Tribute Exhibition

2009-11-10T23:18:00.000Z

Photographs taken by Andi Sapey

2009-11-10T23:05:00.005Z

Installing TRIBUTE in stew. The last two photos are the very few I got of the Private View as i was busy behind the bar.

2009-11-10T22:55:00.001Z

Thank you to everyone involved with T R I B U T E it was amazing, and thank you to everyone who came down on the PV and during the week to see the work.

2009-11-01T17:24:00.003Z

Right click and save as to download the press release and exhibition information.

The private view is tomorrow (Monday 2nd November) from 6pm – 9pm
The exhibition runs from Tuesday 3rd November to Saturday 7th November, and is open from 10 am to 5pm, so please come down at some time if you can.

Interview 8: Mathew Parkin

2009-09-06T23:42:00.002+01:00

Mathew Parkin was born in 1987. He currently studies on Visual Studies. His work explores issues around memory and identity. He is one of the organizers and curators of the show. To see more of his work visit mathewparkin.co.uk

Hello Mathew. What made you want to gather a group of students together to create an exhibition?

I had been discussing it a lot with other people, discussion is really important as a core creative activity I think. I wanted to do an exhibition as I am really interested in curating and organization of shows, and STEW presents a wonderful chance to rent affordable and good gallery space. Also I think that sitting in art school making and not creating opportunities, or being involved with art, is very nieve. Early on me and Siobhan had decided we wanted it to be a group show with different courses involved and people from different backgrounds. There are interesting discussions about where the boundaries of what can be art are. I am also influenced by groups of artists in the past (it sounds cliche but the YBA's in particular) and how they have created group dynamics. I think it will be really exciting to be involved with the conception and creation of all the work by group crits with people involved.

What course are you currently studying?

Visual Studies.

How do you see the curation of the show? Is it good to be curating after previous experiences of other shows?

It is very exciting to be curating. I am really interested in curating. I have previously curated a show for Siobhan with Matthew and Isabel. I think the curation will be minimal, to try and let the work communicate with each other and the space it is in. I hope to be involved with the making of the work and the whole process, through having tribute group crits and such, so I don't want to just be curating work I have never seen when it arrives at the gallery. Good curation can be very important to making a show work, so hopefully the curation will work well. I think curation is hard, as it is difficult for it to be democratic, and I have been involved with shows where curation has been secondary to fitting all the work into the space.

Was the date of the exhibition important to you?

The reason for the dates of the show was more for practical reasons. Giving people who are students time to access workshops and make things in studios. It was a convenient time in the year for everyone. The fact it was on bonfire night was rather perfect. Bonfire night is a tribute to the punishment of someone who tried to instigate an act of terrorism really. It is traditionally a patriotic time that is about protecting the country. But it has become more a tribute to Guy Fawkes, and more about fireworks and bonfires then anything else. To me bonfire night just makes me remember one really beautiful bonfire when I was young, in the fields behind the estate I lived on. Most people form the estate where there, and I remember a huge cone of wood with a fire. Everyone was eating jacket potatoes and pie with mushy peas. It would be nice to do more with the date, like a bonfire behind the gallery or fireworks, but I'm not sure, we will have to wait and see.

What does the word tribute mean to you?

Tribute is a strange word. It can be thought of as to pay homage or respect. However it makes me think of memorials and death.

What is your work like?

I hate describing my own work. I would say that my work is sculpture. Sculpture with a conceptual basis, but still engaged with the play and process of sculpture. Also a very wide definition of sculpture that includes film, photography, text, installation, intervention, the actuality of space as well as an actual object. Skill isn't necessarily important to me. Generally my work is to do with identity, the uncanny and memory, but personal narratives are subdued. Recently I have become really interested in the domestic, space and spatial theory, also british social hosing of the 1950s to the 1970s, brutalism and ideas about architectural utopia. My work rarely contains the body, and when it does it is fragmented, however it normally references the body.

How does your work tend to develop?

I really love ideas, and that is how I start. I just tend to have lots of ideas and write them down. I have a book that is full of them. Due to time and money constrains I find the ones that I feel are most urgent at the time. I tend to take lots of reference images, and spend a lot of time looking for reference images on the internet. I tend to get to making quite quickly, as I have an urge to make, and get frustrated when I can't make for a long time. It is in making that the work can change, through accident or rereading the work. It is always trial and error for me.

What have you got planned for tribute?

I was initially thinking of playing with homages to other artists but it didn't end up appealing to me enough. I also thought a lot about the space and researched the building, but it didn't really give me enough. The work I am making is very much about space. The tributes are kind of abstracted and convoluted. I struggled to decide on work because I had lots of things I was thinking about that could apply, and still aren't completely convinced about the work I have in mind, so it feels like a bit of a risk. I am thinking about british realist cinema and social hosing, traces of previous use left on spaces, windows, porn and nostalgia.

What (if anything) do you hope to get out of this whole experience?

I am excited about doing it, and think curating and planing would be invaluable experience. I also think it will be good to get my work out into the world. I have been in exhibitions before, but not really to the full extent I would like. I have kind of been working for myself for the past year to work through old ideas and not really got the work out there or been particularly happy with this. It also gives me an opportunity to make work that I wouldn't necessarily make in the studio as it needs to be in its context.

If you could live with one piece of work, what would it be and why?

There is lots of work I would love to own, but it is a dodgy area. I think with most work I would probably want to permanently lend it to a public gallery. If I had to live with something I think it would be Untitled (North) 1993 by Felix Gonzalez-Torres. It is a certain amount of lights on wires. It is incredibly beautiful and subtle, but also can be emotive when thinking about personal narratives and the naming. I would never tire of seeing light.

Interview 7: Esther Marcia Lyons

2009-09-05T20:30:00.005+01:00

Esther Marcia Lyons is currently studying Visuals Studies. She works with many themes and mediums, including installation, video, performance and photography. Although she has conceptual concerns she tends to approach work with a sense of play.

Hello Esther, How did you become involved with Tribute?

Hello. The idea of putting on a self-initiated exhibition involving students from various courses at the art school had been discussed earlier in the year and when Mathew and Siobhan put the plan into action I was more than happy to oblige!

What Course are you studying?

Visual Babes.
(Or alternative answer if previous is unsuitable):
I am continuing onto year two Visual Studies.

How do you feel about it?

Visual Studies is a very unique course with a very broad spectrum of people. Everyone has a very positive attitude on the course and is enthusiastic about working together. I think this is what makes it different from other courses and why I enjoy studying it although the course feels quite new to me and I am still settling into it.

How do you feel about Tribute? What kind of ideas are you thinking about?

I was happy with the theme Tribute because the resulting work could reflect the idea quite closely or could be taken far away from the obvious connotations of the word, allowing a lot of freedom within the project.
I have had several initial ideas for the project. I like the idea of creating a tribute to mundane everyday objects, setting up a museum dedicated to dish cloths or hair removal methods. I also like to physically involve audiences in my work and have thought about setting up an alternative karaoke machine.

Could you tell us more about your work?

I am still exploring a lot of ideas and processes and don’t always feel entirely confident with the themes of my work. I mainly focus on the status of the everyday object and also the manipulation of audiences. Some projects have been a lot more successful than others and I am discovering what works well for me and what doesn’t. I try not to determine how successful my work is by the grades I receive but by how much I have enjoyed working on a particular project and how much I have learnt.

A lot of your work seems to involve audience participation, is it important for the audience to interact, or is the implied interaction enough?

The importance of audience participation differs from project to project. However, I personally feel by physically involving audiences in work, it allows them to understand it better, forcing them to become aware of it and therefore take more away from it.

Could you tell us more about the alternative worlds that appear in your work? A lot of the time they seem to contain ordinary objects and this is what makes them spectacular, would you agree?

I like the idea of giving ordinary objects new life and forcing people to respond to them in ways they wouldn’t usually. One way of doing this is placing these ordinary objects in out-of-the-ordinary places, places they would not usually appear - a telephone in a public toilet for example. By doing this I am not only manipulating the qualities of the object but also transforming the nature of its surroundings. This causes the audience to react to both object and surroundings in a way they wouldn’t have done had they come across them separately, in their usual setting.

What is your working process?

I wouldn’t say I have a set working process but I often find I have to wait until I have an idea that really grabs me before I can start working on a particular project. If I force myself to produce work simply because I have a deadline, I won’t like the outcome.

If you could live with one piece of work, what would it be and why?

That’s a difficult question. It would probably be Plight by Joseph Buoys. I think the piano looks beautifully lonely in the padded, empty room and I would happily live in there with it.

Interview 6: Klubbclub

2009-09-05T11:34:00.006+01:00

Klubbclub are swede Isabel Gylling (IG), born 1987, and northern Matthew Ferguson (MF) born 1988. They started working collaboratively as Klubbclub in 2009. Klubbclub have developed their own language in their work, both in their drawings and a series of reoccurring symbols. There work can tends to include audience participations, and see no boundaries making pillow cases and badges, as well as sculptures. To see more of their work visit klubbclub.com

How did you get involved with Tribute?

IG: This kind of thing just seems to happen when you hang out with Mathew and Siobhan....!

What Course are you studying?

IG: Visual
MF: Studies

How do you feel about it?

MF: I like it, Im having a good time
IG: It is a good course with a lot of freedom. It suits me.

How do you feel about Tribute? What kind of ideas are you thinking about?

IG: Tribute as a theme is very free but it still ties the whole thing together. The fact that the exhibition consists of work from various courses is good. It will hopefully make the exhibition varied and bring lots of different people to it.
MF: We are thinking about Ping-Pong.

Could you tell us more about your work?

MF: We like to have fun with what we do. At the moment were still exploring.
IG: Our work is varied which is good for me! Some bigger projects some smaller ones. have a look at our website klubbclub.com

Why did you decided to work together? Do you ever have projects you want to make separately or do your ideas tend to synchronize?

IG: It began with helping each other out in each others separate projects more and more. Then one day we were at a cafe an had a idea to create our own little club so we created Klubbclub.
MF: We wrote down our ideas of what Klubbclub could do. Some of the things on the list were things like making clothes, therapy for people, make a magazine, cycle repair, there was lots of things.
IG: Everything basically. I think it was a little bit like a joke, it was just a fun thing to fantasize about. I suppose when we decided to make the rockstarbooth together thats when it really started.
MF: By doing this project we found out that working together was fun and effective so we made other stuff together as-well.
IG: I feel we could still make work separately and it can still be Klubbclub work.
MF: So far I haven't wanted to do anything Isabel dosen't and vice versa.

What is your working process? Do you tend to take different roles in the process?

IG: We tend to discuss how we deal with something a lot. It usually means we work out the best way to do it quickly as the ideas bounce back and forth. I think this is a very big part of our working process, we begin with discussing and this continues through out. Teamwork.
MF: We do what is required to turn the idea into reality. We don't really have roles, we both decide what jobs need to be done, then just get on with it, either together or separately.

You seem to have created your own language of klubbclub, both in the way you draw, but also with symbols, would you comment on this?

MF: We tried to create an identity when we started Klubbclub just like a company or a band would have. We wanted a logo and stuff to give all the various projects something to tie them together.
IG: We haven't forced a particular style upon the work, it just seems to have become this way.

Some of your work tends to blur boundaries between artist, designer and produce, they also tend to call for audience participation, or to exist in the audiences daily life, is this important to you as a theme, or are the individual ideas important whatever they are?

MF: Each project we've done so far has kind of been its own idea
IG: We haven't thought " Hmmm lets make something for the home" instead we've come up with an idea and then seen to how and where it would best be used.
MF: I think we are not too bothered about what category our work comes under as when we started Klubbclub we wanted to do so many different things.
IG: If its design or fine art is not a big deal, each project suits different contexts. I suppose the audience is very important to us and how we get them to be involved with the work. We dont really want our work to be put on a pedestal (most of the time)
MF: Id like our work to be used somehow.

If you could live with one piece of work, what would it be and why?

MF: Carsten Höllers "Test Site" could be quiet nice.
IG: A Henry Moore sculpture in the garden.

A Henry Moore sculpture

Carsten Höllers, Test Site

Interview 5: Amy Deacon

2009-09-04T22:31:00.006+01:00

Amy Deacon was born in 1990. She is currently studying textiles. She takes atmospheric photographs, and develops lush patterns and textiles. She also loves some good old fashioned knitting. View more of Amy's work on her flickr.

Hello Amy, How did you become involved with Tribute?

I got asked to be part of the exhibition by a few friends on the Visual Studies course and was more than happy to accept.

What Course are you studying?

I’m going into my 2nd year of Textiles.

How do you feel about it?

I love it. I love the freedom I’ve been given to explore the ways in which I work, and I think it helps that the course is in a city I enjoy. Norwich is such an inspirational place.

How do you feel about Tribute? What kind of ideas are you thinking about?

This summer I spent almost a month in America, visiting epic historic sites such the place where Martin Luther King performed his ‘I have a dream’ speech, as well as the site where he was shot. I think that places like this where people pay tribute to such amazing historic events will become the main inspiration for the work I will exhibit.
I’m obviously nervous about the theme and producing work that’s appropriate, but I’m very excited at the same time.

Tell us more about your work?

I find it so hard to talk about my work because I feel it changes so much. I think that if you are not doing something that you enjoy, you’re not going to do it well. I like to keep myself motivated by making sure my subject matter is of interest to me. The majority of my work does end up being non-crafty textiles (even though I confess that I am a knitting fanatic).

What is your working process?

It used to be that when it came to doing a project I’d spend a lot of time procrastinating about what I’ll actually do that when it came to actually doing it I was almost out of time. I think that since being at NUCA I’ve made more of a conscious effort to start straight away, by researching, taking photos and getting inspired.

You use a lot of photography, it seems to be as reference images, or starting points, but they are all beautiful photographs in their own right. Are you interested in photography? Would you ever work solely with photography or is it important for you to progress it to textiles?

Photography is such a passion (and obsession) of mine. I think it’s so important to be able to record what’s around you. The feeling you get when you take a good photo alone is enough to make me drop my knitting needles and pick up a camera for good, but at the moment I’m really enjoying the collaboration I seem to be making between the two and would like to take that further this year, and hopefully during Tribute.

In the early 2000s textile based work became more popular, and it felt like it could transcend the boundaries between art and craft, do you feel that is still true? Is it even necessary to have the boundaries of art and craft?

I have actually had a (rather heated) debate with a 70 year old ‘ex-tapestry weaver’ when she tried to tell me, that the work we had produced for our 1st year textiles show, wasn’t textiles. This bemused me as I am a firm believer in textiles as art and am excited by the thought of breaking the boundaries of what we can now classify as textiles. I think it is old fashioned to instantly assume that a textile is only sewing or knitting. Even though I obviously still enjoy those things, I love the possibilities of what else I can do. (I like to think that she lost.)

If you could live with one piece of work, what would it be and why?

I’m a hopeless romantic, so I’d probably say that I couldn’t live without Rob Ryan. ‘This is for you’ is my favorite thing on my book shelf.

Interview 4: Dean Khalil

2009-09-04T08:47:00.002+01:00

Dean Khalil was born in 1985, and currently studies fine art. His work tends to deal with autobiography, and includes text, photography, projection, drawing and environments.

Hello Dean, How did you become involved with Tribute?

I became involved with tribute because you wanted someone who was studying a real course (fine art)... No seriously i think its because of brittany and yourselves being kind enough to invite me.

What Course are you studying?

I'm studying fine art painting and i'm awaiting entrance to the 3rd year.

How do you feel about it?

The course is really good. There's some really good tutors who don't mollycoddle you and tell you that your work is shit if need be. It is very loose, i've not looked at paint for over a year but have still managed to stay and flourish.

How do you feel about Tribute? What kind of ideas are you thinking about?

The theme tribute worries me... All i am good at is making work about myself. Would be wrong to make a tribute to myself? To be honest i'm not sure what i'm doing for this exhibition, i have a few ideas so i'll just see where they take me. Whatever i'm sure it'll be great.

A lot of your work seems autobiographical, could you tell us more about it?

The hardest thing for me to accomplish within art is making a point. If i have a point i want to make i cannot translate it through a painting or sculpture without seeming pretentious and childish. I found the best way is to literally write it down. Strip it away and make it plain and simple, no hidden meanings, no crypticness just obvious. This has made my work evolve from diaries to an autobiography. It's just stating what i feel and what i've felt. It is genuine.

What is your working process?

I work fast.. then slow... then slower... then rush around on the last few days. It keeps me on my toes

You started out as a painter, but no longer paint, why is this? How would you categorize your work now or is it unimportant to categorize it?

I started painting a few years ago, landscapes predominantly. I had my ego boosted by various people and thought i was amazing. Throughout my 1st year people realised i was just re painting the same scene and failed the 1st year. I tried to change from landscapes to abstract but no-one got it and i couldn't put my feelings across using a paintbrush. My work was described by my tutor as extremely poor, decorative at best and conveying no emotion what-so-ever. Thankfully writing cleaver words on paper makes me a genius in their eyes and is alot easier!

If you could live with one piece of work, what would it be and why?

Cezanne, Mont Sainte-Victorie it's hard to pick just one but it would be this any Courbet or one a photo by that bloke who took photos of his scummy family ( was ther one with a cat being thrown?) there pretty good. (ed - Richard Billingham)

Interview 3: Brittany Bathgate

2009-09-03T16:35:00.006+01:00

Brittany Bathgate was born in 1990. She currently studies on Visual Studies. Her work is diverse using a large range of medias, and many different themes and ideas. She tends to reference personal narrative and pop culture. View more at Brittany's flickr

Hello Brittany, How did you become involved with Tribute?

Thanks to Mathew and Siobhan, they invited me into what is going to be the exhibition that hopefully gets me a first this year!

How do you feel about the theme Tribute? What kind of ideas are you thinking about?

It couldn't have come at a better time! Anything Michael Jackson...

What course are you on?

That kooky one that no one understands...Visual Studies

How do you feel about the course?

It beats anything other course at NUCA...because it is every course at NUCA combined into one

What is your work like generally?

My work varies, at the start of the year I was very stubborn about other peoples suggestions so all my work was very self absorbed, ramblings, writings and illustrations but after making friends and becoming for open to ideas my work took a huge turn and I turned to sculpture working with all kinds media. Generally my work isn't 'like' anything as it constantly changes so far my work has been compared to the likes of Tracey Emin, David Shrigley, Annette Messager, Cornelia Parker and Christian Boltanski...I hope this gives you a slightly gist.

What is your working process?

My working process is terrible, especially the beginning I'm very prone to just sit for weeks and do nothing apart from thinking of ideas. Keeping notes is always part of my process, I note down and anything and everything because it all helps and it's all inspiration. The actually doing part though is another story, it takes along time for me to actually start doing any productive, hands on work I normally need a massive push from other people to get me to do it or being reminded how close the deadline is normally gets me going. But once I do start doing I never want to stop.

You seem to work with lots of different processes, how important is processes to you? Do you enjoy particular processes or do you find the one that is right for the idea?

Processes never used to be important to me I just did what I wanted to do and that was it, I never bothered testing anything out (that was my stubborn era) however nowadays process is probably the most important part of my work. I'm more about processes and trying things out rather than a finished final piece. I like to try out as many different processes and media as I can to see what would be best for my final idea that I have in mind...but actually making the final idea using the perfect process isn't my priority. I like messy things now, I love plaster and latex so much, especially plaster it's amazing, I wish I had discovered it sooner...(then maybe I would have got a first) Next up I want to use Paver Pol.

If you could live with one piece of work, what would it be and why?

Son of Man by Rene Magritte, I don't think I would ever get bored of seeing that man with the apple face.

Interview 2: Siobhan Fitt-Stirling

2009-09-01T01:19:00.011+01:00

Siobhan Fitt-Stirling was born in 1989. and is currently studying on the Visual Studies degree. She has a basis in photography but more recently has started to explore sculpture and film. She is one of the organizers and curators of the show. View more at siobhanfitt-stirling.co.uk

Where did the theme Tribute come from?
Tribute was just a theme picked out of a hat, nothing more nothing less. Pure chance

Is there any reason for the date of the show, I noticed it is near bonfire night?
Bonfire night is a Tribute itself and fits quite aptly

What is your own work like?
My work is about breaking boundaries, about creating a space with no walls or limits in which a person is encouraged to enter either mentally or physically. During there time in this space they are prompted to think, to react and finally to question.

What are you thinking of for Tribute, what themes are you playing with?
I have messed around with a few idea's for Tribute but time and the end of time are key things that stick in my mind, you will have to visit the show to see how I have taken this further.

How does your work tend to develop?
I go through many stages when making work. First Initial idea's, which are so often followed by even more ideas, sometimes it's hard to narrow then down.
Then rather than waste time and risk coming up with even more ideas I tend to begin to make, to play, and to ask for criticism, it is this criticism that will help shape the final piece.
I never work entirely on my own as I find bouncing off others produces a more productive piece. Does this make me a lesser Artist?

How do you see the curation of the show? Is it good to be curating after previous experiences of other shows?
I am very nervous about the idea of curating as in previous show's I have had or taken part in I have given the task or curating to others. It is a new experience for me and one in which I hope will open my eyes.

How important is the space?
Space is crucial if a space is not right then the work can not be shown to it's full intention.

If you could live with one piece of work, what would it be and why?
Empty Beds, Boston, 1979 by Nan Goldin. It is so emotive.

Interview 1: Dale Wylie

2009-08-30T16:12:00.006+01:00

We are going to do a series of interviews for the blog with the people involved. Discussing their work, their thoughts about Tribute, and other things. Here is the first interview.

Dale Wylie was born in 1977 and studies a BA in Illustration. He usually works in ink, drawing older people, or older times. His work tends to be nostalgic but also has subversive elements. He once worked as a butcher. View more of his work at dalewylie.co.uk

Tell me how you got involved with tribute?

Mathew and Siobhan were talking about putting on an exhibition, and that they needed ten people to make it worthwhile, they asked me to be involved and I said yes.

What course are you on?

I am going into my second year on the Illustration degree.

Whats your work like? Do you have a style?

When I started the course I hadn't really done much illustration so I didn't have a style but over the year, I've sort of developed a style. At the moment I tend to draw figuratively using inks mainly.

How did you feel when you were told that theme was tribute?

I came up with a few ides pretty quickly, thats how I tend to work, projects at school have a quick turn around.

What themes or ideas are you working with for tribute?

I was looking at Queen Victorias funeral procession. And wondered what it would be like id people were protesting about it, like the westboro baptist church.

An exhibition is normally related with fine art, but you do illustration. Would you call what you did illustration? With its recent rise in popularity illustration is been seen more and more outside magazines. Can illustration exist in exhibition, maybe without text?

Yes, I would call what I did illustration, I think illustration can be a lot of things. Why should an exhibition be solely centered on one kind of art. I don't have a large interest in fine art. Illustration doesn't just have to be in a magazine or a book.

Finally if you could live with one piece of work, what would it be and why?

Most probably Annette Messager's Articulated-Disarticulted 2001 - 2002. It is a bit mental. I saw her retrospective at the Hayward and it was probably my favorite exhibition I have ever seen.

2009-08-27T13:30:00.001+01:00

STEW gallery in Norwich where we are exhibiting. Photogrpahs not taken by me.

2009-08-27T12:50:00.004+01:00

poster designs by mathew parkin

Victorian picture frame

2009-08-26T17:49:00.003+01:00

Victorian picture frame
Originally uploaded by Dale Wylie

Work by Dale Wylie

Queen Victoria

2009-08-26T17:49:00.001+01:00

Queen Victoria
Originally uploaded by Dale Wylie

Work by Dale Wylie

Tribute Research

2009-08-26T17:47:00.003+01:00

Tribute Research
Originally uploaded by Siobhan Fitt-Stirling

reasearch image by Siobhan Fitt-Stirling

Tribute Research

2009-08-26T17:47:00.001+01:00

Tribute Research
Originally uploaded by Siobhan Fitt-Stirling

reasearch image by Siobhan Fitt-Stirling

Tribute experimentation.

2009-08-26T17:46:00.007+01:00

Tribute experimentation.
Originally uploaded by Siobhan Fitt-Stirling

Tribute experimentation Siobhan Fitt-Stirling

Tribute experimentation.

2009-08-26T17:46:00.005+01:00

Tribute experimentation.
Originally uploaded by Siobhan Fitt-Stirling

Tribute experimentation Siobhan Fitt-Stirling

Tribute

2009-08-26T17:46:00.003+01:00

Tribute
Originally uploaded by Siobhan Fitt-Stirling

poster design by Siobhan Fitt-Stirling

Tribute Exhibition

2009-08-26T17:46:00.001+01:00

Tribute Exhibition
Originally uploaded by Siobhan Fitt-Stirling

poster design by Siobhan Fitt-Stirling

Tribute

2009-08-26T17:45:00.001+01:00

Tribute
Originally uploaded by Siobhan Fitt-Stirling

poster design by Siobhan Fitt-Stirling

2009-08-19T19:24:00.000+01:00

Just a sampler of my final work.

2009-08-19T19:11:00.000+01:00

STEW gallery, 40 Fishergate, Norwich, Norfolk NR3 1SL
Private View Monday 2nd November 6pm – 9pm
Open Tuesday 3rd November to Saturday 7th November 10 am – 5pm
Featuring work by Shaun Camp, Klubbclub, Siobhan Fitt-Stirling, Dean Khalil, Brittany Bathgate, Dale Wylie, Esther Marcia Lyons, Amy Deacon and Mathew Parkin.