Water-Flower Can

The Water-Flower Can

The Water-Flower Can is to be considered a most magnificent example of functional art.

The humble watering vessel dates back to at least 79 AD, they can be found at Pompeii, artefacts encrypted by the volcanic explosion. The Roman versatile plant watering tool remaining with us today and beyond the pandemic: Post Covid. Ideal for watering plants, placing among garden pots or as a planter in its own right. 

The Liverpool based artist, Alison Little adorned this creation from handle to spout in roses of splendor. Paint flick techniques adding a celebratory flavour to the form.

A Water-Flower Can, so splendid it will be the envy of mother nature’s creations!

£30

UK mainland delivery £3

Hand painted finish may vary.

Contact to purchase.

Sarah Nicholson shines some light on Salvage based Art

 

Sarah Nicholson shines some light on Salvage based Arts, her route to the 2017 Light Night

We have an artist who has worked across the visual arts sector bringing us new major works year in, year out in the creative Metropolis we call Liverpool. Global perspectives were highlighted for Festival 31 where immigration was the focus. Installations for the Baltic Triangle-based Threshold Festival and the Long Night of the Biennial for the Independents. Exhibitions include Ganglion, Roadside Attractions in Toronto Canada as well as work shown at one of Liverpool’s oldest establishments but equally, newest arts centres: the Florrie. (Certainly not ignoring the corrosive qualities of the chemical Landscapes series making maximum impact at the Catalyst discovery centre in Halton. Not sure about including this sentence)

Nicholson began her artist career with the route common to many creatives: the well-subscribed art foundation course held at our very own Liverpool John Moores. This was followed by a fine art degree at with our Preston based neighbours; UCLAN, with their very own exit from the M6. After launching into the visual arts as a dedicated vocation with the ‘First Graduate exhibition’ at Stroud House Gallery, many group shows followed. She was then to return to full-time study, gaining an MA in Fine Art from Birmingham Institute of Art early years of the New Millennium.

Not satisfied with simply the production of artworks, workshop practice is core to her creative spectrum. A substantial residency was completed with CHASE (Cottage Homes And Sculptural Experience) based Fazakerly. In this, she worked with a variety of disabled and able-bodied young people to form a collection of reclaimed sculptural forms. An artist who just keeps popping up in our leading cultural venues, reprocessing waste material for Red Dot at Fact, drawing at Halton Castle and not forgetting a permanent commission for Norton Priory based on a stone alcove found in the eleventh Century Monastery. Heavily involved in establishing and running the Kitchen Gallery in Runcorn she has led the curation, fundraising and the workshop program. Alongside the arrange of visual arts she maintains her craft ranges:

‘Sinister, Scared, Weird’

are the terms she uses to describe her crochet bunny collections, felting and embroidery being explored in combination with core fibre work.

Nicholson is currently exhibiting in the Group show, ‘Shatter the Silence’ being held at the Quaker Meeting house, Liverpool City Centre. Her framed textiles work draws on the violence presented in children’s fairy stories:

‘So often the narrative of the fairy tale is one of domestic violence made normal by repetition and dressed up prettily. These are the stories we tell to our children.

Fairy tales spend so much time devaluing women’s work and yet insist that if you slave away in silence, like a good girl, then your handsome prince will someday come and rescue you from the drudgery of the kitchen. Yet without the bonds formed and the wisdom passed on, from mother to daughter during this time alone together, how would women’s escape from domestic confinement have been forged?’

Nicholson 2017

The heavily frames piece mounts fused glass, found object wire bonds layers, while scripture draws attention to the nature of young fiction. A stunning piece, holding a strong visual focus at the Quaker Meeting House.

Alongside this Nicholson is one part of a joint exhibition with Amy Richie ‘Micro/Macro’ held at Dot Art, based in the traditional arcade Queens Avenue off Water Street. The process of time is explored through the use of space filled with ink and line formed with knitted and woven fibres.

What’s next for Nicholson?

Based Dot art for the evening of the Light Night he will be producing a major form from reclaimed everyday waste. 430 plastic fizzy drink bottles will be infused to highlight the 430 years it will take every bottle to disintegrate.

Not to be missed.

‘Shatter the Silence’ exhibition takes place in the cafe exhibition space at the Quaker Meeting House, 22 School Lane, Liverpool L1 3BT, the private View being held 4-6pm on Friday 24/03/17, the exhibition running until Sunday the 21/05/17. The Cafe is open from 9am-3pm weekdays and 9am-4pm on Saturdays closed on Sundays.

www.liverpoolquakers.org.uk

Macro/Micro Dot Art Liverpool

Dot-art, 14 Queen Avenue, Castle Street, Liverpool, L2 4TX. We are open 10am-6pm Monday to Saturday.

dot-art.co.uk

Light Night taking place on the 19/05/17

www.lightnightliverpool.co.uk

http://www.sarahnicholson.com