Gallery

Welcome to our gallery!
Please scroll through and view some fantastic art created over lockdown

Suilven Hunter

Interconnection
This piece is made of 5 interlocking nude segments, they are united through use of colour. I made this piece early on in lockdown and found that many themes within the work were drawn from the position I found myself in whilst referencing the symbolism of the nude in art history. I am fascinated by Picasso's famous piece Demoiselles D'Avignon, and what is deemed the "grotesque" within a nude painting, how in modern day these terms are simply unheard, but as a media washed generation the expectation not to embody the "grotesque" still prevails. The sense of proximity between figures is strong, a necessity which we are all starved of at this time.

 

Zoe Ley

Untitled, 2020

Oil on Canvas

50 x 40 cm

As a portrait of quarantine, the focus is placed not on the figure but the window behind her, in which the frame serves to highlight the individual’s restriction through rigid line and geometry. 


@zoeley_art

Gabriella Diaz

These pieces are part of a series that explores the hustle and bustle of city life- principally speaking of highly saturated populations and high-speed culture. It is something that many could find overwhelming yet I find a strange sense of comfort in this chaos. These pieces aim to share this sentiment with the viewer, encouraging people to see the beauty in the rush.

Gabriella Diaz

These pieces are part of a series that explores the hustle and bustle of city life- principally speaking of highly saturated populations and high-speed culture. It is something that many could find overwhelming yet I find a strange sense of comfort in this chaos. These pieces aim to share this sentiment with the viewer, encouraging people to see the beauty in the rush.

Lucy Cunningham

“I keep referring to isolation as slow time, losing grip of calendar days and gradually accepting that for now time is an expanse not demarcated by dates, but divided by light and darkness, by smells of dishes cooked, the sigh of another night’s sleep. I’ve been making soundscapes a lot with friends online but I’ve gone back to drawing a lot, simply with pen and paper, which I haven’t felt a desire to in a long time. Now with so many hours for reflection, I’m noting the feeling of solitude through mark-making.”

 

Lucy Cunningham

“I’ve been walking lots though, finding a new connection to Leeds, particularly in quiet havens like Meanwood Park and The Hollies; soaking up rhythms of passing people and plantation. I’m missing embraces, but for now maybe these sketches can be scenes others can relate to, consolation for some.”

Florence Drayton

Oil Painting on board.
This is a series of nudes I’ve created over the lockdown period, where I’m experimenting with oils for the first time. This painting was inspired by photographer ‘@thetogfather’. I’ve always loved images and painting the female body and I like the way you can see the width in the daubs of paint.

Florence Drayton

Oil painting on board 
This is my 2nd piece from the nude series I’ve created over lockdown. It was inspired from a photo of a women walking out of the sea. And I decided to create this in lockdown as an escape into a virtual paradise. I love the brightness and colours of this painting in particular.

Cameron Sinclair

This is a contemporary politically inspired by the prime ministers recent state of affairs. It was made using a combination of spray paint and acrylics. I don't want to say too much as I believe it speaks for itself.

 

Kirsten Sinclair

A step in time a back in time to take be to a future time two paces beneath the surface on time a score and underscore and also an outline
At 11:35

Kirsten Sinclair

A step in time a back in time to take be to a future time two paces beneath the surface on time a score and underscore and also an outline
At 11:35

Felix Butterwick

The paintings are about an exploration into the relationship between colour and form and how this relationship can fluctuate and change not only between forms and shades but also between individuals viewing the pieces. In some way I sort of hope to offer the on lookers a window into a new world and way of viewing things.

Felix Butterwick

The paintings are about an exploration into the relationship between colour and form and how this relationship can fluctuate and change not only between forms and shades but also between individuals viewing the pieces. In some way I sort of hope to offer the on lookers a window into a new world and way of viewing things.

 

Alice Seaton

Untitled
Acrylic on wood

Sam Tatchell

This series of photos came about when I was sitting in my grandma’s back garden in Bridgnorth last year. There is a difference between commemorating and celebrating, and my grandma, who was evacuated to Pontesford House in Pontesbury during the Second World War, is a firm example of this. For me, as I took this photo her eyes conveyed both an awareness of the impermanence of life but also a celebration of it.

I remember taking this picture because the light looked pretty and my dad has a big chin - which he has unfortunately passed on to me - which caught it well. I think maybe I was thinking about the future, and how we can only imagine a tiny portion of it while the rest is hidden in the shadows.

This particular photograph was taken on possibly the only day in The Boathouse’s history that anyone was told to leave. Personally, I see the eyes of someone living entirely in the moment and absolutely loving it (either intentionally or because they’d drunk so much they couldn’t remember anything else).  

Annie Wells

Designed using a combination of Adobe Illustrator and Photoshop and with mental health in mind. This is a dynamic take on the important advise to take a “deep breath” if you are ever struggling in times like this.

Annie wells

This one was designed using a combination of Adobe Illustrator and Photoshop. The nostalgia of dancing with my friends inspired this energetic and vibrant piece, conveying that mood when all you wanna do is let loose and wiggle!

 

Arun Matharu

This piece was created towards the start of lockdown. I had an empty space on my living room wall, an old picture frame, but limited art supplies. I cut out the blocks from an early copy of Dazed magazine, the sun from some old coloured card, and the clouds from a book of Hindu folk stories I had bought at a market last year. The collage had no initial intention, but ended up serving quite poignantly to express how the confinement of lockdown has felt at times.

Arun Matharu

This piece was a happy accident. My flatmates and I had stumbled across this wooden coffee table (whilst on our daily dose of limited exercise) that had been dumped near our flat. We took it back home, and mutually agreed that a naked woman would be a sound acrylic painting to place in the middle of our living room.

Milli Rawlings Robins

"Imagine’ acrylic on paper, 
Without evidence does history really exist? How do we really remember a face? We assume the present is a singular manifestation rather than many fragments coming together, however when we look at history it is much the latter. The re-assessing if what is important through the lens of ‘now’ is so important and possibly now more than ever. Being in one place and looking back on past memories, how has the world as it is now affected how we look upon these fragments of history?"

Milli Rawlings robins

"Imagine’ acrylic on paper, 
Without evidence does history really exist? How do we really remember a face? We assume the present is a singular manifestation rather than many fragments coming together, however when we look at history it is much the latter. The re-assessing if what is important through the lens of ‘now’ is so important and possibly now more than ever. Being in one place and looking back on past memories, how has the world as it is now affected how we look upon these fragments of history?"

 

Josh Barnes

Yorkshire Sculpture Park poster

Josh Barnes

Yorkshire Sculpture Park poster

Lisa Roche

‘I made my first attempt at oil painting by following a Bob Ross tutorial on Netflix, “At Dawn’s Light”.’


Dorjé

RICHTER RUFFLE (2019) is an encapsulation of the self. Fuelled  by the 2015 Nepal earthquake and the topography of the artist's upbringing, it is an art-piece that wishes to reassure self belief among us all. 

Due to the ongoing Covid-19 Pandemic lock-down, works on display are initial cardboard drafts of the proposed final piece. Both .png files and those that are photo-shopped into circular moss backgrounds are the best representations of what the final piece ought to resemble.

The Artist further enunciates about this art-piece in Term 2 Statement and its dedicated sub-tab, both found in the menu Bar of his wixsite.

https://ghisingashish1.wixsite.com/mysite/ 

 

Maria Garay

superior forms of corruption

“superior forms of corruption” is a short film imagining the possible sexual/masturbatory fantasies of a cyborg-octopus, with music made by Chameleon (@myliberalpony on insta). The idea stemmed partly from hentai tentacle porn, in which scenes are typically incredibly misogynistic, non-consensual, brutally savage, and altogether just quite vile (there are exceptions, mostly in lesbian vanilla porn, but they are very few). Tentacle porn was born as a way to evade censorship in Japan, where any explicit image of genitalia is forbidden, so the tentacle always stands in for a dick... 

Tentacles have far greater metaphorical sexual potential than that! They are limbs made almost entirely of muscle, possessing great strength, an almost infinite range of motion, and with suckers lined with tens of thousands of sensory cells (this all sounds very suggestive, but maybe that’s just my dirty mind wandering?). The intersection between masturbation (of the octopus as a whole) and imaginary group sex (the four actresses that comprised the octopus) was my attempt at imagining more empathetic forms of sexual activity on film

 

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