Exhibitions and Events
Sep.22 Below the Radar
Exhibition of prints depicting dynamic saltmarsh and wetlands landscapes.
North Sea Observatory, Lincolnshire
Multi-media installation, London, UK
Group exhibition of 16 international womxn artists
x church, Gainsborough, UK
Group exhibition of Limited Edition Prints
Lethaby Gallery, Kings Cross, London, UK
Nov.21 One Step Greener
Project Space Plus Gallery, University of Lincoln
Jun-Jan.22 Sounds of the Outmarsh
An Arts Council DYCP Developing Your Creative Practice Project
Group exhibition of work curated by the Collection Museum's Creative Collective.
Mar-Jul.21 The Exchange
New creative conversations and workshop programme hosted by Eastside Projects,
Jun-Jul.21 Step 5
Artist-led group exhibition at x-church Gainsborough, UK
Mar-Jun.21 Environment and Sustainability Artist in Residence
The Usher Gallery and Collection Museum, Lincoln
Documenting work at www.instagram.com/f_carruthers_
UK New Artists + No Jobs in the Arts, The Arts Fringe Festival, East Midlands
Sept.20 On Board, On Zoom with Rhino Bernardino (webinar)
Contributing to 'Celsius' by Linda Rocco, in partnership with Antarctica in Sight
Multi-media installation at Approaching Affective Zero, University of Lincoln Campus
Jan.20 My River
Developing community-led adaption for the climate crises in the Witham river
catchment. Presentation and workshop. Mansions of the Future, Lincoln
Collaborative installation and performance at Mansions of the Future, Lincoln
Andrew Bracey @darthbracey
Danica Maier danicamaier.com
Martin Scheuregger Dark Inventions
Jul.19 Uneasy Calm
Solo exhibition and winner of the ArtEscape Award 2020
Jun. 19 Collision
Group exhibition. Courtyard Gallery, Collection Museum of Art and Archaeology,
Feb.19 Bridges and Walls
International group show. AC Institute Art Gallery, New York, USA
A world we have not-yet-seen but already know
A desire to acknowledge our uncertain futures and an understanding that we urgently need to reimagine new ways of thinking and being lie at the heart of my practice. Disability and post-traumatic growth, outcomes of surviving local flooding, are also fundamental to creative decision-making. In absurdly small ways, I am compelled to offer practical tactics for survival or propositions for a better, not-quite-familiar future.
My approach to art-making has evolved to become a series of investigations into the posthuman predicament. Underpinning this is an understanding of today’s historical moment in which all matter, mapped and commodified, and with a shared unknown future, is united. I see today’s generation as caught between being in the dark, being culpable and being ambivalent.
My response to this view of a displaced and dismantled subject human, manifests as insecurity, collapse, and futility as well as an aspiration to point to political and social transformation. Subjectivity and community are not the prerogative of human but emerge from the assemblage of human and nonhuman. What has come to matter in my work is mutuality and inclusivity in the broadest sense.
I like to work with materials and locations which have little or no perceived value. Found materials, everyday ephemera and the in-between sites in our surroundings that are overlooked. The significance of these, regardless of their aesthetics is their wider invisibility.
Research, structured experimentation, and a continuous process of assemblage fulfils a desire to embrace the notknown. I am looking for situations in which all elements become dependent on each other for the work to function. Intra-connected they become united and active agents in the creative process and in the work itself. They reveal themselves in new, unexpected, or forgotten ways. This is a proposition for inclusivity in the broadest sense and I want to make clear that the work is as much about the invisible as the visible.
My interest in how the work engages and affects the viewer and how meaning emerges from this, is positioned within the current discourse on new materialism and theories of affect. I am contextualising my position with writers such as Jane Bennett and with the political theorist, Brian Massumi. Massumi states that to affect and to be affected is to be open to the world and change. It is this conceivable change he argues that makes affect immediately proto-political.
Each work is transient: an iteration of a previous solution to the space it inhabited and as such it is constantly evolving. In creating temporary experiences of a notknown place in which all elements are dependent on each other, I am remembering that day-to-day life is contingent and that the natural and the human are co-factors in today’s disasters.
Last reviewed Jul.21