Past exhibitions

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.

25 Days

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Sara MacKillop takes mass-produced found objects, slightly manipulating or juxtaposing them to re-focus attention towards their formal qualities. Their useful life finished, these objects are resurrected by MacKillop, who rescues them from the thrift-store and grants them new life and gives them sanctuary within the gallery.

Jock Mooney: I wish I had electricity in my fingers then I’d blast ya; at Vane

I wish I had electricity in my fingers then I’d blast ya

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Jock Mooney’s work explores the cultural outpourings of the human mind, whether his own or that of the world at large. His work can be seen as concerned with the liberation of the human spirit through confronting us with our own everyday ridiculousness, an anarchic and never-ending project of emancipation that attempts to break apart oppressive and redundant forms of thought and clear a path for the imagination.

Craig Fisher: Uncontrollable; at Vane


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Craig Fisher’s work challenges our habits of viewing. Located outside of traditional boundaries, Fisher’s work stubbornly refuses to conform to being any one thing, discipline, state or position. Be it image or object – the work remains uncontrollable.

Dodda Maggý: Video/Music; at Vane


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Dodda Maggý creates a series of female characters based on personal experiences, which are then enacted in front of a video camera, accompanied by piano music composed and played by herself, sometimes re-worked using a simple recording technique, building layers as if sculpting. She creates audiovisual narratives that objectify the female body without degrading it to the status of a mere object.

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