EXPLORE - Annual Expedition and Field Research Seminar. Royal Geographical Society with IBG, London, UK. (2018)

Voyage drawings made on board SS OPAL on the expedition to Louise Boyd Land, East Greenland. (Concertina Sketchbook).

Click Here to find out more about the expedition.

‘New Vision of Printmaking: Printmaking group show’, Kuandu Museum of Fine Arts, Taipei, Taiwan, (2017) and Triangle Gallery, Chelsea College of Art & Design, London, UK. (2018)

I showed A Silent Symphony in 7 Movements in this group show in London, Taipei and Madrid. It utilises an old piano roll over-scored with site specific ship drawings made by suspending a pen from the roof of my ship moored on the River Thames.

Click Here to find out more.

‘What Has To Be Done’, Today Art Museum, Beijing, China. (2017)

This exhibition was the outcome of 4 voyages around the Western Isles of Scotland on board Lady of Avenel. These voyages brought together artists from China and the UK to address questions about climate change.

Click Here to find out more.

‘Points of Departure’, ESTUARY Festival, Tilbury Passenger Terminal, UK. (2016)

I sailed my barge MB Rock down the River Thames mooring on the Lower Landing Stage at Tilbury Cruise Terminal. Rock was open to the public to view as a floating exhibition space, showing various artworks and films inspired by living on the River Thames under the title 'I am the ship, the ship is me'. 

Click Here to find out more.

The British Society for Self Depreciation - Part 1’ Cheng Centre for Contemporary Art, 798 Art District, Beijing, China, (2015).

I showed a series of my ship drawings in this group show of works on paper by contemporary British artists, curated by Charlie Dutton. 26 November - 16 December, 2016.

‘A Maiden’s Voyage’, Chelsea Cafe Project #15, Chelsea College of Arts, London, UK. (2015)

An exhibition of artworks relating to A Maiden’s Voyage, a limited edition book and film Through this project I sought to find an alternative account of the gendered space of the ship.

Click Here to find out more.

‘A Ship of One’s Own’, Chelsea College of Art & Design, Cookhouse, London, UK. (2015)

This extensive exhibition showed works made during my research at the point of confirmation for PhD.

Click Here to find out more.

‘The Power of the Sea: Making Waves in British Art 1790-2014’, Royal West of England Academy, Bristol, UK. (2014)

The drawings and sounding line in this exhibition were made in on board a tall ship around the Scottish Western Isles. To record the experience of being at sea I made a series of drawings that traced the movement of the ship.

Click Here to find out more.

‘Of Green Leaf, Bird, and Flower: Artists’ Books and the Natural World’, Yale Center for British Art, New Haven, Connecticut, USA. (2014)

The artists book WITHOUT included in this exhibition was from the exhibition of the same title shown at Sint Annazal, Beguinage of Sint Elisabeth, Kortrijk, Gent.

Click Here to find out more.

‘Recalculating’, Triangle Gallery, Chelsea College of Arts, London, UK. (2013)

This exhibition and conference was the result of a collaboration between CCW Graduate School, UAL and the Hungarian University of Fine Arts, Budapest Doctoral School. I showed my drawings Identical Traces and Sounding Line.

Click Here to find out more.

‘Troubled Waters’, Kuandu Museum of Fine Arts, Taipei National University of the Arts, Taipei, Taiwan. (2013)

Still was the title of my installation included in this group show. The installation included a large scale chalk drawing of a Thames Barge, a chart of the River Thames and a plumb line suspended from the ceiling of the gallery at the point where my own ship is moored.

Click Here to find out more.

‘Langford120 welcomes 2013’, Langford120 Gallery, North Melbourne, Victoria 3051, Australia. (2012)

The series of drawings, 7 Arctic Pebbles, was featured in this group show in Melbourne. My husband, Chris Wainwright, brought these small white pebbles back for me from his first Arctic voyage. I used them to draw around using a suspended a pen from the roof of the hold on board my vessel MB Rock moored on the tidal River Thames.

High Tide, ‘space(river)between’, Liverpool Biennial, The International Gallery, Liverpool. (2010)

These 3 large scale framed drawings were from the first edition of drawings that trace the somatic experience of living and working on board my floating studio.

Click Here to find out more.

‘An Orchestra of Strings’, Return Flight, The Crypt Gallery, Euston Road, London, UK. (2010)

This installation used the same components as the Flight exhibition in Chile. The flock of swallows was carried to the gallery in a specially made case and then released onto the walls of the crypt.

‘Fly by Night’ (Video installation), Nara, Japan.(2009)

It is impossible for a butterfly to fly by night is as they use solar radiation to elevate their body temperature. If their temperature drops below 86 degrees Fahrenheit they will fall from the sky. On a summers evening on the seashore off the southeast coast of England as the tide is falling, I fly my butterfly kite. I catch her in the light of a two-million candle power torch. I am transfixed like Pinkerton in Madame Butterfly – "I must have her, even though I injure her butterfly wings".

Click Here to watch the film.

Heterotopia (dvd) Purcell Rooms, Southbank, London. (2009)

Heterotopia was the first art work I made after moving onto my barge in 2002. The dvd is of the Thames barge Ethel Ada casting off and leaving the shore. The strapline text is taken from Foucault’s text ‘of Other Spaces’.

Click Here to watch the film.

‘The Moons of Hagashiyama’, Moon Moth (installation), Kodai-ji Zen Temple, Kyoto, Japan. (2008)

In this sacred place, I suspended a female Japanese moon moth trapped inside a glass jar and illuminated by a white spotlight. When moths mistake an artificial light for the moon they fly in a circle around the light, or worse, spiral into it. My moth is safe, silent and permanently captured by her artificial moonlight. (Also shown in ‘Atmosphere’, Ginza Art Lab, Tokyo, Japan. 2009)

Flight in ‘Gandhi Group’. Museum of Modern Art, Santiago, Chile. (2007)

This installation was derived from the blank jigsaws made for the Permission to Speak exhibition in Freud’s House (2002). The jigsaw flocks were encased in a specially designed wooden box and carried with me on the flight to Chile. The birds were then released into the exhibition space.

Click Here for more images.

‘Permission to Speak’, Freud Museum, Maresfield Gardens, London. (2002)

For this solo exhibition in Freud’s former home I exhibited a series of blank jigsaw puzzles onto which I had drawn flocks of swallows and then removed the drawn birds, leaving an absence. In the upper rooms I displayed the missing birds on the walls of the space as though in flight, evoking the delight of rediscovering what was thought to be lost.

Click Here to learn more.

‘One Swallow Doesn’t Make a Summer’ (video installation), External Projection at Site Gallery, Sheffield. (2001)

A video loop of a mechanical bird trapped in a building is accompanied by the sound of swallow calls as they return to Britain for the summer, traditionally in the first week of May.

Click Here to find out more.

‘WITHOUT’, Sint Annazal, Beguinage of Sint Elisabeth, Kortrijk. Belgium. (1999)

I was asked to put together a solo exhibition in the Beguinage of Sint Elisabeth, a place of contemplation, built originally for a community of pious and celibate women and founded in Flanders in the 13th century.

Click Here to find out more.

‘Salt of the Earth’, Galerie Medium. Bratislava, Slovakia. (1996)

For this exhibition I took a number of work aprons with me to the gallery that I had purchased in the UK and reconfigured them. They are they type usually worn traditionally by boys for woodwork lessons. Salt of the earth refers to those who labour and my intention as a woman artist was to subvert the utilitarian status of the apron.

White Garden, Mappin Art Gallery, Sheffield. (1995)

The white ceiling roses laid out on the floor of the gallery need no classification since their endless repetition reproduces only sameness.

‘Beyond the Shadow’, The Custard Factory, Digbeth, Birmingham and Bonington Gallery, Nottingham Trent University, Nottingham. (1994)

In this exhibition the vernacular objects of the shed/greenhouse, that normally belong in the sphere of everyday life, are reconfigured and therefore intentionally distanced through their conception as art objects.

‘Waiting for the Seventh Wave’, Ikon Gallery, Birmingham and Mappin Art Gallery, Sheffield. (1987)

Waiting for the Seventh Wave was the final exhibition of my Henry Moore Fellowship. I was the first woman ‘fellow’ and wanted to contextualise my practice more specifically within a women’s tradition of making.

Click Here to find out more.