Creative Global Network for the Visual Arts

Mik’s Front Room "off-site" launch exhibition: “2010: the year we made contact”

“My God – it’s full of

Michael Bowdidge: Xproject (2005-10)

XProject sprung from the same desire to re-arrange materials which are 'close at hand' that drives my sculpture, although in this case the materials were the various standard 'alert' sounds supplied with Windows XP. In some ways this body of work revisits my teenage
experiments with borrowed 4 track cassette recorders and my dad's old reel to reel tape deck, but it is also analogous to my digital collages, in that these works were born out of a desire to 'sneak up' on music (I do not consider myself to be a musician) that echoes my attempts to 'sneak up on painting' in my Photoshop works.


Agnese Blythe Godley: Snow Day Pictures

Newly graduated, Agnese has changed direction in her photography. Having always been keen on portraiture and studio-based work, she began to venture outside, a consequence of moving to Herefordshire and being surrounded by astonishing countryside views, instead of the mundane Surrey commuter belt she was used to.

Here in the “Snow Day Pictures” however, she takes a different look, staying indoors, wrapped up, trying to stay away from the snow and just keep warm.


Mik Godley: Hitler’s flying saucers next to my mums’ house – the proof!

Albert Speer’s monumental secret project codenamed “Der Riese” (the Giant) tunnelled miles of shafts, cavernous weapons factories, even an underground town, that became a graveyard for 28,000 slave labourers in what “is most certainly the largest bunker and probably the largest headquarters constructed during World War Two.” At the cost of 150
million Reichsmarks, Speer’s venture consumed a tenth of the annual concrete
production of the Third Reich, the massive complex was Adolf Hitler's most ambitious project.

And what were the Nazi’s supposed to be building there? A development of what Allied pilots called “Foo fighters”, radical types of aircraft meant to save Hitlers war – the Haunebu
flying saucers.



Graham Lester George

Two of the three portraits (Barry Rawlinson and Michael Hart) were shot during the same session in 1977/8 - the self portrait was shot at about the same time when I was living in Lincoln for a brief period. Barry and I later shared a flat together when we both moved to
Nottingham. He was a very good painter and I have several of his works. But sadly he didn't realise his full potential as an artist because of mental health problems. He died in 2008. Mickey Hart (I was told recently) still lives in Lincoln and I sent a him a print of this portrait which apparently he doesn't remember sitting for those were the days).

The self portrait must have been taken on a hot day (why else would I be exposing my then pale and scrawny chest?). On the wall in the background is a self portrait painting which some years later was stabbed with a screwdriver - along with other works - when my
Nottinghamshire studio was smashed up by a crazed burglar.


Marcus Hammond: Back Room Paintings

The paintings showing in this back room were made in another back room - a fluorescent-lit former car spray workshop, the thickened glass of its one window scant protection against the tidal threat of the River Trent eating at its walls. In the painting Lunatic a bloody moment bathed in orange resembles David's Marat; a yellow sun emits; a lilac sky emotes. Contact.


Steven Ingman: Wolfgang

A mile down a small track near the village of Misson, on the borders of Nottinghamshire and South Yorkshire is a deserted quarry. Overgrown and left to nature’s devices, a mixture of fens, marshes and swamps, densely compacted trees and abandoned machinery, the quarry offered a gang of kids an escape from reality, allowing our imaginations to run
riot and live-out childhood fantasies. We named ourselves “Wolfgang”, dressed in an array of camouflage, hid out in several constructed dens, ready to take on the world with an arsenal of sharply pointed spears, Swiss army knives, catapults and a 40 year old pellet gun with an effective range of 10 meters. Lord of the Flies Survivalists: we were invincible.

Thirteen years later, I re-visited this environment, the trees now fiercely overgrown, some parts now impassable, but I could still make out vague traces of places and happenings, recollections keen to be elaborated into stories. Through my now adult eyes, I found that
parts of this land have an abandoned emptiness, a lack of human intervention, an untouched world set apart, a dreamlike ambiguity.


Charles Monkhouse: Witnessing a year of Moonrises

From April 1999 till March 2000 I watched every moonrise. A demanding year: the moon rises approximately one hour later every day so in each month there is a testing spell of rising every night for a week or more. Daytime required a rescheduling of commitments and the occasional excuse or hasty farewell! I travelled widely and experienced moonrises in Spain, Germany, France, Scotland, Costa Rica, Peru and Egypt besides my native Derbyshire and recorded each moonrise, whether visible or not, with a photograph.

Witnessing the moonrises was conceived while I was regularly exhibiting in galleries but seemed to mark a break; future projects were all based outside in the landscape.


Yelena Popova: Daily Truth

Yelena’s work re-examines notions of modernism, such as utopia, progress and functionality, together with the future colonisation of planet Mars.

‘Daily Truth’ is a series of posters in which Yelena’s memories of the future crossover with fictions of the past to unfold an autobiographical sci-fictional narrative constructed from
‘Daily Truth’ newspaper headlines.

(‘Daily Truth’ is a proud offspring of the Soviet newspaper ‘Pravda’ and the British ‘Daily Star’). As old communists used to say: ‘Truth - because you worth it’!


DJ Pushpaw

Notoriously private professional amateur and accidental local, dj Pushpaw has been tempted out for his public debut with a morcel of cheese on the end of a piece of string. He promises a baroque set of futurist sounds from the outer limits of his record collection.
Some appropriate and (hopefully) some deeply inapproprate.... some long bits and some short bits.


Irene Rogan: The Message

Two installations created for this exhibition explore Irene’s long-term fascination with space exploration, science fiction and human condition.

SETI is the Search for Extra-Terrestrial Intelligence. There are great challenges in searching across the sky for a first transmission that could be characterized as intelligent, since its direction, spectrum and method of communication are all unknown beforehand.

A communication is received: Are you ready for the Truth?


Marek Tobolewski: Continuum series

These large scale abstract diptych paintings and drawings form the basis of the Continuum series, an ongoing preoccupation with the endless reinvention of compositions and structures of existing works.

Each individual flow of a line is adjusted in an attempt to reveal balance and perfect form. They deal with symmetry and reflection, rotated and mirrored linear forms, layered surfaces of pure colour and exposed under painting through negative lines.

A constant motif in these formal abstractions is the arc of a circle – albeit in a state of perpetual evolution.


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