8 January – 16 February 2018: Replaced Lives
The Peltz Gallery, Birkbeck
Printmaking is a global art form that makes and plays with multiples and series. It is a means for reproduction that has many different uses and connotations, and responds to a need to duplicate, transfer and translate.
For these reasons, BRAKC commissioned four artist printmakers who share the same studio, to create a unique visual response to their conference’s theme of ‘Replacement’. All four artists explored one aspect in the drama of replacement – that of replaced lives.
Jan Bastow depicts the dramatic impact of technology and worldwide mass communication on the lives of four generations of women. Catherine Guy-Murrell reframes viewpoints to emphasise multiple perspectives in the mechanics of perception. Ros Ingham uses metaphors to comment on both continuity and change in our links to the past and our relationship to objects. Trish Roberts’ work reveals a very personal WWI story: the tragic death of a wife and mother whose sudden disappearance and replacement had consequences still in evidence today.
Working in 2D and 3D, on paper, textiles and ceramics, the artists have used new and more traditional printmaking techniques that conjure up hidden layers, shapes and textures. As a result each print is both unique and original, deliberately created for the part it must play in reflecting intense narratives and changing states of being.
Birkbeck, School of Arts
43 Gordon Square
London WC1H 0PD
Saturday: 10am – 5pm (Unless otherwise stated)
Family Ties: Reframing Memory
3 to 25 July 2014
The Peltz Gallery, Birkbeck, University of London
How might we read memory in relation to the family, and how might we enact these memories in visual form? This group exhibition addresses the representation of family memory through the lens-based works of six artists. Family Ties: Reframing Memory explores the bittersweet aspects of nostalgia, yet also questions the conflicts and contradictions inherent in acts of remembering. Suze Adams navigates the borders of fact and fiction in an exploratory re-tracing of her maternal ancestors. Nicky Bird draws on family albums belonging to others to illuminate personal, political memories connected to place. Jacqueline Butler’s poetic approach alludes to sensory memories prompted by public photographic collections and her personal archive. Rosy Martin re-enacts a lost past as she embodies both of her parents in their family home and evokes a sense of haunting using projections. Lizzie Thynne’s experimental documentary reflects on her mother’s life as well as the inter-subjectivity of all biography and choreographs memories of family and relationships from the Women’s Liberation Movement. Sally Waterman recalls traumatic memories of family conflict through literary adaptation and staged re-photography. As artist members of the Family Ties Network, their work offers a poignant and provocative response to themes arising from the conference, Picturing the Family: Media, Narrative, Memory.