Liverpool Biennial 2014 Review

"I don’t agree with the sentiment but it’s a great mono print and my interest is in printmaking…" “We’re All Very Disappointed” by Alice Hartley mono print on paper

“I don’t agree with the sentiment but it’s a great mono print and my interest is in printmaking…”
“We’re All Very Disappointed” by Alice Hartley mono print on paper

PAC Home, Plymouth Arts Centre’s artist support network, offers opportunities for emerging artists in the region to interact with and learn from other artists nationally. This allows our talented artists to expand their knowledge and enhance their practice.

We recently provided bursaries for two artists, with money raised during a recent fundraising campaign, to visit the Liverpool Biennial and here Simon Ripley discusses the information and interpretation accompanying the artworks.

It is easy to forget that looking at art can often be hard work – challenging, difficult to understand, raising conflicting emotions, frustrating. The work in the Liverpool Biennial group show at The Old Blind School entitled “A Needle Walks into a Haystack” was all of this for me. I saw also the John Moores Painting Prize too and whilst I knew just as little about each piece in that show, it was so much easier to look at paint on canvas, two dimensions, something established and accessible. Finding a doorway to an understanding of new work, an orientation for the viewer to begin to get some of the intentions of the artist is key for the success of a public exhibition. Without that it is easy to simply look and turn away none the wiser.

In the shows I visited in Liverpool, there were successes and failures in this. I’m sure that curators and artists gave consideration to who the audiences for their work might be but in the group show especially, this was particularly opaque. I wanted more narrative, background and explanation. Art based principally around ideas sometimes fails to stand up to a purely visual examination, it cries out for an intellectual discourse but to facilitate that sometimes more information – a way in, is required.

Whilst I am not advocating spoon feeding the audience, there is a certain cruelty in leaving interpretation solely up to the viewer. It is generally only with the passage of time that the work in the ‘avant garde’ reveals itself to us. But in the absence of anything familiar for me to cling on to, I am cast adrift. I went on a tour of the show given by Rosie Cooper : Project Curator – and whilst it was helpful, I think most of our mixed group looked on, listened, nodded sagely and went away not much enlightened.

Double Elephant Print Workshop is currently engaged in a project to ‘Redefine Printmaking” with artists Katy Connor, Bryony Gillard, Mark Leahy and Clare Thornton. The work culminates in exhibitions and a Symposium in November 2015. You can follow the progress of our project at

The challenge for us at Double Elephant will be to interpret the art work which our commissioned artists make. These artists bring conceptual approaches and familiarity with other media to printmaking. Double Elephant is well versed in the ways of workshop, ink, paper, presses and process. Here is a clash of cultures out of which we hope will be born a synthesis and never before seen ways of making art. We hope that they will redefine print – and we need to shine a light onto that new interpretation so that audiences can enjoy and understand.

When we invite audiences to come and see the outcome of this project we need to be ready to meet them visually and intellectually. How do we do that? Given the numerous ways in which different people receive new information, that question will perhaps be the greatest challenge of our project.

Liverpool Tate got the balance between information and exploration about right in their show of work by Claude Parent. Their choice of words helped to elucidate and not confuse. They drew parallels with other art objects to contextualise the exhibition. They explained the artists’ mission which made me reflect upon my own. That in turn made the experience of the show itself more engaging and accessible.

As we progress our project over the coming months, please come and judge our interpretation of its many potential meanings and outcomes that we will be sharing on our Facebook page. Join in and give opinions, ask for more if we don’t give enough. Such a dialogue will surely improve the work produced and our understanding of it.

Simon Ripley

Artist and Printmaker

Director of Exeter’s Double Elephant Print Workshop


One thought on “Liverpool Biennial 2014 Review

  1. Pingback: Simon Ripley | Liverpool Biennial

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