Skip to content

An image of components that create the image itself.

The other things behind the eventual created thing.

A graphic I put together this morning. It represents the components that make up the final object of creation. Everything is numbers, information flow, circuits, software all of which combine to directly create an aesthetic response, that in this case becomes an image.

Things making other things


Peter Lanyon Cornwall paintings. The Abstract artist Tate St Ives.

Peter Lanyon Paintings a Cornwall Artist. The Abstract artist and their connection to place.

Peter Lanyon is the first in a series of new writing about particular artists who inspire me. This piece is about going on a physical search to explore a deeper connection with Peter Lanyon’s paintings. I would love to hear your comments about who inspires you.

I spent some time in Cornwall in late 2010 at Tate St Ives specifically to look at the work of the abstract expressionist painter Peter Lanyon. I wanted to get a broader understanding of what he was trying to illuminate through his work. I was equally looking at the way an abstract painter develops their approach to get at their truth. I think a lot of abstract artists find there is a fight with the limitations of the medium they are working in. They are toiling to turn paint (in this case) into a core representation of pure feeling. To convey the essence of their perspective without the flat illustrative method of mere representation requires a deep philosophical connection with the subject matter. It necessitates negotiation of a labyrinth of complex internal feelings, not only about the subject itself but also about what it is revealing about the artist themselves.

Peter Lanyon is a very important painter in many senses, for me personally his significance is in the connection between abstraction and specific place and how he uses this artistic method to tell story and capture essential essence. His work on first contact is a confusing collection of perspective and thick layered oils. This makes initial understanding and comprehension difficult and complex as the brain is seeking recognisable structure and form in order to interpret what it sees. A reasonable usual first response one has to issues of abstraction. Some may connect with abstraction purely as an aesthetic experience based upon tonality and colour but Lanyon and other abstract painters are not seeking an aesthetic experience. They have found pure aesthetics constrain communication and dilute feeling. This is the reason they choose to push paint beyond its formal representational boundaries and seek to represent their experience of the world and its many facets and unique perspectives, using line, colour, form, density and texture alone.

This leads me on to place. I sought out the land where Lanyon painted and the areas of Cornwall where he found inspiration. I saw his paintings first and found interpretation difficult being unfamiliar with these landscapes. I therefore personally sought out the places that he represented in these canvases. In particular I went to the mining districts of Cornwall around St Just and walked the land and stood and watched and felt the earth beneath my feet. I explored the variation in rock form, the shifts in perspective and vista and I experienced the abandoned mining buildings and read what happened at these mines and the labour and the intense heavy industry these places were home to. I looked at the colour, the sky, the vegetation and the earth and each night I came home I looked at Peter Lanyon’s paintings again. I was gradually beginning to understand how close Peter was coming to connecting with the spirit and heart of this landscape. It was revelatory to experience art in this way. To not just stand and look at a landscape and see it illustrated in a painting, but to be in the landscape and see all its elements uncovered in a previously complex work of art. His palette became the vegetation, the earth and rocks and his shapes became the shifting perspective of light changing. The thickness of paint made one feel the land under foot and his work was conveying these elements as only a Cornish painter who knew this landscape deeply and loved it could.

The medium of paint for me can only explore an emotional response to something through abstraction. Through the constant turning and re turning of colour and density on canvas. Perhaps the reason Peter was not more regarded in his lifetime, is that he spoke so specifically well of the Cornish landscape. His pictures were very Cornish in the sense of the history his paintings spoke of. His influence would have been great however (and it was) upon any artist who was looking at paint and seeking to represent the essence of place and not just merely illustrate an aesthetic response. I spoke to some visitors to the exhibition and many if not all were dismissive and felt a failure to connect or understand what was being said. Some paintings they found aesthetically pleasing and this was enough. There is so much more there in all great dedicated abstract expression, so much more is given by the artist themselves in trying to find the centre of a meaning and to communicate that. Perhaps as I did, one has to deliberately go out and sense the place the work was created in to fully grasp what a painting means or seeks to convey. Is it worth it? Most definitely yes ,that is how one learns as an artist and develops an appreciation of other artists work and thought and it also expands our own creative channels. It stimulates our nervous system to seek our own response to our own landscapes and to break through the one dimensional nature of illustration.

Peter’s later paintings were ones done as he became more interested in flying and started viewing the landscape from above. His paint becomes thinner as the distance between himself and the land increases. He is seeing through cloud and veils of blue and experiencing the land quite differently and this is easily felt in the later works and in many ways far more initially accessible. It was 40 years since Peter had his work displayed in a major exhibition and it seemed appropriate that Cornwall would be the place for that given the works are so part of that landscape. I hope more people get to see what he was producing in the 50′s and compare this to the likes of De Kooning in America and realise that Peter’s work was very definitely central in a global group of artists seeing abstraction as a necessary response of the soul.

I have included one of my photographic responses that sought to engage with the idea of being above. Peter came to this in his glider paintings and as I do not have access to a glider, I sought the idea of above through photographing the side of a boat as if it were a landscape below me. It of course fails to have any gravity and merely elicits an aesthetic response which is the very thing abstraction wishes to avoid. My excuse of course is I am not Peter Lanyon 🙂

My next personal response to an artist will be Tracey Emin’s exhibition at the Hayward gallery. Please post or send me your comments on this or any other aspect of art that enriches you.

Peter Lanyon. A photographic landscape abstraction

Twelves, ‘The Adding Machine’ Rainbow Warehouse June 29

Twelves. ‘The Adding Machine’ Jazz Club at The Rainbow Warehouse June 29th

Twelves new album ‘The Adding Machine’ delivers a much richer colour palette than their previous work. The Adding Machine offers us a more fulfilling tonality together with brighter more inventive hues. The record’s colourations this time emerge from the entire spectrum of Twelves talented 4 musicians. Their individual contributions on this collection being greater than the sometimes previous Jackson Pollock sound presence that existed underneath a large Rothko tenor saxophone canvas.

One had hoped that elements evident in the new work would emerge from the previous ‘Woodman’ album once the blend in the sound could be delivered with a more intriguing involved authority, diverse tonality and adequate space was afforded in the musical constructions.’She moved through the Fair’ was the ‘Woodman’s’ highlight, it’s sparse beguiling interpretation showed much possible promise as did ‘Earth’. Twelves new achievements, particularly in the later half of ‘The Adding Machine’ certainly have their roots in these best moments of ‘Woodman’.

There are periods of real brilliance in ‘The Adding Machine’ when everything simply comes together. In ‘Shallow Brown’ it seems Twelves emerge into pure coherent sunlight. One imagines Hanslip leading, eyes shielded with one hand, whilst gesturing us to follow him with the other. The track, despte its name, is a glorious deep sunset orange where one feels, in certain moments, in the presence of Fennesz Sakamoto. ‘Shallow Brown’ is not a prelude to the dark or something ending but rather it is the indication of a new day to follow full of meaning and clear resolution. Hanslip has shades of Schoenberg’s piano music in his tenor saxophone when he is at his best. His notes pass, delaying into the present, leaving one with a sense of half memory. In those sequences he is reminiscent of Lewis Barnes trumpet playing when he was with the William Parker Quartet.

‘Party girls’ the next track continues this joined up visual musicality. Tim Giles drum solo acting as a kind of Jeff Keen jump edit before Hanslip brings back the narrative, beautifully graduated, leaving us the memory of its rhythm long after the Party ends.

‘Eyeballing’ takes us into a Kenneth Anger filmic world with occasional John Surman like sound photography. Hanslip’s saxophone forges a clearing allowing a place that is full of improvisational possiblities. He never suddenly soars too near to Ornette Coleman but he instead creates the spaces for Riaan Vosloo and Tim Giles to spend some brief moments inside Evan Parker’s ‘House full of rooms’.

‘Mr Zero’ the albums closer has a David Darling coherence but its own thoughtful complex beauty. It doesn’t place us fully within a definite landscape as say Arve Henriksen’s ‘leaf and rock’ does but it instead offers us an intiguing mountain top view. Here we feel able to follow Mr Zero’s musical journey and Rob Updegraff’s delicately drawn pathways with much greater scrutiny and emotional connection. We as a result are fully able to experience the albums tightly focussed conclusion.

The last 4 tracks on ‘The Adding Machine’ are exceptional and provide enough reason to purchase the album as a whole. ‘The Adding Machine’ is an exciting second album and certainly leaves us intrigued about the potential of Twelves. The opportunity to see them play live at this moment seems really too good to miss. They have a new confidence and depth to their sound and depending upon a third albums direction, we may be seeing them at a peak in their musical development. This is their best work, the final 4 tracks on ‘The Adding Machine’ suggest a world of joyful possibilities.

They appear at the Jazz Club Rainbow Warehouse Birmingham on Wednesday 29th June at 9pm tickets £5. More information can be found for the event at

Children, Summer, Fountains, & recording mood.

These are just some of the images I took outside the Hayward Gallery, of children playing in the fountain last week. I have always been interested in the figure work of Eadweard J. Muybridge and the way the body moves in response to certain external forces. I was fascinated by the shapes the children’s bodies made as they ran through the water.

I wanted to record a level of abstraction yet still keep a photographic sense of realism, recording the core shapes but still recognizing those shapes as being human. The painterly feel was important and a lot of the images turned out as applying themselves well to the idea of paint and photographic image. The artist must record a fact with authority, the image itself has to have an intrinsic gravity of its own before it can transfer an idea of symbol to the viewer. I wanted to portray the children’s feelings of intense concentration in those individual experiences of the water, yet also communicate an abstract idea of their shapes reacting to the space they were in which was only observable by the external viewer.

I like to approach each photograph and take something that would not ordinarily be recorded. To go beyond what is immediately there and somehow connect with the electricity I feel as the observer within the scene I am photographing. These are part of a larger series of images which all take their inspiration from Muybridge’s work.

the joy of summer

MA photography outside Tracey Emin exhibition Hayward Gallery

Running through fountains
MA photography outside Tracey Emin exhibition Hayward gallery

Leo Fitzmaurice New Art Gallery Walsall

Leo Fitzmaurice ‘You try to tell me but I never listen’

New Art Gallery Walsall June 17th October 1st 2011.

There is a transference of energy present in the re purposing of familiar images and objects striped of their intended informational function. Leo Fitzmaurice’s work resonates with this and vibrates with the intrinsic beauty and the sculptural aesthetic oft hidden by an objects commercial purpose or our textual identifications with it. He acts as a metaphorical knight carving through a forest of consumerist text noise to awaken the sleeping passive beauty lying at the heart of otherwise covered objects.

Leo Fitzmaurice does not seek to impose new meanings, his desire is purely aesthetic. He wills us to engage, now language is muted, with the materials themselves and the beauty held within them. He reveals a wonderful, unheard, architectural opera lying beneath the libretto of commercial structuralism.

He freshens our visual perspectives, freeing them from a Jungian sense of learned archetypes, where messages are ingrained and engagement beyond essentially numbed. This arises not only from deliberate commercial intent but more often by process of our own necessary filtration, as we seek to manage the global detritus of inconsequential prepacked messages and information.

Fitsmaurice allows us space to engage with an objects essence uncovering the hidden aspects of things and the spaces surrounding them. Things that are there but whose absence has been forced by a more powerful commercial presence. He reminds us that as we ‘attach’ language we remove ourselves one step further from the object merely ‘being’ and either add our own foreground perspectives, or ones that have been commercially drawn for us. This process changes forever the relationship we might otherwise have with the objects themselves. The overlaying of textual sounds deplete the object of its possibilities or rather suggest a predefined space. Leo Fitzmaurice’s re purposing affords us new opportunities of engagement revealing the object as more than mere conduit for a message, just as we are more than a collection of learned ideas about ourselves.

Leo Fitzmaurice was born in Shropshire in 1963 and his work is in many private collections as well as galleries across the world. His exhibition ‘You try to tell me but I never listen’ opens on the 17th of June and runs until 1st October 2011. The New Art gallery Walsall has dedicated a floor to his flat printed material sculptures which will echo the architectural space and the surrounding Walsall vista. The exhibition is free and is an excellent opportunity to engage with this local artist and his timely, relevant and interesting work.

leo fitzmauirice exhibition

Leo Fitzmaurice print sculpture

Ron Sexsmith UK tour. Oxford, Birmingham, Nottingham & other dates.

Ron Sexsmith starts his UK tour this month, his first for 3 years, with two shows at Midland venues. He returns again to the Midlands in August to Cheltenham and then plays a number of shows in September; in Oxford, Birmingham and Nottingham, full tour dates and information are available below.

Ron Sexmith’s UK tour follows the release this year of Ron’s eleventh studio album ‘Long Player, Late Bloomer’. It further coincides with the 2010 release of Douglas Arrowsmith’s intimate full length documentary ‘Love Shines’. The film reveals a shy, reserved, contemplative man who seems uncomfortable balancing his deeply heart felt intimate music with the awkward necessity of wider commercial success.

At 46 and eleven albums in Ron decided to team up with big league producer Bob Rock, an expensive and concerning choice for both Ron and his family. Ron’s existing musical catalogue, has brought him many critical accolades but little real commercial recognition, so he hoped that Bob Rock’s experience would deliver that so far elusive mainstream cross-over record. Rock is exuberant and confident and is skilled in making music radios want to play. He finds the hook or melody in a song or else he puts one there.

Watching Ron Sexsmith work in the studio with Bob Rock’s totally different personality is endlessly fascinating. Rock is supremely self assured, definite and purposeful whilst Ron is full of angst, uncertainty and bewilderment as to what it is exactly that makes his sound so hard to transfer to a commercial audience. Will Bob ultimately deliver production that will make Sexsmith’s sound commercial enough to succeed whilst not alienating Ron’s existing fan base? ‘Long Player Late Bloomer’ is the answer and Ron’s tour to promote its UK release will no doubt go some way to seeing if it is the correct one.

Sexsmith is personally happy with the end result and he has stated he feels a new momentum building. He is genuinely pleased with how things have gone so far since the album’s UK release. He is particularly delighted that the support he receives here in the UK continues to grow and he says he senses ‘a real excitement surrounding this album and tour that he simply hasn’t felt before’.

Ron Sexsmith is a gifted songwriter and ‘Long Player Late Bloomer’ changes nothing in that respect, these are, as always, a collection of lyrically beautiful songs. Bob Rock has also managed to deliver an excellent vocal performance from Sexsmith and the whole album has a very tightly focussed sound and feel. It is a very slick commercial production and Rock has certainly delivered on his brief. It of course is different from anything Sexsmith has ever done before, but he has built up such a loyal supportive fan base that few of them would begrudge Ron this honest attempt to find a new momentum and be genuinely happy and excited about the coming year ahead.

Tour Dates Announced so far 2011:

June 15 Toronto ON Luminato Canadian Songbook – Massey Hall More Information
June 16 London UK Royal Festival Hall – Part of Ray Davies’ Meltdown Tickets on Sale Wednesday April 13
June 17 Leamington Spa UK Assembly Buy Tickets
June 19 Madrid ES Día de la Música Buy Day Pass
June 21 Wolverhampton UK Robin 2 Buy Tickets
June 22 Holmfirth UK Picture Drome Buy Tickets
June 23 Dublin IE Academy Buy Tickets
June 24 Belfast IE Spring and Airbrake More Information
June 26 Glastonbury UK Glastonbury Festival More Information
June 27 Gateshead UK Sage Buy Tickets
June 28 Cambridge UK Junction Buy Tickets
June 29 Bilbao ES Kafe Antzokia
July 01 Vigo ES Transformer Festival
July 02 Vilanova (Barcelona) ES Faraday Festival Buy Tickets
July 04 Montreal QC Montreal Jazz Festival More Information
July 16 Crawford Bay BC Starbelly Jam Music Festival Buy Tickets
July 17 Qualicum Beach BC Kulth Music Festival More Information
July 22 Bayfield ON Bayfield Town Hall
July 23 Gravenhurst ON Peters Place Live
July 29 Niigata JP Fuji Rock Festival More Information
August 20 Victoria BC Folk West More Information
August 27 Helsinki FI Helsinki Festival More Information
August 29 Cheltenham UK Greenbelt Festival More Information
August 30 Oxford UK O2 Academy 2 Buy Tickets
August 31 Brighton UK Komedia Buy Tickets
September 02 Birmingham UK Town Hall More Information
September 03 Mancehster UK Bridgewater Hall More Information
September 05 Glasgow UK Oran Mor More Information
September 06 Nottingham UK Rescue Rooms Buy Tickets
September 07 Sheffield UK O2 Academy 2 Buy Tickets
September 08 Norwich UK Waterfront More Information
September 10 Groningen NL Take Root Festival More Information
September 11 Utrecht NL Tivoli Buy Tickets
October 19 St. Catharines ON Brock Centre Buy Tickets
October 20 Brampton ON Rose Theatre Buy Tickets
October 21 Guelph ON River Run Centre Buy Tickets
October 29 Pembroke ON Festival Hall More Information

Ron Sexsmith & full band slightly slower version of Late Bloomer.

Whenever I get blown up I think of you, Molly Naylor, Oxford, Mac Birmingham

Whenever I get blown up I think of you, Molly Naylor.

Oxford Playhouse and Mac Birmingham, 5th June and 16th June respectively.

This is our personal review from seeing ‘Whenever I get blown up I think of you’ by Molly Naylor at the 2010 Edinburgh festival. The play is the same one that will come to two venues in the Midlands in June. Oxford Playhouse and the Mac in Birmingham.

The play is a poetic monologue, mixing various styles of delivery. It is easy to hear the influence of Dylan Thomas and in particular ‘Under Milk Wood’ in parts. Other sections comprise of storytelling ‘stand up’, mixed with white street rhyme styles. The nod to people such as Daniel Kitson is also there. The careful constructed minutiae of particular and the seemingly ordinary conversational day to day building the larger story frames form the spine of Molly’s performance piece.

Molly Naylor faces a difficult task here. The audience come to her debut show with an acknowledged shared space, that of the July 7th bombings in London in 2005. Her personal private tale is mingled amongst the debris of a shared consciousness event. This is fundamentally different from poetic spoken word works such as 66a Church Rd by Daniel Kitson which are entirely personal. Of course as a new artist one has to probably recognize that without this events shared space it would be difficult to sell this private coming of age tale.It would need a much more established writer to gather the attention it already has for example.

This is the mixed blessing which delivers the interest but it creates a real challenge for the playwright given the serious and sensitive nature of the common shared subject matter. This event was of course the worst terrorist attack in British history so whilst Molly was there we still all feel a shared sense of its ownership.

In view of ths it probably was important that the play was not a form of catharsis and indeed it never comes across as such. The lyrical writing and careful staging leaves us with a very competent sense of artistic performance and balanced storytelling. No doubt the experience of Sarah Ellis from the excellent artsandsnakes helped ensure this tight focus and smart balance.

The play never makes us uncomfortable with a difficult subject. It connects us via this universal event but it never dwells on it. It uses it as ‘a’ decisive moment in one young woman’s life but it is not necessarily ‘the’ decisive moment. One never gets the impression that Molly is doing anything complicated here other than telling her own story about growing up and doing all the things a young woman might do when they arrive from a small town to an exciting new place like London. It simply feels as if Molly was busy living life and growing up and then this event happened. The play encompasses the event and if the audience want to take away universal messages of frailty of existence, the things that are important, what really makes us who we are and so forth then that is here, but it is here in Molly’s hindsight and the play isn’t a philosophical treatise.

The show is very strip backed and the performance is paired down but the language is visual and the graphic art projections produced by Molly’s brother Max add a welcome touch away from the simplicity of things. Molly and Max have now further collaborated on a new graphic novel of the story which is available from Nasty Little Press for £10. The play is also in the process of being adapted for Radio 4.

Molly brings ‘Whenever I get blown up I think of you’ to the Midlands, performing at two venues, Oxford Playhouse June 10th Mac Birmingham June 16th. We think it is a strong first piece of writing and it is very positive to see young writers finding their work travelling the country and appearing at good venues. The play isn’t without its faults but then they rarely are, it is a solid first offering from a talented young writer and a recommended see from us.

Amen Brother exhibition Grand Union Birmingham and Jacques Derrida’s philosophy

Amen Brother exhibition Grand Union Birmingham

The exhibition takes its name from a track on The Winstons 1968 album ‘Color Him Father’. The 5 second break beat from the Amen Brother track has become world famous as the ‘Amen break’ and is one of the most sampled pieces of music in history appearing in every conceivable musical genre.

To accompany the exhibition and ideas of appropriation Peter Dennis a philosophy PhD from the University of Reading has written a text examining Jacques Derrida’s ideas on communication, repetition and iteration.

We have written our pre review based upon some of Derrida’s thoughts and how these are reflected in the exhibition’s themes.

The artist can’t control the way in which their work is interpreted, there are always tensions and paradoxes in what art says and what art does. Everything is capable of rethought, self, art, literature, culture, identity, society and thought itself. On the one hand Derrida spoke of the emancipation by this continual revolution, however he always felt safest when memory of what was being emancipated from was also left preserved. A sort of philosophical have your cake and eat it approach to deconstruction. Deconstruction not being a dismantling but rather an inherent mutability.

In a definite sense the artists in this exhibition are involved in Derrida’s dual gestures of preservation and emancipation, description and transformation. Emancipation being an ‘interesting’ word as it is derived from the Latin e (away from) manciapre (to transfer property). In this sense creation in the very moment of creating propels itself into a future commitment based upon an inescapable past promise. This is the permanent tension in the creative bow.The idea of ‘original’ fidelity seeking to hold the arrow in a place of permanence whilst interpretation paradoxically sets the arrow free.These artists question the idea of the singular and their art is a celebration of a pluralist perspective, which Derrida felt was the space of joy. Their work is not an ‘application’ but rather a ‘reflection’ of what is already there inherent in the objects, they reveal what is at work in the work.

Creative ownership in this context would be seen as the single idea or at best a stopping down of aperture, dimming the reflective possibilities of arts inherent glory. To accept the single idea, puts an end to narrative dulling the senses. Derida wanted everything to remain open, free and still to be thought, so for Derrida arrival was an unfathomable impossibility. For him mediation, interpretation and transcription were not choices but rather a necessary unavoidable response. The physical boundaries of objects were not horizons but rather metaphysical ley lines.

We think this exhibition brings together a very strong collection of British artists who are actively engaging with Derrida’s ideas and creating new questions, deepening the debate. Derrida strove in very simplistic terms to derive new ways of seeing the already established. He would dislike the idea of ‘protection’ but in a sense his writing seeks to maintain this ‘freedom’ to question. This continual re-looking is not about any external idea of obligation or duty but is for Derrida the reality of the thing itself, He was highlighting that the external assigning to objects and to the self ‘identity’ leads to assumption and illogical familiarity with what can only ever be in ‘reality’ the establishment of transient myths.

The exhibition opens tonight and runs until July 30th. Derrida was a revolutionary thinker and his work has often generated controversy. This is an excellent exhibition to make oneself more aware of his important ideas and the fine cross section of visual British artists disrupting ideas of what we think of as ends.

Grand Union
Unit 19
Minerva Works
Fazeley Street
Birmingham B5 5RS

Opening night Friday 27 May 2011 6 – 9.30

Exhibition continues 12-5pm, Thursday – Saturday, 28 May – 30 July 2011

Curated by Tim Dixon, featuring work by David Blandy, David Raymond Conroy, Steven Dickie, Sara Mackillop, Rachel Reupke, Tom Smith and Jack Strange.

Home of metal exhibition, Birmingham Museum and Art Gallery

Home of Metal

The Birmingham Museum and Art Gallery home of metal exhibition celebrates 40 years of heavy metal and its birthplace Birmingham and the Black Country.The West Midlands, an oppressively industrial region in the 70’s, rumbled with the dissonant and inharmonious noise of factory and the dream susurrations of those who wished to free themselves from its drudgery and restriction. Music was a glorious way out. Cream and Hendrix were white hot furnaces forging out alloys from blues and psychedelic rock into new musical metallurgies. Metal would be stamped out from this geography and from the emerging musical cultures blaring out across the banality of these dark industrial workspaces. The sound born here would deafen the world. Faustian devil pacts, perms and spandex would follow later as would punk rock, thrash, death and hybrids. This is the story of Metal and a story of the West Midlands global place in a part of musical history. It’s important for the region and Birmingham Museum and Art Gallery rightly pay it suitable homage in their exhibition.

This exhibition’s atmospheric narrative reveals location, individual story and personal accident as a necessary triumvirate, a group conduit for the shaping of the ‘Metal’ sound. We see the industrial backdrops, unseen memorabilia sourced directly from the fans themselves as well as Black Sabbath’s Mob Rules stage cross. Judas Priest costumes are also on display together with handwritten Napalm Death lyrics. Ozzie’s old living room is also re-created and additional videos are available as well as a chance to explore interactive features such as an opportunity to play guitars. The event will also include a film programme and conference over the period of the exhibition.

The Home of Metal opens on the 18 June and runs until the 25th of September at Birmingham Museum and Art Gallery.

Opening Times:
Monday-Thursday: 10am-5pm
Friday: 10.30am-5pm
Saturday: 10am-5pm
Sunday: 12.30pm-5pm

Adults: £6.00,
Family (up to 2 adults & 3 children): £14.00
Concessions: £4.00,
Income support/unwaged: £3.00
Tickets: Book online or ring 0121 303 1966

Home of Metal Photo by Katja Ogrin 'Chris Hopkins'

Hit the Ode | The Victoria John Bright Street Birmingham

Hit The Ode

When: Thursday May 26, doors: 7pm start: 7:30 pm
Where: The Victoria, 48 John Bright Street, Birmingham, B1 1BN
Tickets: £5 (available on door only)
Info: 0121 633 9439 / Facebook Event

A minto in your poetry cola.  A dark fog rubbing it’s back along the window pane of our senses.  3 poets tonight. Open mic spot too (come early) so if you are Dickinson in a hoodie we think you might get on.

From Birmingham, Luke Kennard:
Luke Kennard is a poet and playwright who is part of the comedy collective Pegabovine, and has released three collections of poetry. He is the youngest nominee ever in the history of the Forward Poetry Prize. The Sunday Times described his work as “wit of a different order”, but did not specify which one.

From Brighton, Adam Kammerling:
Equally at home in the furnace of a Rap Battle as he is on a poetry stage, Adam’s verbal arsenal and range is very impressive. Whether exploring serious ethical issues or illustrating the frustrations of working in a cake shop when you’re hungry, Adam writes with a lyrical rhythm, rhyme and humour that complements his naturally relaxed delivery and amply showcases his poet’s eye for the important absurdities and minutiae of urban life.

From Sweden, Laura Wihlborg & Oskar Hanska:
Laura has won the Swedish National Poetry Slam in 2008. Since then, she has performed her dark and whimsical poetry around the continent, surprising audiences with her ability to infuse the everyday with the surreal. Oskar is a writer, spoken word poet, multiple National Poetry Slam Champion and Scandinavian Poetry Slam Champion 2010 – a powerful performer whose energy is contagious, like a really fun virus.

A very few highly coveted open mic slots are available – sign up via email or on the door, but be quick…
contact Bohdan Piasecki (

%d bloggers like this: