Past exhibitions

Vane Shorts 4; at Vane

Vane Shorts 4

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‘Vane Shorts 4’ presents the work of five artists, each of whom references or plunders found and/or historical images and artistic styles, filtering and re-working them in the process.

Vane Shorts 2; at Vane

Vane Shorts 2

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‘Vane Shorts 2’ presents works by five artists, each of whom explores play and recreation in their work, ranging from the combination of formalist sculptural techniques with domestic and utilitarian elements (Beech), military re-enactments (Clamp), a carnivalesque parade of twisted figures (Mooney), to videos of low-fi inventions (Pearl) or seemingly random actions and scenes that evoke other things (Phipps).

Vane Shorts 1; at Vane

Vane Shorts 1

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First in a series of one-day events showing the work of various artists, ‘Vane Shorts 1’ presents works by five artists, each of whom is showing video works that share an interest in repetitive and/or seemingly compulsive actions.

Stephen Palmer: Worthless little tokens; at Vane

Worthless little tokens

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‘Worthless little tokens’ is a series of paintings cataloguing a collection of free, found and received objects: matchboxes picked up in pubs or in the street; pens received through the post from charities and credit card companies as an incentive to sign up to a particular product or scheme; sugar, salt and sauce sachets collected as mementos of trips to, and along the way to, places far and wide.

Simon Le Ruez: When the Quarry Calls; at Vane

When the Quarry Calls

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Simon Le Ruez makes sculptures, installations and drawings which reflect on notions of escape, longing, desire and possible places sought in order to find relief or refuge. Working with materials as varied as leather, pearls, copper, wax and artificial trees Le Ruez’s recent work conjures a sense of imagined yet dislocated landscapes that seemingly oscillate somewhere between utopian and uncertain identities.

Nadia Hebson: Bergholzli; at Vane


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Nadia Hebson makes melancholic portraits, marine-scapes and flower studies coalesced from a proliferation of collective art historical imagery. The paintings occupy an ambiguous position – it is unclear whether they explore real or fabricated, scenarios, events or personalities. This miscellany of jumbled imagery thwarts a logical narrative interpretation but its elemental nature suggests a psychological intent.

Trine Boesen; Strange Days; at Vane

Strange Days

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Trine Boesen’s paintings, drawings and collages plunder freely from the image bank of everyday modern life – be it from images found on the internet, from adverts, magazines and books, or drawn from her own personal snapshots of friends, buildings, social occasions, holidays and other things.

EC Davies; Flatland; at Vane


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EC Davies’s previous work has taken its inspiration from the simplest of everyday objects – such as marbles, glitter, balls of wool, or the motion of a bird’s wing in flight. These otherwise mundane objects are then transformed, using a combination of digital video and animation techniques, into the alluring and magical visual environments of her single and multi-screen digital video and animated installations.

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