img_1681

 

2016 – A difficult year politically and globally, but on a personal level it’s been filled with a variety of projects that have made up a year rich in different experiences. Here’s an overview of my artistic year 2016:

I started the year being invited to give a talk about my practice and recent projects at Manchester’s cultural venue, HOME.

I then began a year-long collaborative project with a sculptor, Sarah Smith, and sound artist, Caro C. ‘Nature, Skin and Bones’ took us walking around the Yorkshire Dales, up hills and into caves to explore our connection with nature and the land, together with addressing our transient place in the world.

 

img_6119

 

 

The project culminated in an immersive installation at the National Parks Museum, Hawes from October – December 2016. It was an interesting collaboration as even though we took main control over our specialist parts (light, sound, sculpture) we spent a lot of time discussing the symbolism of the work, the collective effect we wanted to give upon entering the space. Caro and I had a word jam to be included in the sound work, I ensured my lighting was not merely to illuminate Sarah’s wonderful sculpture but to add to the entire effect of the piece.

Simple lighting made the moonlike drum glow from within, spotlights picked out flecks and shadows of ancient stones and a stone pool of water, plus a simple low level bulb cast shadows of the work across the space like in a cave. Visitors’ shadows would also be cast across the space, making them a fleeting part of the work. Feedback was extremely positive, many felt the space was meditative and it slowed them down to become more present and inquisitive. A longer film about the project will be presented in the new year.

 

img_6104

 

I had my work picked up by the popular online magazine The Creators Project and they wrote a lovely article here.

Another project that ran throughout the year was my continued work with The Stroke Association and University of Manchester, called Stroke Stories. Last year we ran a series of creative workshops covering creative writing, visual arts, photography and music (find out more here) which culminated in an exhibition at Manchester Central Library. This year I curated a third, larger exhibition of the work and project at Victoria Baths in Manchester. Find out about my curatorial process here

 

victoria-baths-web-size-2

img_6055

img_6068

 

This project won ‘highly commended’ at the University of Manchester’s Making a Difference Awards 2016. After the final exhibition I organised a symposium about the project and arts and health issues at The Whitworth Art Gallery. We had presentations from participants and artists, panel discussions including experts from Arts Council England, University research specialists, stroke consultants and NHS directors. This was an excellent round up of the project but it also started a wider conversation about the benefits of this type of work with survivors of stroke that will be continued well into the future and I’m excited to be a part of helping to implement.

 

Another continuing project is my work co-directing Manifest Arts. This year was the year between festivals (Manifest Arts Festival is biennial) so we turned our attention to a new way of manifesting (!) arts in the North West and obtained Arts Council England funding to conduct a series of interviews with artists working in the North West for our Manifest Arts Podcast series. We interviewed many artists, curators and gallery directors. Find out more and access the interviews here. The series proved so successful that we are continuing to conduct interviews for the podcasts into the new year.

 

manifest-podcasts-launch-picture

 

Also as part of Manifest Arts, we had Manifest at The Manchester Contemporary, the largest art fair of its kind in the North of England. We promoted the festival and represented and sold the work of two North West based artists we feel are creating exciting and interesting work at this time. We chose fine artist, Helen Wheeler, and fine art photographer, Lucy Ridges. Find out more about them and the Manchester Contemporary here.

 

img_1641

Manifest Arts at The Manchester Contemporary – work by Helen Wheeler and Lucy Ridges

 

In September I was fortunate to have my work DREAMERS shortlisted for the prestigious international lighting awards, the Darc Awards in the ‘Best Light Art (Low Budget)’ category.

darcawards16_shortlistbadge

 

I also had a 2-page feature spread in international lighting design magazine, Mondo*Arc: 

screen-shot-2016-08-22-at-15-23-40

 

In October I had two new commissions in the Blackpool Lightpool light festival. I created a new version of ‘The Stories Under Our Feet’ for a set of eight benches in Blackpool centre. The poem works physically and thematically with the flow of people around the space:

I pass you at night

Dreaming in Parallel

Dreaming in Parallel

I pass you at night

Depending on how you moved around the piece, the poem could be read in different permutations and still make thematic sense.

 

img_6462

 

I also created ‘I Waited’ in response to the loneliest bench in Blackpool. A man stands looking out to sea but all that is left is his shadow. A work about love lost, anticipated or unreciprocated (depending on your viewpoint).

I was so pleased with the public response to both works, to create something that made visitors look at the often overlooked spaces anew.

 

img_6511-2

 

I met with lighting company, Megaman, to discuss my journey into becoming a light artist. They published the interview here.

I ended the year with a new work, well, a continuation of an old work that I’ve picked back up for further development. I created a Moon Book (from my Sun and Moon Book series – more to come later). The poem ‘In the wisdom of moonlight/ Nothing stays the same’ is revealed by the transient light of the full moon. I took a timelapse of the moonlight poem being projected by the light from the December 2016 super moon and created a GIF out of it. The words fade in and out and shift across the floor as the moon moves across the sky and clouds pass over – activating the poem’s transient meaning. The GIF is a never-ending loop of this timelapse to represent the constant and cyclical nature of the moon’s phases:

https://giphy.com/gifs/moonlight-light-art-elisa-artesero-2K8pfVbhp5u00

The GIF doesn’t embed so here’s the video to show the same effect (but not on never-ending loop I’m afraid!)

 

 

This year has been full of variety, which is just what I enjoy in my work. I’ve learned new things, met many new people and been so pleased with the reception to the artwork I’ve created and curated. Plans are starting to shape up for 2017 and I’m excited to see what it will bring! Happy new year!

 

Advertisements

victoria-baths-web-size-2

Throughout 2015 I worked on a project with stroke survivors. This included workshops including creative writing, visual arts, photography and music. I ran the visual arts workshops and also curated exhibitions of the work produced throughout the project at Manchester Central Library and the Manchester Museum. (You can learn more about the background to the project and the first exhibitions I curated here.) This year, I was asked to curate an even larger exhibition of the work produced to be exhibited at the historic Manchester Victoria Baths. Below is my curatorial statement and pictures from the exhibition:

The exhibition was curated around the theme of ‘transformation’. A stroke is a profound and life changing event. It creates challenges, both practical and emotional, that need to be faced and processed by both the survivor and those close to them. A profound transformation has taken place and this is reflected in the artwork produced.

img_6068

Responding to the site of Victoria Baths as a space that was traditionally used for health and wellbeing treatments, the theme of transformation was a natural fit. When it came to the presentation of the work I wanted to create a visual metaphor that visitors would physically interact with and understand even before seeing the artwork.

A curtain was an apt symbol for the space because in the Baths people would change from one state to another, from their daytime clothes to swimming costumes, to cleanse and relax. Participants’ portraits were printed large on gauze and hung around the baths. Behind each picture was a banner of their artwork to tell their individual stories of life before and after stroke. Visitors could view beyond the outward appearance of each person by lifting the curtain. From curtains at the hospital, to curtains at home, to the metaphorical curtains we use to hide elements of ourselves from others. Here we were ‘lifting the curtain’ on stroke.

img_6060

From the 880 visitors to the exhibition over the weekend we received extremely positive feedback. The interactivity of the exhibition worked to create a physical pause and a longer engagement with each piece than if the work had been immediately accessible. For the participants themselves, it was a culmination of the project, their progress, and an opportunity to see their work professionally mounted in a building of cultural and historic significance. A moment to feel proud of their talents, journey, and accomplishments.

img_6074

Nature, Skin and Bones

August 3, 2016

Here’s a short video about a new collaborative project I’m involved in. I’m working together with a sculptor (Sarah Smith) and sound artist (Caro C) to create an immersive installation in the Dales Countryside Museum. It’s a new experience for me as I have not collaborated in this way before. The process and the collaboration has led to the work being rather different to the more minimal style I’m used to creating in my solo installation pieces, particularly as the sculptural elements are being made by another artist and there is the added element of an immersive soundscape. I’m looking forward to the final install early October, more updates closer to the time!

The Stories Under Our Feet

December 20, 2015

Rain

Rain – photo by John Lynch

The Stories Under Our Feet‘ are ephemeral light and text artworks trimming the edges of the benches that surround Manchester Central Library. I developed a series of short observational poems drawing on changing weather and seasons to create moments of contemplation for people walking by or sitting on the benches. The piece was developed for the Enlighten Manchester Festival of Light and Sound Art 2015 and was funded using public funding through Arts Council England.

I was pleased with the positive public response to the work. So many people stopped to slowly make their way around the benches to read the poems, smiling once they’d completed the set and commenting on how nice it was to see engaging artwork in the public domain.

Sunshift1 JL

Sunshift – photo by John Lynch

I changed the piece each night to shuffle the poems and show a variety. The light and shadow cast changed each night also, sometimes easy to read, other times a little more difficult and erring more towards the aesthetic of the feathery light and shadow effect. I like people to engage with my work and I also like to slow them down from their daily lives if only for a few moments. For some, they only noticed the attractive lighting effect, whereas others spent time reading the poems more carefully. Going off the feedback at the time, it seems something positive was gained from both types of encounter.

You can see more pictures of the work on my website here.

 

Lost and Found couple JL

Lost and Found (couple) – Photo by John Lynch

I also created another piece “Lost and Found“: understated light and reflection pieces activated by the viewer. Passers by interrupt the reflection to become either ‘lost’ ,‘found’ or sometimes both to highlight the search for sense of self and connection between people.

One visitor told me that she lost her little boy in the library on the visit and found him at my piece – he’d positioned himself so that he had ‘lost’ projected onto him. She said once she’d found him, she took a picture of him with the word ‘found’ on him instead. Great to know my artwork helped to reunite the two, but also that it was easily understood and interacted with!

 

Little boy Lost JL

Lost and Found – Photo by John Lynch

 

Many thanks to John Lynch for the photos, and to Enlighten Manchester/Curated Place and Arts Council England for their support in realising these pieces.

 

 

 

 

 

 

CP-logo-WEB

 

 

Really pleased to have been featured in an article about the thriving cultural arts scene in Manchester in the Saatchi Art and Music North issue.

Saatchi 2015 article pg1

Saatchi 2015 article pg2

Saatchi 2015 front cover

The featured work was for 2014 Enlighten Manchester Festival of Light Art. It’s called ‘A Solid Wish Scatters’ and was installed in Manchester Piccadilly Gardens. The earthly presence of the blocks scatter into an ephemeral light piece on the concrete wall to show all that is solid is still fragile and all that is perceived to be permanent never will be. Read more about the work here.

I will be exhibiting in this year’s Enlighten Manchester 10th-12th December, showing ‘The Stories Under Our Feet’ around the benches of Manchester Central Library and ‘Lost and Found’ within the library itself. For more information and to book free tickets to the festival visit the Enlighten Manchester website. These works have been created with the support of Arts Council England.

 

 

 

Manifest Arts Festival 2015

December 3, 2015

Manifest Poster

Manifest Poster

This July Roger Bygott, John Lynch, and I directed a city-wide (Manchester and Salford) visual arts festival:

Manifest is a visual arts festival, showcasing the talent of North West based artists in a series of exhibitions and events across Manchester and Salford.

It took place 10th-12th July 2015 and during the second weekend of the busy Manchester International Festival. The timing was deliberate so that the festival would give visitors a flavour of the creative activity going on across the two cities all year round.

The exhibitions and events in the Manifest programme were at some of Manchester’s most prestigious institutions, such as Manchester Craft and Design Centre, John Ryland’s Library, and the newly opened HOME. Artist studios across both cities were coordinated for the first time to have open studios during the festival weekend to give a closer look at the scope of art being created across the city.

This year was a pilot festival and run on the passion of its participants, and we’re so thankful for the enthusiasm and support in making it happen. We couldn’t have been more pleased by the reaction of visitors and participating artists.

Our reasons for setting up Manifest:

Roger Bygott: For me the inspiration and spirit of Manifest is about community association, trusting grassroots links and mutual encouragement. As artists practicing within this broad vibrant community we aim to help strengthen those connections and to share more widely and publicly the artistic fruits emerging from it.”

Elisa Artesero: “Many of the artists in Manifest exhibit nationally and internationally but remain based in the North West. We want to show the high standard of contemporary art being produced on our doorstop.”

John Lynch: “Artists want their work to be seen, we present the opportunity to see it.”

We even got a feature interview in a-n

This slideshow requires JavaScript.

The festival was a huge success in more ways than we’d expected and we’re still receiving positive feedback about the impact it has had on participating artists’ careers. During the three days and nearly 30 different events/exhibitions artists: sold their work, had in-depth critiques with curators, they gained commissions and potential exhibitions, and were able to show their work to an audience that would not have had the opportunity to see their work otherwise.

Months down the line we got an email from Susan Gunn, one of the artists to present her work at ‘Manifest Calling’ a show and tell at HOME. She had been contacted by contemporary classical composer, Ailis Ni Riain, who was impressed by her work when she presented it at ‘Manifest Calling’, and asked if she would design the album cover for her album ‘Linger’.

The pilot festival gave us a chance to just give it a go, to test the idea of the festival and to see if it would be possible to run. The three of us had an incredibly busy weekend trying to document all the events and ensure they were running as planned. My pet project for the weekend was to try out live streaming the festival with the Periscope app to give online viewers a flavour of parts of the festival. I didn’t know how useful or popular this would be, but it turned out to be surprisingly popular, getting up to 70 live views at a time. Not bad for a fairly new piece of technology and first festival!

We ended with a closing party at media bar, Texture, which was a lovely celebration of the weekend. One of the joys for me (and I’m sure Roger and John, also) was to spend an entire weekend looking around the cities’ arts spaces, seeing fantastic contemporary artwork, having lively conversations about the artistic and cultural scene and the lives and exciting careers of those who are based here.

Although, admittedly, there was almost too much to be able to get around in one weekend, it was brilliant to have it all there to choose from, a snapshot of the kind of things that are going on (often behind closed doors of studios) all year round. To able to facilitate that in some way was an absolute pleasure, and I think we proved what we set out to do – which was to show that we live in a vibrant and thriving cultural space that needs to be showcased every so often.

As for the future of Manifest, well, watch this space.

Manifest Logo

Manifest Logo

 

All photos taken by John Lynch, and the logo and programme designed by the talented Stephanie Hamer. 

Throughout 2015 I worked on a project with stroke survivors. I ran a set of visual arts workshops and curated the final exhibitions: one at Manchester Central Library, and the other at Manchester Museum. It was a wonderful experience and I feel privileged to have been through the process to help facilitate some of the workshops and to be able to curate the final exhibitions to help to tell these survivors’ stories.

About the project:

The Stroke Association and The University of Manchester ran creative workshops with 15 stroke survivors across a 9-month period in 2015. These focused on creative writing, visual arts and photography. The interactive workshops brought together stroke survivors, artists, filmmakers, clinicians, researchers and students from the University of Manchester and Salford Royal hospital.

Personal and collective stories of life before and after a stroke are told through the survivors’ artistic interpretations. Many of the survivors were shown the brain scan of their stroke. They were talked through their individual scans by leading stroke consultant, Professor Pippa Tyrell and NIHR Clinician Scientist Dr Adrian Parry-Jones, who explained the areas of the brain that were affected by the stroke and answered any questions they had. This was often an emotional moment and many of the survivors used this experience to create artistic responses and explore their feelings towards the journey from having a stroke to the lives they now live.

The Manchester Central Library exhibition, as part of The Manchester Science Festival, gave a more personal insight into a complex and often devastating condition. It is, however, also to show that there is potential for an enriching and positive life after stroke.

The pop-up exhibition and mask-making workshop at Manchester Museum on World Stroke Day was as a result of a special workshop I led during the project. Participants were given a tour of the Museum’s mask collection then they were given coloured tissue paper, glue and scissors to create masks that would reflect different emotions. Masks were made to represent or cover up emotions and also to promote positive emotions.

This slideshow requires JavaScript.

 

With thanks to the survivors who created these personal and expressive pieces of artwork:

Peter Osbourne, Keila Moore, Peter Wright, Raymond Garner, Paul Edgerton, Mary Davis, Janette Kirkham, Debbie Concagh, Mark Pizey, George Shone, Janet Stoppard, Carol Banks, Ann Williams, Michaela Holden, Graeme Snell

Also many thanks to the other workshop leaders – Caroline Edge for photography, and Janet Rogerson for creative writing. Special thanks to Joyce Booth and the volunteers from the Stroke Association for helping to coordinate and facilitate all of the workshops, and to Dr Stephanie Snow, who has led the project and is using this as research for her work on documenting the History of Stroke.

A video of the project:

 

Light Holds Me Here exhibition (photo credit S.Illes)

Light Holds Me Here exhibition (photo credit S.Iles)

This year I made what only existed in my mind into a reality. There’s not much more an artist can ask for, really! Here’s a recap of my artistic year gone by.

In January my degree piece ‘Leap and the Net Will Appear’ was still on show as part of the Nesta Art Showcase, selected from a national call out to be exhibited in central London at the Nesta gallery space.

Leap and the Net Will Appear

Leap and the Net Will Appear

In February I continued to be part of the DIY Art School, a year-long project by art school graduates wishing to continue the momentum of creative learning in the year after graduation. For this we had weekly meetings and scheduled artist talks, workshops and crits.

March saw the success of DIY Art School continue as I was asked to represent the group by giving a speech at the opening of Castlefield Gallery’s New Art Spaces, Federation House. I was pretty honoured to be speaking along side the likes of Maria Balshaw, Director of the Whitworth Gallery and Manchester Art Gallery.

Jumping ahead to May and I was selected as one of the UK representative artists for the ‘Art of Youth’ Youth in Action European Commission project in MontenegroThe programme brought together participants from across Europe to learn about different contemporary art practices, European Citizenship, and to create collaborative pieces of artwork to be exhibited in the open air amphitheatre in Old Bar, Montenegro. As well as being creatively stimulating and getting to exhibit in such an unusual space, I also made many friends that I’m still in contact with today.

Unity sunlight

Unity sunlight

I was over the moon to get Arts Council England funding in June for ‘Light Holds Me Here a period of research and development of my practice to help to fuse my two creative backgrounds of light art and writing. This project helped to shape the rest of the year as I was working towards a solo exhibition and to show work in the Faroe Islands later in the year. I also started working with Curated Place, who supported my application and my progress throughout the year.

 

 

In July I also began a new research project, Manifest, with fellow artists, John Lynch and Roger Bygott. This also received Arts Council England funding and allowed us to look into the feasibility and planning of a festival that supported North West based artists and would run alongside the Manchester International Festival in 2015.

September was a red-letter kind of a month for me. I was honoured to have been selected as Tim Marlow’s Curator Choice for Fine Art for NOISE Festival 2014. I went to the press launch at the House of Commons and found out that my winning entry ‘Sun Scroll‘ was to be exhibited at the Manchester Buy Art Fair, then at the Tetley in Leeds and also a picture of it was placed on a plinth and exhibited on London’s South Bank for nearly 3 months!

I was also awarded ‘Outstanding’ for my ‘Sun Bowl’ and ‘Excellent’ for ‘Leap and the Net Will Appear’ for NOISE Festival by the CEO Denise Proctor.

IMG_0813

Sun Scroll picture on plinth on the South Bank, London

 

Alongside this, I exhibited my final work for Light Holds Me Here developed over the summer in a solo exhibition of the same name at Castlefield Gallery’s New Art Spaces. An absolute dream of an experience and I was really pleased with the great feedback from visitors.

Light Holds Me Here

Light Holds Me Here self portrait in the installation

 

In October I developed and delivered a series of expressive drawing and working with words workshops with stroke survivors for the Stroke Association. This was a new experience for me and I was pleased that the participants enjoyed it too and created some amazing artwork in the process.

Stroke Association Workshop

Stroke Association Workshop

Curated Place took me to Copenhagen and then the Faroe Islands in November. In the Faroes I exhibited a poem installation,Ambiguous Borders together with a poem written in response to mine by Faroese poet, Oddfridur Marni Rasmussen, at the light art and literature festival, Bóka Dagar. I also had the generous support of fellow light artist, Ulf Pederson, as he enabled me to project more of my poetry onto the buildings of the Faroese National Broadcasting house.

'Ambiguous Borders' exhibited in the Faroe Islands

‘Ambiguous Borders’ exhibited in the Faroe Islands

December was another busy month as I was chosen as one of Red Bull Studios’ ‘Red Bull Collectives 2014. For this I got to collaborate with award-winning photographer, Layla Sailor, to creative an exhibition ‘Fragment|Reflect’ at the Red Bull Studios on Tooley Street, central London.

'You Hide in Spaces' at Fragment|Reflect, Red Bull Studios

‘You Hide in Spaces’ at Fragment|Reflect, Red Bull Studios

To end the month and year, I was awarded another Arts Council England Grants for the Arts grant to create new piece of work, A Solid Wish Scatters for the Enlighten Manchester festival of Light Art. I exhibited one of my largest pieces of work yet in the centre of Manchester in Piccadilly Gardens.

I couldn’t have wished for a more positive end to the year and I thank all my colleagues, sponsors and supporters who all helped to make it actually happen.

A Solid Wish Scatters. Photo credit J.Lynch.

A Solid Wish Scatters. Photo credit J.Lynch.

 

 

 

 

 

 

 

LHMH Elisa Artesero self portrait

I exhibited my Arts Council England supported work ‘Light Holds Me Here‘ at Federation House, Castlefield Gallery New Art Spaces in Manchester 24th-28th September 2014.

I’d been exploring the themes of desire and void through new writing and presented it in a large-scale installation using light and shadow effects. I developed the work as something akin to a dream world, one which tracks a domestic space but is presented in abstract and sculptural form. I wanted the space to be something the visitor could become a part of, to experience the light and shadows for themselves and to follow the loose narrative I presented.

LHMH window reflection EA 2

The windows in the space had been covered with two-way mirror, so you could see out in the day time but at night the work took on a very different quality as the windows turned into mirrors and reflected the whole installation over and over again. The clarity of reflection and the shadow path words reflecting the right way in the mirrored windows gave the effect of many alternative spaces.

I was really pleased with the result of the work as I was never truly going to know how it would look until it was installed in the space, and neither did I know how visitors were going to react to and interact with it. I’m pleased to say that the reaction was positive, I had some interesting conversations during the exhibition and I also had anonymous feedback sheets which contained some wonderful interpretations of the work and most importantly, how it made visitors feel when they walked around it.

Abstract LHMH EA 6

Here is a selection of some of the comments of what people enjoyed most:

“The immersive nature of the light against the shadows. I thoroughly enjoyed the inclusion of text as a sculptural object.”

“A feeling of comfort juxtaposed with fear – beautiful shadows. The use of words in reflection. The sense of vertigo induced by reflection.”

“Light Holds Me Here drew me in, felt slightly uncomfortable in anticipation. Amazing effect at night with reflections in the windows.”

“The reflection that felt like I was teleported in different dimensions then projected.”

“How the sound of the words in my head fit snugly into the sensory experience of the space.”

This post contains some of my own photographs of the exhibition, but on my website you can see all the professional photographs of all the work along with the time lapse video showing the change from day to night in the exhibition. 

View more pictures from the exhibition here.

Shadow walk1 LHMH EA

 

Twist your viewpoint - Elisa Artesero

Twist your viewpoint – Elisa Artesero

Well I’ve been working away on my solo exhibition ‘Light Holds Me Here’ and things are starting to come together. I don’t want to go too much into detail about exactly what I’m creating as I’d like it to be a surprise. I am, however, working on a huge scale, one which I’ve never worked on before and in order to develop the work I’ve gone through a few new processes.

I can, and do, think in terms of space – how to move around it and what effect I’d really like to create in an installation. I’ve worked with small scale models of my installation to develop the ideas and lighting effects I’m wanting to create. I imagine it’s a bit like how architects work when they build their scale models.  Now I’m having the pieces manufactured at scale and so the full effect of the work within the actual space will not be apparent until I get there and install it – so it’s a nervous but also exciting time!

The space! 4th floor, Castlefield Gallery New Art Spaces

The space! 4th floor, Castlefield Gallery New Art Spaces

In the lead up I’ve had a studio critique day with various curators from places such as Manchester Art Gallery, Curated Place and the e-Luminate Festival Cambridge. This worked well to introduce my work and to coherently express what it is that I’m trying to do, and to get valuable feedback from professionals within the field. The response was really positive so it’s good to feel I have support from the people I respect in the industry. As a result, the Director of e-Luminate was able to secure a lighting sponsorship with Pulsar on my behalf, so I’ll be using top quality lights for the installation – brilliant news for a light artist!

 

Pulsar outline logo

 

This exhibition is a result of a period of research and development, supported using public funding by the National Lottery through Arts Council England. The funding has given me time to concentrate on developing my practice, to find out about and work with new materials, learn new skills and show work on a much larger scale than previously possible. Next up will be the light and text festival in the Faroe Islands with Curated Place, but one thing at a time!

 

 

 

Print