https://ellenwilkinson.co.uk Ellen Wilkinson Fri, 25 Sep 2026 07:41:03 +0000 https://ellenwilkinson.co.uk en https://ellenwilkinson.co.uk/Home-Image-Scroll Sun, 19 Jan 2020 20:34:43 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/Home-Image-Scroll <img width="2832" height="3456" width_o="2832" height_o="3456" data-src="https://freight.cargo.site/t/original/i/67567053eb59f6b1fcc1d8a4210afb597801a5ba3ec888dfb313f88c526d7330/crop-for-website.jpg" data-mid="208612544" border="0" src="https://freight.cargo.site/w/1000/i/67567053eb59f6b1fcc1d8a4210afb597801a5ba3ec888dfb313f88c526d7330/crop-for-website.jpg" /> Ellen Wilkinson is an artist and writer https://ellenwilkinson.co.uk/Info-Contact Thu, 23 Jan 2020 19:49:24 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/Info-Contact Ellen Wilkinson is an artist and writer based in north Somerset, UK. She makes quilted textiles that can be hung on a wall or draped around the body. Blocks of cotton and linen fabrics form bold, colourful patterns, punctuated by hand stitched lines to create rhythmic texture. Modernist influences are made softer: grids are loose, lines deviate, geometry ripples. Collaging together fabrics she collects and repurposes, including picked-apart clothing, her quilts contain their materials’ histories. Sitting between abstract art and functional design, Ellen’s work questions the idea that quilting and hand sewing belong only in domestic space, and through their laborious making, draw parallels with women’s often hidden labours. Her writing appears in books, galleries, magazines and on digital platforms, and has been published by Artists Now (formerly a-n), This is Tomorrow, FACT Liverpool, Printmaking Today, Bristol Museum and Art Gallery and artist-led initiatives across the UK.As an editor, Ellen oversaw a-n’s 40 Years 40 Artists interview series, produced copy for the UK Parliament Art and Heritage Collections website and worked on The Healing Arts, a book about the pioneering arts project at Chelsea and Westminster NHS hospital. <img width="1484" height="1007" width_o="1484" height_o="1007" data-src="https://freight.cargo.site/t/original/i/ffa670f628461e6155858751453445656096c93669163c2c948ba35896402570/Ellen-Wilkinson-portrait-web.jpg" data-mid="210147891" border="0" src="https://freight.cargo.site/w/1000/i/ffa670f628461e6155858751453445656096c93669163c2c948ba35896402570/Ellen-Wilkinson-portrait-web.jpg" /> Contact See&nbsp;Instagram for latest updates Get in touch with questions, collaborations or commissions here Find info about commissioning a quilt here https://ellenwilkinson.co.uk/RWA-open Fri, 25 Sep 2026 07:41:03 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/RWA-open RWA Annual Open exhibition <img width="2660" height="3872" width_o="2660" height_o="3872" data-src="https://freight.cargo.site/t/original/i/ee1ac6e8aac5af190e97aeab0a5b095668f2e1c0cc3220cd3b1a6072eec806f7/DSC_2302.JPG" data-mid="252581561" border="0" src="https://freight.cargo.site/w/1000/i/ee1ac6e8aac5af190e97aeab0a5b095668f2e1c0cc3220cd3b1a6072eec806f7/DSC_2302.JPG" /> Ways of going up and ways of going down has been selected for the 173rd RWA Annual Open exhibition and is on display at Royal West of England Academy, Queen’s Road, Bristol, until 3 January 2027.&nbsp; https://ellenwilkinson.co.uk/Quilts Tue, 09 Apr 2024 10:59:41 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/Quilts Quilts <img width="2671" height="3096" width_o="2671" height_o="3096" data-src="https://freight.cargo.site/t/original/i/826d55ec3d8c9c769581c11c2ffde665471dfea38b28dfa25de47d9b06112096/1b-DSC_1580-for-website.jpg" data-mid="234214232" border="0" src="https://freight.cargo.site/w/1000/i/826d55ec3d8c9c769581c11c2ffde665471dfea38b28dfa25de47d9b06112096/1b-DSC_1580-for-website.jpg" />We fold ourselves to fit (3 blocks), cotton and linen, 143 x 124cm Ellen’s quilted textiles can be hung on a wall or draped around the body. Blocks of cotton and linen fabrics form bold, colourful patterns, punctuated by hand stitched lines to create rhythmic texture. Modernist influences are made softer: grids are loose, lines deviate, geometry ripples. Collaging together fabrics she collects and repurposes, including picked-apart clothing, her quilts contain their materials’ histories. Sitting between abstract art and functional design, Ellen’s work questions the idea that quilting and hand sewing belong only in domestic space, and through their laborious making, draw parallels with women’s often hidden labours. <img width="2772" height="3310" width_o="2772" height_o="3310" data-src="https://freight.cargo.site/t/original/i/c2bfcdb87d9b1d87d15945504ea1b1f0bc4f926ae33653ce7b74a91fcb7b87a0/DSC_1490.JPG" data-mid="234214225" border="0" src="https://freight.cargo.site/w/1000/i/c2bfcdb87d9b1d87d15945504ea1b1f0bc4f926ae33653ce7b74a91fcb7b87a0/DSC_1490.JPG" /> <img width="2772" height="3310" width_o="2772" height_o="3310" data-src="https://freight.cargo.site/t/original/i/762ede69396bdfa1853cae9d81e38843493b282ab386c4482130ea5dcda7f7be/DSC_1500.JPG" data-mid="234212279" border="0" src="https://freight.cargo.site/w/1000/i/762ede69396bdfa1853cae9d81e38843493b282ab386c4482130ea5dcda7f7be/DSC_1500.JPG" />From the roof we could see mountains, city, sea, islands, the future, cotton and linen, 220 x 190cm <img width="2568" height="2464" width_o="2568" height_o="2464" data-src="https://freight.cargo.site/t/original/i/10378ab4abf2eca7a5c3e37a3bd086b11fc97d18a3f80c2b4d3597277b1016cc/1-DSC_1546-clips-for-website.jpg" data-mid="234214222" border="0" src="https://freight.cargo.site/w/1000/i/10378ab4abf2eca7a5c3e37a3bd086b11fc97d18a3f80c2b4d3597277b1016cc/1-DSC_1546-clips-for-website.jpg" /> <img width="2568" height="2464" width_o="2568" height_o="2464" data-src="https://freight.cargo.site/t/original/i/9697744c4a76522a9e0bed9eec05db51e9241828cb8fdc284c2e71aefb457773/2b-DSC_1562-clips-for-wesbite.jpg" data-mid="234214223" border="0" src="https://freight.cargo.site/w/1000/i/9697744c4a76522a9e0bed9eec05db51e9241828cb8fdc284c2e71aefb457773/2b-DSC_1562-clips-for-wesbite.jpg" /> <img width="4256" height="2832" width_o="4256" height_o="2832" data-src="https://freight.cargo.site/t/original/i/45ddbaa35295656d37ada18d8c58f1377d133ed6f21c888625b44744840894e9/9-DSC_0702.JPG" data-mid="234214224" border="0" src="https://freight.cargo.site/w/1000/i/45ddbaa35295656d37ada18d8c58f1377d133ed6f21c888625b44744840894e9/9-DSC_0702.JPG" />Things I want you to know (but don’t want to tell you), cotton and linen,120 x 140cm <img width="2600" height="3640" width_o="2600" height_o="3640" data-src="https://freight.cargo.site/t/original/i/1932e518241295748d96340523a2556a220881fa78af4dabf487039f9e3bb18b/DSC_1201.JPG" data-mid="208601963" border="0" src="https://freight.cargo.site/w/1000/i/1932e518241295748d96340523a2556a220881fa78af4dabf487039f9e3bb18b/DSC_1201.JPG" /> <img width="2600" height="3640" width_o="2600" height_o="3640" data-src="https://freight.cargo.site/t/original/i/91a394e6ef9eff2746bcdd58e6a25ac5ebcf4d0d75c10621ea0a35bf140d733d/DSC_1226.JPG" data-mid="208602415" border="0" src="https://freight.cargo.site/w/1000/i/91a394e6ef9eff2746bcdd58e6a25ac5ebcf4d0d75c10621ea0a35bf140d733d/DSC_1226.JPG" />Things your body has done,&nbsp;cotton and linen, 170 x 140cm <img width="2600" height="3640" width_o="2600" height_o="3640" data-src="https://freight.cargo.site/t/original/i/89d7446e0aaed6ab350126575b26fc33dd48b827dce50a012ef5e1ba0823ad32/DSC_1237.JPG" data-mid="208603021" border="0" src="https://freight.cargo.site/w/1000/i/89d7446e0aaed6ab350126575b26fc33dd48b827dce50a012ef5e1ba0823ad32/DSC_1237.JPG" /> John’s quilt, commissioned wallhanging, cotton and linen, 120 x 80 cm <img width="2500" height="2500" width_o="2500" height_o="2500" data-src="https://freight.cargo.site/t/original/i/73bc3dd0a1b3ee35738ad8c458b8fff06a92397cfaeb11622e7f496a8d936224/EW-quilted-wall-hanging-2.JPG" data-mid="208589359" border="0" src="https://freight.cargo.site/w/1000/i/73bc3dd0a1b3ee35738ad8c458b8fff06a92397cfaeb11622e7f496a8d936224/EW-quilted-wall-hanging-2.JPG" /> <img width="3309" height="3309" width_o="3309" height_o="3309" data-src="https://freight.cargo.site/t/original/i/2bf4139c5bd0dfeee05b6ee85c0f3f8ee12de72b25dc9ae22a8ed37700a7cd61/DSC_0935.JPG" data-mid="208589394" border="0" src="https://freight.cargo.site/w/1000/i/2bf4139c5bd0dfeee05b6ee85c0f3f8ee12de72b25dc9ae22a8ed37700a7cd61/DSC_0935.JPG" /> <img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/bb2203f5c8d9bba0c9bf84642e136d074563a5df8bf46e543a1fc49b7ec836cb/framed-quilt-for-website.jpg" data-mid="208589676" border="0" src="https://freight.cargo.site/w/1000/i/bb2203f5c8d9bba0c9bf84642e136d074563a5df8bf46e543a1fc49b7ec836cb/framed-quilt-for-website.jpg" /> Framings, cotton and linen, approx 40 x 30cm <img width="2500" height="2500" width_o="2500" height_o="2500" data-src="https://freight.cargo.site/t/original/i/ac554c6684c658168471c8fec8020a437616436c6aa43dd57bd5bf98df328541/Ways-of-going-up-and-ways-of-going-down-3.jpg" data-mid="208589357" border="0" src="https://freight.cargo.site/w/1000/i/ac554c6684c658168471c8fec8020a437616436c6aa43dd57bd5bf98df328541/Ways-of-going-up-and-ways-of-going-down-3.jpg" /> <img width="2500" height="2500" width_o="2500" height_o="2500" data-src="https://freight.cargo.site/t/original/i/2e77ed29be91ead5719e630de910e3ed023a48c2bf043a275cfdcee8a76f48c8/Ways-of-going-up-and-ways-of-going-down-2.jpg" data-mid="208589356" border="0" src="https://freight.cargo.site/w/1000/i/2e77ed29be91ead5719e630de910e3ed023a48c2bf043a275cfdcee8a76f48c8/Ways-of-going-up-and-ways-of-going-down-2.jpg" /> From ongoing series Ways of going up and ways of going down, 22 x 17cm https://ellenwilkinson.co.uk/Surgery-Gallery Tue, 09 Apr 2024 09:43:55 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/Surgery-Gallery Surgery Gallery <img width="958" height="958" width_o="958" height_o="958" data-src="https://freight.cargo.site/t/original/i/86fbbc2373cf9551e3bd7cac3a2f12a67d735c8e8f2fb2b1b89776f0b22beeba/IMG_9434.JPG" data-mid="208586025" border="0" src="https://freight.cargo.site/w/958/i/86fbbc2373cf9551e3bd7cac3a2f12a67d735c8e8f2fb2b1b89776f0b22beeba/IMG_9434.JPG" /> <img width="755" height="958" width_o="755" height_o="958" data-src="https://freight.cargo.site/t/original/i/b79860376aab9df492de72c8768a5e6de2e657bde486866e854ed956588953d6/IMG_9430.jpg" data-mid="208586207" border="0" src="https://freight.cargo.site/w/755/i/b79860376aab9df492de72c8768a5e6de2e657bde486866e854ed956588953d6/IMG_9430.jpg" /> <img width="755" height="958" width_o="755" height_o="958" data-src="https://freight.cargo.site/t/original/i/8d05a80c4977e6d94a2df8662c4614c8d147b1a763275198d86e30c205f0c98c/IMG_9431cropped.jpg" data-mid="208586211" border="0" src="https://freight.cargo.site/w/755/i/8d05a80c4977e6d94a2df8662c4614c8d147b1a763275198d86e30c205f0c98c/IMG_9431cropped.jpg" /> <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/c6401b9c4c31e95aae0f21a6cb3f468a88814d6d4994950add5eef3a697d076e/IMG_9436.JPG" data-mid="208586114" border="0" src="https://freight.cargo.site/w/1000/i/c6401b9c4c31e95aae0f21a6cb3f468a88814d6d4994950add5eef3a697d076e/IMG_9436.JPG" /> Exhibition of wall-based textile works at Surgery Gallery, London, February-March 2024. Photos:&nbsp;Bjørn Hatleskog https://ellenwilkinson.co.uk/Commissions Tue, 09 Apr 2024 09:43:49 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/Commissions Commissions <img width="4126" height="5095" width_o="4126" height_o="5095" data-src="https://freight.cargo.site/t/original/i/da977f9788ad11fd1bc19780ed2d972c0e351e32016368ae1de38552c2ce2e29/IMG_4733-for-website.jpg" data-mid="234216100" border="0" src="https://freight.cargo.site/w/1000/i/da977f9788ad11fd1bc19780ed2d972c0e351e32016368ae1de38552c2ce2e29/IMG_4733-for-website.jpg" /> Are you looking to commission a bespoke quilt for your home or as a gift? Please get in touch to discuss how we can work together to make something personal and unique. Quilts have traditionally been made to celebrate births, anniversaries, weddings, new homes and life events of all kinds. My quilts are handmade with great care and attention to detail, from heirloom quality materials, which soften and wear over time and through use, taking on character and personal history in the process. All of my quilts are made from cottons and linens, including repurposed, deadstock and remnant fabrics, as well as new materials. They are filled with soft cotton wadding and hand quilted (the visible top stitch) with cotton sashiko thread. Cost Price depends on the size of the quilt, the intricacy of the design and what materials we will be using. Your quilt can be any dimensions you wish, from a wall hanging to a throw or full bed spread, but as a guide, a bespoke wall hanging of approximately 70 x 50cm starts from £300+, with prices going up with size. Time Depending on the design, and what other projects I’m working on, a bespoke quilt can take from 4-8 weeks to complete, or longer for particularly large or intricate projects. If you have a specific deadline please let me know. Please email me if you’re interested in creating a one-of-a-kind quilt, letting me know an approximate size and details about where or who it is for, and I’ll send you full details of how the design and making process works. Contact me here &nbsp;<img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/10451633cac2885606fe3b587dfd89786154969611efc16f66c1aebd37b2ba22/IMG_4713_qzoms2.jpg" data-mid="234214377" border="0" src="https://freight.cargo.site/w/1000/i/10451633cac2885606fe3b587dfd89786154969611efc16f66c1aebd37b2ba22/IMG_4713_qzoms2.jpg" /> https://ellenwilkinson.co.uk/Ruin-Arrangements Thu, 16 Jun 2022 10:59:01 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/Ruin-Arrangements Ruin Arrangements&nbsp; <img width="1472" height="2000" width_o="1472" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ffb3a8986f4d7a425d0baaeba85a43fe29d1e6b6d3b32f3bf550b9b21ac5f636/Anouk-Mercier--Stacked-VII--2021--Ink-on-Paper--28-x-38cm.jpg" data-mid="145583567" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/ffb3a8986f4d7a425d0baaeba85a43fe29d1e6b6d3b32f3bf550b9b21ac5f636/Anouk-Mercier--Stacked-VII--2021--Ink-on-Paper--28-x-38cm.jpg" /> Image: Anouk Mercier, Stacked VII, 2021, Ink on Paper, 28 x 38cm. Photo: Max McClureCommissioned text to accompany a forthcoming exhibition of Anouk Mercier’s Ruin Arrangements drawings. The writing takes the form of a series of numbered fragments, reflecting the structure of the drawings themselves. “Cultural heritage does not exist, it is made.” – Regina Bendix I You can’t walk far along the modern streets of Nîmes before you’ll turn a corner and find a street or square in a state of mid-excavation. At the bottom of muddy trenches you might see the outline of Roman foundations, or fragments of mosaic, plaster and pottery. Artist Anouk Mercier’s love of ruins began here, during childhood summers visiting her grandmother. The most significant Roman town in France is a new city built directly on top of an ancient one. When a road is dug up, ruins inevitably appear from beneath, the past continually resurfacing. Such finds are so frequent that many artefacts stay in the ground after archaeologists have recorded them. The most historically important objects are preserved or placed on a museum plinth. The rest is covered back over with rubble and smoothed with stinking bitumen. This surface will decay in time too and eventually be hidden beneath another new layer of urban strata. II Mercier’s Ruin Arrangements (2018-ongoing) is a series of black ink drawings of stacked, piled and balanced architectural fragments. Each composition is a collage of elements appropriated from Piranesi’s (1720-1778) etched fragments of Rome, which Mercier photocopies and cuts out, then selects at random to draw one at a time: a lucky dip of statues, pilasters, cornices, architraves and finials. Densely patterned vases balance on top of scrolled capitals. Ornately carved pedestals are propped against fractured friezes. A griffin perches beside a cherub. Figures emerge between swirling vines and acanthus leaves: the jolly moustached face of a god or giant; a pair of cheeky nude bums; a frowning face with a dark O for a mouth; an angel with outstretched wings; a robed couple reaching towards each other across a spewing fountain. Incomplete Latin words hammered into stone: MENTO; BIBVLO; ABITRATV. Pegasus strides across an urn. Within the series the Pile O’ Ruins drawings are dense heaps of these Roman artefacts. Columns protrude from the rubble at jaunty angles, stiff and comically defiant (or perhaps delusional) in their still-more-or-less-uprightness. Elsewhere wooden props provide extra support to particularly precarious objects. The Stacked&nbsp;drawings are more orderly and even more absurd. These fragments are meticulously assembled: counter-balanced, propped, buttressed in neat arrangements. Rocks and pebbles of just the right size are wedged between decorative fragments, or balanced in small towers like the tip of a cairn on a hilltop. The sense of process, of building these drawn asymmetric structures bit by bit, is tangible. Like a child playing with building blocks, the aim is to achieve balance. Mercier’s monuments­ appear just about stable; but collapse is always possible. III In the 18th century, aristocratic young men across Europe commissioned follies for the landscaped gardens of their stately homes, inspired by the Greek and Roman temples, bridges and statues they had seen on their Grand Tours. These objects signalled wealth, education and taste, and the desire that the British Empire be associated with that of ancient Rome via its grand antiquities. The Romantic craze – a ‘ruin lust’ – for the aesthetics of picturesque decay and decline led some landowners to construct artificial ruins or partially destroy existing buildings for decadent and dramatic effect. Others shipped ancient stone from abroad to be remade as crumbling objects of imperial fantasy: columns stripped from Leptis Magna in Libya (a site plundered in the previous century by Louis XIV for use in his palaces at Versailles and Paris) were reassembled beside Virginia Water, a man-made lake in the royal grounds of Great Windsor Park in Surrey. IV The piles of Roman rubble in Ruin Arrangements evoke more recent histories too. The looting and destruction of Palmyra, razed with explosives and bulldozers; a war against cultural heritage as well as people. And that ruin which haunted the beginning of the 21st century: the jagged, smoking remains of New York’s World Trade Center on 9/11. In a photograph taken two days after the attacks, triangular steel shards jut into a blue sky, above the surviving arched entrance of one of the Twin Towers: a contemporary version of an architecture – and its ruins – found across continents and centuries. V An April 2021&nbsp;New York Times article reported that displaced Syrians are seeking refuge in the ruins of ancient villages in the country’s northwest. Photographs show the remains of Deir Amman, a Byzantine settlement abandoned 1000 years ago. Among the huge slabs of sculpted stone and semi-collapsed walls are modern canvas tents and improvised shelters made from tarps and blankets. Some families have used the weathered pre-cut stone to build new structures and animal pens – repurposing antiquity to deal with the real and immediate problems of the present. VI Europe’s great ruins continue to hold a romantic allure. Tourists flock to the Acropolis and Colosseum to admire these imposing architectural feats of empire (built by slave labour), which represent notions of continuity and permanence: after we are all gone these stones will still stand. In Mercier’s drawings tufts of grass and weeds sprout in the gaps along the base of the stone structures. As with all ruins, nature finds its way back. All empires eventually crumble and fall. The value of ruins is hierarchical and often clearly demarcated. A significant site has a wall or fence placed around it, a sign is erected to explain its importance. Local cafés borrow its name, gift shops print its image on fridge magnets and tea towels. You pay an entrance fee, buy the guidebook, take home photographs that don’t do it justice. A ruin must be preserved in its current state or risk deterioration from the picturesque to a pile of debris. But how much harder it is to take them seriously, to be overawed by their illusion of power and authority, when they are braced with scaffolding or sheathed in semi-transparent fabric – a futile disguise for the conservation work beneath. The romantic spell is swiftly broken. VII Ruin Arrangements articulate an attempt to find stability among ruin. Who would construct these stacked monuments that appear ordered but could come crashing down at any moment? An ousted ruler? An optimist? A comedian? An historian? A new mother? Mercier’s structures are hopeful, absurd, delusional, clinging on, keeping going, preserving, trying to maintain control, defying the inevitability of gravity. These are not nostalgic reconstructions of a past that no longer exists, but remixes: a fantastical new architecture which understands that ruins, like history, are dynamic and entangled with the present. Just as Piranesi created images of Rome that mixed architectural reality with invention, Mercier playfully reassembles the past to suggest that there are alternatives to the cemented historical narratives that have been dominant for so long. Her drawings reflect an uncertain present in which many of the structures, systems and institutions that have previously seemed unbreakable appear to be precarious. Amid political upheaval, social division, global pandemic and impending climate catastrophe, Ruin Arrangements ask what future will be laid over the ruins of the present, and act as a reminder that the most human of work is in the search for balance. Regina Bendix quoted in Historical Documents of the Irish Avant-Garde, ed. Jennifer Walshe. ‘Fleeing a Modern War, Syrians Seek Refuge in Ancient Ruins’, New York Times, 20 April 2021. https://ellenwilkinson.co.uk/Artist-interviews Tue, 09 Apr 2024 11:16:52 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/Artist-interviews Artist interviews <img width="1152" height="1536" width_o="1152" height_o="1536" data-src="https://freight.cargo.site/t/original/i/2167492abb5c0ea32ee5a52fe16168587ec294e34cc6e968d34550fd9d2abfca/Copy-of-IMG_3552.jpeg" data-mid="208582141" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/2167492abb5c0ea32ee5a52fe16168587ec294e34cc6e968d34550fd9d2abfca/Copy-of-IMG_3552.jpeg" />&nbsp; A selection of interviews with contemporary artists for Artists Now (formerly a-n):︎ Arpita Shah: “A love letter to all the women in my family” -&nbsp;March 2025 ︎ Joshua Woolford:&nbsp;“All of my projects are informed by my experiences”&nbsp;- September 2024 ︎&nbsp;Lindsey Mendick: “The successes I’ve had are testament to what you can do when you collaborate” - March 2024︎ Jo Longhurst: “I like slow looking. I try to make work to slow people down” - November 2023︎&nbsp;Modern Queers: “There have always been people like us, living in different ways” - June 2023︎ Sweet but sickly: Sophie Lloyd’s sugar-glass sculptures - a-n Degree Shows Guide 2023 Photo: courtesy Modern Queers https://ellenwilkinson.co.uk/Daphne-and-Other-Stories Thu, 11 Nov 2021 16:48:48 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/Daphne-and-Other-Stories Daphne and Other Stories <img width="3324" height="2314" width_o="3324" height_o="2314" data-src="https://freight.cargo.site/t/original/i/0090a992de7de7b0156d839693b1a4ef1236d9382f42463eebd8609f3f478524/Daphne-and-Other-Stories-cover.jpg" data-mid="124254211" border="0" src="https://freight.cargo.site/w/1000/i/0090a992de7de7b0156d839693b1a4ef1236d9382f42463eebd8609f3f478524/Daphne-and-Other-Stories-cover.jpg" /> Commissioned text for Daphne and Other Stories, a publication by artist Sarah Taylor Silverwood, to coincide with her exhibition Daphne at Aspex Gallery, Portsmouth. Available from Aspex or you can read it online here. My text reflects on themes connected to Daphne, including how women share and pass down different forms of knowledge.Also includes a conversation between Sarah Taylor Silverwood and curator Vickie Fear, and text and illustrations by Jade Anthony. <img width="3324" height="2314" width_o="3324" height_o="2314" data-src="https://freight.cargo.site/t/original/i/039d4bfbf9c9bbf074014e19fe0465fb07ad1e02ff9e715a5239041c99833bb9/DSC_8904.JPG" data-mid="124254224" border="0" src="https://freight.cargo.site/w/1000/i/039d4bfbf9c9bbf074014e19fe0465fb07ad1e02ff9e715a5239041c99833bb9/DSC_8904.JPG" /> https://ellenwilkinson.co.uk/Production-Production Thu, 11 Nov 2021 16:48:44 +0000 Ellen Wilkinson https://ellenwilkinson.co.uk/Production-Production Production Production <img width="4000" height="2662" width_o="4000" height_o="2662" data-src="https://freight.cargo.site/t/original/i/a611312925607e0fd884f95f9cfea59f2aa0470b26782054de6477b1a9353ee2/DSC_8378.JPG" data-mid="124252073" border="0" src="https://freight.cargo.site/w/1000/i/a611312925607e0fd884f95f9cfea59f2aa0470b26782054de6477b1a9353ee2/DSC_8378.JPG" /> Commissioned essay for Yellowfields Volume 2: Production Production. Limited edition publication handbound with horsehair.Production Production explores the labours of production which manifest through physical and emotional experience. The publication features texts by artists Freya Dooley, Jade Montserrat, Jo Lathwood and Harriet Bowman, alongside my essay which considers connections between these artists’ practices in relation to feminism, economy, race and sustainability. <img width="4256" height="2832" width_o="4256" height_o="2832" data-src="https://freight.cargo.site/t/original/i/5546e7bf64dce9b90e420328baa153e5bf625f40faa79b8691a2a840179c4fe0/DSC_8396.JPG" data-mid="124253052" border="0" src="https://freight.cargo.site/w/1000/i/5546e7bf64dce9b90e420328baa153e5bf625f40faa79b8691a2a840179c4fe0/DSC_8396.JPG" /> Yellowfields is an independent project initiated by curator Georgia Hall, which investigates critical ideas through the writing of female artists.This publication is one of a three-part series including Overburden and Intuitive Geometries: Women Making Contemporary Sculpture. Each publication is designed and produced by Conway and Young. A launch event took place on 24 October 2020, hosted by Eastside Projects. <img width="4057" height="2699" width_o="4057" height_o="2699" data-src="https://freight.cargo.site/t/original/i/2af167b4c2b8f2c24a9cc6f08e535ee7c8a3678e19eda3dbb79e82014154c601/DSC_8394.JPG" data-mid="124253440" border="0" src="https://freight.cargo.site/w/1000/i/2af167b4c2b8f2c24a9cc6f08e535ee7c8a3678e19eda3dbb79e82014154c601/DSC_8394.JPG" />