The exhibition covers two sites in Lancaster city centre:
The Galleries upstairs at King Street Arts (Studios) at 5a King Street
(video, photography, assemblages, textile, sculpture and paint)
open 19th - 25th Oct 11-4pm
Fri 22nd & Sat 23rd 11 - 5pm
&
The Gallery upstairs in The Storey Building
(Paintings, print-making and drawing)
open 19th - 25th Oct 11-4pm
Fri 22nd & Sat 23rd 11 - 5pm
There is a long history of links between art and music; throughout the twentieth century many artists made links to music, a few examples are: Mondrian’s Broadway Boogie Woogie (1942) and Matisse’s Jazz (1959) and further back Nicholas Poussin’s Dance to the Music of Time (1636).
This exhibition seeks to explore some contemporary connections between visual art and music. We asked artists to submit work they had created which had been inspired by music. We also asked musicians who also had a visual art practice to submit examples of the work they create. Accompanying the artworks are short statements about the artists influences.
What we have from these 49 artists in over 90 art works is a snapshot of the range and individuality of the creative spirit coming from many regions and cultural backgrounds sharing a common interest and fascination were art and music come together, with clear examples of a shared language/values encompassing a sense of rhythm, tone, colour, shape and form. All this, we believe is another example of how art and creativity are a conduit for expressing our shared humanity.
We hope you enjoy the exhibition and please take a little time to vote for your favourite piece for the artist to have a chance of winning a visitors prize and share your thoughts on the work and the exhibition in general. It would be greatly appreciated.
There are some QR codes to relevant music tracks for you to scan on your phone and listen with your headphones.
King Street Arts: Roy Smith and Kath McDonald
Below is a voting form we hope you enjoy looking through the art work in the exhibition and can take the time to vote for your favourite art work or artist. On Saturday the 23rd October we will count the votes and the artwork receiving most votes will receive a cash prize for its maker:
Voting now ended
Prize winner will be announced 23rd Oct.
Please not the dimensions of the work the images are not to scale.
If you are interested in purchasing one of the works use the voting form to indicate which and put your contact details in the comments section.
Alexandra Ghimisi
Alexandra Ghimisi
Waters of Blue
Acrylic on canvas
50cm x 100cm
£990
'Waters of blue' is inspired by Buddha Bar song - Bliss. Wish you were here, a chill out masterpiece, deeply rooted in a fine collage of western, African and classical musical influences. Quiet Letters is an album that transports you far beyond the beaches of Ibiza, on a travel through African soul, Scandinavian jazz, and ethereal pop.
'Between two waters' was inspired by the 'Entre dos aguas' song - an instrumental flamenco rumba created by the Spanish guitarist Paco de Lucía. Since its inception, Entre dos aguas is considered a
masterpiece of flamenco, being the most popular and well-known song of the artist, both nationally and internationally.
This began as a study from the life model which I reworked in a more abstract format several years later. I rarely rework life studies because they are what they are, a record of a direct encounter between artist and model. This one wouldn't settle for that however, it seemed to want to tell a different story. The story turned out to be based on the Robert Plant song 'Cindy I'll Marry You Some Day.' I don't fully understand Cindy's story but here she is anyway, spilling on a Saturday across the
My paintings are an extension of the musical/artistic processes, still concerned with the human aspect of sound which I've represented as dancers and movement. The combination of human performers with bold colour in a transcendental space is a way of exploring the way space and time are perceived inside and out of the individual.
As a musician and artist my work is primarily focused on mythology and technology. Using electronic sound and musique concrete to create an uncanny relationship between human and non-human based signals. The recording process is very important in my work, the noise of the medium (tape hiss, digital distortions) are as important as the traditional elements of musical composition.
Musically I'm highly influenced by 20th century avant guarde composition and sound art, Cagean aesthetics and current digital experimental work.
I am a musician and artist. The words in the painting are from one of my songs which is played on the kalimba. Most of my paintings include poetry or lyrics which I perform in the group FEEFEEMOYMOY.
Ferry Cross the Mersey is a favourite song of mine, transporting me back to my childhood in the Sixties. Written and sung by Gerry and the Pacemakers it was actually the soundtrack to a film about
art students and the Liverpool beat scene at the time. I love Peter Blake's design for the Dazzle ferry and of course, he created the iconic album cover for Sgt Pepper.
Music of the Night is a fantasy piece combining written music with the seven colours of the rainbow. Music and mathematics have various links and I'm hoping musicians will enjoy working out this well known tune!
The Spanish Guitar Shop is my response to the beautiful shape and colour of my guitar and memories of attempting to learn the Flamenco style of playing as a teenager. It proved very challenging so I only persevered for about a year but a few skills have remained with me. This painting also echoes the work of George Braque as I experimented with collage.
I have always felt that the elements of rhythm, tone, pattern weight and volume are inherent in both music and painting and so there is this great affinity between them. The pieces in this exhibition were directly influenced by the music of Vivaldi and Handel.
I frequently walked to my studio along a canal path and listened to Vivaldi’s Gloria and Handel’s Gloria in Excelsis Deo repeatedly on headphones. At the same time, I observed the movements and reflections in the water.
David is an award-winning media artist whose body of work spans the primitive technological of the 1970’s to the digital cutting edge of today. His media work has manifested as television, installation, electronic music and video art. His work has been shown in many major
museums, galleries and festivals around the world; including the CICA Museum, Korea; Science Gallery, Dublin; A & I GALLERY, LOS ANGELES; HAUN TIE ART MUSEUM, BEIJING; The Electric Picnic and the Glucksman, Cork. LUX London distribute his video art along with [S]edition online. In the early 1980’s Bickley’s video work won 1st prize at the Sony UK Festival and after a move to Ireland in the early 90’s he was fundamental in the evolution of Irish electronic music, earning a Hotpress award in the process. Besides producing video art Bickley has also made important arts documentaries including The Man Who Shot Beckett and the Celtic Songlines. His themes reside in mythic and folklore motif and often use landscape as a form to reflect and process these ideas.
This painting has been inspired by Dido's No Angel album. I have tried to captured her gentleness and in some cases a little loneliness hence the fluid shapes which are her notes. I did not want to fill the whole paintings as I wanted to create space.
This, the state bird of Hawaii saved from extinction by Sir Peter Scott comes with a song in Hawaiian style ALOHA FROM THE NENE. - accessed by a QR code on the piece
10 to 15 years ago I had the opportunity to stay in the French Quarter of New Orleans on 4 separate occasions. I couldn’t believe I was in the USA. It was so different and special. The music was everywhere including the police station! The culture and vibrancy of everyday life was infectious. The purity of the jazz in Preservation Hall - (the old slave market) where world class musicians came to play for free, and next door at Pat O’Briens the ‘battling pianos’. Every bar and restaurant had music. These were special days. Walking down the street listening to elderly ladies in wheelchairs and oxygen masks playing keyboards and little boys with metal taps melted into their trainers dancing in shop doorways to improve the acoustics! Magical. I have tried to convey the vibrancy and life of this very special place.
6 years ago I went to Collioure on the French Mediterranean coast near the Spanish border. It is a charming old town with an active artist community. In a gallery I found a lovely painting and then a couple of small bronzes by local sculptor Pierre Content. One of these depicted a man playing a double bass. I had never seen anything so simple fluid and beautiful. I have tried to recreate the ‘oneness’ of the man and his instrument, they seem to dance. Even though he was very old he insisted on meeting us, another magical moment. Thank you Pierre.
Emma’s love of music and movement can be seen within the rhythmic composition and the conveying of stories through a wide variety of media. As with carbon under extreme pressure, it produces graphite layers, so seen here in the work, Anxiolytic Plumbago II, the very physical process of release and control is seen through the spinning, cutting, smudging, and bashing of graphite onto the paper. The spiralling, metallic grey, rhythmic musicality shapes emerge from the process.
The Street Music series is an ongoing project. As I walk I see words which remind me of songs. I sing the songs in my head to the rhythm of my footsteps and photograph other words in the lyrics as I find them. Over the course of several walks, I piece full phrases of the lyrics together. I'm not sure if it's art or an obsession but some people seem to like them.
During lockdown we were all cut off from real live music. People turned to their devices to find music and take them to another place. I have tried to capture the unbridled enjoyment of finding that place away from all cares.
‘Xibalba’ was inspired by the track of the same title from the film OST for ‘The Fountain’ - for me one of the most moving soundtracks (and stories) ever created. Xibalba itself is the Underworld from Mayan culture, and it is believed that the Milk Way leads the way to Xibalba. The sound & the visuals combined lead to this creation.
(It is playable, but it is intended as a sculptural, display piece)
The image depicted on this guitar is based on a song; ‘We Can’t Go Back’ and an artwork ‘Blurring the Lines Between Fantasy & Reality’ both created by myself - combining my music project (Oddball - Grace Owen & Jonty Cornthwaite) & visual art practice. It tells the story of a surreal and destructive romance, doomed from the very start…
(It is playable, but it is intended as a sculptural, display piece)
"Weirdo" is my response to Radiohead's 'Creep'. I love how the line 'I don't belong here' really resonated with me at the time, and also felt quite pertinent as we hit the Pandemic more recently.
"We Live As We Dream Alone" is my response to the same titled legendary Gang of Four song. I love the spirit of this song and that at the end of the day, when all is said and done, we are left to just work things out on our own, as we tend to do in our dreams.
From the first proposal for bringing a Time & Tide Bell to Morecambe Bay I've been involved with the planning and fund-raising. Now it's in place, Pete Moser and friends "play" the bell on the highest
I was fortunate to be asked to provide help when Sarah was recording the video for her performance as part of Lancaster University's "Entagled" project, which paired artists with climate scientists to help raise awareness of climate issues.
The Beat released the track, ‘Mirror In The Bathroom’ in 1980. I remember listening to it, whilst scrutinizing my adolescent reflection and feeling dismayed. More recently, I replaced a wobbly bathroom mirror and pondered the lyrics to the song. Inspired by Dave Wakeling’s words and the Pop Art images of Roy Lichtenstein, this piece plays with the notions of narcissism, its associated neuroses, isolation, and loneliness. We have recently spent more time than ever seeing ourselves and others on screen. Captured in reverse, a reflection in a mirror never depicts a true likeness. We may invest in altering our physical appearances in radical ways and airbrush what we display through social media in the tweaked version of our lives. But as we crave and create a desirable mask, are we at risk of becoming immune to the reality of ourselves and to each other?
I am a violin player and sound artist making solo recordings as Tribe of One
My interest in collage making gave a creative outlet using similar processes to how I conceptualise music. I bring together materials to create textures with hints of narrative, working on pieces until they feel right. The work submitted here is a visual version of the music in my head, soundscapes with hints of tunes and rhythms.
The Golden Helmet of Mambrino is the old brass barber’s bowl that Don Quixote wears on his head, Rocinante is his horse and Dulcinea is a barmaid that becomes his inspiration and his hope.
James is a Lancaster-based artist and musician. In recent years his bands have included Get Carter, Heroes of She and North Sea Hijack. He plays Hammond Organ and Tenor Sax. His musical career started in the 1970s playing sax in the Pharaohs in Lancaster and then going on to record two albums as a member of the Two-Tone band the Selecter and later to play piano for Madness in live work, festivals and TV in the UK, the continent and America. He then composed music for theatre, dance, radio and film for many years whilst also developing as a specialist architectural painter/gilder and mural artist. He now paints full-time while music remains a continuing passion. “People use the same words to describe music and the visual arts – words like tone, rhythm, colour, mood, balance, composition, dynamics, harmony, theme, structure etc. I know if I’m working on a particular canvas there is definitely such a thing as appropriate and inappropriate music to be listening to. With the windmill trilogy displayed here at the Art of Music exhibition I know I couldn’t be listening to ‘Yellow Polka Dot Bikini’ while painting, and I remember several moments clearly when the ‘right’ music immediately had a direct impact on the act of painting – providing energy and encouraging bold decisions.
It may be my background in theatre and radio that informs much of my work. Creating music in those contexts is really about building environments, helping to create ‘the world’ and supporting or pushing forward the narrative. I love paintings with narrative. I think it may not be all that fashionable compared to the conceptual, the abstract and the impressionistic, but I have always been pulled towards work where the artist has presented a world as best as he or she can and then asks the viewer to come up with a load of stuff to answer the ‘how did we get to this reality?’ and ‘what happens next?’ questions.”
I am an artist inspired by music. My inspiration for these pieces is Steve Reich's Music for 18 Musicians. The music is structured on 11 chords, each of these art pieces is divided into 11 vertically. The change in chord is barely noticeable the different patterns melt into one another. A painting is static so I have tried to get the whole into one sweep that can be seen at once. There are rules in Reich's music but the musicians have some creative independence. I have tried to find marks that
resemble the little sounds in the music while keeping the network together.
Jane Walker
Patterns inspired by listening to Steve Reich Music
My connection with the sea goes back to my childhood and my connection to the music of Echo and The Bunnymen (the composers of the song "Seven Seas") goes back to my teenage years. I always listen to music when I create and it always weaves itself into my work with it's rhythm and flow and inspiration. I think and dream about the sea and the sunsets when I work so this song has great significance to me encouraging me into "Burning my bridges and smashing my mirrors" to break through the barriers that try to hold me back. Seven Seas by Echo and The Bunnymen. From the Album Ocean Rain Copyright Warner Chapell Music 1984
Music and my art, particularly my painting, have a close intertwined relationship. My world was full of melody before birth. I was born in a radio location hut which my drummer dad had wired with speakers for the full length of the building. I began life with Radio Luxemburg, American swing, Classical and Jazz and then on to Radio Caroline. I have a beautiful autoharp which I play rather badly. Finlandia by Sibelius was the background music for these paintings.
The oud is a traditional lute instrument from the Middle East, also commonly played in Armenia. Together with the oud I have created an abstract mixed-media background also using a loosely stamped 'arevakach' sign, the symbol for eternity often used in Armenia and Georgia. This symbol is often found on stone cross carvings.
The Travelling Musician was inspired by my love of music and by the guitar neck that I found washed
up on St Annes beach. This sparked my imagination, and I began to question how it got there. Was the musician on a boat and it dropped into the sea? How far had it travelled? I developed the piece adding clarinet parts and bells whilst using a vintage writing slope top as the foundation to symbolise the songwriter and writing one’s own life story – one of love. The love for music that stretches across the globe, a language we all understand.
Music has always been an important and influential part of my life. My mother was a piano teacher.
When I was growing up my father used music as wallpaper in our bathroom (similar to the collaged
music on the frame of this picture). My father and brother also built a harpsichord from a kit. I remember going to a concert of Handel’s Messiah, HWV56 whereby my brother played that harpsichord. I was quite young and easily distracted. Someone from behind told me off. I think this was in the back of my mind when I created A Concert!. As a multi-media artist, artworks often begin when inspired by found objects and materials. Such is the case of this piece. I found the text in a book that sparked my imagination envisioning a child crying not wanting to be at the concert whilst the father patiently sits wanting to share his love of music with his son. My own children were taken to concerts when they were small. Thankfully we never had an experience like the one depicted in the picture.
This abstract came about after I had an idea of how to show a person who is def what sound looked like in the painted form. While at a party I had my drink on top of a large speaker. The liquid vibrated, creating perfect circles of sound, I then translated the pulsating sound that I saw into this abstract. Using shapes and colours to further show the depth and emotion that goes into music. Music can be felt and now seen.
I was painting during listening Alessandro Safina, Luna Tu, I imagined how ballerina whirl to this song. I live in London and love art and painting. I was born in Latvia and was studied in art school and college. After finishing college I stopped doing what I love but many years later I understood that I can't live without doing art. I started painting again with oil mediums on canvas while listening my favourite music and I will never stop.
The two generative canvas attribute to two avant-garde composers of the 20th century, John Cage and Terry Riley, who composed two very important pieces that influenced the contemporary musical landscape. 4'33" and In C overturned our understanding, appreciation, and practice of music, which unfolded what music can be.
Canonic is a collaborative electronic improvisation using graphic notation in a spatial setting. The musical content is in four-part canonic structure in which different parts improvise based on the same graphical materials starting at different times with various electric/digital instruments depending on the performance practice of the electronic music ensemble. The work explores the chemistry generated by the interactions between individualized musical interpretations and expressions of visual source material, offering a sound-centered, sonic-spatial experience to its audience.
Both artworks are inspired by artists I have grown up with from childhood, The Beatles and Beach Boys. "She's Leaving Home" by The Beatles is a relatively new emotive discovery, resonating with me as an adult with grown up children, it now brings a lump to my throat every time I hear it. Feelings of loss and of guilt spring up, the fact that "your babies gone" and how much more could you have done to make them happier while they were growing up. "In My Room" by The Beach Boys is a song I have identified with since my early teens. The feelings of refuge, safety and an enjoyment of solitude, it transports me back every time I hear it. I love wallowing in the melancholy it evokes.
Working in the time-based medium of animation, music and sound are an integral part of my practice. Foundling is a creative microdocumentary featuring a young boy from the care system. In times of anger and sadness, he turns to the piano and the music that allows his dreams to flourish.
As a teenager and into my twenties I was a Northern Soul DJ in Wigan in the 60s and 70s and my immersion in this hybrid music prompted me to realise my feelings in response to a particular piece of music and the memories it evoked. I work using acrylic paint on canvas. The painted surfaces are kept simple to allow expressive ‘drawing’ to be the quintessential feature; and it is in response to the energy of the dance moves in Northern Soul Music that I create the feeling of action and dynamism. “Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.” Wassily Kandinsky
This image describes the song "Deep in the meadow" a lullaby from the film "The Hunger Games" written by Suzanne Collis and sung by Sting. The image lulls the viewer into an idyllic scene, as in the song, "Here is safe and here is warm, Here the daises guard you from every harm".
This image describes a response to the song "Common Ground" by the group Midnight Oil. The song is an appeal for a better tomorrow, "If we surrender ourselves to industrial rules, well wake up in the wreckage of tomorrow". In the image the woman shares the space with a deer and is connected with the deer through the deer bone mask she is wearing. There is a strong connection with nature as an antidote to the songs grim chorus, "Nothings left, nothings found, there must be some common ground".
This image is a response to the song, "Tom Paine's bones" written by Graham Moore and made famous by the folk singer Dick Gaughan. The image is an appeal to the viewers social and moral conscience . The macabre scene uses juxtaposed objects; hunting lodge, masked man and deer bone mask to question the right of man to dominate nature. "He said I just spoke about freedom and justice for everyone, ever since the very first word I wrote I've been looking down the barrel of a gun"
Guess who ran off with the milkman, is a song by The Pipettes. It details a woman explaining why she left her stultifying partner and his plans for their future, in the bright a breezy style of a 60’s girl group pop song. I decided to use a part of the verse in a “dear John” letter that has been dropped, along with the milk bottle it had been attached too.
These three pieces form part of my 'Hand That Rocks' collection of original paintings. I had the idea to depict some of the greatest names in music history as a suit of playing cards.
I am a painter and an Art teacher in a Girls' state secondary school in East London. We have a fantastic Steel Pan Band at the school and I was inspired by some of their performances to create some artworks. I made sketches and took photographs of the girls playing at a concert. These were used to create a series of small paintings and prints and then a large oil painting. The shapes and colours, the light reflecting from the steel pans, the variety of personalities of the performers and the melodic sounds all influenced the outcome. I wanted the painting to have rhythm and movement, and for the individuals to stand out but also to be unified as they are when playing in a band.
This print was created during an Experimental Drypoint workshop at Ironpress.
Music by Miles Davis was in the background and maybe because it was not my usual choice of music, I found I was completely in the zone creating marks with all sorts of tools and absorbing the creative atmosphere.
Tribute to R. Mutt 2 is based on my interest in the development of modern art. It uses images from Duchamp's Fountain and the banana from Warhol's cover from the Velvet Underground's album.
I am a multimedia artist. The work has developed from a passion for drawing, printmaking and painting which has gradually become more minimal. I always play jazz CDs, sometime the same one each time and use it as a source of energy and rhythm to accompany and influence me as I draw. I literally find myself at times drawing faster or slower as the music progresses from track to track. I use the names of the musicians involved to name the work. In this case I was listening to Charles Lloyd who I admire a lot as one of the greatest saxophone players of all time and used the varying energy of his cool and at times frenetic playing to inspire the vigorous pencil slashes across the paper. This is tempered by collage elements more carefully placed after the graphite marks to create the compositional structure that I feel works for the piece. This is a diptych, and the imagery should be considered as a continuation from a to b. In some ways the marks may seem to represent musical notation, however the real impetus of music is the way in which it influences the execution of the work.
Pete Marsh was a member of the stage crew at two music venues in Manchester, The International 1 and The Apollo. Pete is less concerned with topographical detail but much more interested in the overall dynamic, mood, and atmosphere of live performance. Whenever possible Pete prefers to work from life and will sketch members of a band during the sound-check and the live show. Pete only produces work inspired by concerts which he has attended, feeling that first-hand experience of the atmosphere is crucial to his work.
Rachael is a contemporary painter based at Rogue Artists’ studios in Manchester. Her practice is fundamentally a mark making process; in which she creates abstract landscapes by applying a multitude of painted layers and patterns to the surface of canvas and paper. Music plays a central role to the creation of Rachael's work and much of the philosophy behind her work is inspired by playing with the boundaries between the visual and music. Rachael refers to her paintings as reflecting "sounds". And the texture, marks and colour within the work aim to evoke the senses which can be likened to a visual noise. Rachael always creates by listening to music and the marks she puts on the surface of the canvas have a connection to the music she listens to. The majority of the music that Rachael listens to is repetitive in nature for example; Steve Reichs, Music for 18 musicians, has informed the structure and rhythm within the painting submitted " Gili lTuwan Gang". Initial ideas for Rachael’s paintings come from automatic drawings in response to listening to music.
This piece captures an entry point to a musical journey. It is based on a photograph taken of my good friend, and his first day playing a freshly purchased trumpet at the top of The Croft. It captures the warm feeling one of many evenings we'd spend sitting watching the sun set over Stoke during lockdown, always accompanied by music.
Birdsong has long been an inspiration for classical music and remains a constant background soundtrack in all our lives. These two images are made up from wildlife photographs I have taken and brought together to celebrate the joy they bring to our lives.
This work pays homage to Bob Dylan, featuring one of his most popular songs from what is acknowledged as his greatest body of work "Blood On The Tracks"
This work pays homage to Bob Dylan, featuring one of his most popular songs from what is acknowledged as his greatest body of work "Blood On The Tracks"
In this joint piece, we place a piece of film into our respective paintings and sit them alongside each other, showcasing our different energies through our style of music and dance. Kathryn's mediative approach to painting (left) is also reflected in her choice of music whilst Sandra's approach (right) is more frenetic and fast-paced. The music is replaced by heartbeats, playing at alternating speeds, alluding to the common threads of the drumbeat.
The Paintings that Sounds Make
MP4 Video
In this joint piece, we place a piece of film into our respective paintings and sit them alongside each other, showcasing our different energies through our style of music and dance. Kathryn's mediative approach to painting (left) is also reflected in her choice of music whilst Sandra's approach (right) is more frenetic and fast-paced. The music is replaced by heartbeats, playing at alternating speeds, alluding to the common threads of the drumbeat.
From a series of paintings that set out to capture the atmosphere of the Fairground.
A Lustful compound of glamour & menace propelled by deafening music and steeped in the bittersweet fragrance of burning onion & cotton candy. The Love alluded to in the title is resolute in its absence.
Contains Lyric from: “Don’t Know Why” 2015 by Carpe De-Funked Morecambe Hip Hop Jazz Blues Collective. Words by Ash Murphy.
Birdsong has long been an inspiration for classical music and remains a constant background soundtrack in all our lives. These two images are made up from wildlife photographs I have taken and brought together to celebrate the joy they bring to our lives.
Tess Baxter
White on indigo
Video: 2min 15sec
White on indigo – is a study of avataric movement in Second Life. My avatar is using conventional poses. However, there is lag in the timing of the moves – it cannot be done as a dance, but had to be edited visually together. JS Bach came after in any case, as a contrast with digital space, where contemporary music is more common.
Innominate. I had never come across Robert Rønnes before – and I certainly would not have gone looking for a Trio for Three Bassoons. However it fits the feel of the place so well.
The Constant Falling. A work I love because it is where I discovered what I could do. The slow movement and ‘Viandanze’ by Fabrizio Paterlini allows the imagery to slow down and ‘hang’ in the air, allowing time to dwell. It is very different from the conventions of video gaming video/machinima, which are fast, noisy and immediate.
Thank you for taking the time to look through the work from the exhibition:
The Art of Music
Presented by
King Street Arts
In collaboration with Lancaster Music Festival
The exhibition covers two sites in Lancaster city centre:
The Galleries upstairs at King Street Arts (Studios) at 5a King Street
(video, photography, assemblages, textile, sculpture and paint)
&
The Gallery upstairs in The Storey Building
(Paintings, print-making and drawing)
King Street Arts: Roy Smith and Kath McDonald
Below is a voting form we hope you enjoy looking through the art work in the exhibition and can take the time to vote for your favourite art work or artist. On Saturday the 23rd October we will count the votes and the artwork receiving most votes will receive a cash prize for its maker:
Voting now ended
Prize winner will be announced 23rd Oct
If you are interested in purchasing one of the works use the voting form to indicate which and put your contact details in the comments section.