EM:16 Dave Dent

Dave Dent is not where art meets science because he doesn't seem them as opposing forces to be joined, he sees them as seperate paths to the same destination. We discuss his intentions with art to reconcile faith and science, the differences in metals and ancient Egyptians. It was great.

Have you felt much of a difference creating for a ‘graduate show’ as opposed to creating as a student?

It is nice in some ways to be doing a project that isn’t assessed but I am actually doing an MA. This is part of the practical work for my MA so it is actually being assessed! I’m in a very odd position.

That is quite an odd one, one of the things most people have said so far, is they feel quite free being away from the assessment side of things. Do you think you’re missing that?

I’m trying as hard as possible to think of it as not being assessed. The fact it’s an MA I do have a lot more freedom and you build up a freedom through your degree so it’s an extension of that... But I can’t completely divorce myself from the fact [it is assessed].

Yes, I was naughty and asked if  I could touch them all

Yes, I was naughty and asked if  I could touch them all

What made you want to do an MA?

It took me a long time to start doing my art degree. Before I started my degree, my last formal art lesson was in 1973; I didn’t do, what was in those days, O-levels Art. I went into sciences and didn’t do any formal art from 13. I trained as a microbiologist. There’s an Einstein quote that says all religions, arts and sciences are branches of the same tree and I’ve always viewed that [they’re] an exploration of the same thing. It’s a way of trying to interpret and understand reality, or at least that’s how I see it. I suppose through art I am trying to reconcile my spiritual and scientific understanding into a coherent… (laughs) It’s not coherent by any means because it’s too complicated but I’m working on it. It’s a work in progress. But, going back to the original question of why I’m doing an MA, I have just loved the process. It’s been something that’s been with me for many years but having started formal training in it and education, I don’t want to stop.

That learning style must be quite different to a Science degree?

Yes, it is, but my approach to art is very systematic, very methodical in lots of ways. My degree piece, I actually planned, I mean, it was in May but I’d planned it from April the year before. I had the idea while I was putting up my end of second year piece and basically worked towards it. I mean with this, I decided pretty much before the residency what the outcome was going to be, it has changed a bit because it’s not on the wall anymore, but I have to order the glass so I have to decide how much glass, how many.

With the group name Pulse, do you relate it to your work at all?

I’m not sure it does but it also doesn’t jar with the work. To try and come up with a title for such a diverse range of work... Trying to come up with a title for our degree show, it didn’t quite break out into warfare (laughs) but we had a vote and in the end it was ‘Derby University 2016 Fine Art Show’. [Pulse is] a good title; it’s succinct. There’s suggestions of being contemporary and on the pulse so it works well on the title.

Tell us about how you got into this form of glass painting, with layering metals? It’s not necessarily what you expect if you hear glass painting

It started in my second year, we had to do a response to something in Derby Museum and Art Gallery and I picked Joseph Wright’s ‘The Alchemist Discovering Phosphorus’. I did a piece based on alchemy, I basically produced three panels, the first panel represented lead, the third gold and then in the middle I did a philosophers stone which was actually a bronze panel. A scientist called Glenn Seaborg, used a particle accelerator to actually turn lead into gold. Only a few atoms but still, you could do it! Basically by firing protons into a nucleus and making it bigger. All three panels were square, and I coated bronze onto [the philosopher’s stone]. Then, there’s a thing called the feynman diagrams which represent the interaction between the particles for the reaction; I carved them into the surface of this bronze panel, of the transition from lead to gold, so that was my philosopher's stone. So that’s really what got me into coating metals onto glass and then I thought, there’s quite a long way I can go with this. I started playing with various other metals and materials; I got very interested in the concept of art as alchemy. Artists take basic materials and hopefully transform them into something that is valuable, something beautiful… Well I mean, beauty is an odd concept but, we take base things and transform them. Artists are alchemists.

So it flows back to what you said, art, science, spirituality, being from the same tree,

The earliest alchemy came from priests in ancient Egypt and the mummification of bodies; alchemy grew out of that, through the Middle Ages and again a close relationship between alchemy and priests. Then a lot of the experiments that alchemists did in the search for gold produced the particles that artists use. Eventually alchemy grew into modern day chemistry. I think because knowledge is so vast these days we have to break it down into understandable chunks but by doing that I think we lose the connection quite often. I think artists make connections and it’s about inviting viewers to make connections.

Tell us a little about your project, what we’re going to see on Opening Night?

There has to be something about the work, and I hope there is, that invites them to engage with it because if they don’t engage with it, on an aesthetic or a tactile level, they’re not going to think anymore about it. It’s got to be engaging in some way to invite the viewer to wonder, is it about something? If it is, what is it about? To engage with it as much or as little as they want to but there’s got to be something there, an access point of some form.

What do you want to get out of the residency?

Tthe experience, working with a different bunch of artists, exposing my work to a different audience and just sort of an opportunity to do some more exploration, mostly outside of university. (laughs) It’s a different challenge, a different way of working and I guess if I have future residencies I’ll be a bit more reckless and not plan so much before I go in, try and sort of break away from being too controlled.

How are you finding sharing a space with everyone?

It’s just great coming in and  you chat sometimes, you get on with your work and there’s been no sort of, artistic differences. It’s a big enough space, it’s a great studio space,

davedentartist.com

Written by Lucinda Martin for Surface Gallery

Images by Gavin 'Urban Shutterbug' Conwill

EM16: Pulse 4

The project space has begun to empty as our resident artists move their work downstairs and take over the main gallery space. There’s a monster in the middle of the room, black drapes dancing from the rigging and a lace table, that isn’t quite a table, by the stairs… It’s hard to believe that all this has been created in only four weeks. It's harder to believe we're almost at the end of those four weeks! Our artists have shown nothing but dedication and love for their work but it’s not just their exhibited work; they’ve done their own press release, designed their own catalogue and really taken every opportunity to make this their show. At Surface, it’s been a pleasure to watch their work grow and to help in whatever ways we could. I think they can also feel very safe in the knowledge they have some huge fans in all of us (especially me, I can never stop gushing after each interview how excited I am for opening night).  It comes back to what Jane and I talked about, Surface very quickly becomes your home and I think we quickly take in our artists are part of our Surface family.

So what’s next? Well, opening night is the 4th November 6-9pm and we would absolutely love to see everyone there. It’s a celebration of learning, a celebration of growth and just looking at some interesting art. Plus, we have some cracking local beers and I don’t think there’s a much more satisfying Friday night than wandering around Surface with a Roaring Meg. 

After that we have an artist talk and tour on the 12th November at 2pm where you can follow after the artists and ask everything you didn’t get to read in our interviews. You can engage with their work and question their motivations or you can find out their favourite flavour of crisps.

There’s a whole two weeks to explore and enjoy their art and then you can always keep up with them online

Tracey King - traceyking.com / Uta Feinstein uta-feinstein.com /

  Jane Smith janerosesmith.wordpress.com / Tayler Fisher taylerfisher.com

Connie Liebschner  connieliebschner.com / Dave Dent davedentartist.com

Miriam Bean miriambean.comEllysia Bugler ellysiabugler.com

Written by Lucinda Martin for Surface Gallery

Images by Gavin 'Urban Shutterbug' Conwill

EM:16 Jane Smith

Jane doesn't sit during our interview so neither do I, she's got an energy you can't help but bounce off. You instantly feel at home, which makes it especially warming when she says she thinks Surface of a home from home as well. As she talks of communities being pulled down only to build themselves back up again and using negativity to build something positive, you do feel a little more chipper, a little stronger, a bit ready to do something.

Have you felt much of a difference creating for a ‘graduate show’ as opposed to creating as a student

I’ve just finished my Masters [and] I was by myself a lot of the time because I was the only person doing that particular MA. I had my own show and I was up in the metal workshops, down in the plaster workshops, then in the studios, all to myself, no one else around so it was really nice to come into the residency and have other people. It’s marvellous to go, ‘what do you think of this?’ These guys are great because they’re giving loads of input and that’s why my work has changed so much. I was interviewed for the project and I came up with this idea that I wanted to work around [Sneinton] market and have feedback from the people of the markets. I found this book, ‘A Walk Through Town’, so I started researching and it’s all stories from the markets, people from the market, and all the backgrounds and this area. There’s actually clay underneath [the market] and it used to be a brickwork. Well I’d started working on a little idea of my own of casting bricks with plaster hands inside because I work in fragmentation, the whole idea of wholeness and fragmentation, and I thought I could do something with that. I decided to make the bricks here; I decided if I’m going to be here in a residency, I’ve got to do it here. I’d rather be here making it.

With the name Pulse, how do you relate it?

We all sat down in the first meeting and came up with three words, mine were fragmentation and wholeness and body but then I was thinking I’m working with the idea of community and there’s a pulse in community. Pulse is absolutely ideal for me because the whole concept of my work is community all coming together and the hands that built that community, that are still building this community, because the fragments are still there. This market has been taken down a few times and built up a few times; that’s the idea of the wall, it’s not to keep people out, it’s to remind people it may be knocked down but it’ll always be rebuilt and there’s part of the people inside there.

When did you get into sculpting?

I came to Derby 27 years ago from Belfast, I’d done my foundation art at Ulster University and then I worked in the YMCA for a year doing art for them, designing logos, that kind of thing and then I came to Derby. My university tutor kept contacting me saying “there’s a new course starting at Derby, a HND in jewelry design, and I think you’d be perfect for it” so I came and did jewelry design and I was taught to be a jeweler. I did that, and when I finished, life happened, you have to get out there, get a job, so I got a job in a jewelry shop, became a manager of the jewelry shop, worked there for quite a few years. Then I had my little girl and I started working in a gym as a personal trainer, but the shifts were just… I didn’t see my family, I didn’t see my husband, I didn’t see my daughter, what’s that all about? Where’s your life going? So my husband said why don’t you go back to uni? Then I went to my Dr. and he said, ‘you need to change your job, this job is killing you, it’s getting you low, you just need to get out there, go back to uni.’ Everyone’s telling me to go back. So I went for a look around the Derby University degree show and I thought okay, bit different. Fine art, I thought paintings, you’ve got that thing in your head. I had a chat with Carl Robinson and he took my email and when I got home I had an email from him saying come in for an interview, come for a chat, so I went for a chat and by half seven that night I was in on the second year. I was like oh god, going back to uni then! I started in year 2 which was quite amazing because it was full on, head down, hit the ground running and for my degree show I won the Derbyshire foundation community award. I discussed with my tutors perhaps doing the MA and they had a little chat, yhup, we think you’d be ready to do the MA so the same day they said yeah, we’ll deal with the paperwork but you’re in. That was an experience because they’d never dealt with a 3-Dimensional artist before, it’s always been 2-Dimensional. They were going you’re a pioneer! It was a bit tough sometimes.

Were they really supportive or were there growing pains?

They were supportive, it was new for everybody. The tutors and me, we were in the same boat because obviously, they weren’t set up for this but y’know, we did it and it’s laid the basis for other people doing 3-dimensional work at Derby which is good. They did talk to me and say how can we fix this? how can we help other sculptors?

We’ve talked about it already, with this sense of community and building it up, but what should people expect from your work on opening night? Will your work continue to express community to the audience?

I like to think so, I worked at a residency in Derby Arboretum, with Artcore, last Summer and it was 175 years since the opening of the arboretum; they asked artists to put in proposals in so I put one in and I based mine around the fountain that’s in the middle and they took it on. That was community based, I was doing a lot of workshops, almost everyday. I was going into the park and kidnapping people because I was inviting them to draw on this massive 8 metres of material. They were drawing on it, doing tags on it, they could do anything, write in their own language, they could just stamp their hand. It was open to everybody. Then I ripped it all up into shreds and made a spiral out of copper and wrapped it round. I got asked, “when you wrapped it, did you have it set out how they were going to go?” and I was like “No, I mixed them all up,” they said “oh I love that”. That was the idea, communities are mixed up, we’re not all the same, we’re so diverse. There’s so many different elements that everybody is overlapping and that’s beautiful.

Is that where fragmentation comes into it, because that’s a word you mentioned earlier you relate to your work, but we’ve mainly talked about bringing things together?

I think I do, I think because of coming from Belfast; Belfast has the most lovely people you’ll ever meet in your life, beautiful people but the society is fractured. It’s such a beautiful country and such a beautiful place but the people are broken and although we kind of look at it from the outside, things are still happening there. My family all still live there but I live here and it’s something that sticks with you. I always think being born in 1966, you will always be known as a child of the troubles, because they started in 1969, and you carry that. I wouldn’t say it’s a cross, it’s not a stigma either, it used to be, but now I carry it more with a sense of pride. Yes I am a product of that but look where I am. That’s why I like getting into community things and getting amongst the people because I like to say look it doesn’t matter, what religion, what colour, what creed, it’s about community. It’s about you and that’s what makes the world stronger.

Why did you apply for this residency, was their something about Surface for you?

I think it’s something I like about Surface to be honest, it’s the diversity of Surface and it’s where it is. I think it’s sort of on the cusp of really getting somewhere and I think having something like Surface attached to your name is a big bonus to you. I’m dead proud, I think because you put so much into it, you put a bit of you into it. It’s your art, it’s such a personal and private thing and you’re laying yourself out there, laying yourself bare but… It’s okay because it’s warm and soft in here and it’s okay. It is like a home from home for art. It’s starting to really get up there, it’ll be nice to be up there.

How do you like sharing a space?

It’s marvelous, I love talking to people, and I can talk. Do you know what’s lovely as well? Seeing everyone’s work progress and change, it’s gone one way and then it’s gone another, that’s the beauty of a place like this.  And that’s good, that should be happening! As an artist, you never should stick to, I am making this and it’ll only be this way, if you’re doing that, what are you doing art for? You need that bit of risk. You need that element of surprise.

Written by Lucinda Martin for Surface Gallery

Image by Gavin 'Urban Shutterbug' Conwill

EM:16 Pulse 3

It’s hard to believe we’re already three weeks in! It doesn’t seem like long ago we were taking down the last exhibition and prepping the project space for our EM16 residents to arrive. Already the depth of work is fantastic and there’s still two weeks to go until opening night on November 4th. As Connie said in our interview, the project space is an inspiring one. Every time I pop into the project space, I see the work grow, new additions being added and refined and I’m more excited for it to be shared with everyone on opening night.

This week finishes up our series of critiques sessions, the group crit being led by Diana Ali and individual sessions led by Sumiko Eadon, Shelley MacDonald, Christine Stevens and Bruce Asbestos. All the artists seem to have really responded to the chance to get feedback from established artists who have experience in a gallery setting. Everyone seems to have used it to develop their work, as can be seen in my interview with Connie (here) and as I discussed a bit in my interview with Dave Dent (which you’ll have to wait until next week to read). My main worry about opening night is how we’re actually going to carry everything down, specifically a certain metres high monster.


Our workshops so far have been a great success, the volunteers have even been fully taking advantage to grab a space on one whenever they can. It might even be leading the way for something special from Surface in the future… It’s given our artists a chance to try something new in the creative field; that’s the beauty of the residency, and Surface in general for our volunteers, it’s about trying something new and finding what works for the individual.

While I mainly poke around everyone’s work, and I’m only a bit ashamed to admit, ask if I can touch it, our artists have been doing the real heavy work: designing posters, writing press releases and deciding what to do with that lovely big window of ours. Miriam has put countless hours into the poster design and Dave Dent worked on our press release; it’s nice to be able to get involved in every aspect of their graduate show to really have the control over how they present themselves. When they discussed design ideas, the concept that was constantly returned to was shedding the student skin and becoming artists in their own rights. The designs definitely do this - they’re bloody lovely, you can even read the press release and get a sample of the flyer here.

One of the things I’ve especially loved during my interviews is finding out why the name Pulse resonates with each artist and why they came to Surface because despite their work being so diverse, there is a theme that pulls them together. Life, movement, transition, change, and whether it’s come at from a confrontational or reflective place, it has all been about growth. That and me following them around with coffee asking for quotes.

Written by Lucinda Martin for Surface Gallery

Images 1 and 3 by Gavin 'Urban Shutterbug' Conwill

Image 2 by Surface Gallery

EM:16 Connie Liebschner

Reams of Connie's black fabric hang down from our skylight, it takes the middle of the room and the rest of the work exists around it but also as part of it. Where the fabric falls here, you notice how it frames itself around a desk and draws you to the notepad left on it, where it climbs up to the ceiling you notice how lovely the light falls through the arch. We sat down to discuss drawing attention to what's actually around you and enjoying the smaller moments.

Have you felt much of a difference creating for a ‘graduate show’ as opposed to creating as a student

There’s a difference between setting your own goals comparative to the goals set on a degree course; it’s nice to have that freedom to be able to do something without necessarily having to tick boxes or jump through hoops so you can justify what you’re doing. It’s nice not having to stop the flow of continuous creativity to stop and document those moments. You can be really in the flow of doing something and it’s really working and you’re inputting something you’ve read but you don’t have to stop and go ‘right i’m going to evaluate why this happened’; even though you do that naturally in your own head. Liberating is the way I’m looking at it but it’s also slightly daunting because you don’t have that cushion of being an undergraduate. You’re establishing yourself as an artist and thinking well this is one of the first pieces to come out after [graduation] so there is some pressure but more from a personal point of view.

What does Pulse mean to you, how do you connect with it?

I think Pulse symbolises something alive and there was also a jokey irony like we’re all still alive, we’ve survived and we’re still wanting to do this. Because financially it’s difficult and there’s a lot of things that say why on earth would you do that kind of thing, despite doing a degree in it, so i think it’s nice to… There’s sort of that thing that we’re still desperately trying to pursue that avenue. We’re still alive, we still love it and there’s that kind of side of it.

But also, in my own practice, I like to do stuff that’s with the here and now and where I am at that moment; it’s about the light-space interaction but it’s temporary and it’s a personal moment and that only happens when you’re alive in that moment. I think Pulse is relevant to everyone’s practice in some way, but that’s my personal take on it.

That personal moment you mentioned - is that something you want your audience to feel, some personal moment with your work?

I think it’s a reflective moment, there’s a personal association for me; a lot of my work is based on observing the everyday and taking a moment to think, yeah actually, that’s really beautiful, that’s really aesthetically pleasing. You look at something in a slightly different way and I think that’s really nice to stop and be reflective on this process. Sitting in this space, it’s been an inspiring space for me because it is interesting architecturally but also being amongst new, creative people. I’m trying to use the space as part of the work and it’s specific, what I’m feeling at that moment. I’m thinking, right i’m going to observe this, I've not really done stuff like this before. It’s really interesting because I'm personally interacting with the space - drawing people’s attention to different parts of the space, maybe slightly differently than how they’ve seen it before. In answer to your question, I guess that’s what I’m trying to get across.

How did you get into using light and space as a medium?

Throughout my degree, I really spent my time documenting the everyday and so, I use a lot of stuff within my own house and this idea of moving and every time you’re remaking a space and after a few months it becomes like home.. Exploring that, I used several different mediums, I was painting, I was photographing, I was printing and all the time the house became like this installation piece. It was quite funny because we’d have group crits and people wouldn’t necessarily know about my work beforehand and they’d say ‘oh is this a set design, have you set this up?’ None of it was ever set up it was all just things I was observing as time went on but because people don’t stop and look at the everyday you assume it’s some beautiful show home type thing where the light’s coming across and everything’s really perfect and it’s not. It’s just you’re in that moment and you go ‘I want to photograph that’ or ‘I want to paint that really quickly’. I think a lot of the time artists are searching to find out what they’re interested in but actually it’s all around them all the time.

There’s a little extracting formula for it as well - like what do all these images have in common because often it’s very visual. There’s often lots of similarities between the images so you’re thinking is it a tonal thing? Is it the light? Is it an angle that keeps repeating or the window? What is the formula to that moment? Because everyone relates to that same moment. I remember somebody saying to me, it’s really strange because you’re putting this out there and then everyone else is relating to it so then this solitary becomes a group thing.

I know we’ve touched on how you want to draw people to what they don’t really notice but how will you use the space - what do you want people to get from it?

We were discussing this with Diana Ali, [in the group critique] and I was saying I’m really inspired by this space up here and how’s this going to translate downstairs because it’s a very different space. I think the idea is I’m going to respond to it quite spontaneously not too far beforehand because I think then it becomes a bit forced.

The interesting thing about the space downstairs is it’s an exhibition space so there’s remnants of that everywhere - there’s hooks and hanging points you can see, the nails in the ceiling where people have hung stuff before and I think that’s kind of interesting because you can draw attention to the history of that space by attaching and reusing those kinds of fastenings or whatever and I’ll play on that. I want it to be about the space not just about what I’m putting into it so that will kind of dictate where the fabric will go - where it will be hung from. it’s kind of exciting but also a bit scary because i’m usually very much, i know exactly what i’m going to do and i’m coming out this from a very different - much more spontaneous angle.

It must be quite difficult though because you’ve got a lot of fabrics set up here - in the space - and it will need to move down to a new space.

I’m always changing it, that’s the thing about it. I’ve been using these chairs [to position it] and I like the idea people can then sit in the chairs. Originally I wanted it to be really clean and I was going to drill bits into the floor so I could do fastening very discreetly. Because I’m experimenting, I don’t want to do anything that will risk the fabric for the time being so I’ve just been attaching them to the objects that have been up here but actually the chairs work really well - if you go sit in the chairs you get a completely different angle from each one and it pulls you into certain points in the ceiling which I think is really interesting so maybe i’ll end up using chairs in the space.

Diana advised us to go with it and literally a few hours before opening just set it up and i was like oh god, i’m not sure about that but i get what she means, it’s a very spontaneous approach to something that could become very artificial. Like a bit pre-planned and rigid and what works about it right now is that it does feel fluid. I don’t mind if people move the chairs, it moves the dynamics of the space and that’s the fun - I can just take it down. Each time I take it down and put it back up it’s turned out completely differently.

Why did you apply for the residency?

I think it’s very difficult at the beginning to create by yourself with no input - it’s almost like you get so much freedom it’s overwhelming. The first few weeks after my degree I was really into the flow of it and I was really excited about what I was able to do; I started printing again and started doing things and really enjoyed the making aspect. I applied for the residency because I thought actually it gives me an opportunity to be experimental but within this sphere where you’ve still got other people's input - all these new artists, and everyone at Surface, that I’ve never met before and that’s really helpful because everybody has come from a slightly different perspective - so that’s an interesting dynamic for the group. We’re all very different in the subject matter, I was hoping that would be the case because it gives you a completely different input so i think the residency is really helpful because it’s that transition point.

So you’re enjoying sharing the space with other people?

I like the feedback because what you like doing, you can get very stuck in a certain route and you keep doing the same thing over and over again. You don’t have anyone to say oh what do you think of this - it’s really nice to have a new set of people to say should I make it interactive? Do you like these photographs ? It’s even really nice to have someone say I don’t think that’s working. People don’t often say they don’t like things - it allows you to question yourself a bit more.

Written by Lucinda Martin for Surface Gallery

Images by Gavin 'Urban Shutterbug' Conwill

www.connieliebschner.com

instagram..com/Connieliebschner_art

EM:16 Pulse

It’s one of the most exciting times of year at the gallery, not only is Halloween just around the corner but the East Midlands Graduate Programme is finally beginning its residency. Our eight resident artists have been chosen for offering a style and project our committee was genuinely excited to showcase; and this year our artists cover a wide variety of mediums and influences so it promises to be a varied and exciting show. There’s something incredibly special about the first project created after graduation when you are beginning to label yourself as an artist without the adage of ‘student’. We’re excited to be part of this transition and hope you are as well.

    Connie Liebschner, Uta Feinstein, Jane Smith, Dave Dent, Tracey King, Ellysia Bugler, Tayler Fisher, Miriam Bean

   Connie Liebschner, Uta Feinstein, Jane Smith, Dave Dent, Tracey King, Ellysia Bugler, Tayler Fisher, Miriam Bean

Our first planning meeting, this Monday, was the first time we’ve all met in one big group; this could be an incredibly awkward experience with lots of drawn out introductions and ‘ummm’s but everyone’s instantly bonded. We’re all there for the same reason, to create something great. and besides, we don’t have time for nerves, there’s too much to do.

                      The Group Discussing Ideas

                      The Group Discussing Ideas

Our main aim this week is to discuss flyers and names - how the group want to brand themselves and present their debut. The recurring idea is that the design, and name, needs to say ‘Artist’ not Art Student’. The name settled on is Pulse, and the flyer, well, you’ll have to keep an eye out for that.

This week, the group was happy to meet with John Mitchell, of WiT Partnerships, who is conducting an independent evaluation for Surface to follow the residency; it plans to see what the artists hope to gain from the residency, what their plans are and then will reflect back on this once the exhibition has actually begun. John describes it as “more about learning than evaluation,” and it promises to teach us at Surface as much as it does the artists.

Next week, the artists will be having their critique sessions, which was mentioned in our October newsletter. Local artists will be meeting with the graduates, based on their experiences for individual critique sessions, as well as a group critique. Look forwards to reading more about this next Wednesday, when we look back on what’s happening and how the group are feeling for their sessions.

                                                       The Artists known as Pulse            

                                                       The Artists known as Pulse            

This Saturday kicks off our first EM16 workshops, the ‘Noisemaker Workshop’ led by Miriam Bean and ‘Engaging the Senses’ with Ellysia Bugler. I’ll also be publishing some interviews with them on Sunday so make sure to check back and find out how it went!

Written by Lucinda Martin for Surface Gallery

Images by Gavin ‘Urban Shutterbug’ Conwill