Artistslegup at Goose Lane Gallery @Tivoli Barbers (2015 -)
Originally a student led initiative developed and managed with co-curator Jenny Davies, we provide exhibition and gallery experience for art students and recent graduates. The project is self funded by Jenny and I, on a shoestring budget.
Exhibition openings are held on the first Thursday of the month as part of Late Night Art Belfast. Students made up the most of our visitor numbers initially, but as we continued to regularly host exhibitions and were included on the Belfast Visual Arts Forum Art Map we receive visits from local bus and walking art tours, with international passports.
Landscape and Memories
For the last Artistlegup exhibition at Goose Lane Gallery, until some technical issues have been addressed, we are pleased to host twins Anna and Maria Horvathhova.
Both in their BA Fine Art final year, Anna has a lens based practice while Maria focuses on painting. Both are interested in the landscape and for this exhibition it has been interesting to see how the differences and connections in their imagery and approach.
For Landscapes and Memories Anna has developed a series of photographs that indicate a sense of belonging and nostalgia, thinking about how nature might be perceived by the curious eyes of spectator. She places an emphasis on natural surroundings as a reminder of home but also, in the bigger picture, as a place that human civilisation belongs to. Her photographs and drawings capture absence and presence of the moment. She uses traditional photography methods, creating images developed in a dark room using silver-based processes.
Maria focuses on the significance of landscape through symbolism, memories and individual perception of the natural environment. She aims to establish a connection and conversation between drawing and painting regarding human interaction and manipulation in the landscape. Influenced by the Symbolist Movement and the idea that behind the physical world is a spiritual reality she considers how mysticism is a part of the formation of identity.
Once paintings were the most accurate documentations of the world. At the advent of photography, paintings’ documentary aspect became less reliable. When the mechanical lens of a camera can capture an image exactly, the conscious hand of a painter becomes mistrusted.
A photograph could be described as “omniscient” or all seeing, no person’s ideals come in the way of the cameras objective, creating a pure image. However, viewers are over exposed to photographs in everyday life through media. The experiences and feeling within the photograph can becomes lost due to the shear amount available. The photograph is viewed as a photograph rather than as a life lived, very few of the photographs we will come across will move us.
To look and be in the presence a painting is to experience it, seeing its texture, its damage and history. To paint a photograph then perhaps, is to bring together the experience of viewing while retaining some of the documentary nature from its photograph.
Shoe box archive
Quietly waiting beneath a table in a studio, are shoe boxes full of gathered photographs. A jumbled mass of documented lives, captured by many hands, foraged and gathered from books, magazines and photo slides. These images could possibly be made into an archive as they are, a photographic collection of people and places, but then their purpose wouldn’t be wholly fulfilled. They were assembled together to help find understanding.
One by one the photographs are taken out, folded and unfolded, their shapes changed while their focus and feelings are being found. Then they are remade.
The images within the photographs are being experienced through their remaking. A glimpse given into someone else’s life during some other place in time. Painting them becomes a form of traveling, learning about people, cultures and places. Even for just a moment they give an insight.
These paintings are a personal archive, an artist’s way of trying to grasp, unravel, document and collect the world.
Group exhibition by Ulster University 2nd year BA Fine Art and BDes Illustration Students
As well as developing an art practice, students at the Belfast School of Art also study aspects of professional practice. This exhibition was the outcome of a professional practice module opportunity where the students decided the theme of the show and, with support, planned, curated and installed the exhibition. Over 40 students took part in project bringing together painting, print and illustration.
From poster design to hospitality on the opening night, they organised roles and responsibilities for the project as well as continuing with their own art work, an undertaking in multi-tasking that many of them will encounter in their future artistic career.
Goose Lane Gallery 2018 Graduate Exhibition Award Winner Nick Allaway
Nick Allaway was chosen graduate for the Goose Lane Gallery Degree Show Award winner. This artist was selected by Eddie McGlinchey, owner of Tivoli Barbers and Goose Lane Gallery, for it accessibility to the regular clientele and general public. Featuring Manchester United players from the 1970's and images of old photographs that could be from a box in anyone's attic.
With a backdrop installation of 1970's wallpaper and rubber plant, the visitors to the exhibition were prompted to exchange memories of childhood, many remembering the football stars of the day on the walls and the recognition of forgotten names in old family photographs.
Take Me Somewhere Nice
Solo exhibition by Chad Alexander
Chad Alexander successfully applied for a Graduate Artist in
Residence position in Ulster University after graduating with a 1st
Class BA Hons degree in Photography. He has continued to develop his practice
over the year along with working towards an Associate Fellowship of the Higher
The work exhibited was made in the Netherlands, where he spent time in various locations. Take Me Somewhere Nice is his response to the contracts between a society with areas of a ‘very high standard of living…coexisting with pockets of social deprivation’.
March 2018 (postponed due to bad weather - opening/closing event Late Night Art Belfast April 5th 2018)
Group exhibition by 3 final year Fine Art students Chris O'Rourke, Niamh Clarke and Sarah Speers
These three artists, all final year Fine Art undergraduates, come from different areas of the course. Chris O’Rourke, Sarah Speers and Niamh Clarke bring together art work from sculpture, lens, painting and drawing processes for this exhibition. Despite using these different processes their work is connected by their shared interest in domestic spaces, remnant memories and a duty to document them.
It Matters to Me
Group exhibition by 2nd year Bdes Illustration and Design students (Ulster University)
‘It Matters To Me…’ is a group exhibition of work by future illustrators and graphic designers. Chiara Linzenmeier, Eileen Neill, Emma Dowdeswell, Grace Haynes, Hannah Braeuer, Hannah Miller, Nichola Irvine, Phoebe Todd, Rebecca Kyle, Rosanna O’Kane, Sarah Fairley and Sylvia Mandic, all 2nd year Bdes Hons Illustration and Graphic Design students, present work relating to environmental issues important to them. Highlighting issues from the disposal of technology to the decreasing bee population, this exhibition shows young artists merging analogue and digital with the aim to engage and inform an audience.
Group exhibition by Charlie Scott, Hannah Clegg, Hannah Johnston and Megan Kerr
This group exhibition shares some of the processes used as each artist journeys towards a finished painting. The artists are all recent graduates from the Belfast School of Art. Hannah Clegg (RDS Visual Art Award), Hannah Johnston, Megan Kerr and Charlie Scott (Graduate Artist in Residence UUB) share their preparation work along with a selected painting so that we can see how ideas and processes develop over time.
Solo exhibition by Owen B
Owen B is a photographer and wood turner from North Down. Having studied Pure Maths, he has always been interested in the geometry found in nature and manmade structures, often combining them both in his work. Further study in Remote Sensing added another dimension incorporating how images can be created from wavelengths of light not visible to the human eye as seen from satellite data.
After a career in digital media processing, Owen has Re-Focused, building an archive of photography and finding new avenues for his creative work - spending the last few years working on his wood turning skills.
Documentation of of the exhibitions hosted by Artistslegup in Goose Lane Gallery from 2016-17. Soft cover books sold out. Hard cover copies available £16.50 ea.
Captured: Rich, rugged, and fresh
Belfast Bankers Studio Group exhibition. Guest curator Sally O'Dowd
Captured: Rich, rugged, and fresh –
The landscape of Ireland as depicted by three Belfast-based artists
Artists: Esther O’Kelly, Jonny McEwen, Neal Campbell
Curator: Sally O’Dowd
‘Captured: Rich, rugged and fresh – The landscape of Ireland as depicted by three Belfast-based artists’ is a visual art exhibition of paintings and photography selected for their contemporary representation of Ireland’s landscape. Witness seaside vistas of County Wexford, irregularities of a city, and the overwhelming vividness and freshness of the colour green.
The wilds of a raging Irish sea. The graffiti tagged walls of Belfast. A lush forest. These artistic depictions convey the experience and memory of Ireland’s built and natural environments, the human interactions of past and present, and our ever changing earthly surroundings.
The three artists showcasing work are Esther O’Kelly, Jonny McEwen, and Neal Campbell. The exhibition has been curated by Sally O’Dowd. All four are members of Belfast Bankers. This exhibition will make public for the first time new art made in the Belfast Bankers studio this year.
About the artists:
Esther O’Kelly BDES, BA, is an Irish Artist, from Wexford, living in Belfast. She graduated from The National College of Art and Design with an honours degree in Visual Communication. Esther has over 17 years’ experience working within the Creative Industry, in Dublin, Melbourne & Belfast.
Jonny McEwen comes from a background in painting, and having spent some time working with video and code, returned to painting with freshness, combining a painterly aesthetic with analogue/digital glitches.
In this new work he has returned to landscape as a theme, as he examine the edges of the urban landscape, and begins to understand the meaning of green.
Neal Campbell is a documentary photographer based in east Belfast. Neal's work is concerned with memory, human interaction and the built environment. Working primarily using analog equipment Neal's images are printed by hand using traditional wet printing in his darkroom at the Belfast Bankers Studio.
Sally O'Dowd is a socially engaged artist, writer and curator. She explores themes such as gender, identity, ecology, the body as machine and contemporary Ireland through performance, film, drawing and her curatorial practice. O’Dowd frequently works collaboratively uniting her artistic and curatorial practices. The artist is a recipient of the prestigious CREATE Artist in the Community Research and Development Award, Arts Council Ireland Travel and Training Award, and Cavan County Council’s Professional Development Award. She is a founding member of Townhall Cavan Arts Space, co-curator of trans-art curatorial organisation, and a founding member of the Belfast Bankers Artists studio.
1 vacant building, 29 Creatives, a load of bees & 12 months. It’s happening!
Belfast Bankers is a studio group of artists working across many disciplines - visual artists, musicians, puppeteers, photographers, filmmakers, beekeepers and writers. The Bankers took over an old vacant Ulster Bank Building on the Newtownards Road in early 2017 on a temporary lease. The short term lease provided the motivation to make something different and exciting happen and that it is.
Macellum (Slaughter House)
Solo exhibition by John Connolly
Solo exhibition by John Connolly
"In a rural area just along the border lies an abandoned abattoir"
The artwork could be described as dystopian, elements of science fiction horror or aspects real life prophecy. Various facets of history, psychological domination and passive political consent, all civilisation walking down hallways passageways, boulevards… Andron translated from the Latin meaning isle or corridor
Definition of CORRIDOR, passage in a building or train; strip of land or airspace providing access through foreign territory.
This installation artwork in very simple terms is freely based on a larger finished process based artwork. The sculpture is made from metals, minimalist in form. The artwork is not didactic. Consequently, the artist has invited discussion, suggesting he only throws his own light on the subject. The piece engages the viewer, where a walking physical body can access without passing through. To be in the passage is to be in life, slowly moving towards its end, but having time to reason and have moments of discernment. However, to imagine the other side is not to experience it we cannot breakthrough physically but only by breaking down our mind/body constraints, to transform aspects of ourselves, change our mind/body constrictions; the death experience is crucial for transcendence.
The constructed passages that direct us without direction, we follow the corridor down...Rome is the eternal city and the Alppian way is the road back, where we are instructed back to find its seat of power...We walk through the great Cities up and down its streets, alleys and avenues pushed along by great monuments, monumental sculpture and large human constructions. Inside these constructions, we walk along organised and ordered corridors that inform and order our lives, these physical constraints that are embedded into all modern cultures.
There are moments in a human’s life where opportunities are available, to have a clarity of vision, where the beginning and the end becomes clear. This end maybe terrifying or liberating, it is inevitab as humans, accepting this or rejecting it. It ultimately means the acceptance of death and the beginning of Elysium, the conception of the afterlife. Marcus Aerlius stated that the act of death is the act of life he also believed in the idea that if there is no after life then we just eventually become dust and subsequently we will know nothing about it...
Naom Chomsky wrote about Manufacturing Consent in the mass media a type of propaganda adopted by a media infiltrated by the world elites. He stated the editing of news termed not fit to print has moulded attitudes, mind-sets and ultimately, in ways of behaving; that the indoctrinated society since the 1960’s are eventually and slowly waking up, they are quicker to demonstrate, to dispute, to protest their dissatisfaction with the state of things.
Solo exhibition by Santa Leimane
Santa Leimane will graduate from Belfast School of Art in the summer of 2017. ‘Linger’ is a collection of works completed over the years studying Fine Art at University of Ulster.
Painting is an automatic process directed by subconscious ideas and lingering memories. Leimane’s work begins with figure, unnatural flesh tones, and tends to constantly transform within its context. Paintings are led into earthy and atmospheric hues leaving sense of solitude, angst and melancholy.
Group exhibition by Belfast School of Art Fine Art Sculpture students
Exquisite Corpse is an exhibition showcasing a selection of work that has been made by a group of students and artists in residence from the Ulster University. Each member of the group contributed a starting object which was passed onto the next person who responded to the object by adding to it materially and passing it on again. This process repeats until everyone makes a change to each object, resulting in a selection of pieces that have been worked on by everyone within the group.
Project and exhibition co-ordinated and curated by Drydan Wilson, Graduate Artist-in Residence.
As a Group we discussed some guidelines for the project.
Solo exhibition by Brian Kielt
Brian Kielt is a Visual Artist based in Derry and one of the co-founders of the Loft Collective. Having received the SIAP award from the Arts Council of Northern Ireland in 2015, this new body of work explores how perception varies in the eye of each beholder.
The Cage Without a Key
Solo exhibition by David Copeland
“Photography is not at all seeing in the sense that the eyes see.”
Through photography I look to communicate emotion or a state of mind. Using photography and landscape as method of understanding an overall subject whether it is depression, fear or entrapment. I encourage the viewer to find elements within my images that speak metaphorically to my subject matter.
I’m inspired by the world around me I will use social or political issues as a contextual vehicle to help communicate my ideas. By photographing unpeopled landscapes or architecture my images work give otherwise invisible, psychological and human emotions a very visual context.
Solo exhibition by Drydan Wilson (Graduate Artist in Residence)
In this exhibition, “Chance”, Wilson is exploring an interest in ideas of chaos theory, fractals, and infinite space, using a systematic approach such as rule based systems and process lead ways of working.
Drydan Wilson is current artist in residence in Belfast School of Art, after graduating last year from BA Fine Art. In the early stages of his career Wilson has shown work in solo and group exhibitions locally and internationally. He has taken in part in residencies, made public artworks and spent a year based in Finland, living working and travelling.
Solo exhibition by Alana Barton
“Abjection by its very nature is ambiguous, it both repels and attracts.”
My work takes place within a disturbed reality, based around the exploration of cults and the theme of abjection. Acknowledging that the ultimate form of Kristevan abjection is death my work touches upon the horrific mass suicide/massacre of the Jonestown cult on November 18th 1978. Officially known as The People’s Temple; a religious movement founded by Reverend Jim Jones in 1955.
I understand that the resulting images which have informed my practice may provoke the viewer. I hope I am anticipating that response in an honest and responsible way. There are many images that I will not deal with, censoring myself. However the images that I do interpret become something else through the studio process. The sense of abjection and horror is distilled and then diluted.
I take stills from documentaries about Jonestown and use these re-enactments to create an artificial take on a real event. The resulting imagery is hybridised, with real photographs split with actors. The recreation of the dreadful event results in the Disneyification of horror. In this way my practice draws upon Baudrillard’s theory of the simulacrum and the speculative relationship between what is real and what is imaginary. My paintings deal with a hyper reality, a way of mirroring and deflecting the horrors prevalent in contemporary culture.
Le Salon Des Diplomes
Belfast School of Art Graduate Group Show
Joseph Albert Archer
My current artwork comments on social, political and cultural issues based in Britain.
A side of society that I find very interesting, and one that affects the whole world not just Britain is the way media reports news to us, in particularly rolling news. A constant regurgitation of often one-sided news stories and opinion, it can be a somewhat overwhelming experience at times. I would describe my work as my version of a rolling news channel bombarding the viewer with information and windows in to British Culture through abstract expressionism.
“Abjection by its very nature is ambiguous, it both repels and attracts.”
My work takes place within a disturbed reality, based around the exploration of cults and the theme of abjection. Acknowledging that the ultimate form of Kristevan abjection is death my work touches upon the horrific mass suicide/massacre of the Jonestown cult on November 18th 1978. Officially known as The People’s Temple; a religious movement founded by Reverend Jim Jones in 1955…. my practice draws upon Baudrillard’s theory of the simulacrum and the speculative relationship between what is real and what is imaginary. My paintings deal with a hyper reality, a way of mirroring and deflecting the horrors prevalent in contemporary culture.
Julie Benson employs the use of mixed media and produces work by layering or adding multiples of discarded plastics, waste and other materials to regenerate/create new organic or structural forms which are also affected by restrictions of space, height, gravity. Underlying her work is the concept of how the body/mind can repair or heal traumatised, damaged or scarred cells, through mindfulness and expression, thus allowing for repair to take place, leading to a much healthier body, mind and spirit overall. Her work invites the viewer to reflect and question the impact of the unseen effects of emotional trauma on a cellular level.
'Within my practice I explore the themes of impermanence and memory. My art is centred on objects and their contexts. An inanimate object can contain emotional memory and act as a vehicle to other times and places. I select key objects to act as a catalyst for memories. In painting them I hope I am creating another catalytic object – a means of exploring transience and history. In my treatment of the figure I apply the same process of ‘objectification’. I aim to continually wipe the identities of my subjects, suffocating them through the medium to the point where they may no longer be visible. Is the viewer looking at a loved one or stranger? Friend or foe? Saint or sinner?'
After losing her eldest sister to an asthma attack, Kate explores the different triggers and symptoms of the respiratory illness. Suffering from asthma herself she uses sculpture and photography to paint the subject in a more settling and calming light to overcome the fear of having no control over her body. Images from the recent solo exhibition , the title referring to her own age and the age of her sister at the time of her death.
Wendy Ferguson's ideas stem from the often turbulent scenes depicted from the Romantic era. The exploration of the changing Fermanagh rural landscape is transferred into an abstracted, expressive surface.
Ferguson states that she is not "interested in a realistic landscape". Rather an approach that is inspired by this terrific formality, through paintings that seek to achieve dramatic outcomes in their execution.
My art practice concerns religious belief on gender identity. I seek to be true to myself with work that can be perceived as a symbolic expression of these issues that I believe are vital to the growth of society and Christianity
Trina Hobson originally studied Design which led to her setting up her own interior design business, undertaking a second degree, in Fine Art pursuing her love for colour and expression through oil painting.
Hobson was the recipient of the Dean's List Award for Outstanding Academic Achievement 2013/14 at Ulster University and has successfully showcased her work in collaborative projects across Ireland and the U.K. Hobson's most recent achievements include the RUA Award and The John and Rachel Turner Bursary for Outstanding Student and was long listed for the RDS Visual Art Awards.
Considering the media's response to the current Syrian refugee crisis and anger at the lack of news items regarding the ongoing Civil War, Johnston explores how war and the equipment used can cause such devastation to humans, including the use of drones in modern warfare and reconnaissance. Man made and the natural -the coldness of new modern warfare and the human lives and habitats are combined in Johnston's work through the use of digitally manipulated imagery made into paper planes and drones. Johnston uses both found and her own images. Organic imagery is manipulated to show the devastation and destruction, or documents showing how unnatural the war is- such as David Cameron's Speech declaring the UK to bomb Syria. Johnston's work is driven by frustration by the lack of empathy towards the Syrian people and an overall lack of humanity shown when looking at the news outlets across the world.
‘GRIT – My work is process driven. I focus on the aesthetics of industrial settings, their development, destruction and re-development. GRIT is a project studying organic textures that are created over time by nature in the absence of humans in their built environment. The work is focusing on the destruction and rebuilding of life’
Rachel approaches her painting with thorough conceptual research, a careful technical process, exploring and developing through a highly conceptual-based practice,
Her specific concern is with the theory of the ‘male gaze’ and the objectification of women, alongside the influence of the cinema. Intrigued with the Hollywood Film Scene of the 1960s-80s era, her inspiration comes from Alfred Hitchcock’s film Marnie (1964). She carefully selects a colour palette that works with relation to the time frame she is observing, and that coincides with the film production quality of that particular time. Her intention has been to find an interstice between how we look at the female, in films and painting.
In my practice I’ve tried to create paintings showing how women present themselves in ways which wouldn’t normally be seen through social media. In Ways of Seeing Berger discusses how a woman’s presence differs from a man’s, an inspiration for my painting.
“a woman’s presence expresses her own attitude to herself, and defines what can and cannot be done to her. Her presence is manifest in her gestures, voice, opinions, expressions, clothes, chosen surroundings, taste” (Berger)
I focus on the female body both. By painting the female body in the nude everything is revealed and a new intake of the female body is formed. By painting the body clothes clothed it shows more of how the female wants to be presented before herself and others. By collaborating both types of paintings into the one collection of paintings it shows so many forms and presentations of the female body.
My paintings are a cause for a meeting of figurative shapes and shades which emerge from a hidden light source. I adapt a freedom to distort shapes, with a bright but reduced colour palette. The odd shapes and abstracted figures are not part of an objective reality, instead they distort into sheer memory and imagination.
Performance is my form. My body is my raw material. I explore and re-write narratives that relate to my sense of self. I create an autobiographical narrative. By performing I am creating acts in time to protect the ideas that sit very old within myself. In making work I am allowing hidden things to leak out. Performance is the form to communicate the thing that matters for me.
My work concerns itself with how the viewer perceives and experiences objects in space. I have used light, colour and transparency as material; along with found objects and industrially accessible materials. I have investigated this within site-specific installations, containing ‘non-specific’ objects in which the viewer, the subject, perceives within space. The viewer animates the work and gives it meaning through their perceptual experience of objects in space and time.
In Aisling Wilson's paintings, the fragile and temporal state of infantile innocence is expressed through symbolic and metaphoric use of plants, fruits, and their environment. The idea of 'waiting for the poisoned apple to drop' in a blissful, but vulnerable, time-restricted utopia is implied in each work.
Drydan Wilson, graduated from Belfast School of art with a degree in Fine Art and a diploma in international studies. Primarily working in sculpture, but employing a range of media Wilson creates work that deals with ideas of movement, physics, energy and rule systems. During his degree Wilson has studied in Finland and travelled Europe. Wilson has taken part in a range of exhibitions, with solo shows both locally and internationally. He has taken part in residencies and created commissioned public artwork.
Solo exhibition by Kate Donaldson
After losing her sister to an asthma attack, Kate explores the different triggers and symptoms of the respiratory illness. Suffering from asthma herself, she uses sculpture and photography to paint the subject in a more settling and calming light to overcome the fear of having no control over her own body. The title  refers not only to her own age, but the age of her sister at the time of her death.
Elucidating the Human Form
My aim is to create a new balance between shape and movement in the body to create a raw, organic feeling of existence. I work in many different mediums to help begin and evolve my paintings to reach my beginning objectives of expressing self and presence.
Constantly experimenting with techniques in paint and developing my ideas and energies into other sources such as sculpture and performance have built a strong foundation for me to work upon. My processes now, I would say are an expansion of my own body and my own being brought about by the physicality and flexibility of art.
Ulster University Arts and Culture Society
Student Union Society Group Exhibition
Legacy of Love
Solo exhibition by Mary Gilfillan
Some work is 'A legacy of love' from year 2 . This year work titled 'Love and integrity'. A legacy of love was my portrayal of 'challenge' religious belief on gender order. 'Love and integrity' paintings are a relational practice in challenging religious belief on gender order with a hope that a. viewer may experience a change in critical thinking through an affective viewing of my art. Paintings are symbolic/metaphorical and my creative process is akin to a sense of truth as I endeavour to symbolically express honest emotion. Or just a short statement AS AN ARTIST MARY SEEKS TO BE TRUE TO HERSELF AND EXPRESS IN HER PAINTINGS HONESTY AND DEPTH OF FEELING, WITH A REALISATION THAT HER WORK IS AN 'SYMBOLIC EXPRESSION OF THOSE FEELINGS'.
UUSU Arts and Culture Society Show
Members of the UUSU Arts and Culture Society Group Show
Photo by Tivoli Barber Shop. The first exhibition by the society after the closure of the Belfast School of Art Orpheus Building.