Take away Lobster to Liverpool

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‘All the Fun of the Fair’ is the latest installation from Liverpool based artist Alison Little. As part of the Liverpool Independent Biennial, it is being exhibited at 5 Bold Place. She presents a scene based in the American seaside resorts of Maine Country where the lobster is king and sold from the takeaway food stalls which litter the coastal towns.

Alison Little is an Artist and Writer, though her work she looks to combine her creative practice across visual arts and literature. ‘All the Fun of the Fair’ in its first concept is a short story of a young student who is raped during a summer placement in fairground town in the United States. This was written by Alison Little and has been published on her Blog in addition to several zines. This has been developed into a full chapter for the novel she is writing: Casual Nexus. In combination with the creative writing process, Alison produced a giant, man-size Lobster made from a process of creating a polythene shell and filling this with shredded paper. As an artist, she has been developing this technique for several years and often identifies similar subject matters of sexual violence and mental health. The lobster was exhibited for Sound City in the Baltic Triangle in combination with a reading of the original fictional source in May of 2018.

‘All the Fun of the fair’ the installation suspends the giant lobster form in the windows of Bold place. The inner side of the works contains statements related to the violation which can be read when looked at the mirrors located on the lower level. Sand runs across the bottom of the installation, covered by an arrangement of broken beach toys and discarded low-cost trinkets. These elements suggest American, Maine County, in particular, beach holiday debris. We present a New England seaside town where the lobster is prominent on the takeaway food stalls which line the Seafront.

In the initial short story, the rapist is transformed into a giant lobster, the girl unable to move throughout the act. To the underside of the shelled creature, we have a collection of statements relating to sexual predication. ‘Invade’, ‘Assailant’ and ‘Molestation’ are all prominent terms amongst the others present. The broken mirror is positioned to the lower side of the giant sea creature, this allows the viewer to position themselves to read the terms from different angles.

The ground space of the installation is cover with sand to suggest the golden beaches of the North American seaside towns. However, the beach area is covered in litter to suggest adverse lifestyles. The discarded freezer blocks and pick nick cups, in addition to food stall waste, set the scene for an unpleasant beach holiday. The prominently positioned coffee cup displays a label from Maine County, combined with a Portland Take away lobster box indicate the New England North Atlantic Coast. The end of games and childhood fun are presented through the broken and lost assemblage of outdoor toys. The burst and deflating paddling pool suggest an end to the innocence of infancy. An indication of celebration but also destruction are introduced by the exploded firework and the burst balloon. Could this be a fourth of July party gone wrong? Cheap State side Larger is forefront in the window display, Budweiser cans convey a seafront drinking party where the cans have been swigged down at pace. The presence of rough sleepers, or more commonly terms vagrants is given through the squashed, toxically coloured cider bottle. The American term these individuals ‘Bums’, they are present in these towns during the summer months, they travel to the resorts when the population swells to solicit the tourists. On a darker note, we are presented with narcotics, the indication of a luminously coloured crack pipe, surrounded by packets of Rizzla, cigarette papers used to inhale cannabis. Do we have a scene of destruction where intoxication of controlled substances is a factor? Ultimately, we have a final item of sexual debris, a Durex wrapper, the Transatlantic term being ‘Sheaf’. Has there been a sex act gone wrong, a liaison which has ended in devastation?

On first inspection we see a Transatlantic beach holiday representation, on deeper investigation we see a holiday gone wrong. We see destruction and devastation, we see negativity and hostility.

Dates: 3 August – 3 September, 2018
Location: 5 Bold Place, Liverpool, L1 9DN

See Map

Times: 07:30 to 23:00 daily (viewing from street)


Art In Windows is a small organisation that works with landlords and artists to commission and curate temporary and permanent art works for display in empty windows in and around Liverpool.
Art in Windows

The Liverpool Biennal Independents runs from the 18th of July until the 28th of October.
Independents Biennial

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ED

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ED

Erectile Dysfunction

‘ED’ is the latest conceptual based sculpture from Alison Little identifying issues around impotence.

In the works, she utilises similar techniques of constructing a polythene outer shell then simply ‘Stuffing’ the form with shredded paper. A concrete base is used to engage with a free standing frame, approximately 1 meter tall in height. The use of red tones to show the rush of blood to the groin area, grey papers filling the sex organs to indicate a lack of response. A black cord is lashed around the foreskin area then brought through the scrotum, finally being attached to a traditional style weight to emphasize the lack of ability to gain an erection.

The main lower body of the sculptural piece to be filled with printed statements of relevance to impotence. A range of colloquialisms such as lame and limpet, moving towards more scientific terms such as infertility and erectile dysfunction. The progressing to the psychology behind the issue: masturbation from much before the teenage years and the extremes of men who are unable to perform in normal sexual circumstances but can gain an erection in a sexual violence situation.

The weight attached to the end of the penis highlight how it cannot become erect, on a secondary note it is bell shapes and echoes the popular English Pun where the term ‘Bell End’ is used in reference to the glands (Head) part of the penis.

On the surface level an entertaining piece, on deeper inspection a thought-provoking collection of statements informing us of the darker side of human nature.

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Keys

Keys Image copy

Keys is the latest flash Fiction work from Alison Little.

Keys

Around us we are surrounded by keys, hung from every section, floating around, spinning. Shadows brightly identified by the white surfaces which are the parameters of our encasement in this heaven -like cell. The keys float and dangle head height like angels in an outer world. The jingles and rattling almost ghost-like, jitters of evil coming to take us from the purity of our setting. Clattering faster and faster, more and more in motion together, louder and louder, machine gun like in battle, will we be taken?

Subtly they quieten down, jingle in serenity again, bell-like, the instruments of the piano, not one of the devils jailers on a dictated mission to take us to him. We are safe within the white purity of our surroundings, the playful clacking of the brass and steel instruments of secure captivity. The tags which identify their uses, the fobs which fumble and the enlarged shadows which follow their leaders every move. Sounds which surround, which inform, which provide safety but exclude us from freedom.

A dreamscape of soulfulness suspended in our vision and the recipients of the routes of sound waves. Serenity, shadows and the safety of celebration.

Alison Little

Keys was written in response to an art installation all named ‘Keys’ created by Raymon Watson for the History of Hands exhibition held at the Victoria Gallery & Museum in Liverpool. In this, a collection of keys originally from the Crumlin Road Prison were suspended and used in conjunction with a sound installation. The exhibition ran from the 10.03.18-21.04.18.

History of Hands Exhibition

Victoria Gallery & Museum

Suspended: Bold Place

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The Female Suspension

The female suspension takes over 5 Bold Place until the 8th of April. The lower bodies were hooked through the groin and suspended from chains earlier in the week. In the shadows of the Bombed Out Church, Bold Place lies directly beside St Luke’s Church, Liverpool City Centre.

The Female suspension is an installation which addresses a world of sexual violence. The lower bodies and limbs of numerous women who have been raped are suspended by chained, hooks penetrating their groins. Meat like, a waste product, violated then disposed of like an animal carcass meat still to be stripped from the bones.

This will be the fourth installation to take over at 5 Bold place as part of the art in windows project. Art in Windows is a small organisation that works with landlords and artists to commission and curate temporary and permanent artworks for display in empty windows in and around Liverpool.

The form is a female abdomen and legs extending down to the feet. Each represents a rape victim, The World Health Organization (WHO) estimate:

Global estimates published by WHO indicate that about 1 in 3 (35%) women worldwide have experienced either physical and/or sexual intimate partner violence or non-partner sexual violence in their lifetime.

(WHO, media centre, Violence against women, fact sheet, updated November 2016)

The charity Rape Crisis England and Wales respond to an average of 3,000 calls per month from women who have been raped. In November 2017 there were 422 recorded violent and sex offences recorded in Liverpool alone. It is estimated that only one in every ten incidents of rape are reported to the Police: the actual figure is projected to be much higher.

Polythene and shredded paper are used to create each of the sculptural works, red toned papers are used around the groin area to reflect the pain suffered from the attack. Wire wool is used to represent the pubic hair, this demonstrates resistance from the violation. The lack of upper body and stones in the feet show a woman who was unable to oppose the onslaught. The hook is driven through the groin area, this enables us to reflect upon the extreme violence used in sex attacks. We view the forms suspended in a commercial environment, infinite in number and we are given the impression that more will simply be added to the collection.

Alison Little, the artist behind the Female Suspension, she has been North -West based for the last decade and worked on commissions from the Superlambanana trail to the Penguins. Her most recent conceptual works are SV: Sex by Violence, a series of four animated sculptures which show the different stages of a sex attack. Alison helps Organise the Reclaim the Night March held in spring in Liverpool annually. The intentions behind the exhibition as a means of activism against sexual violence and to play its role in her campaign work.

The Female Suspension which will shock, inform, evoke debate and lead to social reform in direct regards to Rape crime.

Alison Little, the artist behind the Female Suspension will be talking to Ngunan Adama about the Installation to be broadcast on Radio Merseyside Sunday 11/03/18 from 8 till 10 pm.

Radio Merseyside

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Artist Talk: The Female Suspension

Legs one image copy

The Female suspension is an installation which addresses a world of sexual violence. The lower bodies and limbs of numerous women who have been raped are suspended by chained, hooks penetrating their groins. Meat like, a waste product, violated then disposed of like an animal carcass meat still to be stripped from the bones.

This will be the fourth installation to take over at 5 Bold Place as part of the art in windows project. Art in Windows is a small organisation that works with landlords and artists to commission and curate temporary and permanent artworks for display in empty windows in and around Liverpool. Windows have varied from those in empty shops in the city centre and on local high streets, to empty units in shopping centres and even in houses on residential streets. Art in Windows’ displays range from a single installation for two weeks, to a series of different installations across many months.

The form is a female abdomen and legs extending down to the feet. Each represents a rape victim, The World Health Organization (WHO) estimate:

Global estimates published by WHO indicate that about 1 in 3 (35%) women worldwide have experienced either physical and/or sexual intimate partner violence or non-partner sexual violence in their lifetime.

(WHO, media centre, Violence against women, fact sheet, updated November 2016)

The charity Rape Crisis England and Wales respond to an average of 3,000 calls per month from women who have been raped. In April 2017 there were 422 recorded violent and sex offences recorded in Liverpool alone. It is estimated that only one in every ten incidents of rape are reported to the Police: the actual figure is projected to be much higher.

Polythene and shredded paper are used to create each of the sculptural works, red toned papers are used around the groin area to reflect the pain suffered from the attack. Wire wool is used to represent the pubic hair, this demonstrates resistance from the violation. The lack of upper body and stones in the feet show a woman who was unable to oppose the onslaught. The hook is driven through the groin area, this enables us to reflect upon the extreme violence used in sex attacks. We view to forms suspended in a warehouse environment, infinite in number and we are given the impression that more will simply be added to the collection.

Alison Little, the artist behind the Female Suspension, she has been North -West based for the last decade and worked on commissions from the Superlambanana trail to the Penguins. Her most recent conceptual works are SV: Sex by Violence, a series of four animated sculptures which show the different stages of a sex attack. They were exhibited in a solo show at zauhause gallery, Gostins Hanover Street (Liverpool City Centre) in July of 2017. In the months prior to this, she curated a group show ‘Shatter the Silence, Violence against women’ held at the Quaker Meeting House, School Lane (Liverpool City Centre). ‘Life from the Waist Down’ is the fourth of the series, representing the recovery process it was exhibited at Unit 51, Baltic Triangle (Liverpool) for 2016 Mental Health week. On the previous year she showed Brainscape as similar human head form and in 2014 Bipolar B was created for the celebrations at the Williamson Gallery in Birkenhead. In 2016 she worked on a commission for the race equality centre in Derby where a polyethene figure and a broken wheelchair were created to draw attention to race hate crime. Her first work relating the sexual violence was in 2014 for the Speaking Out exhibition at Embrace Arts, University of Leicester. The work was exhibited and Alison attended the Speaking Out conference where she addressed the delegates on the thought processes behind her work. Prior to that, she ran a successful funding bid and project managed the prospering ‘Rags Boutique’ as part of the ‘Shops up Front’ scheme from Liverpool City Council. This was an exhibition space and workshop venue was the use of found object was utilised to maximum effect. Alison helps Organise the Reclaim the Night March held in spring in Liverpool annually. The intentions behind the exhibition as a means of activism against sexual violence and to play its role in her campaign work.

The Female Suspension which will shock, inform, evoke debate and lead to social reform in direct regards to Rape crime.

Exhibition runs from the 5th of March, 5 Bold Place, Liverpool, L1 9DN

Free view from Street location.

Artist Talk to be held on International Women’s Day, Thursday the 8th of March from 6.30-7pm. Talk starting at Bold Place then either being held inside or to be moved to another location possible to be provided by John Moores Uni. Details to be confirmed, to book:

Free Ticket

Art in Windows

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Pendle Sculpture Trail

A Quick look at the Prosal put forward by Alison Little for the Pendle Sculpture Trail.

The Proposal

Bat Hanger presents an installation where an Aitken wood tree is to be taken over by bat-like forms. The main structure of the tree to include around 100 hanging forms, similar in form to the way in which they sleep suspended upside down with there wings tucked around them. As they are to be arranged at high up points simple cable ties can be used for fitting. 10 bats in flight motion to be added in lower down positions using wall mount fittings. The bats to be represented are to be similar to the noctule bat and a tree with potential for roost to be sited. Bats to be produced through laser cut technology using plywood as a natural material, the be finished in exterior wood gloss and would simply need to be re-coated in terms of maintenance. The higher bats the be hung using cable tie above the likelihood of any vandalism. The in-flight bats the be fitted using black wall mounts, making them difficult to abduct. Use of scaffolding for the fitting of the high up hanging bats, cordless power drill equipment for the use of wall mounts.

The installation draws on the Pendle witch trials, the hanger a play on terms to address the 11 who were hanged after being found guilty of witchcraft. The Pendle witch trial held in 1612 saw the prosecution of the 12 witches of Pendle forest for the death of 10 people through the use of witchcraft. Of the 12, 11 were found guilty and hanged, there were 9 women and 2 men. 6 of the Pendle witches came from one of 2 families. It remains one of the most famous witchcraft trials in history.

For each of the 11 hanged we present 10 bats, totalling 110.

Bats have been associated with witchcraft since Biblical times, the Bible giving reference to them as unclean animals and the Old Testament prohibits the eating of bat meat. Painters, sculptors and writer have connected bats and the devil throughout the ages, the wings of the devil frequently bat like in form. These associations strengthened throughout the middle ages and into the period of the Pendle witch trials. Magic practices often require the use of bats, Shakespeare’ Macbeth using the nocturnal creature in an opening scene. In modern depictions of witches, it remains the most common companion for the satanic female.

Secondary concerns about the installation are to increase awareness of bat population decline and the work of the Bat Conservation Trust.

Pendle Sculpture Trail