Minted

Minted, an exploration of Capitalism is the latest artworks from Liverpool based artist: Alison Little.

‘Minted’ stretches across the painting, reflecting wealth through the Scouse colloquialism. However, it is neither promotional of defamatory, objective towards the acquisition of wealth.

The concept of the painting was conceived BC (Before Covid), it was worked on during the pandemic and completed during late August which was being proclaimed as AC (After Covid). Now being exhibited in what can only be considered MC (Mid Covid) due to the escalating rise of cases defining a second peak of the virus. In context, the works can be considered more potent during the contemporary climate of mass unemployment and unprecedented economic decline, in the UK and Globally.

The painting presents maximism of the most extreme, highly patterned, a tactile variation of texture and a mass of colour. The background manipulates acrylic pouring techniques, suggesting that the text has been ‘Slam dunked’ into position. The range of purples, a regal infusion, combined with the Gothic font to imply Royalty. Currently, the Queen’ estates (UK) have lost over 35 million as a result of reduced tourism from coronavirus. The golds of ‘Minted’ have scrapped with black acrylic, perhaps implying ‘Dirty money’. The letters are almost camouflaged within the visual plane, akin to wild animal fur, suggesting revenue and opulence.

Ground-breaking, contemporary work brought to us from a leading North-West based artist.


Acrylic on mixed media panel
80×80 cm
£250

Contact to purchase


Brit Pop Guitar

2 fingers

The Brit Pop Guitar is a sensation: Visual arts meets music culture with the dynamism of the Nineties which we all love to remember.

The iconic Union Jack which was imprinted on many of the bands of the era immerses within the surface of the guitar. A gritty rendition, presenting many blemishes, reflecting the disenchantment of the decade.

An unusual vision of beauty, the sexy NHS spec wearing girl, projects from the base with the same impact she made in the Pulp’ Common People music video.

Towards the lower section, we have a crowd at the festival which pre-dates Christianity: Glastonbury. Taking us back to a simpler time when entrance meant scaling the fence, away from the inflated cost of festival tickets commonplace within contemporary culture.

On the other side of the bridge, two fingers affront our focus. The insult which many, Jarvis Cocker of Pulp, in particular, brandished throughout appearances. A decade which encountered economic decline, instigating uprisings of dissident activism. The generation which fought back against the raw deal they were inheriting.

Centrally we engage with the Oasis symbol, the motif printed over two levels, dominating the sound-hole. Rendering Britishness, red white and blue, backing the stretches of the guitar strings.

Negativity and dissatisfaction, prevalent of the era, is projected from the upper section:

‘Modern life is Rubbish’

A term coined by the staple of Brit Pop: Blur. The graffiti-style conveys the widespread anti-establishment dissatisfaction of the Nineties.

Butterflies flutter over the neck of the instrument. Our late Millennium radio stations were taken over by Richard Ashcroft of the Verve belting out:

‘Don’t go chasing butterflies.’

A sobering, reflective lyric in a time when heroin was being widely consumed across our nation. A drug which had not only engulfed our cities but had filtered out to our towns and villages.

The head-stock displays one of Noel Gallagher’s acclaimed anoraks. Oasis refashioned the anorak, making it desirable once again. Iconic of Britain, not only due to the protection it offers from our frequent rain showers, but equally re-visualizing the white on the red of the St Georges Cross.

The three-quarter sized Brit Pop guitar is set to make as much impact as its full-size contemporaries. A spectacular string instrument which reminds us why we still celebrate Nineties Brit Pop.

£350

Contact for more information.

 

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Fluctulation

Fluctulation Image copy

Fluctulation is a poetic form written for National Poetry Day, 2018 around the subject of change.

Fluctuation

When I am up I am alive
Answer every question, phone call, email
Positive moves forward I strive
Bounce and jump, free I sail

When I am down I hide away
Into bed, into covers, I crawl
Unpeel my skin in disarray
In the darkness, hide, two feet tall

On a high, I paint and draw
Forwards I roll
Content reading, write some more
Ten feet tall

Falling lower, bottom of the glass
Nicotine on hand
Clutter surrounds on mass
Swollen gland’

To the sky, I want to fly
In love with life, I seek romance
Absorb, with joy I cry
Excitement, sing and dance

Fading, grab another beer
Regretting every faceless man I screwed
My confusion, these men sneer
Recalling their attention, lewd

Rising up I demand success
More desired, fight to get there
Onslaught of thoughts, less
Mind ignores the growling bear

Drawing down I pour to the rim
Regretting every joint I ever rolled
Ecstasy pills that made me grin
Narcotics that made me bold

Well again, head is clear
Visions of beautiful sights
Falling down again I fear
Try to control my minds flights

Up, I am positively ruthless
Down, visions of myself toothless

I will push to control my mind
Not to fall, put positives on downwind

Alison Little

Fluctulation: Early plans for Installation

Small Steps and Art Activism

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Last Thursday saw Small Steps events take over Make on North Liverpool Docks.

Small Steps runs events to highlight social issues through the arts. Last Thursday saw an eclectic mix of performance, a breathtaking visual arts exhibition and engaging workshops drawing attention to Mental Health.

Cork-based artist Ann Mechelinck showed us how craft-based practice can highlight mental health issues with several pieces she exhibited at Make. Mechelinck spent many years living and working in Belgium as an administrator. On her return to Ireland, she decided to re-engage with her creative passions and began a body of study Crawford College in Cork. The most prominent of her works in the exhibition was ‘Release’. In this, she explores the restrictions we face in life by materialism, relationships and expectations. Using a knotted structure which she allows this to
‘Release’ free onto the floor. An exceptional fibre artist using structuring techniques to explore mental well-being.

Rebecca Hancock brought some intensely scratched text art to the exhibition. Hancock is a recent graduate from Central St Martins in the Capital. She uses her work to express; fantasies, hopes and dreams, but equally, vulnerability, anxieties and fears. The work exhibited ‘March 2016-Present Day’ presents hand scribed re-writing of eight months of diary entries. The period covers changes in medication and severe depressive episodes combined with panic attacks and anxiety. Raw, unmoderated, expression of coping and not coping with evolving cerebral turmoil.

We were taken on a journey by Moscow based film-makers Diana Galimzyanova and Artem Gavrilyuk-Bozhko. Galimzyanova’ rapidly expanding collection of award-winning short films have been shown at more than sixty festivals and fifteen countries. ‘Painting the Abyss’ came to Make last week stunning its audiences. The actor begins to paint his face with a light reflection of a cross central to the screen. As black is added the face paints formate into a type of warpaint, a kind of camouflage. As this progresses, old-dated, black and white train travel scenes are superimposed onto the footage. The narrative climaxes as the actor drops his head back and looks towards the ceiling. He marks a cross on each side of his neck indicating where to cut was an assumed knife. This progresses into the removal of the paints from the face. Powerful use of moving image which confronts us with the grim realities of ending one’s life.

Painting the Abyss

Not forgetting the painted works of Philip Chandler identifying with long-term depression. Gender roles were challenged by the embroideries of Jonathan Beavon. The floor space was occupied by another showing of Alison Little’ SV: Sex by Violence in Liverpool.

A remarkable exhibition, a fully engaging evening and evidence that art activism can make a real difference.

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Small Steps

Make

Ann Mechelinck

Rebecca Hancock

Diana Galimzyanova

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

a Lesson in Pseudosciene

side vision bee copy

A Lesson in Pseudoscience was the second design submitted by Alison Little for Bea in the City, the mass public art trail for Manchester, summer 2018.

A lesson in Pseudoscience looks to present an image of a physics-based lecture where the science behind the flight of the bumblebee is explored. We look at concepts presented by famous entomologist August Magnan who determined that through the laws of fight the Bumble Bee simply couldn’t fly. We introduce concepts of formula to work on the potential wingspan, angles and wing texture. Examples of helicopter propellers and small tornadoes are illustrated in reference to the physics-defying flight part of this great insect. The base contains the final statement from the Bee itself ‘I can fly’ showing he is clearly about to perform the action of flight.

Leslie shows us the Money

Last week, Liverpool based artist Nigel Leslie talked us through how he had been selected as 1 of 100 important artists to decorate an old £5 note for a charity auction. Names already signed up include the Chapman Brothers, Gilbert and George, Gavin Turk, Liverpool’s iconic Peter Blake in addition to Cyrano Denn aka Danny Crone also based in the region. ‘Fivers for Artistic’ is a bright new charity set up to help mentor new young artists to overcome barriers and become self-sustaining within the art world.

Finally, we get to see the original creation: The artwork by me is called ‘Feline – Male’ (2016). Mixed media. The original painting was reduced from a photograph and transferred onto the old £5 note.

All that’s left to do is sign the new creation and wait and see how much it raises at Auction.

Nigel Leslie

Artistic

 

Making an old £5 note count again

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Birkenhead based artist Nigel Leslie has been selected as 1 of 100 important artists to decorate an old £5 note for a charity auction. Names already signed up include the Chapman Brothers, Gilbert and George, Gavin Turk, Liverpool’s iconic Peter Blake in addition to Cyrano Denn aka Danny Crone.

‘Fivers for Artistic’ is a bright new charity set up to help mentor new young artists to overcome barriers and become self-sustaining within the art world. Fivers for Artistic said:

‘The aim of “FIVERSFORARTISTIC” is to collect 100 old fivers and convince important contemporary artists to sign and then decorate the fiver in any way they wish making the note completely original. Artistic will then auction the collection of fivers to raise enough money to launch Artistic as a CIO charity.’

‘Artistic’ the charity behind ‘Fivers for Artistic’ is a wonderful charity ran by volunteers to build creative communities and support artist’s, many of the participants are autistic.

Leslie spent the mid-nineties studying in the Capital, falling in with the Jarvis Cocker, Damon Albarn and Damien Hirst crowd that centred around St Martins. After a decade of hard parties, sofa loafing and at times making some Art. He returned to Liverpool in 1999. Through his abstracts, he combines figurative forms which play strong relation to the environment in which they are placed. Indications of human forms appear to effortlessly wiped onto the canvases. Some imply elements of bone structure and skull forms, weapon like straight edged are often added. The simplicity of the often brightly coloured environments which the figures have been placed often suggest disturbance. ‘Wrecked’, one of Leslie’s latest works was created last year and reflective of the emotive relationship which is played out within the Metropolis, directing us towards feelings of turmoil. We get the impression of a ship like for from the base, an indication of an old-fashioned wind powered, sailing vessel. Central to the ship there is an indication of a central figure, possible a human form of even a feline based creature. The pink tones of the water suggest a blood, combined with a simple line of the horizon they are not intrusive in regards to the central focus. The title ‘Wrecked’ looks at the idea of awakening from a night of drinking and general misadventure suffering the consequences and deciphering what had happened the evening previous evening.

On Thursday morning the postman posted a prominent package for Leslie: the old fiver had finally been delivered. So in fitting with Leslie’s creative practice when asked how he was intending to decorate the well-worn note:

‘Not sure yet.’

was an appropriate response. Like his studio application techniques where he cements on layers of paints then scrapes them off to imply rather than dictate a clear vision we will have to wait and see what emerges on the paper money base.

Nigel Leslie a true Liverpool talent and an old £5 note which will be immortalised for future generations when currency only exists in the electronic format.

http://www.nigelleslieart.com/

Artistic web

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Ariana Grande Bee

side vision Ariana copy

Ariana Grande Bee is the design submitted for Bee in the city, the mass public art trail to take place in the summer of 2018 in Manchester. This design is one of two submitted by Artist Alison Little.

Ariana Grande Bea is a tribute to the star Ariana Grande who took to the people Manchester and the nations hearts after the devastating terror attack in May of last year. The representation plays tribute to the costumes she wears to performs many of her gigs, with the full swag of a singing and dancing sensation. In the base of the form, we make reference to ‘One Love Manchester’ the slogan presented on the famous white hoodie she wore for the charity concert held only two weeks after the carnage of the explosion.

Putting your Heads Together

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The latest exhibition: Speakers, created by Nicholas Party brought some much-needed colour to the December days.

In entering the discretely fronted Oxford City centre Modern Art Gallery then making your way up to the first floor, then slipping into the Piper Gallery you encounter an array of colours. The walls are painted a yellow tone, five almost two-meter tall heads make an impact on the gallery space. The fibreglass forms have a kind of sadness in their sculptural shaping, lips poised in an unhappy motion. However, each form appears bright and vibrant due to the mass of colours painted directly onto their surface. Greens, oranges and purples are stippled on to create hair, eyes are toned with darker shades, eyebrows are added and expressions are generated. The visual impact is accompanied by a sound-scape of traditional piano and cello chimes subtly playing from each cerebellum.

Swiss-born artist Nicholas Party is responsible for this amazing Oxford city centre installation. As of many of our great contemporary painters he began his artistic career as a 1990’s street graffiti artist. From the streets to a BA in fine arts at the Lausanne School of Art in Switzerland, then crossing Europe to the Glasgow School of Art to complete an MA. This was followed by an onslaught of solo exhibitions and commissions in Washington, LA, Dallas, Edinburgh and Florence. He currently works and lives in Brussels and New York.

In Speakers, his latest commission for Modern Art Oxford he has created a theatre scape installation of feminine heads. The sculptural forms stand brightly in the gallery repressing the achievement of pioneering women of Oxford. He considers the work to be:

 The heavily masculine energy of Oxford’s architecture and academic histories.

A great achievement for an artist who has not forgotten his graffiti spraying routes in the array of colours he applies to his creations.

We hope to see much more from this artist who really knows how to put heads together.

Exhibition runs

25 November 2017

18 February 2018

Modern Art Oxford

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