- PAPER #18: Everyday IllusionsHermione Allsopp / Alan Baker / Carole Cluer /Michelle Rheeston-Humphreys / Conor Rogers / Jenny SteeleEleanor Watson / Rachel Wrigley8 November – 13 December 2014Everyday Illusions explores the relationships that we form with our surrounding environment: from the spaces that we inhabit to the objects that fill it. The artists in this exhibition use a variety of approaches to construct and destruct illusions of reality. The exhibition includes Hermione Allsopp, shortlisted for Mark Tanner Sculpture Award 2013; Conor Rogers, shortlisted for John Moores Painting Prize 2014, and Eleanor Watson, shortlisted for Cynthia Corbett’s Young Masters Arts Prize 2014.Through collecting and photographing domestic objects from charity shops, Hermione Allsopp’s collages inform her sculptural practice and affect the way in which she interacts with the objects. Hermione re-creates the objects into new forms or compositions and explores how the home or house links to the body and mind. The space between things can be seen as a place of uncertainty or indecision: a space of transition. For Hermione, the charity shop object occupies this place, awaiting reuse or death as refuse or trash. Similarly, Rachel Wrigley uses photographic imagery taken from glossy magazines to manipulate, deconstruct, and distort the architecture and objects that are depicted within them. In undertaking this process, she invents new forms and provides a distorted version of reality, investigating space as a moveable, impermanent fixture.Through drawing, both Carole Cluer and Alan Baker invite the viewer to create narratives around the work. Carole Cluer’s work explores whether it is possible to create memories through the act of drawing. Carefully drawn from her imagination, various ephemera give weight to the unreal through trompe l’oeil style effects. Carole constructs an alternative future or past within various objects such as a hat, a coat or a wallet, each meticulously recreated by hand in pencil. Similarly, Alan Baker creates sculptural assemblages from objects kept around the house that are intended to trap animals. He then documents these items through the process of drawing. As part of his Trap and Snare series, Alan captures the tension between each of the delicately poised objects, exploring the boundary between where wild animals become domesticated or agricultural.For Everyday Illusions, Michelle Rheeston-Humphreys will produce a site-specific work. The installation of the piece will camouflage into the surrounding environment of the gallery. Inspired by the overlooked and ordinary, her trompe l’oeil style works address various themes of paradoxical realism; by exploring the wonder of encountering objects and images that twist our expectations, Michelle creates temporary, fragile realities or truths -- just stable enough to convince the viewer of their materiality.Painting directly onto found objects such as beer mats and cigarette packets, Conor Rogers’ photo-realistic depictions of everyday life emerge from an ‘argument’ between the illusionism of the image and the substrate of the paintings. However, Conor relates the place the object was found to the scene depicted, creating an entwined narrative between object and image. In contrast, Eleanor Watson paints empty spaces allowing for the room and its contents to set a scene for stories. The objects described in varying detail are given a similar weight to props on an empty stage, retaining a likeness to the printed image.Jenny Steele’s screen prints reflect on modernist sea front buildings from the North West of England; such as Blackpool Casino and Pleasure Beach, The Midland Hotel in Morecambe and New Brighton Palace in the Wirral. Jenny is fascinated by these examples of grandiose seaward looking architecture built in the 1930’s mid war leisure boom, when the coast was envisaged as a holiday utopia away from everyday toils.The artists presented in Everyday Illusions offer varying insights into ways of working with the familiar, the uncanny, the everyday, the banal, and illusionism; creating and changing objects and spaces to demonstrate their ideas and thoughts.
- PAPER #16: The Functionality of ThoughtAllan Bech / Mike Chavez Dawson / Jenny Core / Aly Helyer / Shinbo Hiroshi / Paraic Leahy / Sharon Leahy-Clark / Richard Meaghan / Hannah Wooll / Wen WuExhibition dates: 20 September – 1 November 2014In 1924 Andre Breton wrote the first Manifesto of Surrealism, in which he defines surrealism as: "Pure psychic automatism by means of which one intends to express, either verbally or in writing or in any other manner, the actual functionality of thought. Dictated by thought, in the absence of any control exercised by reason, free of any aesthetic or moral concern." For the exhibition The Functionality of Thought we have asked several contemporary artists for whom these ideas remain prevalent in their practice today to further explore ideas of surrealism.For Richard Meaghan to express in painting 'the actual functionality of thought' requires complete freedom to explore the far reaches of his imagination. These thoughts cannot stay in an automated state and so must take on the role of something more considered in becoming a fully realised work of Art. Allan Bech’s works are often described as surreal and metaphoric. He works within the fields of the irrational and subconscious which is most apparent when pencil is applied to paper. His beautifully detailed works are a catalogue of the mundane events of the everyday. Hannah Wooll’s work has always been concerned with imagery that is slightly off kilter, exaggerated or fabricated. The paint itself is as powerful an enticement as the carefully chosen imagery, existing to be just a painted mark, which in itself lends a surreal layer of reference.Jenny Core’s works are time led and explore performative processes. What remains is a mark of an object that once existed, a moment captured in time. These created forms have then been manipulated and appropriated to create playful narratives. Sharon Leahy-Clark allows the work to grow organically without editing so that the poetic qualities of the materials used is shown and all working processes and natural accidents are left visible; nothing is erased. This way of working references the Freudian idea and surrealist practice of ‘free association’. Aly Heyer’s painting process is a mixture conscious and unconscious decisions, chance happenings and a stream of conscious episodes. Automatism is a catalyst and part of her initial process, a way of generating images that go beyond a representation.Shinbo Hiroshi creates wonderfully surreal tableaux that are drawn from the inner depth of his imagination. Hiroshi is dictated by thought, free of any aesthetic or moral concerns and therefore truly expresses the functionality of thought through his Suiboku-ga (Ink Painting). Wen Wu follows her intuition to incorporate and juxtapose her own elements into reproductions of classical artworks. She creates a new narrative leading to surreal results that explore her ideas about the mysteries of the universe. There is an absurd logic to the paintings of Paraic Leahy, a sort of magic realism that deviates from the familiar. The mutations present in these portraits are implausible and outlandish yet obedient to certain mathematical principles we might call unifying laws.
- PAPER #15: Unstable GroundCurated by Simon WoolhamExhibition Dates: 2 August – 13 September 2014Annabel Dover - Laura Oldfield Ford - Reece Jones - David MilesGeorge Shaw - Stephen Walter - Lisa Wilkens - Simon WoolhamUnstable Ground considers how drawing methods are related to experiences of autobiographical memory. The exhibition features new work from a number of artists who explore memory within their work, including Turner Prize nominee, George Shaw, Laura Oldfield Ford, who was recently included in Ruin Lust at Tate Britain, and Comics Unmasked at the British Library, Lisa Wilkens who exhibited in Paper at Saatchi Gallery.Unstable Ground is a group show that explores the perplexing, the fragile, the experiential, and the direct relationship between the paper surface and the representation and manifestation of memory. Focussing on the autobiographical memory of each artist, their works create an emotional dialogue between place, drawing methods, and the mediation between vision, hand, and brain.The artists presented in Unstable Ground offer insights and glimpses into these important, discursive processes. They each have a relationship with the concept of Unstable Ground in a variety of ways, from Stephen Walter and Laura Oldfield Ford’s urban mappings, revealing the hidden and complex political and poetic narratives of human life, to Annabel Dover and Lisa Wilkens’s ‘drawn out’ relationship with the memories of personal objects and places. This is revealed in the works on many levels. The image that is immediately presented in all these works is the first of many layers. Unstable Ground attempts to dig deeper, present and open up a dialogue with seams of artistic, social and political signifiers.
- Exhibition dates: 18th January 2014 – 1st March 2014Private View: Thursday 23rd January 2014Opening Times: 11am – 5pm every SaturdayPAPER will be kicking off the new year with the first solo exhibition by Rachel Wrigley. Rachel was selected for PAPER’s first Artist-in-Residence scheme Exploring PAPER in 2013. The 6-week residency encouraged Rachel to focus on her practice by exploring and interpreting ‘paper’ and ‘place’ in its widest context.Supported by the Arts Council of England, ‘Staring at the Artex Ceiling’ culminates the works that Rachel completed during and after her residency. Rachel’s work crosses the boundaries of drawing and sculpture, employing found imagery; she instigated these processes into her practice during her summer residency at PAPER. By embracing paper and its potential as a sculptural material she has applied paper-folding techniques to images to achieve a sense of illusion. Changing the usual forms expected from architecture and objects, Rachel hopes to provide a distorted version of reality, investigating space as a moveable, impermanent fixture.
- PAPER #9: – interim PAPERSarah Baker - Sara Davies - Anna Frew - Jan Fyfe - LOkesh Ghai Sarbjit Kaur - Ralph Mills - Liz Mitchell - Mary Stark - Howard Read - Tilo Reifenstein - Simon Woolham - Derek TrilloA research ‘reader’ will accompany this exhibition with a text by Laura GuyPAPER presents the work of thirteen individuals currently undertaking postgraduate research within MIRIAD, Manchester School of Art. Bringing together their diverse enquiries under the title ‘interim’ the exhibition describes a series of projects currently in progress.The gallery provides an intimate context as each exhibit locates a liminal space that is somewhere between thought and action, uncertainty and resolution, private study and public dissemination.
- PAPER #8: Rachel Wrigley - Exploring PAPER
- PAPER #7 'Performing Paper'PAPER Director Nicola Smith has selected works and invited artists to respond to the theme of Performing Paper. Live art and performance artists have rejected the art object in favor of using the body as material. Documentation of the performance can become another way for the work to exist, on a flat surface, beyond the act itself. This show mixes different artistic practices, which use a variety of performance actions such as reading, speaking, cutting, pushing, displaying, collecting, and mapping. All of these actions use paper as a point of departure.
- ___________________________________________________________________________________________PAPER #6Andrea Cotton and Naomi Lethbridge
- ___________________________________________________________________________________________PAPER #5 'COPY'An exhibition curated by Sarah Kate Wilson
- 15 artists have explored the medium of the photocopy to create new works. This is the first show where we have handed over the space to an artist to transform the gallery with their own unique take on 'paper'.
- Image gallery from the opening of COPY, Paper #5
- ___________________________________________________________________________________________PAPER #4Leanne Richardson & Lucy May Schofield
- PAPER will present the first of a series of two-person shows, starting with Leanne Richardson and Lucy May Schofield. For these two-person shows, PAPER will act as a incubator space, allowing an emerging artist their first exhibition or providing a more established artist, the opportunity to experiment.Lucy May has exhibited nationally and internationally for over ten years, and her work is held in a number of major collections including Tate and the Yale Centre for British Art. She has also undertaken commissions for The Wellcome Trust, The V&A Museum of Childhood, Whitstable Biennial and Manchester Central Library.Leanne has recently graduated from Manchester Metropolitan University. Since joining the gallery, Leanne has been working on this new series of works to be presented exclusively in PAPER #4.
- Image gallery from Paper #4_____________________________________________________________________________________________________
- PAPER #3Selling StudioPAPER #3 show will coincide with the annual Selling Open Studio at Mirabel Studios and the launch of a new project space ps Mirabel. New Paper artist Poppy Green will be creating an outdoor site-specific installation at the opening and will be showing original and printed works in the gallery. We will be showcasing Hole Edition prints by Simon Woolham, John Moores Prizewinner, Narbi Price, and Turner Prize nominee, George Shaw.
- PAPER #2:All Your Women Things6 October – 17 November 2012Fulya Çetin / Anna Puhakka / Amanda Spawforth / Miranda Whall / Sarah Kate Wilson / Dawn Woolley / Wen WuAll Your Women Things is PAPER’s second exhibition. The exhibition focuses upon a group of female artists whose work subverts items stereotypically associated with the feminine.
Open Studio and Paper launch
Paper will launch its new micro gallery with an exhibition of gallery artists. Focussing upon the notion of paper as a support, for the artists on show, the use of paper is integral to their practice. We have created a mix of emerging and mid-career artists, emphasising the dynamic between their multiple uses of this support in creating their art.
The date of our exhibition Paper #1 will coincide with Mirabel bi-annual open studio event.