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Building the Fetish was a research project and ten hour public art event on Granary Square to map the ‘value’ of the multi-billion pound 67 acre private development north of Kings Cross and St Pancras railway stations. It was made in collaboration with Jim Bicknell-Knight, Cecelia Johnson, Sidney Smith, Aly Williamson and Eliza Wimperis – BA Fine Art students at Central Saint Martins. Mixing clay with earth dug from one of the nearby building sites we constructed a three-dimensional schematic diagram of the development on top of a plinth. Referring passers-by to an informational map pasted on the surface of the plinth (see archival photographs on display) we explained that the relative heights of the lumpy mud towers corresponded to annual estimates of the ‘value’ producing power of the buildings and sites they represented - offices, retail units, apartments, restaurants, parks and squares, an art college, a hotel, student accommodation and public amenities. The higher the tower, the larger the economic value. Throughout the day workers, residents and users of the square discussed and debated specific effects of the development and the wider social, cultural and political issues the work raised about ‘value’ as well as the private investor regeneration model adopted by Camden Council. After completion the ‘fetish’ was left standing in the square until dusk, when it was torn down, and the muddied stone paving washed clean. https://freight.cargo.site/t/original/i/U2275619478647557149923308037160/Fenton---Soke-on-Trent-West-Mid.jpg THE ART SCHOOL PROJECT / Demolished Art Schools (2019-ongoing) 1/5 framed photographs - This series of photographs and captions is from The Art School Project; John Beck and Matthew Cornford have set themselves an ambitious task of identifying, researching, and documenting all the art schools across the country. In this exhibition they present a photographic survey of five schools which no longer exist. https://freight.cargo.site/t/original/i/X2275622145936069743882214401064/Screenshot-2024-11-10-at-13.00.27.PNG Sam Curtis / Selfie circa 1998 Photomontage made at Hereford College of Art Foundation course. Sam Curtis’ work is about self-initiated art projects, art schools and DIY art-cultures. Working as both and artist and curator Curtis employs ‘established’ roles; Artist in Residence, Art expert, Trade professionalism in his art practice. https://freight.cargo.site/t/original/i/G2275640153721421475441340146728/7FD2D423-C756-4D5C-8B98-F94737C94F32.JPG Vincent Hawkins / HOME, Learning (2021) Oil on canvas, 51.5 x 41cm The title HOME, Learning is separated with a comma. Home is in full caps. And so, we read the title at once as a system of education, that is home learning as in staying at home, an auto-didactic approach or one driven on by parental teachers. And yet this title talks about home and learning separately, perhaps learning as an idea of personal growth, and HOME as something isolated surrounded by a goldy looking frame. Hawkins’ delicate and quiet painting of an inland with a tree and diving figures, within a micro frame made during the pandemic. Vincent Hawkins studied at is a studio holder at TKE Tracy Emin Foundation. https://freight.cargo.site/t/original/i/G2275640153758314963588759249960/356ED625-757E-4533-9F82-2787BECE067B.JPG Josie Flynn / Graduation (1998) Photograph, mock-guilt frame Josie Flynn’s, now legendary, graduation photograph was taken upon her graduation in 1998 and was featured in New Contemporaries 2009 https://freight.cargo.site/t/original/i/Q2275640153739868219515049698344/CBDCB250-2ED7-4ED8-9C5E-C7405B97A1EF.JPG The Gatherers was made in Italy, a culmination of study with the Apollo Painting School; a non-profit organisation founded in 2023 by artist Louise Giovanelli, gallerist & curator Alice Amati and artist & academic Dr. Ian Hartshorne. Jordon’s Gathering depicts a group of people coming together, suggestive of religious gatherings, a political parley, friends meet-ups or even group critiques. https://freight.cargo.site/t/original/i/W2275640153702974731367630595112/06B5BFE9-03B8-48B0-A94D-9290F3CA4A86.JPG Angelina May Davis / Shipshape (2014) Oil on canvas, 157x125cm Angelina May Davis teaches Foundation Art & Design at Halesowen College and during the pandemic she took up a correspondence course at Turps Banana (2020-2021) from where she is now enjoying a renaissance in her work. Shipshape, a relic of an idiom, her most recent work explores Englishness through growing up in, and at the advent of, the Post- Modernist epoch of the 1970’s. Davis’ works addresses and how old systems have lost their shipshape-ness, there shine, how stiff upper lips wobbled in the aging Victorian classrooms, and how hierarchies measured by serious culture where challenged by Punk, TV, cartoons and comics, which spoke more about the in-touch changing of the guard. Davis’ work are both exterior views fabricated scenes, set and repainted in the interior of both her studio and her lived experience as an educator and artist haunted by lost and questionable ideas of Englishness. https://freight.cargo.site/t/original/i/F2275649259827506253645528523816/Small_L9A1108.jpg Ruth Ewan / Punishment Exercise, (2021) Letterpress poster produced by Ruth Kirkby. Edition of 30. This letterpress poster edition quotes untrained school teacher Muriel Pyrah of Asking Out, quoting Mark Twain. Pyrah’s own handwritten teaching notes repeatedly reference this quote and this idea is reflected in the title. A punishment exercise is a traditional form of written punishment at secondary school where pupils were asked to copy out the same line repeatedly. For further information on prints and editions please contact Rob Tufnell. https://freight.cargo.site/t/original/i/M2276713236942914056382144930856/d.jpg Lewis Graham graduated Worcester University Fine Art in 2023 and secured funding to pursue the correspondence course at Turps Banana. Specialising in Plein Air and Landscape painting. Blakedown (2023) is an early work from Graham’s recent and burgeoning practice, Graham is interested in place and currently one particular location; The Clent Hills and the surrounding area on the edge of the West Midlands conurbation. Clent and Black Country folklore is for Graham what Cookham is for Stanley Spenser or Northampton is for Alan Moore. His work admires the self-didactic sub-culture of the un-institutionalised Plein-Air painters and their skills following YouTube tutorials and through swapping tricks and ‘Paint station set-ups’ competing generously online on forums and in social media. Where does an academic Bachelor, or a Master of Fine Arts compare, or an independent finishing school sit in the free art world of the plein-air painter? Free from the studio, free from the gallery, free from the Art School; autonomy, fresh air and broad horizons.? https://freight.cargo.site/t/original/i/G2277271735768471515552964502568/mm.jpg Daniel Pryde-Jarman / Donkey Work (2024) Wood, screws, glue, sizes variable Daniel Pryde-Jarman is an artist-curator and educator who teaches Fine Art at Hereford College of Art, one of the very few independent art schools left in the UK. Daniel presents Donkey Work an artist made studio donkey with a canvas’ by selected artists curated by Daniel Pryde-Jarman and Nat Pitt. This work is one of two works in the exhibition which feature an artist easel as subject (see 220 Litu by Saulius Leonavicius). Donkey Work and 72Lt are both a self-referencing meta-works. Donkey Work is hand-made by the artist. It is simultaneously a sculpture and a method for production and a method for display. https://freight.cargo.site/t/original/i/E2277271735510217098521030779944/f.jpg Lulu Ao / Watercourse (2023) Animation (03:50) With a focus on text art since the mid-1960s, Lulu Ao’s research draws upon the theories of the pioneer British group Art & Language who were renowned for the radical and at times controversial action research in art and education at Coventry University. Lulu works with the Contemporary Art Academy, an online correspondence art school directed by Zavier Ellis and Matthew Gibson. Watercourse is an animation where language flows like water. Inspired by moments of introspection in the shower, Lulu reimagines water as a stream of consciousness, each droplet a fragment of individual thought. In the animation, deconstructed Chinese characters fall from a showerhead, drift down the drain, merge into the river, and ultimately reach the boundless ocean of shared human knowledge. Each fragment represents a unique consciousness, an autonomous perspective. Here, language is not merely a tool for communication but a complex structure that shapes consciousness and mediates our connection with the world and each other. https://freight.cargo.site/t/original/i/I2277271735786918259626674054184/gd.jpg Saulius Leonavicius / 220 Litu. (2010) Easel (replica) 220 Watercolour, ink drawings (ongoing) on A4 sketchbook paper (As above) 220 Litu features a painting support structure as subject. When starting an art course at Vilnius Academy in 2008, Saulius saw an advertisement for an easel pinned to the student notice board, “Easel for Sale 220 Litu”. He removed the notice and bought the easel. He never used the easel. Later Saulius was invited to take part in Vilnius 2nd International Art Fair in 2010, he proposed to re-sell the Easel for the same price using the original advertisement. The easel was positioned facing a white wall where, at the centre the original advert was pinned to the wall. Artists, collectors, curators, and fair visitors were invited to copy the easel advertisement in inks and paint on paper using the easel. https://divisionoflabour.co.uk/the-shock-of-the-old 2026-03-27T08:54:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/Q962499264641493667830188908211/t13.jpeg https://divisionoflabour.co.uk/standard-evening-echo-post 2026-03-27T08:54:03+00:00 always 0.5 https://freight.cargo.site/t/original/i/Q962499264641493667830188908211/t13.jpeg https://freight.cargo.site/t/original/i/G2277271735768471515552964502568/mm.jpg https://freight.cargo.site/t/original/i/G2508010185209592409839764857896/TAT.jpg https://divisionoflabour.co.uk/librarian-services 2026-03-27T08:54:03+00:00 always 0.5 https://freight.cargo.site/t/original/i/Q962499264641493667830188908211/t13.jpeg https://divisionoflabour.co.uk/the-nasty-book 2026-03-27T08:54:02+00:00 always 0.5 https://freight.cargo.site/t/original/i/Q963870060787929050910001897139/Borges-Video-1s.jpeg https://freight.cargo.site/t/original/i/S2277299755302808324086715212840/nasty-book-2.jpg https://freight.cargo.site/t/original/i/P2277301249138590157159914628136/nasty-book-2.jpg <table><tbody><tr><td><table><tbody><tr><td>Eli Craven The term Soap Opera was coined in the US as early as 1934 where the main sponsors for daily serial melodramas on radio and TV were cleaning product and soap companies who identified ‘housewives’ as their biggest audiences. Soap Opera is an ongoing series by the artist Eli Craven, photographs are composed of still images from daytime soap operas transformed through the artist’s sculptural frames. The frames are painted with sensual soft colours or rendered in seductive hardwoods, they pull the viewer in with selective peepholes and mirrored metal panels that conceal and fragment situations between character actors, they intensify the spectacle and frustrate the drama of the scene. There is an undeniable relationship between the subconscious choices in his artwork and the environment in which he was raised. In his childhood home, magazines and movies were censored, select films and TV shows were forbidden, sexuality and death were seldom discussed. The power images held were discovered through scrutinising forbidden magazine collections, daytime soap operas, and movies. The impetus of his practice resides in the desire to see, only to discover nothing shocking. Instead, seemingly mundane imagery is isolated and fragmented, presenting a narrative exploring the inevitable, bizarre, and erotic nature of images. “Ultimately the Soap Opera works manifest television fantasy into physical objects in order to explore the act of looking and the desire to see what is hidden.” Eli Craven</td></tr></tbody></table></td></tr></tbody></table> https://divisionoflabour.co.uk/preserving-hole 2026-03-27T08:54:02+00:00 always 0.5 https://freight.cargo.site/t/original/i/P962484719457578524143577898675/AI8A0339-1s.jpeg https://freight.cargo.site/t/original/i/J2277318693505037645408205366312/PHOTO-2024-09-17-15-34-32.jpg https://freight.cargo.site/t/original/i/U2277318693486590901334495814696/PHOTO-2024-09-17-15-34-33.jpg https://freight.cargo.site/t/original/i/B2277318693541931133555624469544/PHOTO-2024-09-13-12-03-56.jpg https://freight.cargo.site/t/original/i/A2277318693523484389481914917928/PHOTO-2024-09-13-12-03-55.jpg https://freight.cargo.site/t/original/i/S2277319643254103024418179867688/5B1EF341-2AA1-469F-9451-A5F325995F91.JPG https://divisionoflabour.co.uk/dreaming-upon-a-white-stone 2026-03-27T08:54:02+00:00 always 0.5 https://freight.cargo.site/t/original/i/Z963933319727765677158910303923/Robbe-Grillet-1s.jpeg https://freight.cargo.site/t/original/i/U2277350531810545616998493414440/DOL_DUWS_DSC1821.jpg https://freight.cargo.site/t/original/i/K2277350531847439105145912517672/DOL_DUWS_DSC1877.jpg The found-footage short film OVERWORK offers a personal reinterpretation of a collection of instructional 16mm films from the German Employment Agency. Using 16 mm format from the 1970s to the 1990s, the Employment Agency of the FRG produced numerous short films aimed at representing various occupations. In great detail, each of these films documents a specific profession: textile machine operator, forest technician, hospital operations technician, audiometry assistant, precision engineer, ceramic model maker, and so on. The representation of the working world in the original footage appears coherent and straightforward. The voice-over perfectly aligns with the image—what you hear is what is shown on screen. Departing from these unambiguous routines, OVERWORK amplifies repetitive actions and processes to bring to the surface underlying dimensions of work, where boredom and violence are in constant tension to the point of exhaustion. see: <a href="https://www.celineberger.com/projects/overwork" target="_blank">https://www.celineberger.com/projects/overwork</a> https://freight.cargo.site/t/original/i/J2277350531921226081440750724136/DOL_DUWS_DSC1833.jpg Communal thread (2024) Sublimation print on felt fabric, flax threads The five textile works of the "Communal Thread" serie are based on archive photographs of the commune in which I grew up. These images, printed on felt and meticulously sliced into thin strips, underwent a laborious process of reconstitution through repeated knotting. While the photographs captured moments of joy — such as large gatherings, communal dances, and children games — the strips, held together by knots, present a blurred image. Recognizable only from a distance, the scenes progressively disintegrate into fragments as one approaches. https://freight.cargo.site/t/original/i/P2277350531939672825514460275752/DOL_DUWS_DSC1822.jpg https://freight.cargo.site/t/original/i/E2277350531902779337367041172520/DOL_DUWS_DSC1855.jpg The video work, "Cutting Edges" delves into today’s visions of work flourishing in start-ups and co-working spaces. Based on images and interviews collected during a three-month residency in the Ruhr area, the German Rust Belt, the work explores the start-up ecosystem in the region. It delves into the specific vocabulary and subtexts surrounding these new economic hotspots, where bits and pieces of utopian discourses aim to shape a reality governed by very different rules. https://freight.cargo.site/t/original/i/C2277350531865885849219622069288/DOL_DUWS_DSC1870.jpg https://freight.cargo.site/t/original/i/F2277350531828992361072202966056/DOL_DUWS_DSC1882.jpg https://divisionoflabour.co.uk/more-news-about-flowers 2026-03-27T08:54:02+00:00 always 0.5 https://freight.cargo.site/t/original/i/A963937911786448410119851384499/AI8A5665ss.jpeg https://freight.cargo.site/t/original/i/A2277392439732474824790269846568/lost.jpg https://freight.cargo.site/t/original/i/T2277392439750921568863979398184/ffof.jpg Covenant (2024) by Gwen Evans Oil on canvas 20x17cm Covenant shows an outstretched hand, painted in a deathly green parlour, pinch-holding a small thornless rose. Evans works draws the viewer in, as if entering into an agreement, privy to an exchange of some pact disguised as a gift or love-token. Evans’ work is inspired by the earliest paintings from the Italian Renaissance and where, throughout history, botanical references served as symbols of love and passion but also truth or virtue. This painting wrestles with this duality and invites us to view the work as being simultaneously enchanted by the painting’s ‘objectness’ (it’s aura) and the painting’s odd subject matter (the uncanny) This work has been generously loaned to us by a private collector. https://freight.cargo.site/t/original/i/Q2277392439695581336642850743336/woool.jpg Imprint (2023) by Hannah Wooll is a low relief glazed ceramic and Wishing (2024) work on paper, depicts Wool’s characteristic figures and portraits of women in nature surrounded by flowers. Her research and working materials take thrifted magazines and old botanical book cuttings to be adapted and mixed with inks, acrylic and oil. The book page adaptations have time and distance contained within them, they are dated by the quality of yellowed print, and it’s 1960/70’s chroma. They use scale to create Lilliputian-like scenarios, another reminder of the divide between being human and our unique capability to reproduce nature mechanically. Wooll writes about her work; “I’m Inspired by Technicolor film sets, or starkly lit deliberately contrived and manufactured environments which are oddly dreamlike and static” and in choosing her collage material: “[it] suggests a semi redundant 1970’s style of homemaking and taste, addressing outdated feminine pursuits and domestic crafts.” https://freight.cargo.site/t/original/i/P2277400263918973688696587772968/fff5.png Sian Macfarlane’s film ‘We will meet sooner than two mountains’ 00:11:34:00 is concerned with the experiences of Victorian artist Lily Whaite in the Welsh landscape, re-locating her archival materials, in an encounter between two artists across time. ‘In a letter from Lily to her father dated December 14, 1903, sent from West Didsbury in Manchester, she speaks of attending a political meeting and in the same paragraph talks of flower arrangements, floral femininity, and political engagement, representative of a time when attitudes regarding women’s position in public life were changing dramatically’1 Working as an artist at the time of Women’s Suffrage, ‘the use of flowers became a recurring motif, Lily’s archive reflecting this Victorian fascination with flowers and their meanings. In her possession was a book titled The Language of Flowers, which contained verse concerning flowers and their meanings, becoming the voice-over in the film We Will Meet Sooner Than Two Mountains: I wish I were the lily’s leaf To fade upon that bosom warm, Content to wither pale and brief, The trophy of thy fairer form And I the lily be, and thine the rose And I the lily be, and thine the rose An amalgam of “The Lily and the Rose” and “The Wish” by Moore.’ https://divisionoflabour.co.uk/crate-on-pallet 2026-03-27T08:54:02+00:00 always 0.5 https://freight.cargo.site/t/original/i/B963945213284453945466024271539/AI8A0483-1s.jpeg https://freight.cargo.site/t/original/i/M2277524207961339824648086709288/566B09E0-5E09-4556-B6B0-852FF22A76C3-5.JPG Four sculptors discuss future sculptures on Crates 0n Pallets. https://freight.cargo.site/t/original/i/X2297191594045908005028568065064/pallet2.jpg https://divisionoflabour.co.uk/tree-leaf 2026-03-27T08:54:02+00:00 always 0.5 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https://freight.cargo.site/t/original/i/B2297191593935227540586310755368/berger.jpg https://freight.cargo.site/t/original/i/J2297240143957848624902628009000/IMG_0361.jpg Art Brussels 2024 (Celine Berger, Edward Clydesdale Thomson, Priscila Fernandes) https://freight.cargo.site/t/original/i/O2297243655848985377727064663080/DOL_DUWS_DSC1822.jpg Communal thread (series, 2024) sublimation print on felt fabric, flax threads The five textile works of the "Communal Thread" serie are based on archive photographs of the commune in which I grew up. These images, printed on felt and meticulously sliced into thin strips, underwent a laborious process of reconstitution through repeated knotting. While the photographs captured moments of joy — such as large gatherings, communal dances, and children games — the strips, held together by knots, present a blurred image. Recognizable only from a distance, the scenes progressively disintegrate into fragments as one approaches. https://freight.cargo.site/t/original/i/Y2297243655830538633653355111464/DOL_DUWS_DSC1833.jpg Communal thread (series, 2024) sublimation print on felt fabric, flax threads https://freight.cargo.site/t/original/i/B2297243655775198401432226456616/DOL_DUWS_DSC1870.jpg Dreaming Upon a White Stone, Division of labour, Salford https://freight.cargo.site/t/original/i/B2297243655719858169211097801768/DOL_DUWS_DSC1821.jpg Communal thread (series, 2024) sublimation print on felt fabric, flax threads https://freight.cargo.site/t/original/i/F2297243655756751657358516905000/DOL_DUWS_DSC1877.jpg OVERWORK (2025) Short film: HD, colors, stereo, 11 min The found-footage short film OVERWORK offers a personal reinterpretation of a collection of instructional 16mm films from the German Employment Agency. Using 16 mm format from the 1970s to the 1990s, the Employment Agency of the FRG produced numerous short films aimed at representing various occupations. In great detail, each of these films documents a specific profession: textile machine operator, forest technician, hospital operations technician, audiometry assistant, precision engineer, ceramic model maker, and so on. The representation of the working world in the original footage appears coherent and straightforward. The voice-over perfectly aligns with the image—what you hear is what is shown on screen. Departing from these unambiguous routines, OVERWORK amplifies repetitive actions and processes to bring to the surface underlying dimensions of work, where boredom and violence are in constant tension to the point of exhaustion. https://freight.cargo.site/t/original/i/O2297246790116824197643270186024/624ef5690cc47e7e91eac92e_CuttingEdges_1.png Cutting Edges (2021) Short Film, HD, Stereo, 14:30 min An exploration of co-working spaces as non-places. Produced during a residency "Zu Gast bei Urbane Künste Ruhr". Screenings: - 67. international short film festival Oberhausen. - Experiments in Cinema , Albuquerque, USA, 1-22 May 2021 (online) - Kino Siemensstadt: der Komplex Arbeit, Programm #4, 22-29 May 2021 (online) - Blicke, Filmfestival des Ruhrgebiets, October 2021 - Working Title Film Festival, Vincenza, Italy, May 2022 https://freight.cargo.site/t/original/i/R2297246790172164429864398840872/624f077fb4cf34d05994b0a3_Reworks_Nr3.jpeg Rework (2021) https://freight.cargo.site/t/original/i/X2297246790190611173938108392488/624f0780805e2e7ed7357b86_Reworks_Nr2.jpeg Rework (2021) https://freight.cargo.site/t/original/i/U2297246790024590477274722427944/624df9ade42a1549d3490122_Mission_MainImage.jpeg Mission (2012) Sculpture, glased ceramics, 41x25x6,5 cm (16,1x9,8x2,5 in) Moebius strip with mission statement "We continually exceed our customers' increasing expectations" Printed on a contorted circle the last words of this mission statement meet the starting point. https://freight.cargo.site/t/original/i/B2297246790209057918011817944104/624f07803895698c27d67afc_Reworks_Nr1.jpeg Rework (2021) https://freight.cargo.site/t/original/i/E2297246790043037221348431979560/624e186bdb443131e64a0df6_NothirdMan_Expo_Main.jpeg No third Man (2019) https://freight.cargo.site/t/original/i/P2297246790153717685790689289256/624f017ea76cb75ea7eb0260_Reevaluation_2.jpeg Reevaluations (2021) Artist book, Edition of 7 + 4AP, manually annotated and signed Workers are evaluated. This is nothing new. Workers were evaluated in the past. Evaluation strategies have just got more sophisticated over the decades, like the management systems they are embedded in. An evaluation strategy is a tool. Like any other tool, it has the strong tendency to get out of hand. Our tools have a life of their own. They proliferate, branch out into new territories, invade our physical and mental spaces. We create them to serve us, yet they end up enslaving us. How can we know that a tool has got out of hand? We need to carefully look at records, gather evidence, analyze data. And then we need a proper evaluation strategy: a tool, that is, another tool, a new one. Realized thanks to: Corona immediate help programm of the region NRW "Soft Power" Banff residency, November 2020 https://freight.cargo.site/t/original/i/O2297246790079930709495851082792/624e18785674f749a118f482_NothirdMan_Expo_2.jpeg No third Man (2019) Solo show, Offshore wind farm Nordsee Ost, Helgoland, Germany 4. Febr. - 3. March 2019 The show "No third man" realized at the Offshore Wind farm Nord See Ost in 2019 was the first part of my residency „Visit“ granted by the innogy foundation. Team (Theory/Practice): Sculpture in two parts Wind farm maintenance workers must wear fall arresting devices when climbing on offshore constructions. They use pipe hooks to secure themselves to the structures. For safety reasons, each mission is carried out by a team of three people. There is a special and very close relationship within such a team. Accidents can quickly have fatal consequences. The two-part sculpture "TEAM (theory / practice)" is dedicated to this specific team structure. The “Theory” part, made from three original aluminum pipe hooks, was placed in the control room on the Helgoland island, the other, made of glass, “Practice”, has been located in the team room of the transformer station on the high seas. https://freight.cargo.site/t/original/i/K2297246789987696989127303324712/63f38fd91cd7b9ec3017f0f1__DSC6298.1.jpg And I measure (2023) Experimental short film, 4K, Stereo or 5.1, 14:40 min AND I MEASURE deals with human-centered scientific experiments, exploring the concept of measurement when applied to ourselves. Our body parts, cleaned, fixed, connected, become an inexhaustible source of data. But why do we measure? What do we feel when we measure? This experimental short film reflects on this introspective scientific gaze in search of the elusive, of a hidden world behind the very gesture of measurement. Taking root in the metrological strategies of the Max Planck Institute for Empirical Aesthetics in Frankfurt, the work has been produced in the frame of its artist in residence program „Inhabit“ and supported by a NEUSTART KULTUR Grant. https://freight.cargo.site/t/original/i/V2297246790227504662085527495720/62680b3b2903269e963c6a1a_JedenMorgenJedenTag_s_Mainimage-1.jpeg Every morning, every day (2022) Video Installation : 2 HD Channels, stereo sound, loop, 10:30 mims The 2-channel video installation follows the morning routine of a group of men with severe autism spectrum disorders. Every day begins with breakfast together, then it's off to work in the workshop. Routine is the be-all and end-all of her life. One meticulous ritual follows the other and yet: every day is different. A poetical observation of the smallest daily gestures of residents and caregivers. ‍ The work has been created during a residency in the municipal Center for People with Disabilities "Dr. Dormagen-Guffanti" in Cologne, Germany. https://freight.cargo.site/t/original/i/W2297246790061483965422141531176/624e187972f6f534e0f3b6f8_NothirdMan_expo_5.jpeg No third Man (2019) Higly invisible: sleeping pillow The wind farm is reached by CTV (Crew Transfer Vessel). The journey from Helgoland takes 1h30 and starts around 6:00 in the morning. The workers continue to sleep in the boat and wake up when the first wind turbines appear. In order to honor this moment of sleep , I made “high visibility” sleeping pillows for the workers. https://freight.cargo.site/t/original/i/S2297246790135270941716979737640/624f0bab8cd5bb228d4ef4b9_Reworks_Nr1_Closeup.jpeg Rework (2021) Woven print3 Pigment prints on awagami kozo thin natural paper, 42x59,4cm, millimeter paper, woven Unique + 1AP Realized thanks to: Corona immediate help programm of the region NRW and "Soft Power" Banff residency, November 2020 https://divisionoflabour.co.uk/andee-collard 2026-03-27T08:54:03+00:00 always 0.5 https://freight.cargo.site/t/original/i/A2278248961480509244789112529960/2f5740cc67af85f0fbef58fb12b0b795.JPG https://freight.cargo.site/t/original/i/I2297191594064354749102277616680/collard2.jpg https://freight.cargo.site/t/original/i/Q2306875743115569066994315912232/IMG_1672.jpeg https://freight.cargo.site/t/original/i/A2306875743078675578846896809000/IMG_1669.jpeg https://freight.cargo.site/t/original/i/E2306875742396146048119643399208/IMG_1600.jpeg https://freight.cargo.site/t/original/i/C2306875742525273256635610260520/IMG_1620.jpeg https://freight.cargo.site/t/original/i/T2306875743060228834773187257384/IMG_1666.jpeg https://freight.cargo.site/t/original/i/N2306875743097122322920606360616/IMG_1671.jpeg https://freight.cargo.site/t/original/i/Y2306875742672847209225286673448/IMG_1653.jpeg Walter Benjamin series Oil on canvas 31x41cm “ Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.” Walter Benjamin “Everything is so new here that even the search leads to creative results. Technology is, of course, the pathbreaker here.” Laszlo Moholy Nagy https://freight.cargo.site/t/original/i/X2306875742433039536267062502440/IMG_1605.jpeg https://freight.cargo.site/t/original/i/D2306875742635953721077867570216/IMG_1648.jpeg https://freight.cargo.site/t/original/i/W2306875742451486280340772054056/IMG_1608.jpeg https://freight.cargo.site/t/original/i/S2306875742414592792193352950824/IMG_1603.jpeg https://freight.cargo.site/t/original/i/Q2306875742488379768488191157288/IMG_1615.jpeg https://freight.cargo.site/t/original/i/H2306875742469933024414481605672/IMG_1610.jpeg https://freight.cargo.site/t/original/i/V2306875742506826512561900708904/IMG_1617.jpeg https://freight.cargo.site/t/original/i/Y2306875742617506977004158018600/IMG_1647.jpeg https://freight.cargo.site/t/original/i/E2306879812209057310289468679208/Screenshot-2024-10-21-at-09.06.27.png Bolton’s Most Wanted (2025) 1-12. 2024. Oil on canvas. Each 31 x 41cm. https://freight.cargo.site/t/original/i/R2306879812190610566215759127592/Screenshot-2024-10-21-at-08.40.24.png https://freight.cargo.site/t/original/i/R2306879812153717078068340024360/Screenshot-2024-10-21-at-08.40.05.png https://freight.cargo.site/t/original/i/N2306879812172163822142049575976/Screenshot-2024-10-21-at-08.40.14.png https://freight.cargo.site/t/original/i/L2306887144531572192804302316584/12.jpg https://freight.cargo.site/t/original/i/I2306887144513125448730592764968/Rachael-2049-1-3-Square.png Rachael (2049) 1-3. 2024. Oil on canvas. Each 16x12 inches https://freight.cargo.site/t/original/i/N2306887144310211263919787697192/Rachael-2049-3.jpeg https://freight.cargo.site/t/original/i/M2306887144586912425025430971432/9.jpg https://freight.cargo.site/t/original/i/R2306887144476231960583173661736/Rachael-2049-2.jpeg https://freight.cargo.site/t/original/i/K2306887144605359169099140523048/7.jpg https://freight.cargo.site/t/original/i/D2306887144660699401320269177896/4.jpg https://freight.cargo.site/t/original/i/N2306887144623805913172850074664/6.jpg https://freight.cargo.site/t/original/i/U2306887144550018936878011868200/11.jpg https://freight.cargo.site/t/original/i/S2306887144494678704656883213352/Rachael-2049-1.jpeg https://freight.cargo.site/t/original/i/F2306887144642252657246559626280/5.jpg https://freight.cargo.site/t/original/i/F2306887144568465680951721419816/10.jpg https://freight.cargo.site/t/original/i/B2306887144679146145393978729512/8.jpg https://freight.cargo.site/t/original/i/Q2306896696292547047757548184616/Sue-Ryder-Shop--King-Street--Wigan--29-Nov-2022-Dithering-Remix.jpeg https://freight.cargo.site/t/original/i/W2306896696440121000347224597544/Beside-Royal-Court-Theatre--King-Street--Wigan--21-JAN-2023.jpeg https://freight.cargo.site/t/original/i/X2306896696384780768126095942696/Jak-s--King-Street--Wigan--20-DEC-2022.jpeg https://freight.cargo.site/t/original/i/K2306896696200313327389000426536/en-plein-air-machine-4.jpeg Painting en plein air King Street, Wigan Oil paintings all 31x41cm made during a six month residency as part of Wigan’s “Streets Apart” project. A new machine was constructed on a vintage French box easel to work off battery en plain air. https://freight.cargo.site/t/original/i/N2306896696310993791831257736232/Royal-Court-Theatre--King-Street--Wigan--21-JAN-2023.jpeg https://freight.cargo.site/t/original/i/K2306896696347887279978676839464/King-Street--Wigan-15-NOV-2022.jpeg https://freight.cargo.site/t/original/i/X2306896696329440535904967287848/Opposite-the-Arcade--King-Street--Wigan--11-NOV-2022.jpeg https://freight.cargo.site/t/original/i/X2306896696274100303683838633000/Sue-Ryder-Shop--King-Street--Wigan--29-NOV-2022.jpeg https://freight.cargo.site/t/original/i/W2306896696403227512199805494312/Dawson-s-Music--King-Street--Wigan--20-DEC-2022.jpeg https://freight.cargo.site/t/original/i/O2306896696421674256273515045928/County-Playhouse.-King-Street--Wigan-29-NOV-2022.jpeg https://freight.cargo.site/t/original/i/Z2306896696366334024052386391080/King-Street-Deconstruction-15-NOV-2022.jpeg https://divisionoflabour.co.uk/matthew-cornford 2026-03-27T08:54:03+00:00 always 0.5 https://freight.cargo.site/t/original/i/A2278248961480509244789112529960/2f5740cc67af85f0fbef58fb12b0b795.JPG https://freight.cargo.site/t/original/i/N2297191593953674284660020306984/paul.jpg Art Schools of the West Midlands (2023) New Art Gallery Walsall The many art schools established in the West Midlands in the nineteenth century are indicative of the industrial power of the region at this time. Support for training in art, crafts and design was seen as good business and as a civic benefit, training workers and enriching the cultural life of the community. <hr /> https://freight.cargo.site/t/original/i/A2306917235985756616321180984360/British-Art-School-Survey-2008-11--copy.jpg Hippo Campus: Where We Learn (2020) Newlyn Art Exchange A group exhibition featuring works from the Arts Council Collection that explores alternative schooling, peer-to-peer learning and self-education. <hr /> https://freight.cargo.site/t/original/i/O2306917236041096848542309639208/Risk_Cornford.jpg Risk Assesment Matrix (2017) Screenprint, edition of 12 https://freight.cargo.site/t/original/i/O2306919018697550643685958706216/0002_Bluecoat-Exhibitions-2018-print-5718.jpg Art Schools of the North West Bluecoat, Liverpool <hr /> https://freight.cargo.site/t/original/i/I2307001459484212316812115010600/Red-Yellow-and-Blue-version-1.jpg Lesson Plan (Colour, 2017) AP Edition of 12 https://freight.cargo.site/t/original/i/L2307017179578151003207487546408/No-Future1.jpg https://freight.cargo.site/t/original/i/J2307017179541257515060068443176/111.jpg No Future (2017) tee - size L ‘Art School tour T-Shirt’ with a list of all the Art Schools Malcomb McLaren attended. https://freight.cargo.site/t/original/i/G2307019868689161836364793472040/fd1a49d7-68a2-433c-aada-9248ea0324fc.JPG ART (2024) Station Approach, Hereford Commissioned by Meadow Arts Typeform and fonts taken from various historic Hereford College of Art prospectus’ https://freight.cargo.site/t/original/i/S2307070351137351850272609362984/JAL_3773-Small-1-2048x1366.jpg Art Schools of the East Midlands Bonnington Gallery (2024) This exhibition is the latest iteration of John Beck and Matthew Cornford’s ambitious Art School Project, to track down and document all of the UK’s art schools – including the iconic Waverley building at Nottingham Trent University. Featuring new photographic work depicting all the art school buildings of the East Midlands, or the sites upon which they stood, the exhibition raises questions about the role of the arts in relation to education, community and history and offers a space to reflect on what the future may hold for cultural institutions in our towns and cities. There will also be a programme of public events exploring the themes of the exhibition, that will be announced soon. In our foyer space, our Vitrines exhibition, Art [School] Histories will present materials dedicated to the history and future of the Nottingham School of Art & Design here at NTU. <hr /> https://freight.cargo.site/t/original/i/I2307070351118905106198899811368/JAL_3759-Small-2048x1366.jpg https://freight.cargo.site/t/original/i/A2307070351026671385830352053288/IMG_1279-scaled.jpg Harmony, Contrast & Discord (2021) Touchstones, Rochdale <hr /> https://freight.cargo.site/t/original/i/J2307084275938817051033289974824/NWAS-Record-Machine-1800x1200-web-1800x1200.jpg North West Art Schools and the Record machine Bury Art Gallery and Sculpture Centre <hr /> https://freight.cargo.site/t/original/i/O2307105554811508397212365579304/Spaceframe---student-protest-sign.jpg Space Frame (Black 2022) owder-coated steel frame with found protest placard https://freight.cargo.site/t/original/i/G2307105554959082349802041992232/F8EACA31-4074-4BE4-8983-000C21F5C26B.JPG Lesson Plan (B&W, 2017) AP Edition of 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