1. Frances Willoughby
Title: Women House
Media: Mixed Media
Size: 150 x 110 x 62cm
Title: Escaping the Pull
Size: 45 x 45 x 120
‘Woman House’ and ‘Escaping the Pull’ play between childhood nostalgia for dolls and using textiles to create body forms. Francis creates these surreal objects exploring not only our bodies in relationship with home and object, but the anxiety and conflict which comes with it.
2. William Hughes
Title: Anticipation / Residue
Media: Reclaimed canvas with watered down acrylics
and inks pushed through cracked emulsion.
Spirit, emulsion, acrylics and solutions worked on top with aged glues.
Presented above furniture piece and hand blown glass sculpture.
Canvas: 60cm x 23.5cm,
Furniture piece: 63.5cm x 35.5cm x 33cm
‘Anticipation/Residue work expresses a sincere and intimate look at the deterioration and nostalgia of memory, making works in collaboration with family members and in remembrance of his grandfather through hand-me-down furniture.
3. Jane Pickersgill
Title: A Grain of Dirt Begat the Pearl - Letter to My Grandmother
Media: Paper, card, acrylic paint, ink, thread
Size: 580 mm x 700 mm
Jane described her work to me as honouring her Grandmother whilst escaping her legacy. Through it she interrogates her social history (growing up in a Yorkshire coal mining community) and looks at the domestic life of her working-class grandmother who belonged to the suffragette generation.
4. Julia Silvester
Title: Domestic Disruption (Bathing)
Media: Oil on Aluminium
Size: 40 x 50 cm
Bathing is oozing with tension and unease in reflection with her domestic environments. Spending the lockdown interrogating her own relationship with the indoors, Silvester connects this introspective moment through motifs of birds, femininity and interiors.
5. Lewis Andrews
Title: Quarantined Light #6 & Quarantined Light #7
Size: 88cm H x 63cm W x 3cm D
Quarantined Light looks at the natural connection between one and place and the next, and how light provides heat to nourish our souls and thoughts during a time of great uncertainty. His photographs share the joy of knowing that ‘my friend less than a mile away can feel the same light and heat from the same sun’.
6. Li An Lee
Title: Lockdown 2020
Media: Black and White Photography
Li An Lee lets us into her private moments with her two under 5s and documents their dinner rituals and ways of coping. The work utilises the aerial view, looking at society as if each moment was on a microscopic slide.
7. Hendrik Wittkopf
Title: After a sunny but cold day (2)
Media: Pen on paper
Size: 18x27 cm
Wittkopf takes stock of his personal space spent during lockdown and isolation. Highlighting the mundane and growing tension of being stuck inside.
8. Sarah Strachan
Title: Liminal vessels
Media: Ceramics, latex, wire thread, black floor level panel
Size: 30 cm x 50 cm x 100 cm
Liminal Vessels’ reflects on feeling like a fully-fledged member of the ‘sandwich generation’ caring for both children and elderly parents; during Covid-19 lockdown. As for many women, this intensified the tension between the different forms of labour. The taught skin-like latex represents the feeling of being physically and psychologically stretched between priorities as a studying and working mother.
9. Lauren Bickedike
Title: 19: A Data Melody
19: A Data Melody is a 00:01:40 sound piece is composed of the daily Covid 19 case and death figures released by the Irish Government from the first recorded, Covid 19 related, death on the 11th of March 2020 to the 1st of July 2020. The figures are translated into corresponding musical notes to portray an aural representation of the Covid 19 case and death curve in the Republic of Ireland.
The Piano Room
25. Barbara Bryn Klare
Title: WHERE Were You Harassed?
Media: Photograph, lipstick, paper
Size: 1: B+W photograph, lipstick 2: Digital print
Year: 2017 - ongoing
Where were you harrased’ is an ongoing work inclusive, and anonymous collection of location stories where sexual harassment took place. She began this project in 2017 amid the daily revelations about Harvey Weinstein and others. The project has around 560 stories. Reviewing data analysis on the stories and Barbara found that HOME/HOUSE/MY HOUSE/BED/BEDROOM was the 2nd most common location with STREET in 1st place.
26. Cherish Marshall
Title: Mummy, why do bad things happen?
Media: Faux Leather Bear
Size: 110 x 40 x 55 cm
‘Mummy, why do bad things happen?’ subverts our expectations of our nostalgia for our childhood comforts. A leather teddy bear, stitched together with large zippers brings an adult dominatrix twist to the innocence of the object. Why is a symbol of youth tainted in an adult world? Questioning how childhood trama can make children grow up in an instant, she muses if there is such a thing as childhood anymore.
27. Peter Mames
Title: Amended disfigurement.
Media: Ink on drafting film
Size: 34cm by 44cm
Title: Artifact of a forgotten time
Media: Resin, cold cast aluminium and cold cast marble.
Exploring how the symbol of bandages convey double meanings. An act of healing, care and tending to wounds as well as hiding damage and disease from the viewer. Through the use of this symbol he explores how this plays between male and female gender roles, and the blinding of children to preserve their innocence to the world around them.
28. Delpha Hudson
Title: All the people we have to be to get through the day
Media: Watercolour and ink
Size: 42x 30cm
Title: She was told to be resilient.
She said ‘ I am but I need help’
Media: Watercolour and ink
Size: 42x 30cm
Choreographing strong female protagonists, mothers and children into imaginative realms where they can challenge domestic legacies, and draw attention to inequality. Depicting everyday experiences and highlighting cultural narratives that simultaneously trivialise women’s caring and domestic roles and create pressure to live up to unrealisable ideals.
29. Steve Pettengell
Title: Specimens I&II, Now you see me, now you don’t
Media: Mixed media on plasterboard
Size: Diptych, each panel 20x20x3.3cm
Teetering on the threshold between domesticity and entrapment. Being trapped inside a property is very much a new feeling to many of us during this pandemic, however, many people have been trapped in domestic environments long before this pandemic, when they appeared free to the outside world. This pandemic sees a surge in an embracing of a housebound ‘family values’ ideology but we should be aware of the downsides of the facade of the nuclear family often hiding abuse in its various forms.
30. Amy Gillies
Title: My Mother’s Childhood
Dimension: 40cm x 40cm
Media: Embroidery on Polyester
During the COVID-19 lockdown, Amy Gillies spent three months in her family’s residence, which provided her with the opportunity to revisit her relationship to her childhood home. Although Amy is proud of her working-class background, she never found comfort in the conservative socio-political environment in which she was raised. In this work, the artist confronts her conflicting feelings towards her domestic routes, as well as her experience of growing up in an environment in which she felt out of place, despite having a loving relationship with her immediate family. The resulting work was a spoken word poem titled Home.
31. Tracy Davidson
Media: Embroidery & printed dictionary definition on vintage christening gown
Size: 50 x 67
‘Bruise’ explores her childhood trama due to the domestic abuse her father subjected her mother to. After a period of pause, she began making artworks again over lockdown. Reflecting on the toll this took on her mental health, and helping her daughter through her own struggles.
32. Fred Fabre
Media:Oil on canvas
Size: 70 x 100 cm
Fred Fabre shares a viage of a victim of unbearable solitude, the Anchoress scratching the floor in despair. From the XIII to the XVI century becoming an Anchoress was a way a woman would avoid the dangers of childbirth and the misery of forced marriage. The Anchoress was bricked up for the rest of her life in a small cell located on the side of a church. On entering their cell for the first time, the novice recluse would climb into a grave inside the cell.
33. Jenny Klein
Title: Woman Running
Media: Digital photography
Size: 120cm x 70cm
During lockdown artist Jenny Klein felt they retreated into a zone of endless, thoughtless repetition, the same tasks filling each day. Looking to escape the monotony and feel a sense of productivity, Woman Running was created, still taken from a series of short videos exploring questions of escapism, domestic duty and release.
34. Lucy Bevin
Media: 1:20 Model, rendered
10. Nikki Alford
Media: Electrical tape, wood, perspex
GUSH comments on the rise in domestic abuse as difficult home situations intensified during lockdown. Her installation disrupts the space through inhabiting the reparative and violent actions during the formation of the artwork.
11. Galina Hristova
Title: Bitter moon
Media: Painting, oil on canvas
‘Bitter Moon’ is showcases the paralysis of isolation, and gnawing anxieties felt in the home. Contrasting cozy and welcome interior space with surreal and pervasive feelings of fear.
12. Amy J Wilson
Media: Bone china plate with ceramic decals
Size: 1cm x 20cm diameter
‘Platelet’ plays with our expectations of everyday domestic
imagery, conflating languages of perceived high and low culture: kitsch cats that sit on decorative ceramic plates are sliced to reveal cartoon innards; ceramic pieces hover between luxury objects and slipcast multiples. Her practice takes craft and mass projection in stride, incorporating craft and tech through the use of casting and printmaking in combination with 3D scanning and 3D printing.
13. Catherine Jacobs
Title: Lockdown ‘Veg compartment’
Media: Photographic Print
‘Veg Compartment’ captures of a moment of pause a play during one of the many tedious domestic duties of cleaning out the fridge. This is a part of a larger series of explorations using film and photography in moments of the home.
14. Inês Miguel Oliveira
Media: Oil, coloured pencil and found objects on twill cotton
Size: 65.5 x 36 cm
Painting became a series of diaries over lockdown, gathering objects found in the garden or in small walks, such as leaves, flowers, pieces of ceramics, old chunks of dried paint, broken pencil tips – representing the day to day. They are delicate, its elements small: to see them the viewer must come closer, try to piece together the fragmentary nature of the work.
15. Liz Griffiths
Title: Lost Cats
Media: Found objects
Size: 20x25cm and 14x35cm
‘Lost Cats’ is composed of found objects and discarded belongings picked up during walks. These collage and sculptural works highlight a specific moment of locality and recording neighbourhood memory.
16. Blandine Martin
Title: The Connected lines
Media: markers , pencils , water colours on recycled food packaging
Size: 52 x 38 cm
Taking to the home for material inspiration during lockdown, using recycled materials and food packagi to play with their domestic resonance by keeping the shapes of the original object intact. Using doodling as a method of coping, these works explore mediating mental health and the home in times of crisis.
17. Virginia Tozzi
Title: "The Tracing"
Media: Mix media on paper.
Size: 4 pieces 30x42 cm (All framed)
‘Tracing’ explores how material and process can connect emotionally between the artist and the viewer. During self-isolation she catalogued her daily emotions through movement and observation in order to create a more genuine relationship with the viewer.
18. Rob Verrill
Title: Distant Relations: With Love From Lockdown
Size: Height: Variable
Exploring the pilgrimage to the supermarket and back for eight months. Distant Relations: With Love From Lockdown is the result of collections made and experiences had during that time. Writing a shopping list is one of the few occasions today when people make personal marks on paper, inadvertently expressing private, individual aspects of their characters and cultures. Now shopping trips are often many people’s only connections with the outside world, finding such precious though carelessly discarded missives feels like being invited into the life of a stranger.
19. Stanley Black
Title: We Are All Equal Now
Believing feminists propose a false dichotomy between paid and unpaid work. This piece is a satirical comment on domestic labour and a rebuttal of feminist economics. I am interested in the division of labour negotiated by men and women and see this not as a Marxian material concern but rather a matter of practicality. My intention is to question the gender roles assumed by each of the sexes, whether this a biological or societal concern and pose the question are we are trapped by tradition?
20. Salvatore Esposito
Media: painting (layers of burned garbage bags
‘Bruciatura01’ is made by burning various layers of garbage plastic. Creating a bird's eye landscape as if seen from an airplane - the work reflects on travel, impact on nature and the effect of our everyday materials on the planet.
21. Amy Jackson
Media: Digital Images, Prints and Videos
In a world which had already stepped out of reality and watched the TikTok generation grow increasingly depressed by an inability to gain enough followers or likes, she explores “I am in two places at the same time. I have one eye on the world and another glued to a screen but I am never home. I am happy and successful, popular and caring, influential and domesticated. I am pathetic”.
22. Ling Lai
Title: Connection Connectionless,
Media: Chinese ink, wool and printmaking on paper
Connection Connectionless uses elements of line to draw connections between individuals. Vertical lines creating a barcode-like mesh, physically bridging two separate shapes together, in a call for help or yearning for a physical connection.
23. James Southhall Ford
Title: Ephemeral Scaping
Media: Steel, ceramics, jesmonite, fiberglass, and earth
Size: 300cm x 70cm x 30 cm / dimensions variable
‘Ephemeral Scaping’ is the result of long periods of isolation in spaces entirely saturated with technology; acknowledging this mass of technology, it seeks to introduce new engagements with earthly matter and experience. Left to isolate within domestic spaces for an extended period, we suddenly became aware of the technological dominance of everyday life; a vast array of technology surrounds us. Now technology operates autonomously in the background, matter beings to lose all agency - contemporary existence is thus built upon the forced separation of nature and humanity, a division our technologies facilitate.
24. ONA TELOS
Title: Their Presence
Media: Wooden plank, alkyd enamel, sound with headphones
Size: 7’1 x 190cm
'Their Presence' is a reflection on gender differentiation in modern Western society and the roles that representatives of different genders, including non-binary ones, play in domestic environments. By playing with the iconography of the sexes in the figure, the work toys with the balance of the division of domestic labour in our households or the lack thereof.
The Green Room
35. Kristen Donoghue-Stanford
Work Title: Self-Portrait (Hair)
Medium: Video and Acrylic Yarn
Length: 35 Minutes
Kristen Donoghue-Stanford’s film addresses themes of emotional labour in the domestic space through the increased repetition of a daily task. The recording of these acts portrays the feminine anxiety surrounding voyeurism in our personal and intimate settings that has only increased during the Covid-19 pandemic.
Yili Liu’s short film titled ‘Undoing’ demonstrates a method towards a more harmonious relationship between humans and nature. Questioning how we could live in harmony during the pandemic. The film documents moments of genuine non-action, motivated by a lack of desire to participate in human affairs and exploring that beings (or phenomena) that are wholly in harmony with the Tao behave in a completely natural, uncontrived way.
37. Edwin Miles
Title: Window Works
Media: Moving Image/Film
Edwin Miles’s Window Works is a project borne out of a dislocation between person and place. Using a living room window as a gateway to rumination, the film follows a filmmaker around a block of flats, gradually accompanied by the memory of his parents.
38. Marnie McCarthy and Maria Fielding
Title: Puppies On Toast
Marnie Mcarthy & Maria Fielding’s collaboration Puppies On Toast records two moments at oce, distanced by geography, virtually living. Hiding. Dogged by ornaments and animate mechanical forces. Deifying Dogs.
39. Kate Steenhauer and Maria Sappho
Title: The making of a feminist
‘Making of a Feminist’ was inspired by the book ’Invisible Women’ by Caroline Perez exposing data bias in a world designed for men. These
data biases are heightened in times of conflict, natural disasters, and pandemics, when women’s lives are disproportionality affected by higher risk of infection, sexual abuse, and domestic violence. COVID-19 demonstrates society’s inequality ‘beautifully’, not just for women but any minority. Throughout the film, a figure explores a nuanced struggle towards embracing feminism within the context of a global catastrophe.
40. Sophie Cero
Title: Short Story (chapter one)
Sophie Cero’s film ‘Short Story (Chapter One)’ begins to unpack one of the last taboos in domestic spaces, adults being abused by their children. The fIlm describes the actions and facial expressions of this child, considering the impossibilities of relating narratives concerning filial violence from a maternal subjectivity.
41. The ManorBuckius Cooperative
Title: Rolling Series II
Rolling Series II engages objects commonly used for auto mechanics' work to perform domestic-based work highlighting and questioning the assumed duality between so-called masculine and feminine labor roles and the heightened value given to capitalist/commodity-based industry over caregiving/service-based (and often unpaid) industry. The video is a quilt of improvised encounters in interstitial and adjacent filmic space between the two performers; it is chance choreography with alignment and misalignment in movements and actions engaging objects and technology.