L ISTER AT THE TATE                                                              

24 x 20 cms, 24 pages, softcover.

 

A selected exhibition of idiosyncratic and meticulously crafted work by Andrew Lister, based at East Street Arts in Leeds. He is renowned for his use of unusual materials and quirky sense of humour: his Conversation with Mondrian is a battered old workbench inlaid with carefully worked ivory letters, and his Lord’s Prayer is a rebus, a picture puzzle, part text and part drawing, using inlays of ivory and plastic in a fragment of old board. On a humble striped jay cloth he has lovingly painted a reproduction of Holbein’s Dead Christ in the Tomb.

SHELF LIFE                                                               

24 x 20 cms, 42 pages, softcover.

 

Eighteen artists were invited to make a small sculpture in response to a favourite or treasured object found on their own shelves at home. Each artist's paired objects were displayed on a shelf running the length of the gallery.

 

The exhibition and this catalogue capture a two week period in the Life of a Shelf and the confrontations instigated by such disparate objects.

Shed Gallery

Publications

All books are for sale, prices on application through Contact page.

GEORGE HAINSWORTH; THESE MODERN TIMES

ISBN 978-1-36-706954-1

17 x 17 cms, 44 pages, softcover.

 

A record of an exhibition of sculptures, painted wall reliefs and drawings by George Hainsworth first shown at the Shed Gallery Ilkley between 9th October and 5th November 2016.

LISTER AT THE TATE

20 x 24 cms, 24 pages, softcover.

A selected exhibition of idiosyncratic and meticulously crafted work by Andrew Lister, based at East Street Arts in Leeds. He is renowned for his use of unusual materials and quirky sense of humour: his Conversation with Mondrian is a battered old workbench inlaid with carefully worked ivory letters, and his Lord’s Prayer is a rebus, a picture puzzle, part text and part drawing, using inlays of ivory and plastic in a fragment of old board. On a humble striped jay cloth he has lovingly painted a reproduction of Holbein’s Dead Christ in the Tomb.

THERE IS NOTHING LIKE A SHAVE TO MAKE A PIG FEEL LIKE A MAN AGAIN     Garry Barker - Writing in response to three drawings from an ongoing series 

20 x 24 cms, 60 pages, softcover.

 

A record of an exhibition of three large drawings by Garry Barker

held in the Shed Gallery Ilkley between 15 September and 29 September 2013.

 

"If I had to boil down what these drawings are about it would be that they are childhood memories of the town of Dudley where I grew up, these memories still living with me as I experience life in the city of Leeds where I now live; the town in a city itself being a metaphor for the past in the present. As one experience overlays the other, space opens out for reflection on mythic, political and social visions, all of which need landscapes to unfold within, these landscapes being neither of today nor yesterday, can then become visions of a future as yet unknown."

SHELF LIFE                                     

20 x 24 cms, 46 pages, softcover.

Eighteen artists were invited to make a small sculpture/object in response to a favourite or treasured object found on their own shelves at home. Each artist's paired objects were displayed on a shelf running the length of the gallery.

This catalogue of the exhibition at the Shed Gallery captures a two week period in the Life of a Shelf and the confrontations instigated by such disparate objects.

MELTDOWN                                                  

A story about the making of an opera in the deserts of Western Australia and the author's obsession with fire and ice cream

24 x 20 cms, 80 pages, softcover.

 

A compilation of drawings and photographs taken from the notebooks of artist Terence Hammill, made while travelling across isolated areas of Western and South Australia between 2002 and 2009.

 

Gradually, the notebooks began to record an evolving narrative that became an idea for an opera - an opera that would be modest rather than grandiose; that would refer, obliquely, to Dreamtime myths of creation; that would make use of matchsticks and ice creams - and a hummed version of 'Vissi d'arte'.

WAVEWEAVE

Beryl Hammill - woven tapestries.

ISBN 978-1-32-019088-6

24 x 20 cms, 30 pages, softcover

Includes an interview with the artist about how she translates her paintings, drawings and studies for 'weaving a wave' into stunning tapestries.

SHED SHOWS 2011-2012                                     

20 x 24 cms, 46 pages, softcover.

 

A record of three exhibitions of sculpture and drawings held in the Shed Gallery Ilkley.

 

Terence Hammill: New Sculptures 

25 Sept - 9 Oct 2011

 

iPad Riffs and Collapsing Klocks

12 - 27 Nov 2011

 

The Seven Last Words of Christ on the Cross

17 - 30 June 2012

THE UMBRELLA BOOK                                           

17 x 17 cms, 44 pages, softcover.

 

The image silhouette of an umbrella found on the side of a box or carton is an internationally recognised sign that means 'keep dry'. This small book explores what happens to that sign when it is turned upside down - and how its original meaning, as a warning or instruction, becomes changed into an exercise in imaginative interpretation.

SHEDSHOWS MAGAZINE 

Issue One March 2015                      

22 x 28 cms, 22 pages, softcover.

 

The first issue aims to celebrate and record some of the exhibitions and projects that have been held in the Shed Gallery Ilkley since 2011. It includes some recent work (2015) and details about forthcoming exhibitions.

MICHAEL ANDERSON: SEVEN PRINTS                          20 x 24 cms, 20 pages, softcover.

 

'In working on these seven prints my purpose has been to understand something of where I stand in time and place, and to get some hold on what is going on around me.My images are a response to some world issues and are intended as disruptive visual statements. I strive to make prints that look good, lush, and sumptious; works that arrest and focus on narratives.

Sceptism and satire are central but maybe sadness is more consistent within the work.

The prints begin as combinations of painting, photography and computer imaging and are all completed as digital prints'.

GORDON CAIN: VIRTUAL SCULPTURE                    

17 x 17 cms, 22 pages, softcover.

 

Gordon Cain's work depicts hypothetical spatial scenarios or cultural event spaces, suggesting evidence of an unspecified labour. The imagined events may occur within the city or be located in peripheral and transitional spaces. In being uninhabited, unoccupied, these locations may be seen to be awaiting the return of their inhabitants.

All Gordon's images are produced using 3D modelling software, available as Lambda/ photographic prints, in editions of ten.

© 2016-19 Terence Hammill / All rights reserved.