APT encourages participation in the
visual arts through creative practice,
exhibitions and education






An exhibition of work by members of APT Studios curated by Victoria Rance and Sheila Vollmer

2 - 31 July 2011

Private View Saturday 2 July 6 - 8pm
Exhibition Open Thursday to Sunday from 12 noon - 5pm and at other times by appointment

Exhibition Catalogue (PDF 2MB)

Invaluable is a group show of artwork made by members of APT Studios. Curators Victoria Rance and Sheila Vollmer asked the artists to select one work from their past which they held to be particularly important to them, a seminal artwork, or one which continued to inform their practice now.

The curators were hoping that the act of looking back, remembering and thinking about which one work to choose, would act as a catalyst for the artists to reconsider what they particularly value about their artworks when revisiting either in memory or in their physical archive. Maybe it was an aspect that has not yet been fulfilled and was hinted at as a potential development in that work, the beginning of a new development yet to be completely explored, or even the first step as a practitioner. Other work has been important because it won prizes or particular recognition at the time, or it was on a huge scale or represented a radical shift. Some of the works thought of were previously destroyed or were performances or site specific, and these will be presented in the show through re-making, or through photographs, writing and other archival documentation.

What is interesting is the time from which artists have chosen work, which ranges in date from 1970 to 2010. Although born in different years, places, even countries, and affected by different influences and art movements through this, and through who happened to teach them, they have chosen these particular works to show now.

In All Said and Done, the last volume of her autobiography, Simone de Beauvoir wrote:
"When I was younger I was greedy for a continual stream of fresh sights, of new things to be seen. For a long time now I have found happiness in seeing what I have seen before. For me seeing a place again means mingling the faded softness of memory with the spark of what is new - inserting the brilliance of fresh discovery into a resuscitated past. Things are almost never quite the same as my recollection of them; or if they are, then they show me a different aspect of themselves."

Ekkehard Altenburger | Heather Burrell | Fran Cottell | Tim Cousins | Tony Daley | Jeff Dellow | Arnold Dobbs | Cath Ferguson | Nic Godbold | Marilyn Hallam | Liz Harrison | Margaret Higginson | Clyde Hopkins | Catrin Huber | Stephen Jaques | Richard Lawrence | Steve Lewis |
Alix MacSweeney | Paul Malone | Chris Marshall | John McLean | Mali Morris | Geoff Mowlam | Laurence Noga | David Oates | Brigitte Parusel | Nicola Rae | Victoria Rance | Geoff Rigden | Hideatsu Shiba | Lou Smith | Paul Tonkin | Sheila Vollmer | Roxy Walsh | David Webb | Rob Welch

> Press Release

Liz Harrison | '24 days in the life of a papaver' an environment
Whitechapel Art Gallery 1976

This piece of work was hugely important in that it anticipated future developments in my practice. Its dramatic ambition allowed me to develop aspects of scale, architectural space, light and illusion, colour and transparency; these ephemeral qualities were new to my work, and by moving away from the object, challenged those used in the past which were of a more traditional and sculptural nature.

It was the first work where I became interested in transforming a space and discovering the articulation of space through light. These methodologies were completely experimental and unknown territory for me that allowed for future developments up to the present using moving image /lens based media and a more theatrical use of space. '24 Days in the Life of a Papaver' was made in 1974 on a fellowship at Backworth Drama Centre, an innovative educational centre based in a small mining village in Co. Durham. The work was a continuation of ongoing concepts concerning microcosms, attempting to convey the beauty and strangeness of our world, issues I am still concerned with today. Scale continues to be a device, although miniature is of more interest now! It was shown at Sunderland Arts Centre and in 1976 at Whitechapel Art Gallery.


Catrin Huber
This is one of the first pieces I did with playing cards (an ongoing strand of my practice). It combines my interest in games with my interest in spatial constructions.

Why playing cards? I collect playing cards, but since 2003 I have been cutting them up, folding them into each other, and slicing them. Playing cards usually hold a set number of images. These can be combined in numerous variations depending on the game being played and its rules. I see this as a continuous editing process. I love playing poker, too. In poker you again have certain games and rules, however you are allowed to change them (but only before the game, of course!). You can also complicate a game by adding wild cards or by playing High/Low. The latter variation allows you to propose winning with the highest hand (a hand consists of five cards), or the lowest. Alternatively, you can try winning with the highest and lowest hands at the same time. And throughout the process, the probability of certain hands appearing changes according to the rules of each game.

Poker is built on chance, skills and psychology - something to bear in mind when one works in the studio.


Chris Marshall | Marshland | IN THE AIR

Installation at the Air Gallery, Shaftesbury Avenue, London 1978

Marshland stands as an essential and critical point in my development. In its entity it embraced and encompassed my creative vision and philosophy. It brought together the essence of what I was (and still am) struggling to achieve.

The situation at the AIR gallery allowed me to be totally experimental. This was the last show before the gallery was closed, consequently there were no concerns for the fabric of the space, there were no physical constraints.

I have always sought alternatives to the traditional gallery context and its elitist approach to presenting work. This exhibition was radical and innovative in that the entire construction process was open to the public. The first day saw the gallery occupied with ordered piles of timber, trellis and miscellaneous hand tools. The visitors were invited to participate in the creation of Marshland.

It really worked. Its central location saw many visitors, with many returning to help, comment, advise or bring their own materials to add to the installation. The private view took place on the final day.

Marshland successfully embodied the central core of my ideas and thinking. Drawn from interest in Primordial landscape and The Source, these subjects are still aspects of my current practice.


Mali Morris
| Low Pink Hum
1998 acrylic on canvas 57 x 66 cm

Sometimes, during working periods that are more exploratory than usual, a painting seems to arrive by accident. It interrupts to announce a whole new chapter - although what that will turn out to be is a mystery, for quite a while.

I was more intent on what to avoid as painting language - some of the conventions I had grown up with, which had begun to feel overly familiar. I remember testing out methods of clearing and wiping, preoccupied with colour coming through colour, and in the process discovering pictorial structures, and their associations, which were new to me.

Hindsight shows a pattern to these surprises. First there is a kind of suspicion mixed with fascination, a hunch, then a decision to leave it be, to look away and come back to it another time. After many versions on other canvases, trying to understand what I am finding so intriguing, I become more conscious of what the intruder implied and where it has been leading. By that stage I have recognised it as a painting, the first of a new series, and I feel relieved that I gave it its chance.


Hideatsu Shiba | Spectacles Scientist
Oil on Canvas 61x51 cm

I made this painting in less than half an hour.

At the time it never occurred to me that it was possible to spend so little time and come up with a good result. Whether the painting is a successful one or not is debatable, process alone will not justify the result of the picture. I could only say that the painting was completed with nothing left to add or take out.

This painting is part of a series called "Spectacles". These are portrait paintings of people observing scenes which are impossible to view without spectacles, such as 3D films and atomic explosions. In these paintings I wanted to emphasise blindness borne out of an era in which we anticipate technology as a means to an end.