'Darren Banks: 'Object Cinema' The Gallery, Tyneside Cinema, Newcastle Upon Tyne, UK'

Image: Darren Banks, Object Cinema, 2015, Single Channel HD Video 16:9, 5:26 minutes looped (DB0091) Courtesy of the artist and Workplace Gallery, UK Object Cinema The Gallery, Tyneside Cinema 26 November 2015 - 26 January 2016   Preview: Wednesday 25th November 2015  17:30 - 19:30   Darren Banks' Object Cinema opens at The Gallery, Tyneside Cinema following its premiere during the 56th International Art Exhibition, Biennale di Venezia.   Inspired by Who Goes There?, a short story written in 1932 by John W. Campbelln about the discovery of an unknown being under the Antarctic ice, Object Cinema is a moving film sculpture without beginning and end. Who Goes There? was first printed in a magazine before being published as a short story, and has since inspired several feature film versions in the science fiction horror genre with the title, The Thing.   In Object Cinema, the content of the story becomes a 'Thing' itself, morphing from one format to another, linking media from the original films. Banks is interested in how the physical words vanish, and later resurface as immaterial dataflow, moving from the written page, then captured in celluloid, tape and digital code, and ultimately circulated globally online. The work will be displayed as a single channel projection on the main screen in The Gallery.   Curator of The Gallery, Elisabetta Fabrizi comments, "We are delighted to be exhibiting Object Cinema at The Gallery enabling North East audiences to see and experience Darren's work after the success of its exhibition in Venice last May."   To coincide with the presentation of Object Cinema, Tyneside Cinema are screening a mini-season of horror films curated by Banks under the title Who Goes There? including The Devil Doll and Black Christmas and a late-night triple bill comprising The Thing, Night Of The Creeps and From Beyond.   Object Cinema is commissioned by Tyneside Cinema, supported by Workplace Gallery and Newcastle University Institute for Creative Arts Practice and funded by Arts Council England.   Tyneside Cinema 10-12 Pilgrim Street Newcastle-upon-Tyne NE1 6QG   www.tynesidecinemagallery.co.uk

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TONIGHT at WORKPLACE GATESHEAD: DOT DOT DOT DASH preview 6pm - 9pm

JENNIFER DOUGLAS JOEL KYACK RACHEL LANCASTER PAUL MERRICK MIKE PRATT   Preview: 6pm – 9pm Friday 20th November 2015   Exhibition continues: 21st November – 30th January 2016 Tuesday – Saturday 11am – 5pm or by appointment   DOT DOT DOT DASH   A well-known Morse code rhythm from the Second World War period derives from Beethoven's Fifth Symphony, the opening phrase of which was regularly played at the beginning of BBC broadcasts. The timing of the notes corresponds to the Morse for "V"; di-di-di-dah and stood for "V for Victory" (as well as the Roman numeral for the number five).[1]   The V sign has various meanings, depending on the cultural context and how it is presented. It has been used to represent the letter "V" as in "victory". It is also used by people as an offensive gesture, and by many others simply to signal the number 2. Since the 1960s, when the "V sign" was widely adopted by the counterculture movement, it has come to be used as a symbol of peace.[2]   DOT DOT DOT DASH brings together work by five artists working across media whose individual enquiries deliberately tread a complex and polarized line in terms of subject, intention, and potential interpretation.   Jennifer Douglas’ recent paintings reference the found working environments of heavy and light industry and their equivalents within art history. Muted tones of industrial floor paint, all pervasive within the architectural modes of display that surround international contemporary art, create a tranquil and opaque surface on canvas. Douglas then repeatedly punctures and scratches the surface through sheets of carbon paper to make a constellation of marks that is both violent and painterly.   Joel Kyack’s performance Your Optimism Fills Graves took place at Workplace London in October 2015. Re-presented as video documentation with sculptural objects; Kyack’s work explores the hand of the maker through the use of traditional and non-traditional materials and processes. Clay, wax, plastic, ceramics, wood, power tools, pumps and liquids share a stage in the creation of sculptures, fountains, drawings, and sounds. Questions of individual agency are introduced, considered, transformed and destroyed, as a sea of options builds into a carefully constructed chaos.   Rachel Lancaster’s new paintings continue her interest in B Movies and in particular the recurring presence of Blobs. Isolated from their original contexts these strange forms act as an absurd stand-in for a human presence that is simultaneously sinister and comedic. Through careful economic representation in oil-paint Lancaster’s seductive paintings invite contemplation of fragments or moments within uncanny lifeless objects whose original function was to engage audience through the dark and surreal abstractions of the body and the malevolent.   Paul Merrick combines painting with sculpture and the made with the ready-made. Investigating colour, materiality, and architectural and spatial arrangement in relationship to the history of Painting. Under The Line is an installation comprising of a series of used playing card tables arranged to create a horizontal plane of interconnecting accidental marks, tones, lines, and surfaces. Each weathered object invites speculation into what may have been won or lost through chance, a complex and anonymous metanarrative buried in a complex abstracted composition.   Mike Pratt’s series of headless, vibrating, bikers form a confrontational fleet in the gallery. Their frayed hair extensions (garnished with seashells and feathers) allow a non-verbal declaration towards the quintessential outsider, describing their characteristics through materiality. Pratt’s carefully selected worn out leather jackets hold a close relationship to painting, with each layered, graphic, surface revealing actions and incidents. Pratt’s objects are presented as portraits, emulating an experience whilst also allowing the push and pull of the making process to make space for his own intuitive remarks.   Biographies   Jennifer Douglas was born in 1975, in Amersham, UK. She studied at Newcastle University and Glasgow School of Art. Exhibitions include Crab Walk, NGCA, Sunderland, SO, Workplace London, Confusion in her eyes says it all, Maria Stenfors, London, Satellite Satellite Workplace London, Jennifer Douglas Workplace Gallery Gateshead, UK, Surface The Civic, Barnsley, UK, BCN Collection Laing Art Gallery, Newcastle, UK, Out of Sight Out of Mind Workplace Gallery, Gateshead, Exit Strategy Tramway, Glasgow, UK, The Short Score DLI Museum and Durham Art Gallery, UK,You Shall Know Our Velocity Baltic Centre for Contemporary Art, Gateshead, UK, FANTASTICA Grundy Art Gallery & Museum, Blackpool, ROTATE Contemporary Art Society, London,  Northern Futures The Civic, Barnsley, UK. She was the winner of Salon Art Prize 2012, and Northern Futures 2010. Douglas lives and works in Gateshead, UK.   Joel Kyack was born in 1972 in Abington, Pennsylvania, USA. He received his BA from Rhode Island School of Design in 1995, studied at Skowhegan School of Painting and Sculpture in Maine in 2004, and received his MFA from the University of Southern California in 2008. Recent solo exhibitions include Old Sailors Never Die, Francois Ghebaly, Los Angeles; Superclogger, a public project produced in collaboration with The Hammer Museum and LA>River / Stream / In-Between, Kate Werble Gallery, New York; Point at The Thing That's Furthest Away, Praz-Delavallade, Paris; Terms / Proposals / Demands, SSZ Sued, Cologne; The Knife Shop at Kunsthalle LA; Recent performances include: All The Instruments Agree at The Hammer Museum, Los Angeles, and at the CCA Wattis Institute in San Francisco. As well as Workplace Gallery, Kyack is represented by François Ghebaly in Los Angeles and Praz-Delavallade in Paris. Kyack lives and works in Los Angeles, California.   Rachel Lancaster was born in Hartlepool in 1979.  She graduated from an MFA at Newcastle University in 2011. Exhibitions include Rachel Lancaster, Workplace Gateshead, Omnia Mea Mecum Porto: Works on Paper/ Arbeiten auf Papier, kotti-shop, Berlin, Step Sequence: Treacle pixel.palace,Newcastle, UK,  Double, Double, Workplace Gateshead, UK, ROTATE, Contemporary Arts Society, London, Graphite,Gallery North, Newcastle, UK, Morphic Resonance, PSL, Leeds, UK, TOMORROW THE FUTURE, Fishmarket Gallery, Northampton, UK. Alongside her art practice Lancaster is a musician and performer. She has been a member of numerous bands and musical projects including Silver Fox, BIG FAIL and Gravenhurst. She also regularly performs experimental solo guitar based material under her own name. Lancaster lives and works in Newcastle Upon Tyne.   Paul Merrick was born in 1973 in Oxford, UK. Exhibitions include unpainting\ /resurfacing, UH Galleries, Hatfield, UK RIFF, Baltic|39, Newcastle upon Tyne, UK, Tip of the Iceberg, Contemporary Art Society, London, UK, SURFACE, The Civic, Barnsley, UK, Paul Merrick, HIVE Gallery, Barnsley, UK, MALEREI Painting as Object, Transition Gallery, London, UK and NewBridge, Newcastle upon Tyne, UK, ROTATE, Contemporary Art Society, London, The New Domestic Landscape, NGCA, Sunderland, UK, Northern Futures, The Civic, Barnsley, Yorkshire, UK, Brut, Brut, Embassy Gallery, Edinburgh Annuale, UK, Blue Star Red Wedge, Glasgow International, UK, Playing Fields, Laing Art Gallery, Newcastle, UK. Merrick lives and works in Newcastle upon Tyne.   Mike Pratt was born in 1987 in Seaham, North East England. He graduated from Northumbria University in 2009 and completed a two-year postgraduate programme at De Ateliers in Amsterdam, Netherlands in 2014. Exhibitions include Deep Pond, Galerie Juliette Jongma, Amsterdam, E1027, Joe Sheftel, New York, Rubberhead/Rubbernecking B.M.W. Edinburgh, Good Mourning Bell Workplace Gateshead, Cumberland Sausage Extraspazio, Rome, Zamboni for the Moose, Galerie Juliette Jongma, Amsterdam, Offspring de Ateliers, Amsterdam, Riff/Rift Baltic39, Newcastle upon Tyne, Right Eye, Left Eye V8 Plattform für neue Kunst, Karlsruhe, Germany, Theatrical Dynamics Torrance Art Museum, Los Angeles, USA, Nice Paintings Grundy Art Gallery. Pratt lives and works in Amsterdam.   Kindly supported by Arts Council England and Gateshead Council.   Also in Gateshead Tonight:   CIRCA Projects presents:   Mario Pfeifer Approximation in the digital age to a humanity condemned to disappear   http://circaprojects.org   CLOSING EVENTS - Friday 20 November 2015 5pm: Meeting place outside BALTIC for guided walk to Mario Pfeifer exhibition 5pm-8pm: Mario Pfeifer Exhibition Late Opening (John Joyce Building, Saltmeadows Road, Gateshead)  9pm-12am: CLOSING PARTY at ¡VAMOS! Social Nightclub (Market Street, Newcastle upon Tyne) As a celebration of CIRCA Projects’ presentation of Mario Pfeifer’s Approximation in the digital age to a humanity condemned to disappear, we are pleased to present a special closing evening in partership with ¡Vamos! Social Nightclub. The evening will begin with a final chance to view the exhibition at a special late opening from 5-8pm and there will be a guided walk meeting outside BALTIC at 5pm.    The evening will conclude with a closing party at ¡Vamos! Social Nightclub, featuring a specially arranged set on turntables by Composer and DJ Mariam Rezai. Rezai’s set will be specially constructed around the soundtrack for Mario Pfeifer’s film Approximation in the digital age to a humanity condemned to disappear. Expect the mix to include: Chilean folk, techno, hyperdub and mumbaton! The music will begin with sets by Alx Alfaro (9pm) and Nik Barrera (10pm). Mariam Rezai opened Tectonics Festival Glasgow 2015, with Glasgow Improvisers Orchestra, Members of BBC Scottish Symphony Orchestra and Turntables, and worked with Ilan Volkov as a guest improviser for the BBC Proms 47 2012, the John Cage Centenary Celebration. The soundtrack to Approximation… is available on Vinyl Lp from Sternberg Press. Written by Kamran Sadeghi, New York-based musician and member of the Soundwalk Collective. Creating a digital composition, Sadeghi, in dialogue with Pfeifer, samples field-recordings made in 1923 by missionary and anthropologist Martin Gusinde of Yaghan chants. The use of these samples paired with minimal electronic instruments and programming, gives this archival material a contemporary reappearance.     [1] Glenn Stanley, The Cambridge Companion to Beethoven, p.269, Cambridge University Press, 2000 ISBN 0-521-58934-7. [2] https://en.wikipedia.org/wiki/V_sign

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RICHARD RIGG at WORKPLACE LONDON

Richard Rigg Reoccurring Rose Garden   Workplace London 61 Conduit Street Mayfair London, W1S 2GB   Preview: 5pm – 8pm Friday 27th November 2015   Exhibition continues:            28th November 2015 – 30th January 2016 Friday – Saturday 10am – 6pm (or by appointment)   Workplace Gallery is delighted to announce Richard Rigg’s first solo exhibition at Workplace London. Reoccurring Rose Garden consists of a body of recent work by Rigg that collectively navigate the psycho-geographical terrain of memory, place and object.    Song consists of 3 preserved leaves stacked on top of each other, balancing improbably upon a black telegraph cable that cuts a line through the full length of the gallery space. Occasionally they fall, disturbed by movement in the air, to be left until carefully repositioned by the gallery attendant. The list of materials for the piece: ‘leaves, cable, diaphragm-pump’ disclose the means, and shift the work away from the illusory towards a pragmatic, sculptural attempt to recreate an imagined or half-remembered occurrence or vision. This near futile attempt by Rigg to physically manifest the ambiguities of a semi-cognitive interiority alludes outwardly to the poetic, through a paradoxically reductionist sculptural strategy. Related conceptually to an earlier work ‘I forgot what was said when we were outside, stood empty, now without those words I fell back’ (2010) comprised of 2 full sized telegraph poles with a small cable between them, Song is part of a family of works that relate to a half forgotten conversation between the artist and a significant other. Shown here in Workplace London, the particularities of the gallery space and its dislocating effect (being located in the ½ floor of a corporate building with no natural light) combine with the effect of being, unusually, at the same level of a normally very high telegraph wire to further disorientate the viewer.     Alongside Song, Rigg presents 3 works on paper. Selected from an on-going series of drawings for extant or future artworks, these pieces can be considered as extractions from a mapping of thought, or calculations. Comprised of repetitious isolated objects in flattened or isometric perspective, alongside various notes and numerical equations - these drawings can be seen as indexical and diagrammatic renderings of thoughts and ‘workings – out’, that are often interrupted by ordinary life such as ‘to-do’s’ or a scribbled phone number that shares its space with a numerical equation or poetic statement.   Relating materially to the 3 balanced leaves, these drawings reinforce a structural repetition that echoes throughout Rigg’s practice. The title of the exhibition Reoccurring Rose Garden alludes to a yet to be realised piece that draws its inference from the pattern found in a commonplace floral carpet. Implying both the idyllic and an implication through ‘reoccurrence’ of the incomplete or the unresolved; Rigg’s work purposefully addresses a problematic uncertainty and paradox that lies between the intangible basis of human thought and our relationship to reality.     Richard Rigg was born in Penrith, Cumbria in 1980 and graduated from Newcastle University in 2005. Rigg’s previous solo exhibitions include LACUNA, Baltic Centre for Contemporary Art, Gateshead (2013), The Inhabitant of the Watchtower, High Desert Test Sites, Joshua Tree, California, USA (2012) and Holography, Workplace Gallery, Gateshead, UK (2010).  In 2010 Workplace Gallery staged Ballade op.23 (without words), a performance in which a classical pianist played a Chopin recital using Rigg’s 2007 work Piano, a piano entirely tuned to Middle C. Rigg’s selected group exhibitions include Chance Finds Us, MIMA, Middlesbrough, UK (2014), The Difference Loom, Iziko South African National Gallery, South Africa (2013), QUIET WORKS, Temple Contemporary, Philadelphia, USA (2013), Glamourie, PSL, Leeds, UK (2012), Broken Fall, Galleria Enrico Astuni, Bologna, Italy, (2011), The Glass Delusion, The National Glass Centre, Sunderland, UK (2010), Cage Mix: Sculpture & Sound, Baltic Centre for Contemporary Art, Gateshead (2010), Suns Neither Rise Nor Set, Royal College of Art, London (2009), Explum 09, Murcia, Spain (2009), TOMORROW THE FUTURE, Fishmarket Gallery, Northampton (2008), King Fisher's Tales, Union Gallery, London, UK (2008) . Rigg is the winner of the Visual Artist of the Year 2012 at The Journal Culture Awards and was nominated for the Northern Art Prize in 2011. He lives and works in London.   Main image Credit: Sonya Nagels   For all enquiries please contact: sales@workplacegallery.co.uk

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DOT DOT DOT DASH: Preview Friday 20th November at WORKPLACE GATESHEAD

JENNIFER DOUGLAS JOEL KYACK RACHEL LANCASTER PAUL MERRICK MIKE PRATT DOT DOT DOT DASH Preview: 6pm - 9pm Friday 20th November 2015 Workplace Gateshead The Old Post Office 19-21 West Street Gateshead NE8 1AD www.workplacegallery.co.uk Exhibition continues: 21st November 2015 - 31st January 2016 Tuesday - Saturday, 11am - 5pm (or by appointment) For further information contact: info@workplacegallery.co.uk Kindly supported by

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RSVP: Sacha Craddock in conversation with Eric Bainbridge

Sacha Craddock in conversation with Eric Bainbridge   3pm Saturday 21st November 2015   Workplace London 61 Conduit Street, Mayfair, London, W1S 2GB   As part of the programme of events running alongside the current exhibition Eric Bainbridge / Joel Kyack at Workplace London, Workplace is delighted to invite you to a conversation between Sacha Craddock and Eric Bainbridge focused on his recent work.   RSVP essential: rsvp@workplacegallery.co.uk image: (left and right) Eric Bainbridge Untitled 2015, fur fabric and acrylic, 140cm x 140cm, courtesy of the artist and Workplace Gallery. Bainbridge's new paintings are made from his signature material - synthetic fur fabric. Composed of applied off-cut shapes of faux-fur these works pose enigmatic and duplicitous explorations: the pragmatic directness of material properties (to cut, to stretch, to wrap, to patch) and pictorial invocations of spatial depth or figuration. The paucity of gesture employed by Bainbridge invites sustained consideration. Whilst the hyper-artificiality of the fur fabric simultaneously implies luxury and an aspirational escape towards it, these new paintings, as is typical of Bainbridge's work, move beyond their formal conditions to speak of the socio-political currents that lie, camouflaged, beneath their apparent semiotic assertions.   Sacha Craddock is an independent art critic, writer & curator based in London. She studied painting at Central Saint Martins followed by a post-graduate painting degree at Chelsea School of Art before going on to write criticism for The Guardian and The Times. She is Chair of both New Contemporaries and Braziers International Workshop. She co-founded ArtSchool Palestine and is a public art advisor for the Royal Borough of Kensington and Chelsea. Craddock, who has judged many art prizes, such as the Turner Prize in 1999 and the John Moores Painting Prize in 2008, is currently working on a major book on British contemporary art.   Eric Bainbridge was born in Consett, County Durham, UK in 1955. He studied at Newcastle Polytechnic and completed a Masters in Sculpture at the Royal College of Art, London in 1981. Previous exhibitions include the 1986 and 1990 Venice Biennale; Material Culture at the Hayward Gallery, London; British Art of the 80's and 90's at IMMA in Dublin; Modern British Sculpture at the Royal Academy, London. Solo exhibitions include View Points The Walker Art Centre, Minnieapolis; Eric Bainbridge ICA, Boston; Style, Space, Elegance, Stedelijk Museum, Amsterdam; Supercollage, New Art Gallery Walsall; Forward Thinking, MIMA, Middlesbrough; and Eric Bainbridge - Steel Sculptures at Camden Art Centre. His work is in numerous international collections including the Stedelijk Collection, Arts Council England Collection, The Margulies Collection, and the Tate Collection. Bainbridge lives and works in Hartlepool and Sunderland, UK   For enquiries regarding the works in this exhibition please email: sales@workplacegallery.co.uk   www.workplacegallery.co.uk

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Peter J. Evans: 'Free Thinking: Tearing up the Rule Book' BBC Radio 3

Image: Peter J. Evans, Broken telephone, 2015, Diagram, 16 audio compositions, max patch and headsets (PJE0103) Courtesy of the arist and Workplace Gallery, UK Photography: Wig Worland BBC Radio 3 Hear and Now Free Thinking Saturday 7th November 2015 22:00 GMT Kerry Andrew visits BALTIC 39 in Newcastle, where Free Thinking is taking place this weekend, to report on Peter J Evans's new sound-installation, Broken Telephone. Broken Telephone was conceived as a game (which takes its inspiration from the playful linguistic version) between 4 participants. Each participant made an original piece of music which travelled round the other players, one after the other, attempting to recreate from memory what they had heard after just one listen. The sixteen resulting tracks are to be released as four 12" records, but were installed in a specific realisation of the project as part of Peter J. Evans' solo exhibition "Across islands, divides" at BALTIC B39. The evolving compositions reveal what gets lost in translation, what distance brings and how one thing interacts with another through a series of complex processes. They illustrate how one thing, as Evans argues 'through movement and time always becomes something else'. www.bbc.co.uk/programmes/b06nr55h listentobrokentelephone.bandcamp.com/ balticplus.uk/peter-j-evans-across-islands,-divides-e721/ BALTIC 39 Peter J. Evans: Across islands, divides 11 September - 13 December 2015

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Richard Rigg: 'MIRROR IMAGES in Art and Medicine' Berlin Museum of Medical History, Berlin, DE

Image: Richard Rigg, Weighing Scales, 2005, Weighing Scales, 42 x 35 x 68 cm (RR0004) Courtesy of the artist and Workplace Gallery, UK MIRROR IMAGES in Art and Medicine Berliner Medizinhistorisches Museum der Charité Charitéplatz 1, 10117 Berlin   Preview: 12 November 2015 8 - 10pm   Vito Acconci, William Anastasi, Christian Andersson, John Baldessari, Attila Csörgõ, Marta dell'Angelo, Annika Eriksson, Thomas Florschuetz, Adib Fricke, Hreinn Friðfinnsson, Dan Graham, Sabina Grasso, Carla Guagliardi, Dalibor Martinis, Jorge Macchi, Bjørn Melhus, Richard Rigg, Otavio Schipper/Sergio Krakowski, and others.   Exhibition: 13 November 2015 - 3 April 2016   Mirrors expand our sense of reality and allow us to observe our own bodies. Whereas we can be seen by all other persons directly, reflection provides the only possible view of ourselves: when we are mirrored, photographed, filmed or portrayed. The exhibition "MIRROR IMAGES in Art and Medicine" starting in November 2015 in Berlin at the Museum of Medical History at the Charité and in the Project Space of the Schering Foundation will combine artistic works with scientific experiments and objects, in an investigation of the manner in which we experience our own bodies in space.   Curator: Alessandra Pace Scientific advisor: Dr. Andrew Wold   www.bmm-charite.de

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Last chance to see: Laura Lancaster 'ELLIPSIS' Workplace Gateshead

Left: Laura Lancaster, THRESHOLD, 2015, Oil on Linen 240 x 480 cm (LL0633) Right: Laura Lancaster, Montage V, 2015, Oil and acrylic on linen (diptych) 280 x 250 cm (LL0665) Courtesy of the artist and Workplace Gallery, UK Laura Lancaster ELLIPSIS Exhibition extended until the 7th November 2015 Tuesday - Saturday, 11am - 5pm (or by appointment)   Workplace Gallery The Old Post Office 19-21 West Street Gateshead NE8 1AD http://www.workplacegallery.co.uk/exhibitions/78/works/   Workplace is delighted to present Ellipsis, Laura Lancaster's 4th solo exhibition at our Gateshead gallery.   Lancaster's recent paintings are based upon her collection of found anonymous home movies. The incorporation of moving image into her work marks a significant departure for Lancaster. Her new paintings explore the cinematic and the temporal contained with the found image whilst, simultaneously, the depiction of the physical film as object opens up the painting process itself allowing for a deeper investigation into the mechanics of images, and the way in which they are created and consumed.     Laura Lancaster was born in Hartlepool, UK in 1979. She lives and works in Newcastle Upon Tyne, UK.   Forthcoming exhibitions include: Musee d'art Moderne St Etienne, France and New Art Gallery Walsall, UK,. Selected exhibitions include: DISMALAND, Weston-super-Mare, UK, A Stranger's Dream, Sargents Daughters, New York, USA, Private Utopia: Contemporary Art from the British Council Collection Tokyo Station Gallery, Itami City Museum of Art, the Museum of Art, Kochi and Okayama Prefectural Museum of Art, Laura Lancaster Wooson Gallery, Deagu, Korea, Painting past Present Laing Art Gallery, Newcastle, UK, 40 Years of Women Artists from the Private Collection New Art Gallery Walsall, UK, John Moores Painting Prize Walker Art Gallery, Liverpool, Ego Documents The Autobiographical in Contemporary Art Kunstmuseum Bern, Switzerland, Micro Narratives Musee d'Art Moderne de Saint-Etienne, Incontri, in the Accademia d'Ungheria a Roma, Past as Present York Art Gallery, Giardino Luoghi Della Piccola Realta Palazzo Della Arte Napolii, Local Stories Museum of Modern Art Oxford, Blue Star Red Wedge Glasgow International, When I Lived in Modern Times Northern Gallery for Contemporary Art, UK, Laura Lancaster DLI Museum, Durham, UK, New Works on Paper by Laura Lancaster MIMA, UK.    Collections include: British Council, The Government Art Collection UK, UBS Bank, Simmons & Simmons, Ernst & Young, Unilever PLC, The Hort Collection, The Lodeveans Collection, The Cartin Collection USA, Girl's Club Collection, USA, The Zabludowicz Collection, Nerman Museum of Contemporary Art USA, Tyne and Wear Museums Collection UK, New Art Gallery Walsall UK, and numerous international Private Collections.   Kindly supported by

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