PREVIOUS PROJECTS
19th-21st July, The Pipe Factory, Glasgow
A ticket stub, a nail, a cigarette packet – a discarded object. All objects we held in our hands but not in our hearts. It is the shared attraction to such from which this exhibition came forth.
Thus, a place in my heart exists as a collaborative exhibition brought forth by Glasgow based artist, Lilian Evans, and curator, Aliya Prichard-Casey.
Embracing the context of the Pipe Factory and its history of dereliction, this project draws upon the catalyst for such: the humble rolled cigarette, and the primary reason for the downfall of claypipe production worldwide, and subsequently, the cause of the Pipe Factory’s dereliction.
This exhibition exploring the relationships we hold with our material surroundings, confronts our tendency to consume, use, and discard whilst reframing the object and its potentiality. Framed through Moments Of Encounter, this exhibition shall act as a marker of a point in time, a position in place thereby unveiling the interconnection, the traces, between all people and things.
Utilising attachment and its polar, abandonment, to centre the consumerist tendency to use and discard, this exhibition highlights the human predilection to assign face values to objects thus cementing the brevity of their existence as objects of value. This exhibition, in its repurposing of discarded materials, brings forth the materiality embedded within these objects and finds value for them as art. It is once they become works of art, that they are destroyed. The auto-destructive nature of this show touches upon the ‘after-lives’ of these objects emphasising the dynamism of materials, evolving, deteriorating, nothing fixed, nothing static, always in flux.
These objects hold a place in our hearts. Let them hold a place in yours.
VIDEO TOUR OF A PLACE IN MY HEART
encounters is a curated collection of interviews between curator Aliya Prichard-Casey and artist Lilian Evans, delving into the creative processes and thematic explorations within their collaborative exhibition, a place in my heart. Through these dialogues, Prichard-Casey and Evans traverse the intersections of personal memory, spatial belonging, and emotional resonance that shape Evans’ works. The manuscript captures their collaborative journey, shedding light on the intimate and multifaceted narratives that arise when art becomes a vessel for connection, reflection, and shared experience. Interspersed with flippant comments, emotionally driven responses, and tangential anecdotes, this publication shall read as a mind thinks, or perhaps, as a heart feels; a rollercoaster, perpetually shifting, always in flux.
These conversations and their content come from, and retain, a place in our hearts, one which we welcome you to navigate as we did.
Frequency: An Audible Encounter (2023) was a collaborative curatorial project (curated alongside Shenghan Chi, Charlie Ambry, Shan Gao, and Martel Ollerenshaw) and radio broadcast which exhibited the works of artists Isaac Tomkin Clarke, Maeve, Lucille Brownrigg, Aly Gear, Lu Chen, & Sophie Stewart.
Frequency took the form of a public gathering with pre-recorded and live sound, and a live digital radio broadcast (later available as an archival recording). Featuring six artists working in and with sound in a Listening Party format, Frequency offered a communal listening experience, developed from a range of common curatorial interests including sound, experiential art and non-traditional exhibition spaces.
Frequency featured predominantly pre-recorded sound artworks, some of which included visual context cues in the form of installation and sculpture, as well as one live spoken word performance with instrumental accompaniment.
The curatorial process was collaborative, iterative and responsive to the artists and the context: we acted as facilitators for the exhibition and for the audiences’ ‘audible encounter’. From the offset we considered ways in which setting, as well as medium, could subvert the conventions of institutional gallery spaces, and made the decision to situate Frequency in the physically accessible Vic Café & Bar. Despite its location within an art institution (Glasgow School of Art), as a GSA Student Association student-led space, the Vic sits just outside, or on the border of, the traditional institutional context. In hosting an art exhibition within a venue that is primarily a café and bar, the exhibition bypasses conventional associations, allowing for new and surprising encounters.
Images below courtesy of Pengyi He & Xinyi Liu
