The Manchester Art Crawl 2-16 July 2011



Title of proposed work, Icelandic winds installation
Description of piece Multi speaker audio installation; A six part series of pieces formed as part of a response to the Icelandic landscape, during a month long Artist Residency in Skagastrond, North East Iceland. August 2009. To hear the first set of three pieces please visit the following link: and click on Icelandic Winds part 1,2 or 3

Practice Composer / performer
Website (s) Link (s)
Title of proposed work, for Voice and Art Gallery
Description of piece For performance in an art gallery space the piece exists like a sonic painting. A vocal performance by the composer is processed using live electronics to create textures and colors, which appear to hang in the space like a painting. In the first installation of the performance at the Walker Art Gallery, Liverpool in February 2010 the performer was situated in the gallery space. The aspiration is to perform the work in one art
Gallery location and stream video and audio of the performance to a screen in another location, exploring the digital canvas. The work can be tailored to run from 45 minutes to several hours dependent on performance conditions and could be used once or repeated daily (It will evolve and change in each performance due to the nature of the material which is used).


Joseph Rowley

A Place Without Purpose Where Purpose Once

An exploration of the ideas of space and non-space and more particularly the idea of a place without purpose where purpose once was. Pallets have no use on their own, they are defined by their contents, and broken pallets have even less use. In conjunction with this a TV screen of static again links to this idea, since a television is also defined by its contents to a large extent.

Liz West

Red chamber

“I am concerned with the psychological influence of colour, its effect and sensory impact upon the viewer. In the installation Red Chamber a large collection of red objects are positioned to form an ambiguous landscape, produced using numerous mirrors which multiplied and extended the objects through reflection. My chamber installations can be site specific or incorporated into existing building spaces. The colour red induces feelings of fear and warmth, however it is also associated with warning signs and anger, it is overpowering when used in large quantities.”

Nicola Colclough

A Forest

The idea for the piece came from an observational photography series exploring ‘things in trees’ ranging from mysterious objects such as hula hoops to the more benign everyday sightings of plastic bags and disguarded rubbish.

The piece is also a comment on the environmental landscape and the threat of public green spaces as they become more planned and manmade rather then wild open spaces that provoke a sense of freedom.

Caroline Backhouse


Deconstruction is a large scale installation which immediately grabs you as you enter the gallery space. It
can be interpreted on many different levels.
“I was particularly interested in investigating ideas of scale and how colour can be revealed through a process of transformation. As you follow the gradual break down of a highly controlled process, the material begins to reinvent itself and construct a new form of its own. I slowly lose control and gravity takes over.”

The piece is installed in it’s complete form, and then over the process of a couple of hours the woollen hoops are cut and ripped, causing the wool to drop to the floor. There are small silver scissors attached to the hoops to encourage viewers to snip away as they please, and be involved in the creation of the work itself.

Ben Harding

Harding’s practice uses electronics and found footage to deal with our relationship to technology in a consumer society. The imagery references the cyclic, build and destroy nature of consumerism, whilst pointing to the constantly changing landscape of our built environment.

Stephanie Douet

Smoke and Mirrors

An experimental process by which Douet develops a prism through which the objects are refracted and reconstituted, a very low-tech version of Toby Ziegler’s computer-mediated work, or a Modernist take on Cubism.

“The starting point is when I set up objects together – ply off-cuts, paper cut-outs, lenses, architectural maquettes – and taking a batch of photos. Out of a large number, I select some too print out and make into a collage. This is then made up in 3D from real materials and becomes a large-scale installation/sculpture, which in its turn is photographed and the whole process repeated with whatever variations occur to me.”

Jamie Clough

“my work has become more of an exploration of myself, and my thoughts, rather than specifically my dreams like I used to paint.
Internal thoughts and feelings manifest themselves into abstract images, which can no longer be defined as one object, but many combined and mashed together. “

Nick Rhodes

“For the Art crawl I aim to make a set of towers that will vary in scale, out of found wood and plastic objects etc. The tower obsession originated from a train journey to Manchester from Preston. Earlier in the day of the train journey I had heard a story about flooding on radio 4, and its devastating affect on people and their lives. I found it quite devastating and enlightening at the same time. The power of nature is a cruel being. So I set upon thinking about flooding, and how humans may cope in the future.

Much of my towers are also about recycling too. I have spotted and collected many many images of tribes and populations around the globe that build living quarters up in trees, and above water, just to house themselves from the elements. Often a lot are made from what ever material they have come across which I love…. Once humans has a limitiation in life, they always produces the loveliest creations.

With my towers I try to portray man’s fragility, whether it be in the construction/materials or the scale of the stilts/legs that hold up the towers. Its also that sense of getting up there out of the way, that liberation you had when you climb a tree or even go up a tall building and look out of the window. I try to harness that in someway.”

Nick Rhode’s work at Kraak is linked with a large scale piece that can be viewed from platform 2 at Deansgate Train Station. Once on the platform turn left and look out from the side of the bridge.

MANCHESTER ART CRAWL is a festival of contemporary art and ideas as part of the Not Part Of Festival offering a DIY, artist led, experimental fringe event to the Manchester International Festival. The festival straddles Manchester City Centre and neighbouring Salford occupying art and non art spaces alike. Spaces include the new Crawl Space on Ducie Street which acts as the research centre and hub for the festival. Other venues include Blank Space, Kraak Gallery, Islington Mill and Piccadilly Place.