The fourth edition of objects brought together on Accessible Objects is “Craft Works”. This exhibition celebrates the diverse utilization of classical methods such as wood carving, fiberglass manipulation, and quilting, reinterpreting them within a contemporary artistic context.
This show not only honors the tactile skills the artists uphold but also emphasizes their role in sustainable art practices. By employing underutilized materials and methods, they challenge the prevailing norms of art consumption and production, urging viewers to reconsider the resources available to us in a rapidly digitizing world.
Through “Craft Works" we invite viewers to explore a realm where the past enriches the future, highlighting how traditional crafts can inform and inspire ongoing creative innovation. This showcase is not just a display of technical skill but a vibrant testament to the enduring relevance of hands-on artistry in a digital age.
Thomas Wheller showcases his expert craftsmanship with wood, transforming rescued ash offcuts into a playful, totemic sculpture that invites reflection on the intersection of nature, art, and functionality.
Lydia Donohue uses the cyanotype process to imprint Northwest England's flora and fauna onto cotton fabric.
Madeline Coven and Jenna Graziano's Hide Chair contrasts a cold aluminium frame with the organic warmth of rawhide.
Georgia Clemson’s Bookend, from her ‘Most of the time we are great together’ series, reveals negative spaces within an object shaped to symbolise the boundaries between presence and emptiness.
Mik Bakker's (re)form series blurs the boundaries between sculpture and furniture by repurposing negative spaces from industrial machinery.
Clare Watt uses fabric offcuts from previous work and so called failed projects to create a reimagined composition on canvas.
Max Gehlofen hand carves a soapstone head, capturing a fictional, yet conceivable human figure.
Liv Ryan reimagines leftover fabric swatches into colourful tapestries exploring texture, form, and responsible making.