We’re Here Now

As a group we considered spaces and how they would work together. Having my piece hung from the corner allowed Marianna’s work to have more space. We were thinking about splitting her work and having it either side of mine so that she could have more space but we thought having it split might compromise both of our work. Initially her work was bunched together and looked too cluttered, but by positioning mine at the right angle in the corner it allowed enough space for her illustrations to be viewed individually and as a set; giving enough boarder for her pieces.

We all worked well as a team to scrape, tape and paint the boards. We discussed the space and made alterations accordingly. By taking on tasks suiting to our individual abilities, working efficiently around each other and utilising available equipment we successfully prepared the workshop and our exhibition spaces within the predicted time. When installing the work we helped each other by giving and receiving advice on the most appropriate ways to exhibit. We also helped each other when a second pair of hands were needed, for example, measuring, holding work in place and levelling work. I helped to prepare for the private view by stamping the sweetie gift bags with the We’re here now logo and filling them. I also helped to move tables and prepare drinks for the private view. I have contributed my time to invigilate the exhibition; greeting the public as they look around the space and answering any questions they may have.

The Dervish Whirlers

In my work I like to explore the divine. I was really struggling with my research. It seemed to come from two completely different directions. I feel that there is a divinity to music in that it can have such a positive effect on peoples’ lives, and I personally experience a meditative outcome when listening to music.

I was considered exploring performance art. Although I felt I didn’t have enough time to complete a refined piece in this medium it was a fundamental stage in my work. I wanted to create a costume to wear for the performance or turn the fabric into a costume that resembled the forms created in cymatics. I looked into traditional costumes and came across the Dervish Whirlers. The connection between music and divinity became clearer and really brought together my research.

The Dervish Whirlers are a religious group who follow the teachings of the devout Muslim and poet, Rumi. They have a ritual dance where they meditate on music and whirl to become closer to god and unite with the universe. Rumi felt that music was the sound of the doors to paradise. That is why I have named my final piece ‘Path to Paradise’.

Interview with P John Burden

Tree of Life

Here is the interview with P John Burden
In this interview Burden talks about his experience as an artist. His work is inspired by folklore and nature. He likes to explore the theme of yearning ; “being the ever present beauty hidden within the chaos of our existence”. I think he captures this well in his work and this portrayal of yearning is something that captivates me when veiwing art. What I Find intriguing about Burdens work is the sense of energy created in his images. Through the use of colour and form he creates work that captures the essence of nature


In this Blog post  Houa Vang shares with us her experience of photography and explains her emotive self portraits. One of my favourite quotes is “I really fell in love with photography, it was a way for me to express myself, without having to really say anything”. This is one of the many ways that i relate to Vangs’ way of working. With the current culture among social media i have often doubted the purpose of my own photographic self portraits and labeled them as glorified ‘selfies’ in times of artistic self defeat, however this confession really sheds light on how powerful photographic self portraits can be. Vang States that “if I have to vent or let out any emotions my camera is always there for me” and although this is important to have a vent in a therapeutic sense i also feel that in a more practical sense its great that I’m also always there for my camera. using myself as a model I am always at my own disposal. which is highly convenient when theres not enough hours in the day. As much as i would love to work with models in my future pieces i know that self portraits will be an important part of my artistic journey as i understand my own limits and i know how i can stretch those limits. Working alone opens you up and allows you to be more honest with the camera. There is no judgement, no complications. Just me, the camera, and my emotions.

Anne-Marie Cadman


anne-marie early years residency anne, marie cadman

Anne-Marie is a local textiles artist. she came in to collage to share her experiences and work with us. Her work is very colourful with lots of form and pattern. she works with a strong explorative approach. after hearing about the way in which she works it gave me confidence in my own approach in making work.