
Lesley Guy
Articles
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Aug 20, 2024 |
corridor8.co.uk | Amie Kirby |Anthony Ellis |Simon Sylvester |Lesley Guy
As my train rolls into Kendal, I think about how, despite being a stone’s throw away, I’ve never visited before. I’m here now to see Thinking is Making, a group show of ten artists who have all been recipients of the Mark Tanner Sculpture Award (MTSA) in the past eleven years, spotlighting each individual artist and the richness of their practice, whilst bringing specific works into a wider dialogic space under the shared legacy of the MTSA.
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Aug 5, 2024 |
corridor8.co.uk | Lesley Guy |Christie Yung-hei Chan |Mymona Bibi |Kate Liston
The degree show presented a number of jaw-dropping rooms with artworks displayed across campus, in the Hatton Gallery, the larger King Edward VII building and the Boiler House. In a show of nearly seventy soon-to-graduate artists, more than a few were driven to create work that expressed discomfort and unease with the limitations on identity imposed by societal structures, with childhood memory and the institution of the family being a recurring theme.
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Jun 6, 2024 |
corridor8.co.uk | Lesley Guy
Some Assembly Required at Slugtown was an interim show organised by first year MFA students from Newcastle University. The cohort of six assembled themselves using their differences as a starting point, which is wittily articulated in their co-authored ‘statement’ —an exquisite corpse, or game of consequences for those of you not acquainted with the Surrealist term.
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Apr 15, 2024 |
corridor8.co.uk | Michele Allen |Lesley Guy |Orla Foster |Steve Spithray
I arrive in Middlesbrough on a warm February day, the pale winter light creating a muted colour palette in the townscape, intermittent sunshine suggesting spring is just around the corner. I’m with an old friend and collaborator, poet and local historian p.a. morbid, and as we cross the grass, we bump into MIMA director Elinor Morgan and walk together towards the gallery.
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Mar 28, 2024 |
corridor8.co.uk | Simon Sylvester |Lesley Guy |Nia Thomas |Anthony Ellis
In the early days of cinema, a pioneering Russian filmmaker called Lev Kuleshov codified the editing technique of montage: the idea that unique and superficially unrelated shots could generate new meaning through the act of juxtaposition. To prove his theory, Kuleshov cut together shots of a famous theatre actor gazing at soup, to show his hunger; and then at a corpse, to show his sadness; and finally at a young woman, to show his love.
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