The Notice Board – Kate Genever

For Exhibition 33 at the Notice Board I will be showing 2 prints from the set With bliss I imagine this…..

For the last six months I have been artist in residence in Shinning Cliff Woods in Ambergate, Derbyshire. Shining Cliff has a long industrial history, which includes quarrying, charcoal burning and wire making. They now comprise of managed Pines, veteran Oaks, Yew, Beech and Sycamore and are a tourist destination.

With bliss I imagine this, engages with an alternative history of the woo. That of the nature-loving-utopian group Grith Fryd Pioneers. [Grith Fryd means Peace Army in old English]. Originally a radical educational movement formed in the 1930s. It created two work camps, one at Godshill in Hampshire and the other at Shinning Cliff. Both took in unemployed men and tried to create a land-based self-sufficient community that exchanged goods and services with one another. The movement’s outlook was a mix of socialism, co-operation, anti-urbanism and internationalism. Present day Pioneers still provide camping in Shinning Cliff giving people scope for self-realisation and the development of personal, wider educational opportunities, and a sense of responsibility towards the protection of the natural environment.

Kates says: I took the original photos as I walked in Shinning Cliff. The collages reimagine the original Pioneer peace huts for our time. And if we too lived freely in the woods and acted responsibly towards the natural environment. The flag with an olive branch extends this ambition while also declaring The Notice Board as a gathering point of a new Peace Army.

More of Kate’s work will be on show in Shining Cliff from May 7 until May 28

Nothing, is the last forever.

Opens Saturday May 7th and then Saturdays May 14th, 21st and 28th
12.00 – 4.00pm at The Wireworks Project:
1331 Matlock Rd, Ambergate, Belper DE56 2EL
Parking is available – please follow signs on arrival
Closest train station Ambergate


Finding the Spirit in the Mass was artist David Bomberg’s radical technique. He describes it as an attempt not at superficial representation, rather an expression of the inherent and changing energy or living spirit of nature and how one feels in relation to it. This, and the philosophical idea Metempsychosis (where at death the soul transmigrates into a newly born human, animal, plant or mineral) have been the focus of my six month residency in Shining Cliff Woods.

Nothing, will be the last foreveris one outcome. A functioning ‘factory’ that relies on a collective of hard working souls, who having foraged for wood, needles, leaves and herbs, process them, using specially made stoves, stills and milling devices, into charcoal, ash, scent, food and tonics. With visitors invited to watch the processing, ingest, smell and scatter the ‘products’.

Nothing, will be the last forever could be read in many ways. As a collaboration, a response to a post-industrial site, a comment on artisanal goods or as a process-led drawing based artwork… However, if we consider it via Metempsychosis, we could see it as helping migrate the woods ‘spirits’ – demonstrating how the end or death is no longer true but rather a simple transformation of form. Orif we use Bomberg’s ideas it’s a lament; a poetic abstracted expression of loss in response to finding the famous ‘Betty Kenny’ Yew ruined and within a pathetic cordon, on a deforested ridge. Either way, I aim to encourage deep reflection on our relationships with other living things.

Nothing, will be the last forever also showcases a selection of works made during my time in Derbyshire. This includes the collages, With bliss I imagine this, that reimagine the Peace Huts built in Shining Cliff in the 1930s by the nature-loving-utopian group Gryth Fryd Pioneers. A series of photographs, Time don’t make it better, taken in front of the ‘Betty Kenny Tree’. Two charcoal drawings, I am all these things and nothing at all, made on the site of this one great tree, that also foreground Bomberg’s ideas and aim to provoke a conflicted feeling. Finally, A dream within a dream, a fallen Yew branch from which seven lidded boxes have been skilfully turned. Inspired in part by the potential of Yew, the Rock A Bye Baby nursery rhyme [alleged to originate here] and a search for inner spirits. Ultimately though it’s a work that celebrates rural makers who create beautiful, useful items while being mostly overlooked.

Nothing, will be the last forever is a collaboration with Anthony Shephard and Ivan Patrick Smith. Special thanks to Patrick Joseph Ryan.

Established in 2019 by Ivan Patrick Smith and Anthony Shepherd, The Wireworks Project, is a fully functioning artist studio and gallery. Designed and built on the ethos of recycling, re-appropriating and reuse, the project aims to provide space and platform for considered artists. We warmly welcomed Kate as the first of many future residents.

Kate’s residency is supported by SHED

Wanna meet me halfway? interview

As part of the support offered by Social Art Publications around my new boxset: Wanna meet me halfway they did a Q&A. The full thing is HERE and a snippet below:
1. How did you start making your publication?
I started with the idea during the first lockdown. I was interested in getting artwork to people given they couldn’t get to art. I liked that people could receive a box of work that they could add to and curate in their own setting. The texts that accompany the prints are there to support and perhaps give ways in…. Also included is a ‘help sheet’ for those who feel unconfident and need maybe some ways in…  

If you would like a boxsets, which contains various sized doubled sided prints, they are available as “a pay what you can afford”. To order one follow this LINK

Crescent Art, Scarborough -workshop

Last month I was invited to Scarborough by Crescent Arts to deliver a talk and lead a “place based” workshop for participants of their Coastal Fellowship North program that supports early career artists.
As part of that day we collaboratively ‘drew’ together – which included making and sharing lunch, a walk around the town and some traditional drawing as we relfected on what we saw, felt, heard and learnt. Sommer Vass one of the group has written this BLOG about what the day….

Thanks Sommer.
Credit to @msc1photography

Exhibition 32 – Valentyn Odnoiun

Valentyn lives in Vilnius, Lithuania but was born in Ukraine. He and his family escaped via political asylum when he was younger. The Notice Board see’s this escape as the fuel at the core of his work. Work which pays homage to the people who tried to, didn’t, haven’t or can’t set themselves free. Particularly at this time of war as the population defends itself against Russia.
This show featuring 3 examples from larger bodies of work: Painted over prison window, Surveillance and PW44. These deeply profound, political and perceptive photographs show us the shadows of atrocities and haunted sites. Shadows that reveal a strange beauty that lures us in and then evokes imaginings. Yet it’s a beauty that doesn’t save us and nor should it. Rather we are confronted with a truth. A truth that many of us may be unable to bear or believe yet did and does still exist.

Valentyn says of the work being shown Surveillance feature the walking yards and prison cell door spyholes in former political prisons in Eastern Europe (Estonia, Latvia, Lithuania, Ukraine, Poland, Germany). Previously, to keep people under control, they were isolated in special places and/or were under different methods of surveillance. Nowadays surveillance is taking new (digital) forms, but the main essence remains. Total physical and mind control of society. In PW44 – plastered bullet holes the photographs were made in Warsaw, Poland. They show walls of plastered over bullet holes – traces of events that occurred during the Warsaw Uprising from August 1st  – October 2nd in 1944 against Nazi German occupation. The plaster repair does not however remove the scars or disappear the oppression. In Painted Over Prison Window. We see a former Gestapo and Later KGB Prison window in Vilnius, Lithuania, smeared over. This window is of a prison cell in the former Gestapo and later secret KGB prison in Vilnius, Lithuania. This window faces onto a main street.

Valentyn uses photography to research historical or social events. Events linked to political and violent situations or doctrines. He explores the relation between what we see and what we perceive as we come to understand what’s represented. The photographs show traces that emphasise the borders of human perception but also where the consequences of human action meet reason.          

S.A.P published Boxset now available.

I’d like to have a conversation with you – Wanna meet me halfway?
I want to catalyse an action. An action within a community of people, who having the same starting points create unique exhibitions in their homes or elsewhere. Wanna meet me halfway? is therefore an invitation. If you’d like to join in please email.

The contributing writers and I collaborated on the selection of 18 double sided prints for the boxset. Each featuring artworks made within different communities since 2007. Sometimes their words came first and other times it was my images. We worked hard to create a conversation between our work, so that one didn’t simply illustrate the other. We let meanings slip and slide. Like a television or theatre script Wanna meet me halfway? will come to life through your interaction with it. I trust that your ideas and exhibitions will make it different and complete.

Available as a Pay What You Can from the shop .. the boxset also has a ‘top tips’ sheet enclosed to help you explore and experiment with its contents. Before sharing images online, enabling even more people to

18 posters [various sizes] in A3 box. Edition of 50

Published by: Social Art Publications

Stephen Walker
Katy Hawkins
Ben Stringer
Ollie Douglas
Clare Currie
Tim Neal
Mark Richards
Harriet Rowley

Supported by: SHED

The Notice Board – Joyce Davis

The Notice Board is proud to be able to share Joyce Davis 60° North exhibition. Joyce lives with complex physical, psychological, and neurological illness which is helped considerably by making art. This making, The Notice Board believes, offers Joyce a type of freedom. A freedom that is available to all of us if we care to embrace it. It’s a space where we can reflect on our pasts, presents, and even imagine a future. A place to manage feelings and share ideas.

Joyce says: For me Art is therapy. I think it found me. I know I needed it.  The works that I’m showing here are part of this therapy. They are a variety of prints (Mono, Intaglio and Riso) and drawings in pen. All of them are faces that you may recognise as familiar to you, but they are of people I have known personally or at a distance. I live 60° North of the equator, but the world is accessible to me from my Shetland home.

People make places but one thing I truly believe is that we all share much more than we are different. We all experience love and joy, pain and hurt. We all feel safety and fear. We can all reach out and change other people’s lives for the better or the worse.  I want my art to reach people and to give them an opportunity to reflect, to pause and to feel – a moment of escape from the stresses of their lives, a gift from me from 60° North.

Joyce firstly trained as a nurse working with people with learning disabilities and then in mental health. She went on to further study and completed a Masters in Psychology at the University of Glasgow and followed this with a Post Graduate Masters in Clinical Psychology at the University of Liverpool. Joyce worked in the NHS in both England and Scotland as a Clinical Psychologist and was  Head of a number of Clinical Child Psychology Departments.

Illness meant an end to Joyce’s career, and she began to make art and to write creatively through initially going to well-being classes at Shetland Arts.  Her career as an artist developed into print making and she has found a whole new world has opened up to her. Joyce has enjoyed an art residency at Peacock Visual Arts in Aberdeen and has shown her work both in the UK and in the US. She has been awarded a number of Artist Bursary’s and currently has a Solo Exhibition at the Mareel in Lerwick. ( Blogs written by Joyce are on the Shetland Arts website.  Joyce is represented by Instgram: @joycedaviesart

The Notice Board – Nadya Monfrinoli

Nadya Monfrinoli
Born: UK
Title: Stay Safe

The Notice Board this month showcases work that raises awareness of EDAN Lincs and celebrates work of Nadya and women she has worked with. Nadya says: The refuge is covered in inspirational quotes in the Live, Laugh, Love vein. This work draws on this tradition of using words to empower, but instead of using existing phrases we created our own. Turning them into posters that can be shared more widely. Women involved wanted their work to be seen by others who might be experiencing domestic violence to “build them up, offer courage, to say I believe in you, it is possible to make a change”.

In response I created the flag which shows a piece of chalk graffiti found inside of the refuge’s smoking shelter. In this small brick shed many take the time to offer each other messages of solidarity, leaving them for those that come after. I was struck by how the now familiar ‘Stay Safe’ refrain taken up by us all since Covid assumes further complexity in this context. Particularly as the last two years has seen incidents of domestic violence soar.

Nadya makes site-responsive installations and other ephemeral works that enable the viewer to interact with them. She is interested in different ways of engaging with people and this often includes collaboration. For more information visit:  @nadya_monfrinoli

The Experience Shift

During lockdown I was involved in a large research project led by Sophie Shaw at House of Cultural Curiosity, that considered the changing needs of commissioners and audiences in participatory settings.

Together we considered: What creative/ designed/ interactive experiences are good for and what we can achieve with them?

In short we concluded: given the onset of Covid, but also in recognition we are in a time of great change, we all saw how equity, access and the individual’s relationship with the world needed to feature more heavily in our planning and conversations. We all agreed how “Experience design” becomes more about creating compelling spaces for audiences to step into as opposed to providing them with a predetermined fixed experience. Leading us to acknowledge the question becomes more then how we facilitate participation rather than how we design an interactive experience.

For the Manifesto and full report including sections aimed at creative individuals, insitutions and brands visit: The Experience Shift

The Notice Board – Kate Genever

Kate Genever. UK

Title: She loved, loved and loved. Woodcut print. 69cm x 59cm

During a residency in Wakefield I worked in with Wakefield City of Sanctuary; a charity which promotes and encourages the inclusion of refugees and asylum seekers in their district. This opportunity helped me understand more about the UK’s asylum system, and the fate of refugees as they are processed before being deported or offered safe and stable homes. While their status is determined all are supported by many volunteers and organisations who offer expertise and care. This effort and the emotional toll it took shaped the artwork I created. This print is one outcome.

At the time of my residency in 2017 people were walking across Europe, before entering and hiding in channel crossing lorries to get to the UK. Now they also come by sea. Imagery of overloaded boats, and worse the drowned, is heart-breaking. Which makes this print still relevant. So I share it again to highlight the ongoing, politically complex, international refugee crisis and the toil of volunteers and charities who help. Asking all the time what would you do for freedom?


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