I wa s th e A s s e mbly H a l l by Horace Li nde zey, J ul ie t D avis & So ph ie Le e
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I was the assembly hall, Juliet was the dinner ladies room and Sophie (not Sophie Lawrence) was the classroom. Horace Lindezey
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I wa s th e A s s e mbly H a l l by Horace Li nde zey, J ul ie t D avis & So ph ie Le e
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It was like being in a den (not a lions den). Listen, if horses were in there with the lions, how would they feel? They'd be feeling upset. Horace Lindezey
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Invisible Gallery Curators in Discussion Simon: So, let’s talk about the Invisible Gallery.
best not-visible artwork, and artists as well.
Jane: The Invisible Gallery was started in 2000, and it’s sited in many different places.
Simon It’s often sited in the backs of places, isn’t it?
Jane: Yeah, it’s away from.. It’s somewhere where It’s a nomadic sort you wouldn’t of gallery, and necessarily expect we’ve featured it to be. some of the
I nv i s i ble G al lery by J a ne L ouis e G ra h a m & Simon Raven
Simon: And the Invisible Gallery is where the majority of famous artists started? Jane: Yes, it is. Tracey Emin started there. She was completely invisible until she had an exhibition at the Invisible Gallery. Sometime in the early 90’s I think it was. That was before it even had a building. And Damien Hirst - he
was completely invisible, but again, he gained visibility through an exhibition at the Invisible Gallery. Simon: And the current exhibition is particularly interesting because a lot of the artists in it will probably never be visible? Jane: No, never... We’ve taken a new tack. ☞
I nvi s i ble G a l le r y by J an e Lou i s e G ra h a m & Sim on Raven
Simon: As Gallery is. Once Invisible Curators. you know where the Invisible Jane: A lot of the Gallery is then artwork itself, you probably start as well as being to see some of the difficult to find, artworks. is very difficult to locate. Simon: There are Invisible Galleries Simon: Yes, you popping up all over have to know what the place. People you’re looking for really like the in the Invisible concept now. Gallery to see it. Jane: They do. Jane: Yep, and to It’s almost as if see it you have the more unfair to know where society becomes, the Invisible the more Invisible
Galleries are required to show all of the artwork that’s being produced.
shadows. Many of them will be customers, and they’ll be visitors too. They’ll form part of the Simon: We noticed invisible numbers that today. It’s who are crowding quite a rainy day, in. and shadows are much more visible Simon: There’s in the rain. actually quite a few of them here at the Jane: Yeah, it’s moment... like there was more people Jane: There are, walking around and we welcome than there the invisible actually was, visitors to this because of the place. ☻
I'm most proud of working with Jane to set up Invisible Gallery. We had a great time in the studio and I learned a lot from spending time with her.
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Invisible Gallery is an idea that I hope to take forward by making performances like a flawed magician, in which I will attempt to make whole galleries disappear in the name of Disability Art. S i m o n Raven
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Wyth e n sh awe H a l l by S ara h L e e & S o ph ie L e e
Memories of Wythenshawe Hall The coat of arms is a skinny and an oak tree. On the stained glass window there is a coat of arms and also above the fireplace carved in wood. The dog represents loyalty and the oak tree is strength. The oak tree is generally quite strong, they say it’s a good kind of wood to make ships with. In all of the bedrooms they have wooden corner pieces, they may have some of the
original furniture but not all of it. They are restoring and making new pieces They may have carved the bed and added some drapery to fill one of the bedrooms to give you sort of an idea of something PreVictorian. In one of the upstairs rooms they showed a projection sorting out memories and documents – to categorise them and talk about the history.
After the fire in the 50’s it was a bit damaged they remade the spire bell tower. This is a sort of memory of that spire. I was trying to do a tree. The hall became a public park after the war, they decided, why not open it up to the public?
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They interviewed the last owners grandchild, she was in her 90’s. She talked about her Grandmother and her Grandmothers dogs, giving a few details of the family.
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Wy then shaw H a l l by Sar a h Lee & S oph ie Lee
Sometimes the difference in each of our styles in our work is what makes it interesting ...
... like how they can fill in detail or colour that I may not think of or not be able to do myself. The thing I felt the most proud of durion the OutsiderXchanges project is being able to work with others on being able to work through things that may be distracting. S a r a h Lee
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I was thinking about an acting paid job on television, doing tricksserss. Im interested jumping on 71 years ago television pictures with lots of good money to spend and buy, I want to do it for the rest of my life. I have worked well innit. Barry Finan
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I like things being different ...
I like to do something different that no one else has done before. It is unique. (...)
It has helped me realise sometimes I've got to reinvent myself. (...) As I'm doing it I'm always thinking. David James
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The Va lley of Gwa n g i by M att Gi rli n g
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The Valley of Gwa ng i by Lesli e Thom pso n
Doing The Drawing of all The wrestlers the British Bulldog Davey Boy Smith and the Tribute to Giant Heystacks in carton and The one of Big Daddy (...) and the Drawing of The Disneys PeterPan Story from The Proper Videos what we all in Those days from the 1990s we all used to watch on The old Television once and the Peterpan DVD video what Ive seen. Leslie Thompson
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YES LA SS by Ro san n e Rob er tson 22
Wr itin g by B ar r y Anth ony Fin an
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Y ES LA D, Y ES L A SS a n d S C RRIP T T by Ba r r y Anth o ny Fin an & Ro san ne Rob er tson
I feel I understand the sentence in Barry’s work that says “Yes Lad you are doing well”
Sometimes just a little bit of support can spur you on a long way. My relationship with my work feels like Barry’s to his- it is my life- it has always been everything to me and there is no distinction between what is life and what is art. R o s a n n e
Robertson
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Studio Pa rty Photog ra phy by A n n i Fen g Di g i tal D raw in gs by Tanya Raab e -Web ber
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Studio Pa rty Col l a ge by H or a c e Li n de z e y & J u l ie t D av is
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The Psych e del ic Bra in c el l s Improv, N oi s e & O b j e ct So u p
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Psychedelic Braincells is a new experimental super group formed spontaneously at a studio party in a disco light ridden corner of pioneering collaborative art project OutsiderXchanges bringing together ideas, practices and expressions via noise, improvisation, sound making and performance. Psychedelic Braincells’ first impromptu concert saw us play a cacophonous and explosive set of
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spontaneous noise making to a captive audience developed into a longer set. PBs is an extension of the experimentation within the OutsiderXchanges studio into sound and celebrates the act of playing - as an artist or a musician - we can play whatever ever we want, be it objects from painting assemblages to records from sculptural interventions.
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Studio Pa r ty Draw in g by Le sl ie Thom pson
Studio Pa rty Col l a ge by H or a c e Li n de z e y & J u l ie t D av is
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The A rt i st s of Out s i d er Xch an ge s
Barry Anthony Finan p.16 quote ◆ p.23 Writing David James p.17 quote ◆ p.23 collage/painting Horace Lindezey p.2-5 I was the Assembly Hall ◆ p.3 & 5 quote p.28-29 & p.34-35 Celebration Collage Jane Louise Graham p.6-9 Invisible Gallery Curators in Discussion Juliet Davis p.2-5 I was the Assembly Hall ◆ p.28-29 & p.34-35 Celebration Collage Leslie Thompson p.20 quote; p.20/21 The Valley of Gwangi p.32/33 Studio Party live drawing
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Matt Girling p.18 & 19 The Valley of Gwangi Rosanne Robertson p.16 YES LASS ◆ p.24 quote ◆ p.25 YES LAD, YES LASS p.30-31 Psychedelic Braincells Sarah Lee p.12-15 Memories of Wythenshawe Hall, p.15 quote Simon Raven p.6-9 Invisible Gallery Curators in Discussion p.10-11 quote Sophie Lee p.2-5 I was the Assembly Hall p.13 & 14 Memories of Wythenshawe Hall Tanya Raabe-Webber p.26/p.27 Studio Party, iPad Pro Digital Drawing
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About OutsiderXchanges by Amanda Sutton
OutsiderXchanges is a collaborative visual arts project, between 12 artists exploring inter-responsive visual arts practice. Venture Arts worked in partnership with Castlefield Gallery Manchester, BALTIC Centre for Contemporary Art, and CVAM to bring this exciting project to new audiences. Over a period of seven months, ten artists worked from Castlefield Galleries’ New Art Spaces in Manchester, and two from Baltic 39 in Newcastle explored new and innovative ways of collaborative art practice. The project brought together 6 learning disabled artists and 6 emerging artists, to examine disability arts aesthetic and investigate its place within the contemporary visual arts scene.
Throughout the process, each artist has been given cause to deeply reflect on their own individual interests and practice including (and not exclusively) schools, life histories, popular culture, celebration, action figures, food, architecture, film, found objects, acting, writing, period fashion and local history. All these themes are demonstrated throughout the project, as well as recurring themes of communication, memory and identity. The work is multi-media and multi-layered in nature to reflect the variety of unique perspectives and approaches, which blur the boundaries between art practice and everyday life.
Special thanks to Nicholas James, Kwong Lee, Martin Livesey, Katherine Long, Glenn Meskel, and James Pollitt.
www.outsiderxchanges.com /300