All posts in Exhibitions

Fields of Vision at Side Gallery

Paul Alexander Knox, from The Space Between

Paul Alexander Knox, from The Space Between

NE-based photographers Paul Alexander Knox and Aaron Guy are included in a major exhibition exploring the northern landscape at Side Gallery until 8 October 2011.

‘The centre of power so long situated in the South East, there is a rich complexity to the ways in which the northern landscape has been used to project oppositional ideas – untamed wilderness to industrial blight, heroic monumentalism to abandonment and social cost. There’s a sense of ‘the other’ in the North: an honesty of experience somehow defined against southern sophistication, the dishonesty of power more plainly revealed. It is no accident that there is such a resonant relationship between documentary photography and the North. Side Gallery playing its own part in that, Fields of Vision explores the ideas of northern landscapes revealed in its photographic collection.

Aaron Guy

Aaron Guy

Between C19th Northumberland photographer John Pattison Gibson and new practitioners Paul Alexander Knox and Aaron Guy, the exhibition opens up on work by Bill Brandt, Henri Cartier-Bresson, Martine Franck, John Davies, Marketa Luskacova, Chris Killip, Ian Macdonald, Paul Caponigro, Martin Parr, Isabella Jedrzejczyk, John Kippin, Sally-Ann Norman, Simon Norfolk and many more.’

Common Ground: MA Photography Exhibition


Exhibition open: Monday 3 October 2011- Friday 14 October 2011, 10AM-4PM.
Reception: Friday 7 October 2011, 6-8pm


The ten photographers exhibiting have come together from across the world, and represent countries as diverse as Thailand, Pakistan, Estonia, New Zealand and Italy and the counties of Britain including Cumbria, Northumberland, Yorkshire and Durham. They met at Sunderland to create a collection of photographs and personal testimonies which document and celebrate their journey during the MA Photography.

The work created comes from each individuals experience and looks at issues of memory and loss, social and community environments, faith and symbols. The work provides a common ground of criss-crossing threads concerning issues that enquire into the heart and soul of contemporary living.

Vardy Gallery
University of Sunderland
Ashburne House, Ryhope Road
Sunderland SR2 7EF

Mike Golding – Remembrance at Darlington Arts Centre


Mike Golding, Untitled 2010

Mike Golding, Untitled 2010

Mike Golding will be exhibiting his new work ‘Remembrance’ at the Myles Meehan Gallery, Darlington Arts Centre from 29 July – 24 September 2011.

Free Gallery Talk: Friday 29 July, 12noon – 1pm.


When those we love die we continue to remember them, but they can only be glimpsed at the corner of the mind’s eye, never quite seeming to come into focus. Remembrance is an art project concerned with a recollection of the dead through the creation of fake photographic images using the creative possibilities of the forensic software E-Fit, used by police forces to construct images of human faces from witness interviews.

Memory recall is prompted by the visual qualities of the E-Fit software which contains a photographic database of face shapes, eye shapes, mouth size, hair style etc. In short, photographic fragments are assembled to create a recognisable image of a face. I am working with a number of participants who will be asked to remember people who have died. The resulting images will have the appearance of photographs, but they are inaccurate renderings shaped by the imprecision of recall, the state of mind of the respondent and the aesthetic qualities of photographic montage.

When researching the project, I worked with a Northumbria Police expert in E-Fit to create an image of my father who died in 2004. The resulting image does not completely resemble my father, but it does begin to and I was struck by the fact that I thought of him in terms of how I remembered him from my childhood rather than in later years. The resulting image has an uncanny quality, in that it hovers on the edge of believable photographic realism and exists as a kind of materialisation, a struggle to give memory substance.

In Remembrance I am proposing a reworking of photographic realism by appropriating forensic software, with its implications as evidence, to make a work of imagination in relation to the past. The project will involve the memories of others, operating as a social collaboration and a demonstration of how memory and photography work. From the prompting of memory a visual manifestation of memory will be produced which is both improbable and uncanny: the work can be seen as being related to the spirit photography of the nineteenth century in which the dead were supposedly manifested through the creation of fake photographs.

We have come to rely on the photograph because it bears an indexical trace of the past and comes to stand instead of memory. The idea of the photograph as inherently truthful has informed its usage since the nineteenth century. Photographic realism is a part of the social, political and psychological landscape which we inhabit.

That spirit photography is a result of fakery does not detract from the fact that it shows that there are other possibilities for photography outside of photographic realism, and that all photographs are potentially fake, as RJ Mitchell argues in The Reconfigured Eye, his analysis of the effects of digital technologies upon the photographic image.

The subject of Remembrance is partly an engagement with ideas about photography but it is also about the role of imagination in acts of memory and the essentially human trait of remembering or trying to remember.

Mike Golding
August 2010

Clarita Lulic – What condition our terms of condition are in


Clarita Lulic will be exhibiting images from her series ‘Seven Short One Long’ at Newcastle Arts Centre from 2nd– 6th August 11am – 5pm.
Preview: Monday 1st August, 6.30 – 8.30pm.    The show forms part of a series of exhibitions at the centre ‘What condition our terms of condition are in’, showcasing the work of artists who have been undertaking placements at Northumbria University as part of the AA2A national scheme (

Seven Short One Long is a self-initiated project exploring life on board a cruise ship as photographer over a period of seven-months.  More information

Dawn Lehrer, We Read in the House our Fathers Built


From Nomun Nudem

From Nomen Nudum

NE Photographer Will Walker at CUBE Manchester

Will Walker, Equation

Will Walker, Equation

North East photographer Will Walker will have work exhibited at CUBE Manchester as part of the ‘Touching Light’ exhibition, opening this Tuesday 14 June and running until 18 June 2011.

‘The exhibition signals Will’s concern with the largely unacknowledged nature of the world as being of one fundamental flesh, exploring the theme visually through the mechanism of our relationship with the memory box. The work performs an event which reflects this in its densely intertwined formation, setting out to renegotiate visually themes of our co-constitutive, pre-reflective relationship with the complex and ever changing world. But as in the experience of being what is brought forward is stripped back to that which is more visceral, more primal. Here, producing sensations of mystery and uncertainty through the density and impenetrability of chiasmatic interconnection, sense takes primacy above the need for meaning making.’

Throughout his 17 year career in photojournalism Will has felt an increasing urge to produce work which he could creatively call his own. He realized that to progress his craft and produce the work he aspired to he would need the type of theoretical grounding only available through University study. Having completed this photographic handbrake turn via an MA in photography from the University of Cumbria he has now produced a body of work which strikes new ground for him and seeks to create new approaches within photographic practice.

Car Boot Sales and Charity Shops, Exhibition at Gateshead Central Library

Sharon Wilson

Sharon Wilson

Private View – 1 July 2011,  7-9 pm, all welcome.

Exhibition  runs Saturday 2 July – Saturday 20 August 2011

Contemporary Photography Exhibition featuring work by Sharon Wilson, Susan Swindells, Lindsay Duncanson, David Wala and  Karen Johnson.

An exhibition featuring a group of documentary photographers who have captured people and places where the alternative economies of recycling cast offs and unwanted goods are sold. 

Lens-based artist Sharon Wilson looks at the theatricality of the Swalwell car boot sale, highlighting the strange, quizzical and at times accidental connections between the seller and their displays of unwanted paraphernalia.

Lindsay Duncanson likes to take a ‘practice led’ approach to creating work responding to spaces, people and locations. Recent preoccupations have been with notions of home, community and territory and how we map landscape. Working with the theme of landcape via recycled materials, the audience is invited to to re-examine the way they perceive  their environment.

The show also includes the photographic work of Brighton-based photographer Susan Swindells (Guardian Photography Awards Winner, 2010) with her ‘The Great British Charity Shop’ series taken in the Newcastle and Gateshead area. The works aim to provide an insight into the charity shop from a socio-cultural perspective and highlight both the power and the pathos of one of the nation’s ethical and social assets.

Karen Johnson (winner of a prize for innovative photography from Central St Martins) is interested in the lives behind the tabletops of the boot bazaar. “People drive up in cars crammed with the remnants of their lives. The books they’ve read, the clothes they no longer wear, the hobbies they no longer pursue.”  She examines particular discharged items and creates a dialogue about taste and discernment via her lens-based practice. 

David Wala’s images are part of an ongoing project looking at the impact the Internet has had on traditional record collector fairs and stores.  Who is left buying and selling records in the real world in 2011?  David was winner of 2008 Student Photographer of the Year.

The exhibition will take place at The Gallery, Gateshead Library, Prince Consort Road, Gateshead NE8 4LN.

Juliet Chenery-Robson, ‘A Diagnosis of Exclusion’ & ‘Unpredictable Patterns’

'Alienation' Juliet Chenery-Robson

‘Alienation’ Juliet Chenery-Robson

Work by Juliet Chenery-Robson will be shown in a number of disused offices in the region throughout May and June and nationally throughout the rest of the year and into the new year, to help raise funds for ME North East and ME Research UK.   There will be two opening evenings, the first on 13 May in Peterlee and the second in Newcastle during July and the offices will be open by appointment outside of these times.  The programme is supported by Life with Art who will make a donation to each charity following the events.  The events are open and accessible to all and by attending you will increase the money raised for ME North East and ME Research UK.

Juliet’s work investigates the aura of scepticism surrounding the illness ME/CFS.  Often referred to as the disease of a thousand names ME affects over 250,000 people in the UK and many thousands more worldwide. However, despite this fact, ME remains misunderstood by many health professionals, with many still believing it is “all in the mind”. So through her detailed research, investigation and photographic works Chenery-Robson hopes to help make this devastating illness visible to an often disbelieving audience.

‘A Diagnosis of Exclusion’ displays a series of powerful photographic works, conveying the alienation, social exclusion and loss of identity prevalent in the shadow of this disease.

Chenery-Robson invites the viewer to test their own notion and understanding of ME through this series of hospital images and portraits. Trapped in the ‘kingdom of the sick’ the sufferer seeks comfort and reassurance in their attempt to cope with this illness’ often severe and disabling symptoms.  The individuals in the portraits look out at the viewer, seemingly in an attempt to challenge your concept of ME, willing you to understand and recognise the reality of this frequently life destroying illness.

The images of ‘Unpredictable Patterns’ focus upon symbolic details and reflect that lives have become ‘stilled’ and removed from the public sphere and confined to the private by their illness. A solitary glass of water, seen in front of flocked wallpaper, appears like a Morandi still life in which all is timeless, calm, as if outside of history. In another image, a collection of butterflies, encased in their individual boxes, provides a correlative for the collection of individuals represented here, each involuntarily entombed in their own rooms. Chenery-Robson intends our impressions to be contradictory, to be as lodged with problems as the medical profession’s is when dealing with her subjects. The compound idea transmitted is of lives continuing whilst suspended, spent in quiet incarceration.

Fri 13 May 2011 6-8:30pm:  Gemini Building,  White House Road, Peterlee, SR8 2RS  
July – date to be confirmed:  Warwick House, Grantham Road, Newcastle, NE2 1QX

Group visits can be accommodated. To arrange a viewing or for more information please contact: or visit:
For more information on Life with Art visit:

Profile Gallery announce their re-launch with an exhibition of works by Toby Smith

Toby Smith, from the series Renewables

Toby Smith, from the series Renewables

Stephen Collins, untitled, found object-1, archival ink on cotton rag, 110x110cm framed.

Stephen Collins, Non Aliter
12 February – 27 March 2011, Preview 11 February 6-8pm.
Sandford Goudie Gallery, Customs House, South Shields

A celebration of the invisible, the forlorn and the abandoned. Using the found object as the focal point for his investigations and re-appropriating these objects through the use of digital technologies and simple installation constructs, Stephen engages with an audience through the very immediate notion of aesthetic beauty.  Beyond the first impression lies the inevitable question of the objects origin, its past existence and its purpose. The way in which we begin to attribute a formal narrative to the object drives much of the investigation. The democratic nature of the found object, its ability to transcend social, political and economic factors makes it the perfect tool to explore both individual and group notions of place, memory, belonging, ownership and empowerment.