Affordable Art Fair, Hampstead

Several works including paintings and photographic giclee prints will be shown at the Affordable Art Fair, Hampstead at Stand C4, Arte Globale, London.

Arte Globale Stand, Affordable Art Fiar Hampstead


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“Scansion” Blinc Digital Arts Festival, Conwy

Scansion a large scale projection of one of my works will be shown as part of Blinc Digital Festival, after dark on Conwy Castle during the Conwy Feast Weekend.

Scansion is a ‘glitch’ of one of my paintings, deliberately manipulated by interfering with the mechanism of the printer/scanner during printing.The resulting image is one of an expressive gestural work interpreted and presented differently, suggestive of the filing and retrieval of information both paper and digital. Scansion is the act of determining and graphically representing the metrical character of a line of verse.  Systems of scansion, and the assumptions often subconscious that underlie them are numerous and often contradictory.

Digital Artwork by Rob Spaull    Music by Alex Carter

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“Eloquent Brain”, Connected Commuities, Somerset House

Eloquent Brain and Community Utopias at Utopia Festival, Somerset House, London

Exciting weekend this past weekend 24th – 27th June. Eloquent Brain was taken with the Dementia and Imagination team to Somerset House, London to take part in the Utopia Fair. More wonderful drawings were added to the drawing bank,  so now plans are afoot to decide where to next to install this ever growing envelope drawing and make more visual connections ?

But in the meantime watch the film.. filmed by Culture Colony for the Somerset House Connected Communities Utopia Fair. Full film 20 minutes. 5 minute excerpt.

Taking inspiration from the 500th anniversary of the publication in 1516 in Latin of Thomas More’s Utopia, the 2016 Connected Communities Research Festival has the theme of Community Futures and Utopias. From March to June 2016 the Festival is supporting activities across the UK bringing together researchers and communities to creatively explore diverse perspectives on community futures and what ‘utopia’ means for communities in the 21st Century.

The Festival is being undertaken in partnership with The Somerset House Trust as a part of Utopia 2016: A Year of Imagination and Possibility.

The creative responses from the workshops will be shown at the Connected Communities fair in Somerset House between 24th-26th June, and will also include interactive activities with the artists.

Eloquent Brain is an art installation originally concieved as a site-specific piece for Llawn 02 in Llandudno. Eloquent brain is the part of brain tissue which is responsible for sense and speech. Surgeons tag or bookmark areas of eloquent brain in order to avoid them when required to operate on damaged tissue.  The artwork consists of thousands of envelopes wedged upright using the gaps between floor- boards as support. Envelopes immediately indicate correspondence and their emptiness raises questions. Are these envelopes representing letters that were never written, or thoughts and  memories  that could not be put into words ?  Since the installation many of the empty envelopes have been transformed into further artworks by those participating in the Lost in Art, Dementia and Visual Arts sessions, held in both Oriel Mostyn, Conwy and Rhyl, Denbighshire. A drawing session on the 14th April 2016, will use Eloquent Brain’s empty envelopes for an ink group drawing exploring the theme of Dementia Friendly Utopias, all invited, all ages and all styles.  On completion the drawing will become once again physically separate envelopes, fragments of a collaborative drawing which belong together but can be interpreted and presented differently depending on its arrangement. The drawing will be rebuilt in a grid format and displayed in Studio 6, Ruthin Craft Centre from April 18th.

Thanks to Denbighshire Arts Services, Dementia and Imagination, Connected Communities, Ruthin Craft Centre.


At the end of September I began an eleven week course of Lost in Art at Oriel Mostyn, Llandudno. Lost in Art, are weekly visual art sessions that explore creativity, visual arts and dementia and are supported by the Arts Council of Wales, Conwy and Denbighshire Arts Services.


Envelopes removed for Lost in Art.Lost Envelope 1

At the end of September, 2015 I removed 1,000 empty envelopes from the ‘Eloquent Brain’ installation at Haus of Helfa  in order to provide paper supports for works to develop throughout the Lost in Art course.


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“Eloquent Brain”, Llawn 03 Haus of Helfa

Haus of Helfa Residency @ Llawn O3 Art Weekend Revisit/Reveal curated by Marc Rees, Alfredo Cramerotti and Sabine Cockrill, 26, Augusta Street, Llandudno, Conwy LL30 2AE

I am currently installing ‘Eloquent Brain’ in Haus of Helfa, Llandudno part of the Llawn 03 Arts Festival.

Eloquent brain is the part of brain tissue which is responsible for sense and speech.  Surgeons tag or ‘bookmark’ areas of eloquent brain in order to avoid them when required to operate on damaged tissue.

Wedges are man – made tools that can arrest movement. Paradoxically they split, interrupt and support. Inserted into the paper structure, the metal wedges divide the sheets, suggesting either markers to prevent further brain tissue damage or shrapnel inflicting further. The envelopes placed in the gaps between the floorboards encourage associations with conflict and communication, letters sent home, graves, troop formations.

Modern blast – shock experienced by those returning from scenes of conflict is not dissimiliar to the shell – shock experienced during historical warfare. This building formerly housed the Royal Airforce Association which provided a social club for those returning with what is now recognised as post-traumatic stress disorder, generally invisible to the outside world. The narrow spaces in the floor of the room are used as the principal means of supporting the work.

Lisa Carter’s systematic use of spaces and gaps… in the house and in the memory… Remy Dean


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Royal Academy Summer Exhibition

Royal Academy Summer Exhibition

Squall has been selected for this year’s Royal Academy Summer Exhibition. June 8th – August 16th 2015, Burlington Gardens, London.

Squall, Royal Academy Summer Exhibition, 2015, painting upper left, black bar, bottom edge.

Squall, Royal Academy Summer Exhibition, 2015, painting upper left, black bar, bottom edge.

Squall, Royal Academy Summer Exhibition, 2015

Squall, Royal Academy Summer Exhibition, 2015

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Alignment Ruthin Craft Centre

Throughout the Easter Bank Holiday weekend, artists Lisa Carter and Tara Dean were in residence at Ruthin Craft Centre exploring the notion of landscape within their own art practise. Visitors to the Craft Centre were invited by the artists to respond to the themes of landscape and environment through the relationship of materials and drawing in space, accidents and chance.

Ley Line Graphomania












Ley lines are hypothetical alignments of a number of places of geographical interest, such as ancient monuments and megaliths.  A drawing installation was devised based on the method ‘Entopic Graphomania’, a surrealist process in which dots are made at the sites of impurities on a blank sheet of paper and lines drawn between the dots.

Every visitor was invited to draw an ink drop drawing using the installation ‘Random Points’ utilising movement, capillary action and gravity as assistants, ink only being applied to the hanging line.  Each wall mounted drawing represents a visitor, the connecting lines through the dots determining the alignment of particular visitors throughout the residency on a ley line.

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Haus of Helfa, Tedder Carpet, Llawn, Llandudno, 2015

Haus of Helfa Residency @ Llawn O2 Art Weekend The Presence of Absence curated by Marc Rees, 26, Augusta Street, Llandudno, Conwy LL30 2AE

‘Tedder Carpet’

A site specific installation in direct response to a three month period of research on the buildings 26, Augusta Street known as  ‘Tedder House’ and the Tabernacl’ Upper Mostyn Street.

“Lisa Carter   produced The Tedder Carpet - a room occupied by suspended plumb-weights, hanging from ceiling to almost touch the floor. They referenced the architectural limbo of the site, with the plans to develop the house themselves suspended, but they were arranged in a grid pattern to echo the Tedder ‘low-level marking methods’, used to plan for saturation ‘carpet’ bombing during WW2.

These plum-lines with weights that resembled bombs, took up very little volume within the room, though the installation almost filled it and rendered the heart of the space inaccessible, a very understated comment on the results of such bombing. As the audience moved around the structure, the nylon suspension lines swayed and the weights moved slightly, bringing to mind that instant before impact… serene yet chilling…” Remy Dean


From 1963 until 2004 26, Augusta Street housed the Royal Airforce Association’s; Llandudno branch. It was  renamed Tedder House after Air Chief Marshal Sir Arthur Tedder (1890-1967). Lord Tedder served under Eisenhower as the Deputy Supreme Commander of the Allied Expeditionary Force.  Working closely with RAF Bomber Command and the US Strategic Air Forces in Europe, Lord Tedder was influential in shaping 1944 -1945 bombing campaigns in which he applied his strategy – nicknamed the ‘Tedder Carpet’- of supporting land forces using concentrated carpet bombing over specified areas of 1000 yards by 300 yards.

Encouraging the room to make its own drawing, the shadow of the carpet found on the floorboards has been measured, using the Cartesian method of gridding a space with line and plumb bobs. Archaeologists frequently employ this device to comprehensively ensure the location of all artefacts of historical interest are recorded and preserved in a marked out area.  The ‘Tedder Carpet’ bombing strategy systematically caused destruction within a specified site. The plumb bobs have been positioned to suggest the formation of  both the aircraft and bombs. Rumble and dust generated by the room’s walls whilst installing the drawing has been brushed onto the ‘Tedder Carpet’.

_MG_2226 - CopyIMG_1949 - Copy_MG_2227IMG_1966

Lewis Edward Valentine (1 June 1893 – March 1986) a Welsh politician and Baptist pastor at Y Tabernacl, Upper Mostyn Street Llandudno, along with Saunders Lewis and  DJ Williams carried out an arson attack in 1936 on the RAF bombing school in Penyberth, North West Wales. It was a turning point in Welsh language politics and the first time since the Glyndwr revolt that violence was committed in the name of Wales.



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Art at Lloyds Club

Twenty one of my works selected by Stephen Lacey Fine Art will be on show here from Wednesday  19th March until the 28th May 2014

Private view: A British Continuum

Wednesday 19 March, 6.30–8.30pm

Exhibition runs: 20 March 2014 – 28 May 2014

Talk on The London Group by Sarah MacDougall: Thursday 8 May, 7pm

Lloyds Club, 42 Crutched Friars, London EC3N 2AP

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Art at Lloyds Club
presents ‘A British Continuum’, an exhibition of British Art at the Lloyds Club generated through the spontaneous partnership of Stephen Lacey Fine Art, Browse & Darby and The Court Gallery. This trio of dealers has come together through their shared interest in particular areas of modern and contemporary British Art.The exhibition will include work from both strands, Stephen Lacey and Browse & Darby each showing a small group of their living artists, while The Court Gallery is largely responsible for ‘The London Group 1913–1963’ section.


Elizabeth Blackadder, Lisa Carter, Matt Chambers, Chris Drury, Anthony Eyton, Anthony Fry, Patrick George, James Lloyd, Eileen Hogan, James Lloyd, Peter Randall-Page, Jo Self, Matt Sherratt

London Group:
Adrian Allinson, Walter Bayes, Robert Bevan, Frank Dobson, Malcolm Drummond, Ivon Hitchens, Kenneth Martin, Paul Nash, Lucien Pissarro, William Roberts, Sir William Rothenstein, Walter Sickert, Sir Matthew Smith, Graham Sutherland, Ethelbert White


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 Why We Are Here

WWAH web

Denbigh Library Gallery   2nd November – 4th January 2013, Private view: 6-8pm Friday 1st November

Creating and making work enables an encounter with a personal world and the freedom to explore opportunities created by the materials used.

Despite significantly contrasting approaches to creating, we identified a number of common conceptual interests and embarked upon a period of collaboration in order to explore and experience each others’ working strategies, spaces and the effect they might have upon our own. /WhyWe Are Here/ presents the results of this period.

The work features a range of original cross-disciplinary pieces, experiments and documentation of work-in-progress linked by the over arching themes of the direct/indirect, presence/absence, light/shadow. 

Why We Are Here, 2014

— 21 January 2014

The Why We Are Here project between myself, Matt Sherratt and Simon Proffitt will continue in 2014, new works in progress and developments will be discussed and documented here;

Simon has also made a short film of the Why We Are Here Nov 2013 – Jan 2014 exhibition in Denbigh Library, which can be seen here;  

Thanks again to the Arts Council Wales for funding the project.


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Eisteddfod Denbighshire and District, Lle Celf 2013

This gallery contains 2 photos.

Squall has been selected for The National Eisteddfod, Lle Celf 2013.

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