An exhibition by Not Just Collective.
14th February – 12th March.
Naked Lunch Café, 431 Smithdown Road, Liverpool L15 3JL.
Performance event with music and spoken word Friday 1st March, 7:30 – 10:30PM.
Not Just Collective’s first exhibition of 2019 showcases a range of affordable work by six locally-based practitioners.
Formed in 2013, this grassroots collective have exhibited in unique spaces across the region, including Camp and Furnace, the Williamson Tunnels, a terraced house in L8, a neglected community garden, and a disused fabric warehouse. Continuing in this tradition of finding new and diverse spaces to exhibit, this show at Naked Lunch, at the heart of Smithdown Road’s cultural community, will introduce a new audience to the work of local artists over a cup of coffee and without the gallery price tag.
Exhibiting artists are:
In the for North-East of Anglesey sits Wylfa Nuclear Power Station – mothballed, maintained subject to political and financial wrangling.
Mostly when you walk on the surrounding cliffs it sits in your vision like a squat toxic mass. Sometimes when the mist and rain drift through on the prevailing winds you imagine softening and dissolving. And sometimes imagination takes over and What If it wasn’t there at all?
Tony Jaycott creates elaborate illustrations with watercolour crayons – a medium he was introduced to by his art teacher in high school after claiming that he can draw, but can’t use any traditional painting methods. A love affair with the crayons was born, and he never looked back.
Each piece almost looks like a panel pulled from the middle of a graphic novel. Peculiar, subversive scenes that oscillate on an invisible line between brooding passion and haunting melancholy. Often interwoven with ornate designs that seem to be just as ordered and symmetrical as they are organic and frenzied.
Tony O’Connell’s recent concerns have been informed by group shows and tend to be related to ideas around shadow and ritual. Archetypal figures of demons and angels sometimes arise amid dark places and objects. In contrast, bright places and objects suggest holy relics with some sense of presence but with an open significance. In Tony’s work, he tries to let go of conscious control of these patterns and allow images to form in apparently unrelated ways, and, if necessary, to analyse their meaning afterwards.
Rooted in ideas of class and place, Patrick’s work is informed by his time producing commissioned portraits, murals and public art in both England and Sydney, Australia, but is grounded by his surroundings and notions of memory. From the urban landscape of the council estates of his childhood, to portraits of people trapped within a personal narrative they can’t escape, Patrick uses an unlikely mix of spray paint and pastel to connect to the viewer on a personal level.
The physical process of drawing and mark making are key in Chris Reynolds’ practice, and it is her aim to approach each canvas as she would a sketchbook.
The pieces in this exhibition have evolved by using elements direct from nature. Using and manipulating non-traditional materials as tools to draw with (grass and twigs from her garden) enabled Chris to map and respond to her personal environment, creating works that are intuitive, fluid and spontaneous.
Nicola Roscoe-Calvert’s mixed media pieces explore history, folklore, literature, and the interplay between the natural and urban environment.
The relationship between the written word and visual object is a recurring theme in her work, from the use of automatic writing (Conscious Regressions), to painted poetry (Tonight the Winds Begin to Rise), to the scripture which forms part of Ill Eye, Ill Tongue.
This new work is inspired by Richard Adams’ Watership Down, in which an imagined lapine language and mythology are interwoven with a tale of survival amidst the brutality of nature and the indifference of Man.