Narbi Price
Though the idea behind the work of Narbi Price was thought up whilst studying the Pitmen Painters, Price states the paintings themselves (acrylic on board) are in fact more about the streets of Ashington themselves than the group. The paintings are a product of walking the streets of Ashington, often in the footsteps the Pitmen would have walked, but through a changed landscape they themselves wouldn't recognise, but a socio-political climate that they increasingly might.
Extract from Artist Statement:
The paintings depict sites rich with histories, some of them evident within the palimpsest of marks, but much of them hidden by redevelopment, repurposing, redaction. Among the places depicted in the paintings are the sites of five collieries operated by the Ashington Coal Company: Ashington, Woodhorn, Linton, Ellington and Lynemouth. There's an oddness in standing on a clean, perfect business park, armed with the knowledge that you're in the middle of a bast colliery, or in watching swans glide over a lake knowing that you're on the site of the one-time biggest slag heap in Europe. These new paintings are as much, if not more, about the ghosts of Ashington as they are about the town today.
Heather Ross
Ross's exhibition All The Better To Hear You With is comprised of printed and sound based responses to bird call and archived materials. It emerged from Ross's 2014-17 project On Being Out of Touch which explored the gaps between information, knowledge, and experience in relation to learning about birds. In her current exhibition, these ideas are combined with research into avant grade German artist Kurt Schwitter's (1887-1948) experimental and material approach to the written and spoken word; exploring the discrepancies between how words are read, perceived, stored to memory, and processed internally and orally.
Presented on mobile units, the printed gestures of sound will change throughout the exhibition to enact twelve different verbal notations. These sounds have further been transcribed as a set of twelve printed sound poems, type-set using Gweneth Alban Davis's (1918-2006) printing equipment, during Ross's residency at the rural Merz Barn site in 2017 [where Alban Davis worked alongside Schwitter during his final years of exile in the Lake District (1945-1948)]. This exhibition forms part of Ross's ongoing practice based PhD investigation into Schwitter's Merz Barn Wall.
Also on display:
Andrew Carnie
Susan Aldworth
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