The Flagmen, a series of freestanding welded and assembled sculptures (1998-2000), are Peter Walker’s millennium project.
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The monumental shaped paintings of the 1980s and ’90s are luminous, monochromatic fields, often pierced in the centre and bounded by built-up edges resembling torn flesh.
The exhibition includes recent small sculpture, paintings and a drawing clustered around the suspended metal Figure on a Hoist.
The exhibition is composed of large-format Ilfochrome prints, some grouped in panoramic assemblages, others incorporating cryptic text fragments that hint at tragedy.
The convergence of multi-channel video with music and the scanned and digitally manipulated images in this exhibition suggests the psychedelic equivalent of a Baroque church interior.
This exhibition features an edition of wax figures (with wicks) of Princess Diana, fabricated by Halifax artist Catherine Jones.
Including works dating from the early 1980s to the present, each artist in this exhibition incorporates traces of other persons (who may or may not be artists) in her production, thereby avoiding the tendency of solo retrospectives to separate artistic authorship from historical context.
The logic of the commodity is fetishist. The logic of shoe collecting is — what logic? Do you have fetish footwear buried deep in your closet? It is time to bring out your shoes.
Haligonian Tonia Di Risio has been invited to contribute a Duratrans image derived from her existing series, Homemade.
The art in this exhibition encourages viewers to think of language as something more than a transparent medium of communication.
