shirley is a romantic and dramatic novel that fictionalises elements of the West Yorkshire Luddite uprising of 1811/1812 when skilled workers in the textile industries sabotaged and destroyed the new machinery that was being introduced into the workplace and directly threatening their livelihoods and jobs.

art:language:location is the first to have pages up about participating artists and more information about the exhibition which ‘aims to punctuate Cambridge with a series of visually exciting and unexpected encounters in which our everyday interactions with text can be explored and challenged’ can be found here.


This is from the Běla Kolářová (1923–2010) retrospective at Raven Row.

There are collages and assemblages of paperclips made from paperclips, a razor blade made form hunders of razor blades and works that look like digital circuitry which on closer inspection reveal themselves to be made out of buttons, snap fastners, hairgrips, pins, makeup, bottletops and hair.

‘Běla Kolářová pioneered an art based on intimate objects often associated with domesticity and the feminine.’

Raven Row
31 January to 7 April 2013