Yearly Archives: 2021

Vanessa Short

I am a London-based artist with roots in north-west England. I use photography, written texts and audio to document social history, specifically the transformation over time of industries, communities and the environment.

My work incorporates old and new processes: images captured with a digital camera emerge as photogravures*, using a long-established printmaking technique that has been revived thanks in part to the advent of digital technologies. I juxtapose these photogravures with verbatim accounts or factual information presented as textual or acoustic overlays.

I have received Arts Council England funding for several creative ventures. Other Side of the Line, 2015, arose from an extensive period investigating the repercussions of the 1984 – 85 miners’ strike. The strike marked a seismic shift in the UK’s industrial and economic landscape and has great personal significance for me: my grandfather and father were both miners at the start of the dispute and based in Flintshire, Wales and Yorkshire, England respectively. Conceived for the 30th anniversary of the strike’s end, Other Side of the Line focuses on men who crossed picket lines to return to work early believing their cause was lost. A second grant enabled me to turn my lens on the women of the strike, documenting their roles in this apparently male-dominated struggle for a decent wage. In Pit House to Politics, the participants describe their political awakening, which saw them move from the kitchen to the picket line, and subsequently to lives of activism in support of other causes. The enterprise, which

Counting on the Planet, which is also ACE funded, marks a new creative departure. In this project I move away from personal narratives in favour of statistical information expressed in novel ways. It is presented as short texts superimposed over photogravures. By overlaying visually arresting images with statistics about environmental destruction, I aim to confront viewers with unpalatable facts through easy-to-understand analogies.

Website: https://itsasalfordthing.co.uk/

Instagram – https://www.instagram.com/salfordthing/

Debbie Lampon

Artist Bio

As a teenager I worked at a lithographers making up the plates from artwork, which led to a love printmaking and drawing, fonts and graphics and I worked in web design before training as a psychotherapist and lecturer. I’m interested in the unconscious, what it means to feel lively, and the more mundane side of human life. Cities, loneliness, marginalised lives and human connection. Printmaking is the closest thing I’ve found to magic. 

Contact: [email protected]

Instagram : @e17printmaker

Lesley O’Neill

I am an Artist living in London, UK.

I studied Fine Art Printmaking at the Slade (MA), and then worked from a studio in the East End for five years.  Participating in exhibitions with some lecturing work. Had my son and stopped.

I studied for a PGCE becoming an Art teacher for ten years. Feeling disillusioned with the teaching establishment I retrained as a Pilates teacher.  My work had always been figurative after a fashion, so a reasonable fit.  

I use to think time was linear, things happen in a certain order, then 2020 struck. My Father died, he was 92 so that’s ok, yes? In March I caught Covid now morphed into Long Covid.

On 3rd June my Son died suddenly from a Pulmonary Embolism caused by an undiagnosed DVT.  This was not the correct order of things and left me questioning life.

I dusted off my tools and started again but this time with much more to say, the product of a life lived I guess.

My work is inspired by my experiences; all self-portraits but they could be anyone.  The important thing is not that the sitter is me but the emotion they convey.  Loss, love, yearning, searching, hopes and humour.  The need for a forbidden hug.

I have created thirty-five new pieces all with a theme running through them.  Working mainly in Wood and Linocut.  I love cutting the image; it is as much about the process as the finished piece. It can be unpredictable, a slip of the blade and the story is changed irrevocably, that is the exciting bit!  The challenge of still making it work.

I don’t like to flatter, I like raw emotion but with a sense of humour albeit a dark one.

Website lesleyoneill-artwork.org
Instagram @lesleyoneillartwork
Email [email protected]