The exhibition TU:PLEI for one more day / 25 July

Andrew Morrison exhibits at TU : PLEI / 20-25 JULY

Andrew Morrison is a book artist, letterpress printer and poet who makes hand-made, limited edition books. His work is in many national collections including The British Library, the Tate, the Southbank and British Council special collections. He has lectured widely in the UK, most recently at the University of Gloucestershire, Cheltenham.

Andrew creates books about finding the mysterious in the everyday, human relationships, memory, misunderstandings, printing itself, process books, sequences. His creative process can focus on sequences of images and found things; the connection between a book and a reader; the minute and the oversize.

His workshop is currently based near Cirencester, Gloucestershire. Further information about his work can be accessed at www.andrewmorrisonbooks.uk 

You can follow Andrew’s art and projects on Instagram at andrewmorrisonbooks.

Further information can be accessed on his website: http://www.andrewmorrisonbooks.uk.


Exhibiting artists:

Antonia Glücksman

Zoe Heath

Hannah Mathison

Andrew Morrison

CF Sherratt

John Stadnicki

TU : PLEI is an invitation to engage with the ludic self then to share the experience with others.

TU : PLEI is an art exhibition which brings together drawing, painting, photography, collage, prints, sculpture, installation and montage from artists with a perceptive and individual interpretation on contemporary playfulness.

The exhibition TU : PLEI will be open 20-25 July 2021 at Stroud Brewery, 9am-5pm.

While writing Buried Gods Metal Prophets I often looked back at my childhood games and wondered what they meant then, whether time has given them a different meaning or not. It might have. But surely when the Guillemot Press editors worked on the manuscript, there were moments when my siblings’ chasing in the backyard or ‘soldier-soldier’-game felt untouched and sacred. Precious and private.

At first, sacred to me, later just sweet reminders that childhood play and joy are universal experiences. A child’s laughter and falls and bruises and tears have a collective ‘sameness’ yet our experiences give them unique meaning. A bit like different interpretations of what ‘freedom’ and ‘enjoyment’ are all about. A bit like what being human is all about. After all, war and tragedy, love and disappointment, growth, learning, failure and success are human experiences that repeat themselves despite topological or temporal differences.

Alongside the artwork, I will be reading from Buried Gods Metal Prophets on Thursday 22nd July 6pm. FREE entry! All welcome!

‘Buried Gods Metal Prophets’ 2021

Buried Gods Metal Prophets is published by the Guillemot Press, edited by Luke Thompson and Sarah Cave.

Illustrations and design: Antonia Glücksman.

The book is available here.

© Maria Stadnicka, July 2021

Hannah Mathison exhibits at TU : PLEI / 20-25 JULY

© Hannah Mathison: ‘Headspace’

Hannah Mathison whose roots have been in the Cotswolds since the age of three, has been a decorator, gardener and groom, amongst other things, over the years.

She gained a first class honours degree in Fine Art Sculpture in 1997, prior to bringing up a family. This gave her the chance to explore and develop her creativity, which continued to find its way into the spaces in her everyday life – it still does.

Today, as she finds herself in the cut and thrust of an office environment, something she never envisaged for herself, her creativity has become more important than ever.

Talking about her creative process, Hannah says:

“Spending time in my shed reconnects me to my creative self. Wherever I go I collect objects that intrigue or inspire me. I take them home where they wait patiently to be cast in their roles in a new narrative.

The transformation of these objects comes from a quiet but vital part of me that can’t always be heard over the hubbub of the everyday.

The finished pieces are all unique and are made in reaction to my thought processes at the time” (July, 2021).

You can follow Hannah’s work and project on Instagram at hannahccmathison.


Exhibiting artists:

Antonia Glücksman

Zoe Heath

Hannah Mathison

Andrew Morrison

CF Sherratt

John Stadnicki

TU : PLEI is an invitation to engage with the ludic self then to share the experience with others.

TU : PLEI is an art exhibition which brings together drawing, painting, photography, collage, prints, sculpture, installation and montage from artists with a perceptive and individual interpretation on contemporary playfulness.

The exhibition TU : PLEI will be open 20-25 July 2021 at Stroud Brewery, 9am-5pm.

While writing Buried Gods Metal Prophets I often looked back at my childhood games and wondered what they meant then, whether time has given them a different meaning or not. It might have. But surely when the Guillemot Press editors worked on the manuscript, there were moments when my siblings’ chasing in the backyard or ‘soldier-soldier’-game felt untouched and sacred. Precious and private.

At first, sacred to me, later just sweet reminders that childhood play and joy are universal experiences. A child’s laughter and falls and bruises and tears have a collective ‘sameness’ yet our experiences give them unique meaning. A bit like different interpretations of what ‘freedom’ and ‘enjoyment’ are all about. A bit like what being human is all about. After all, war and tragedy, love and disappointment, growth, learning, failure and success are human experiences that repeat themselves despite topological or temporal differences.

Alongside the artwork, I will be reading from Buried Gods Metal Prophets on Thursday 22nd July 6pm. FREE entry! All welcome!

‘Buried Gods Metal Prophets’ 2021

Buried Gods Metal Prophets is published by the Guillemot Press, edited by Luke Thompson and Sarah Cave.

Illustrations and design: Antonia Glücksman.

The book is available here.

© Maria Stadnicka, July 2021

C F SHERRATT exhibits at TU : PLEI / 20-25 JULY

C F Sherratt is a multidisciplinary artist based in Bristol. His work has spanned from fine art practice to commercial illustration, animation and video, as well as musical and sound-based work. After completing an MA in Authorial Illustration at Falmouth University in 2015, he has worked for clients all over the world, received awards and featured in solo and group shows displaying his work.


Talking about what he has planned for TU : PLEI, C F Sherratt says:

The drawing I am showing in TU : PLEI is an experimental drawing which shares some themes visually with previous work, but was made using a process which was new to me, inspired by work I’ve done in the past which involves generative processes, often to create text, I allowed people to anonymously contribute to the work in the form of a short phrase, an image, a subject. I didn’t share the process during any of these interactions, so that the contributors wouldn’t know how their idea would be used or incorporated. All this I did as an act of mischief, an element of play which I have always admired in the art of others, a bit like the exquisite corpse, but resulting in a work with more visual continuity.

The other work I’ll be showing has a clear visual through-line, but was made prior to the exhibition’s conception. There is, however, certainly an element of play to the processes I often use to make my work. Like how children draw before they’re ‘taught’ to make art, I don’t tend to make preparatory sketches, look at a reference image or look at a subject. I admire the work of artists like Brecht Evens and Anna Bhushan, who go into the blank drawing page and start to make a drawing with the final materials, with no preconceptions, allowing the hand to ‘find’ the drawing.

Exhibiting artists:

Antonia Glücksman

Zoe Heath

Hannah Mathison

Andrew Morrison

CF Sherratt

John Stadnicki

TU : PLEI is an invitation to engage with the ludic self then to share the experience with others.

TU : PLEI is an art exhibition which brings together drawing, painting, photography, collage, prints, sculpture, installation and montage from artists with a perceptive and individual interpretation on contemporary playfulness.

The exhibition TU : PLEI will be open 20-25 July 2021 at Stroud Brewery, 9am-5pm.

While writing Buried Gods Metal Prophets I often looked back at my childhood games and wondered what they meant then, whether time has given them a different meaning or not. It might have. But surely when the Guillemot Press editors worked on the manuscript, there were moments when my siblings’ chasing in the backyard or ‘soldier-soldier’-game felt untouched and sacred. Precious and private.

At first, sacred to me, later just sweet reminders that childhood play and joy are universal experiences. A child’s laughter and falls and bruises and tears have a collective ‘sameness’ yet our experiences give them unique meaning. A bit like different interpretations of what ‘freedom’ and ‘enjoyment’ are all about. A bit like what being human is all about. After all, war and tragedy, love and disappointment, growth, learning, failure and success are human experiences that repeat themselves despite topological or temporal differences.

Alongside the artwork, I will be reading from Buried Gods Metal Prophets on Thursday 22nd July 6pm. FREE entry! All welcome!

‘Buried Gods Metal Prophets’ 2021

Buried Gods Metal Prophets is published by the Guillemot Press, edited by Luke Thompson and Sarah Cave.

Illustrations and design: Antonia Glücksman.

The book is available here.

© Maria Stadnicka, July 2021

Zoë Heath exhibits at TU : PLEI / 20-25 JULY

Zoë Heath in her SVA studio.

Zoë Heath is an artist based in Stroud, Gloucestershire, UK.

Her process leads her to collecting and archiving marks, traces and ephemera, recording them, documenting them and de-constructing the shapes they form.

Reflecting on the creation of a piece of work, Zoë says: “I have no idea or pre-conceptions as to how a piece will look when finished. I enjoy and indulge in this process. Collage, paintings and prints evolve and ideas emerge as I am working. I choose to work across several pieces at the same time, always looking to achieve that moment of serendipity when I find that a piece is finished” (July, 2021).

You can follow Zoë’s art and projects on Instagram at zoeheath_artist.

Further information can be accessed on her website: http://www.zoeheath.co.uk

Zoë Heath’s SVA studio

Exhibiting artists:

Antonia Glücksman

Zoe Heath

Hannah Mathison

Andrew Morrison

CF Sherratt

John Stadnicki

TU : PLEI is an invitation to engage with the ludic self then to share the experience with others.

TU : PLEI is an art exhibition which brings together drawing, painting, photography, collage, prints, sculpture, installation and montage from artists with a perceptive and individual interpretation on contemporary playfulness.

The exhibition TU : PLEI will be open 20-25 July 2021 at Stroud Brewery, 9am-5pm.

While writing Buried Gods Metal Prophets I often looked back at my childhood games and wondered what they meant then, whether time has given them a different meaning or not. It might have. But surely when the Guillemot Press editors worked on the manuscript, there were moments when my siblings’ chasing in the backyard or ‘soldier-soldier’-game felt untouched and sacred. Precious and private.

At first, sacred to me, later just sweet reminders that childhood play and joy are universal experiences. A child’s laughter and falls and bruises and tears have a collective ‘sameness’ yet our experiences give them unique meaning. A bit like different interpretations of what ‘freedom’ and ‘enjoyment’ are all about. A bit like what being human is all about. After all, war and tragedy, love and disappointment, growth, learning, failure and success are human experiences that repeat themselves despite topological or temporal differences.

Alongside the artwork, I will be reading from Buried Gods Metal Prophets on Thursday 22nd July 6pm. FREE entry! All welcome!

‘Buried Gods Metal Prophets’ 2021

Buried Gods Metal Prophets is published by the Guillemot Press, edited by Luke Thompson and Sarah Cave.

Illustrations and design: Antonia Glücksman.

The book is available here.

© Maria Stadnicka, July 2021

Antonia Glücksman exhibits at TU : PLEI / 20-25 JULY

Antonia Glücksman, 2021

Antonia Glücksman is a German-Canadian designer, writer and illustrator based in Cornwall, UK.

Her work is research-led, often drawing on archival sources and collective memory to reveal the hidden poetry in mundane objects and everyday surroundings. Using drawing, collage and photographic processes, she aims to create books that are haptic and visual landscapes for the text to inhabit.

Antonia has illustrated and designed the Guillemot titles Words for Worlds Upended and Buried Gods Metal Prophets as well as the cover for Lucy Burnett’s One Step Sideways and 13 Down.

More of her work can be seen on her website here.


Exhibiting artists:

Antonia Glücksman

Zoe Heath

Hannah Mathison

Andrew Morrison

CF Sherratt

John Stadnicki

TU : PLEI is an invitation to engage with the ludic self then to share the experience with others.

TU : PLEI is an art exhibition which brings together drawing, painting, photography, collage, prints, sculpture, installation and montage from artists with a perceptive and individual interpretation on contemporary playfulness.

The exhibition TU : PLEI will be open 20-25 July 2021 at Stroud Brewery, 9am-5pm.

While writing Buried Gods Metal Prophets I often looked back at my childhood games and wondered what they meant then, whether time has given them a different meaning or not. It might have. But surely when the Guillemot Press editors worked on the manuscript, there were moments when my siblings’ chasing in the backyard or ‘soldier-soldier’-game felt untouched and sacred. Precious and private.

At first, sacred to me, later just sweet reminders that childhood play and joy are universal experiences. A child’s laughter and falls and bruises and tears have a collective ‘sameness’ yet our experiences give them unique meaning. A bit like different interpretations of what ‘freedom’ and ‘enjoyment’ are all about. A bit like what being human is all about. After all, war and tragedy, love and disappointment, growth, learning, failure and success are human experiences that repeat themselves despite topological or temporal differences.

Alongside the artwork, I will be reading from Buried Gods Metal Prophets on Thursday 22nd July 6pm. FREE entry! All welcome!

‘Buried Gods Metal Prophets’ 2021

Buried Gods Metal Prophets is published by the Guillemot Press, edited by Luke Thompson and Sarah Cave.

Illustrations and design: Antonia Glücksman.

The book is available here.

© Maria Stadnicka, July 2021

TU-PLEI / ART EXHIBITION / 20-25 JULY

Image © Antonia Glücksman, Design © Andrew Morrison

Exhibiting artists: Antonia Glücksman, Zoe Heath, Hannah Mathison, Andrew Morrison, CF Sherratt, John Stadnicki.

The exhibition will be open 20-25 July 2021 at Stroud Brewery.

TU-PLEI is an invitation to engage with the ludic self then to share the experience with others.

TU-PLEI is an art exhibition which brings together drawing, painting, photography, collage, prints, sculpture, installation and montage from artists with a perceptive and individual interpretation on contemporary playfulness.

While writing Buried Gods Metal Prophets I often looked back at my childhood games and wondered what they meant then, whether time has given them a different meaning or not. It might have. But surely when the Guillemot Press editors worked on the manuscript, there were moments when my siblings’ chasing in the backyard or ‘soldier-soldier’-game felt untouched and sacred. Precious and private.

At first, sacred to me, later just sweet reminders that childhood play and joy are universal experiences. A child’s laughter and falls and bruises and tears have a collective ‘sameness’ yet our experiences give them unique meaning. A bit like different interpretations of what ‘freedom’ and ‘enjoyment’ are all about. A bit like what being human is all about. After all, war and tragedy, love and disappointment, growth, learning, failure and success are human experiences that repeat themselves despite topological or temporal differences.

Alongside the artwork, I will be reading from Buried Gods Metal Prophets on Thursday 22nd July 6pm. FREE entry! All welcome!

‘Buried Gods Metal Prophets’ 2021

Buried Gods Metal Prophets published by the Guillemot Press, edited by Luke Thompson and Sarah Cave and illustrated by Antonia Glücksman is available here.

TU-PLEI / ART EXHIBITION / 20-25 JULY

Image © Antonia Glücksman, Design © Andrew Morrison

While writing Buried Gods Metal Prophets I often looked back at my childhood games and wondered what they meant then, whether time has given them a different meaning or not. It might have. But surely when the Guillemot Press editors worked on the manuscript, there were moments when my siblings’ chasing in the backyard or ‘soldier-soldier’-game felt untouched and sacred. Precious and private.

At first, sacred to me, later just sweet reminders that childhood play and joy are universal experiences. A child’s laughter and falls and bruises and tears have a collective ‘sameness’ yet our experiences give them unique meaning. A bit like different interpretations of what ‘freedom’ and ‘enjoyment’ are all about. A bit like what being human is all about. After all, war and tragedy, love and disappointment, growth, learning, failure and success are human experiences that repeat themselves despite topological or temporal differences.

TU-PLEI is an invitation to engage with the ludic self then to share the experience with others.

TU-PLEI is an art exhibition which brings together drawing, painting, photography, collage, prints, sculpture, installation and montage from artists with a perceptive and individual interpretation on contemporary playfulness.

Artists: Antonia Glücksman, Zoe Heath, Hannah Mathison, Mark Mawer, Andrew Morrison, CF Sherratt, Maria Stadnicka, John Stadnicki.

Alongside the artwork, there will be poetry from Buried Gods Metal Prophets. FREE entry!

‘Buried Gods Metal Prophets’ 2021

Buried Gods Metal Prophets published by the Guillemot Press, edited by Luke Thompson and Sarah Cave and illustrated by Antonia Glücksman is available here.

The exhibition will be open 20-25 July 2021 at Stroud Brewery.

TU-PLEI

A while ago, as I was writing Buried Gods Metal Prophets I often looked back at my childhood games and wondered what they meant then. Whether time has given them a different meaning or not. It might have. And surely while the Guillemot editors worked on the manuscript, there were moments when my siblings’ chasing in the backyard or ‘soldier-soldier’-game felt untouched and sacred. Precious and private.

At first, sacred to me, and later just sweet reminders that childhood play and joy are universal experiences. A child’s laughter and falls and bruises and tears have a collective ‘sameness’ yet our experiences give them unique meaning. A bit like different interpretations of what ‘freedom’ and ‘enjoyment’ are all about. A bit like what being human is all about. After all, war and tragedy, love and disappointment, growth, learning, failure and success are human experiences that repeat themselves despite topological or temporal differences.

TU-PLEI is not just an invitation ‘to play’. It is an invitation to engage with the ludic self then to share the experience with others. TU-PLEI is an exhibition which brings together painting, photography, collage, prints, sculpture and montage from artists with a perceptive and individual interpretation on contemporary playfulness.

Alongside their artwork, there will be poetry from Buried Gods Metal Prophets. FREE entry!

‘Buried Gods Metal Prophets’ 2021

Buried Gods Metal Prophets published by the Guillemot Press, edited by Luke Thompson and Sarah Cave and illustrated by Antonia Glücksman is available here.

The exhibition will be open 20-25 July 2021 at Stroud Brewery.

EVENFALL – The Narrative of a Sound

I finally met the musician Andrew Heath in 2017 at the launch of my book Imperfect having previously written a few poems inspired by his third album Europa. His music talks in a quiet, subtle voice about the changing world around us, it points out the fine details of a moment of silent reflection, a moment which only requires one to be still and to observe. The colours, the speed, the flight, the descent, the little fragments of life.

Andrew Heath performing at The Seventh Wave Festival. 2017. Blue Orange Theatre. Birmingham. U.K. Photo: © Alexander Caminada, 2017

Andrew Heath has spent over twenty years producing and composing experimental music. He has collaborated with Peter Maynard (Dust and Threshold, 2016, Disco Gecko Recordings, UK), the legendary musician Hans-Joachim Roedelius  and the composer Christopher Chaplin (Triptych in Blue, 2017, Disco Gecko Recordings, UK), the Dutch guitarist Anne Chris Bakker (Lichtzen, 2017, White Paddy Mountain, Japan) and he is currently working on a joint project with the Mercury Award nominated Toby Marks (Banco de Gaia).

A few months ago, Andrew invited me to collaborate towards his fifth solo album Evenfall due to be released later on this year. Several weeks after we completed the recording, inspired by the subtlety of his new album, I went back to his studio in Stroud and invited him to talk about his fascination with silences and with pauses. Over many cups of freshly brewed coffee we talked about the way we experience the world, through rhythm and speed, but Andrew explained how one could transform a world with only one sound.

Recording the scissors

MS: Would you place your music within the limits of a particular genre?

AH: As my music has developed, it seems to occupy different spaces. There are many names for this musical area I feel drawn to. Some call it ‘ambient’ but this is quite a broad term. I prefer to use words like ‘lower-case’, ‘quiet’, music without beats and without words and, I know people would then ask what is left but of course to me, the answer is, everything is left.

I became aware of music through listening to the world around me as a very young boy and one of my prized memories and an important formative sound moment in my life, was when my father came home from work with an old reel-to-reel tape machine. I was intrigued to discover I could record sounds on it and play them at different speeds, or turn the tape over and play it backwards. I had a microphone which I’d started using and I remember recording the sound of a pair of dressmaking scissors my mother had. When I played the recording back and slowed it right down it sounded like somebody had drawn a sword. From that moment, recording and transforming sound was something I would be constantly drawn to.

Andrew Heath. Stroud. Gloucestershire. U.K. Photo: © Alexander Caminada

MS: In terms of influences and directions…?

AH: Many things but certainly other musicians and their work. I am inspired by the American pianist Harold Budd, who worked with Brian Eno. I love his sense of timing. His playing is like notes falling downstairs, they just cascade in a beautifully ad-hoc way. I’m very interested in other experimental musicians like Roedelius and the Japanese sound artist, Sawako. An exciting recent discovery for me is German YouTuber, Hainbach who works a great deal with tape, and due to his music, I’ve begun using dictaphones which is an interesting new development for me. However, I think the biggest influence is the environment. The sound around us is music. It could be the song of a bird, which is very beautiful, but for me it can also be planes, my fridge makes amazing sounds. Any noises from our inside or outside spaces.

MS: Are you trying to make people aware of what surrounds us or is your music a product of your own reflection about the world and the passing of time?

AH: I am not trying to educate an audience but this is very personal music. Like an artist who is process lead, I am very interested in taking ‘found’ raw material from the environment around me and then processing and ‘treating’ these recordings building layer upon layer of sound. In my case, the pigments that I use are the piano, guitar and ‘found’ sounds. Where an artist will choose a brush, a pencil or a knife, I will use computers, software and tape.

Spaces between notes

MS: You use ‘found’ sounds as you call them, ‘raw materials’ from nature, being open to the randomness around you, but then you process it using technology.

AH: Yes, true, but I am being selective on the technology I use though or approve of. For me, the fascination of transforming, changing, processing sounds is all consuming and you can’t do that without technology – typically very modern technology. I start with just a few sounds, listen to the interaction between them, go down the rabbit hole and realise suddenly, I have the beginnings of an idea.

In my sound world, I try to find and then follow a path, as I go along, I become a collector of things. It could be a piece of wood, a stick, a stone and put them in my imaginary backpack. But then, as I build it up and up and up I realise that it becomes heavy and I leave stuff behind. I leave spaces between notes to reach an equilibrium.

MS: I understand that when you start to work on an album it can begin with something random. What inspired the album Evenfall

AH: I was deep in the Norfolk countryside – a real wilderness area with little woods and lakes. I was interested in making longer field recordings. I stood there recording in one place for about two hours. And it got darker and darker and darker. It started to rain. It was a magic moment of stillness that really informed the music on Evenfall.

To add to the magic, I must mention the amazing contribution from the young musician Lydia Kenny, Gloucestershire Young Musician of the Year 2018 who so kindly gifted me such beautiful soprano saxophone lines on the title track, ‘The Still of Evenfall’.

MS: When will the album be available and what follows for you this year?

AH: The album will be launched by Disco Gecko Recordings on 21st September 2018 at The Old Church, London and it will be available on ITunes, Spotify, Amazon as well as in CD format. Prior to this, I will be performing with Toby Marks at Extreme Chill Festival, Reykjavik, Iceland, 6-9 September 2018.

©Maria Stadnicka, 2018