Previous Pallet Show artists include:
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Through a humorous lens, Broadley celebrates the objects, experiences and fascinations that have helped situate his position within society.
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I’ve been collecting images of narco subs, or drug cartel semi-submersibles for some time. I like them as objects, their unprofessional finish, their functionality. I’m also interested in what they say about trade, things beneath the surface, value systems, addiction, encyclopaedic interconnectedness, the global movement of goods, cocaine and its common use, parties, and art events.
Remaking these vessels at a model boat builders scale brings them somehow closer to home, their amateurish finish harks back to the amateur boat builder tasked with building the original semi-submersible.
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Starting from a sculptural sensibility, William Cobbing’s practice encompasses a diverse range of media, including ceramic sculpture, video and performance. For the past twenty years he has created surreal performative pieces that show the protagonists engaging in repetitive, almost compulsive and absurd cycles of manipulating formless clay surfaces. His work alludes to concepts of entropy, underlining the extent to which earthly material is irreversibly dispersed, giving rise to a definitive blurring of the boundaries between the body and landscape.
https://www.airspacegallery.org/index.php/project_entry/social_substance
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Daisy is an artist with an education in fashion design and a practice driven by craft. Her multi-disciplinary work investigates of the human form as the central theme. The work sits in an awkward space between, sculpture, performance and art. The ‘flesh suits’ or ‘Squishies’ are an exploration of fabric, form and flesh. Their tactile fabric bodies and inviting colour exaggerate the warmth and softness of flesh- these elements which signify a living thing. They are visceral. There is a desire to touch.
Fabric offers skin like qualities that traditional sculpting materials do not have. Unlike marble or ceramic, they will not last forever, just like skin. The medium is more approachable and laced with meaning given that we all come into contact with fabric on a daily basis.
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I am interested in studying complex ecosystems and environments, in order to understand how their internal workings interact to function as a ‘whole’. I observe, document and subvert the intended function(s) of processes and communications, most recently within manufacturing and scientific research organisations.
My work is shaped by the relationships between people, materials and processes, and often contributes something back to that triangular dynamic. This might be in the form of disrupting an established process with the people who usually work with it, by presenting an existing quality of an object or infrastructure in a different way, or by carving out a new way of operating – as an individual, a collaborator or an outsider – in a specific context. Individual artworks function as punctuation marks within long term relationships, exchanges and timelines.
I am a member of Incidental Unit, the current iteration of Artist Placement Group. The Incidental Unit draws out key ideas, methods, process and rationale for maintaining the independent and critical work of artists and curators, connecting the historical legacy of APG with the complex nature of social practice now.
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In his practice Fallon explores the diverse landscape of queer culture through the use and manipulation of objects and materials. The binary of private versus public marks a particular point of interest; examining the ways in which spaces are utilised and fetishized in order to explore the sentimental values of love, desire and loss, occurrences that are at once unfolding in the public realm, whilst at the same time remaining an enigmatically private affair.
At a first glance, the sculptural works seem reminiscent of things and places encountered before, but there is a false façade at play and quickly, the reality of each work begins to unfold and theatrically perform. It is these theatrical and performative elements, inspired heavily by Jean Genets literature and film, which change the work from something static to something with movement, weight and dependency.
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THE GROWING PROJECT & MODERN CLAY
In 2019, working with charities who support the vulnerably-housed, Grand Union established The Growing Project. This community-led network of gardens across Birmingham are designed, nurtured and tended to by people experiencing crises or passing through difficult times. The garden spaces have become common ground for many and a place to collectively develop new relationships and ways of being together in the city. During this time we've partnered with Modern Clay, a Digbeth-based clay studio and co-operative.
Together we've made plates and platters for our annual harvest meal, artist editions, stoneware cups and terracotta pots. Our display for the Pallet Show will be made up of one off editions of the terracotta 'Digbeth pot' as well as our brand new 'Minerva cups' which have both been created with the help of the Minerva garden group. The centre of the display will feature two beautiful editions under the title 'Handling it, together'. These unique, 26cm tall, stoneware jugs are adorned with a collection of handles each made by one of the group members. They've been clear-glazed to give an almost ghost-like stoneware finish, letting the form be the stand out aesthetic. The profits from sales of all the items at Manchester will go toward the continued work of The Growing Project in partnership with Modern Clay.
https://grand-union.org.uk/modern-clay-x-the-growing-project
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Left (2019/20)
Found work gloves cast in bronze, dimensions variable
Remnants of gesture frozen in time. Utilitarian references that point to unspecified tasks completed or ones temporarily abandoned. Found discarded work gloves gathered as material.
These once useful objects will be constantly discarded in favour of newer replacements. Such objects can be re-invigorated through the context of art. By changing the medium or the usual context of an object, new meanings and metaphoric potentials can be realised. Potentially discarded or over looked objects can regain status and importance via such a transformation.
Casting an object into bronze involves both the transformative power of art, and of material. This change can elevate the status of previously overlooked or discarded objects.
The transmutation forces us to respond differently to that object. It places it in a different social context, again meaning we have to reassess our relationship to that object, as well as to the other objects that are placed alongside it, and the space it is contained within.
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Faisal Hussain is an Artist who graduated from Falmouth Art College in 1999. His portfolio of work spans public art, film, sculpture, audio, and text art. His artwork is part of permanent collections in the Birmingham Museum & Art Gallery and Urban Nation, Berlin.
Currently, he is archiving one of the largest south asian record collections in the UK and creating and curating new works as part of a 3-year-long project funded by the National Heritage Lottery Fund. This work has been on BBC 6 Music and in articles in the Guardian and Vinyl Factory as well as being nominated for the Best Event AMA award for the exhibition 'Request Line' at the Manchester Museum's new South Asia Gallery.
Recently he also completed his first edited chapter for 'Contemporary Reflections on Critical Terrorism Studies' on Routledge. Last year his work was published in the periodical 'Hommes et Migrations' for the Musée de l’histoire de l’immigration in Paris and his artwork was used for the cover of 'Muslimischsein Im Sicherheitsdiskurs' in Germany.
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Kieran Leach’s work explores elements of everyday, online and ‘art world’ cultures, which are abstracted, condensed and often satirised. From playful sculptural forms to modified ready-mades, his work employs a strong aesthetic sensibility and commonly approaches works with a humorous slant.
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Rosie McGinn’s current practice approaches questions of contentment and elation alongside a fast-paced, unsatisfied and entirely visual society. The work looks at physically stretching materials to their limits; this has recently surfaced through a combination of video, installation and sculptural pieces – kinetic and static.
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Daniel Pryde-Jarman is an artist and curator whose research interests include institutional critique, the politics of display, and forms of self-organised artist-led culture.
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The work focuses on the animal and the force of nature inherent within. Familiar yet distinct from man, the us-ness in their eyes masks an otherness which undermines it. A fascination for ‘animal-ness’ and pursuing what it is like to be animal, drives the making process. Direct and energetic the clay becomes inhabited rather than an image of its self.
Bringing together the untamed, exotic, wild otherness of animals with domestic objects or the civilised spaces we inhabit, highlights the tensions between man and beast and questions the boundaries of our inner animalness, drawing out an inner force intrinsic to our spirit.
Living on a farm, immersed in the countryside environment and spending time in the wilderness of the Belize, Laos and Bangladesh are raw, vital experiences which informs and drives the work. Human souls are bound up in nature, so much of our selves resonates with animals, at our inner most essence we are animal, yet we no longer recognise our place in nature, we are displacing ourselves, the more separated we become, the unhappier we become.
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Luke Routledge studied BA Fine Art at Loughborough University. Routledge works across a range of media including sculpture, painting, animatronics and animation. These various media are employed to detail a fictional landscape and its inhabitants in an ever expanding world building project.
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Jonathan Wright works with images, materials and structures derived from the fabric of modernity. But since he is also fascinated by craft techniques, his compositions using this modernist vocabulary often become mysterious and seemingly functionless through the intervention of personal and felt elements, in a personalised and romantic critique of the modernist project.