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Exhibition 82: The Path is by Clare Morris-Wright.
Clare says: This zine was made as one part of a series of art works which showed what I had been doing over three years of observing an area of pathway which was a 1940’s perimeter path linked to a disused airfield near my home.
The artist’s zine was conceived as a way of communicating with visitors and walkers along the perimeter pathway, the QR codes link to seasonal films I made. Over the three year period I had negotiated access with the landowner who had agreed to not clear or cut back anything. I carefully watched this area of land which hosted its own ecosystem, thriving with wild flowers and an incredibly rich habitat, despite it being mainly concrete, this pathway hosted a botanical list of tough plants who enjoyed the cracked surfaces of deteriorating concrete. The list of what I found is shown here too.
I wanted the zine to show the close relationship I had built up with the path and to depict my interpretations of precious moments I had shared whilst regularly walking this pathway. Many art works were made and exhibited in a small barn near the path with some pieces going on to be exhibited at Cambridge University Center for arts research and the zine is now held in the permanent collection at The British Library and Glasgow Women’s Library. I see this path as a small part of what is available for us all to see in our everyday – the small gifts of nature, seasons and weather.

Claire Morris-Wright is an artist and one of the founding members of Knighton Lane Artists Studios and Leicester Print Workshop. Claire worked as educator and curator at Nottingham Castle Museum and Art Gallery and Leicester City Gallery.  She has exhibited widely and was awarded Arts Council England development funding for The Path project.

clairemorris-wright.com IG:ClaireMorrisWright

Simon Woolham writes: 1st April 2026: ‘A journey from Macclesfield to Uffington and back again’
“We left Macclesfield at 1:30pm with a graphite pencil, paper, glue stick, scalpel, fixative, and a blank white flag. I had not met Kate before but knew she was an artist and a farmer. We travelled past Rudyard Lake, through the centre of Leek, past the edges of Ashbourne, Derby and Nottingham, through villages, over small hills, round the edges of Rutland Water, through the shining light stonework of Stamford and then on to Uffington. We parked outside Kate’s farmhouse, but we could not see any farm and we all needed the loo after a long(ish) journey so I called Kate (who was seeing to some sheep). After our quick toilet break I got straight onto taking graphite rubbings as the house, farmyard, village opened up, and I was instantly in a textural haven! After we all (myself, my wife Hannah and our children Ava and Lana) met Kate and her three sisters, everyone was super welcomed and brought into the farm rituals; feeding the lambs, watching chick’s being tended too with pipe-cleaners, we were at one with Kate’s place. I ventured to the church where I found textures from the fences, gates, tombstones, walls, architectural arches. From the textures of history from Kate’s extended home I made an artwork that fitted to the dimensions of the noticeboard and a flag, which I felt celebrated Kate’s place and its place in the village and beyond. Me and Kate had many conversations afterwards, with too many coincidences to mention, taking us to Wysing, Huddersfield, Leeds and back to Macclesfield………… “

Simon Woolham studied Fine Art at Manchester Metropolitan University followed by an MA from Chelsea College of Art in London (2000). Simon’s practice as an artist, curator and academic is centred around expanded drawing research and methodology and this was the focus of his practice-led PhD from 2012 and awarded in 2016 at Manchester Metropolitan University. The PhD explored walking (in the broadest sense) and narrative in physical, virtual, and psychological space, expanding on the notion of an artists’ residency of the mind. He was based at Wysing Art Centre between 2008 and 2012 and is currently based at Rogue Artists Studio.

Jamie Temple, for this exhibition Unfinished Baskets, is showing linocuts that are an evolving series of prints that sit somewhere between research, material study, and finished work. He says: “They draw on ideas and forms that continue to surface across my wider practice: structures that interact with natural forces such as wind and water, or in some ways act as visual references to the complex systems we move through and our attempts to control and channel them. The forms in the prints are drawn directly from the physical willow objects made while on a residency at Studio459 Tomar, capturing them part way through their making. The flag is scaled up from one of these linocuts — its movement in the wind in some ways echoing the intended use of the physical forms influencing the prints: shapes designed to catch wind or move through water, extending these ideas into a shifting, kinetic object much like many of my sculptures.
During the residency, I became increasingly interested in basketry and working with willow. Surrounded by woven objects in the house and studio, and wanting to explore the craft of basketry while making use of leftover willow available. I began experimenting and reverse‑engineering baskets and other woven forms to work out their construction and some of the techniques used to make them. The slow, deliberate process of carving the lino blocks became a way of actively committing basket‑weaving techniques to memory: translating the gestures, patterns, and sequences of weaving into carved marks. They are ‘sketches’ of the physical objects; prints that carry traces of that material process and ground themselves in the movements of new skills developed during this period of research.

Jamie is an artist, educator, and curator with a practice grounded in relief printmaking and wood carving. Across works on paper, carved wooden sculpture, and mixed media installation, he draws from the built and natural environments we inhabit, traverse, and shape. His recent projects explore the interplay of dynamic systems — environmental, social, planetary, and human made — and how these structures influence our lives and surroundings. Informed by research, material exploration, and hands-on experimentation, his work opens up conversations around sustainability, ecological awareness, and the interconnectedness of all living things. Through these themes, he invites viewers to consider their relationship with the natural world and their role in shaping the futures we are moving towards.

Kat says: “Beyond the Fields is a photographic project that celebrates and documents the resilience of twelve women farmers from the North of England. Through large-scale portraits and accompanying narratives, the project sheds light on the precarious realities of northern farming, particularly the growing need for women to diversify their livelihoods by pursuing second careers outside agriculture in order to sustain their land and communities.
Each farmer is photographed in two contrasting settings: on their farms, where they work the land and tend livestock, and in their secondary roles beyond agriculture. This dual perspective highlights the layered lives of these women, whose work often extends beyond the farm gates to sustain rural life amid economic pressures, climate change, and shifting agricultural policy.
Shot on medium-format film, the images capture both the intimacy and scale of these women’s lives. By pairing pastoral and non-agricultural settings, the series challenges romanticised notions of farming and offers a more nuanced, contemporary portrait of rural resilience.
Beyond the Fields also aims to spark wider conversations around food sovereignty, rural gender dynamics, and the often unseen cultural labour involved in sustaining marginal farming communities. These women are frequently the glue holding together households, farms, and wider rural networks, and this project seeks to give them visibility, voice, and recognition.“
Kat is an artist and creative director working across photography, food, and community-led practice. She graduated in Fine Art Photography from The Glasgow School of Art and is a recipient of Portrait of Britain. Alongside her artistic practice, she works as a freelance portrait photographer for The Guardian. Kat is also Creative Director of The Landing CIC, where she leads projects that integrate art, ecology, and collective learning, with a focus on sustainability, skill-sharing, and connecting urban and rural communities.                                  For more information: www.katwood.uk

Exhibition 78 features work by Tom Martin of the Participatory Action Research group connected to the project ⵜⴰⵖⵓⵔⴰⵔⵜ.
The Participatory Action Research project used co-produced creative strategies to understand gender issues in Morocco and amongst Indigenous Amazigh women, specifically in terms of their experiences of climate change.
ⵜⴰⵖⵓⵔⴰⵔⵜ – the project’s title – means ‘desertification’ in the Tamazight language. The project was awarded the Emerald Publishing ‘Real Impact Interdisciplinary Fund Award’. This funding allowed the project team to run participatory photography workshops with local Amazigh women in a rural village in Aoufous in November 2022.
Tom Martin says: The images created illustrate the far-reaching consequences of climate change on these women’s daily lives.  This project aims to show how climate change – and specifically the process of “desertification” – is threatening the survival of traditional Amazigh livelihoods and is disproportionately impacting women and girls. The Amazigh flag holds a strong meaning for the people – a symbol uniting the indigenous groups and challenging colonial boundaries. 
As we approach COP29, with the theme “Solidarity for a Green World,” it is critical that the voices of those most affected by climate change—particularly women and indigenous communities in the global south—are heard and included in decision making. Their lived experiences and locally-informed solutions offer invaluable insights for policymakers shaping the future of climate action.
A co-produced book has been published by Emerald, summarising this project. This book is timed to be released during COP29, aiming to inform policymakers about the challenges facing indigenous people, and advocate for their cause. This project aligns with Sustainable Development Goals, SDG5, Gender Equality, and SDG13 Climate Action.“

Participatory Action Research Team:
Tom Martin – a Humanitarian photographer and lecturer at the University of Lincoln.
Michelle Walsh – senior lecturer and photovoice practitioner at the University of Lincoln
Dr Kaya Davies Hayon – lecturer in Francophone Maghrebi Culture at the Open University
Dr Fadma Aït-Mous – assistant professor of sociology University Hassan II, Morocco and UK mentor.
Professor Stephanie Hemelryk Donald – professor at University of Lincoln

John is a landscape gardener and a self taught photographer. He lives in the heart of the Lincolnshire Fens and captures the natural world that surrounds him.

“I’m a naturalist. I was brought up by my grandparents in a cottage in a little village on the Fens and I spent hours watching and learning about wildlife and insects. They helped me understand what I saw. I continue to have a passion for the natural world, its conservation and the education of those who know less or want to know more.
In between work, early in the mornings or late at night I go out with my camera. Sitting often for hours waiting for the right light, waiting for the deer, hare, birds to make the shot perfect. I lay still and also enjoy what I see around me.
I share my photos on instagram under the name SnipSnaps

Georgina Barney is an artist based at Primary, a contemporary art complex in Nottingham where she oversees a dye garden, growing plants to make dyes, inks and paints. Georgina shares these skills through her workshop enterprise Plant Dye Studio.
Georgina says: Weld (Nottingham Ring Road) is what it says it is. The plant is exhibited in the noticeboard, and the silk dyed with it is the flag. Weld is an historic dye plant, used for centuries in Britain for yellow and to make the famous ‘Lincoln Green’ associated with Robin Hood (first dyed blue with woad). As weld grows in the most inhospitable of places including roadside verges, it feels like a post-apocalyptic plant. A plant for the future and the past. It’s also a very urban one. It’s a wave from a roadside in Nottingham to one in Uffington…
When people ask me what I make, I say I make colours from plants. I make dyes, inks and paints. When people ask me what I make with those, it gets harder to explain. Often, the point is purely the process: of seeing what colours emerge and living with those for a while. It teaches me to let go and live with the imperfect; that in fact, the imperfect is beautiful. Sometimes, as in the Noticeboard United project, there needs to be a resolution, a thing. I try to keep it as simple as possible. The colour is the artwork. All I try to do is resolve the material into a form that keeps the colour as the centrepiece.

Exhibition 75 by Poly-Technic is a type set poster and invite – Art is not doing enough. So what will we do about it? Poly-Technic aka Kate Genever and Steve Pool say: Kate and Steve say: We responded to the thinking of Victorian art critic John Ruskin. We aimed to show how some of his writings are useful now. He like us attempted to hold a mirror up to those in positions of power, be that curators,  arts organisations, artists or politicians. He used art, beauty and writing to demand change.
Our project was called “The simple stories they tell us don’t make sense anymore” We made art, large-scale projections, opportunities for other artists and young people with the aspiration to make a new type of arts education.
We commissioned this poster and its companion invite from a letterpress printer, who works from a studio in Batley. We thought Ruskin would be pleased – a crafted object, words with value, an inscription in gold ink.
The simple statement and proposition feel relevant today as the world that we recognise continues to slip away.  At the Notice Board, with it,  we ask you to all look at the impacts of climate collapse, and arts’ responsibility to take action .

Poly-Technic was an artist collaboration that ran between 2006 and 2017. It’s mantra was: With people in places, doing things. “We began the collaboration after we stepped back and asked ourselves What can we do that was worth doing – what can art do that’s worth doing? In response we decided to ask tough questions, critically think and open up active spaces.”

Exhibition 74 – To Continue Walking is by Selena Chandler and features a patchwork of plant dyed recycled cotton and builders bags
Selena Says: Looking from the window of the train I watch the world go by – these are spaces I have walked, cycled and travelled through for years. Big skies, the green and ragwort yellow, water laying in the dips, beans and grain, the hovering kestrel, pillboxes, horses, creeks and towns – change is a constant.
The appearance of oblong shapes in the fields, the black plastic membranes, the turning of clay, and the clear signal of the significant change in process; the enclosure by silver fencing.
This work, To Continue Walking, remembers paths across the Essex landscape; a county which in contrast to popular views is still, (holding on), largely rural, with much prime agricultural land.
This is space that has been shared; where feet can feel the soil as dust and squelch, can connect with warriors, farmers, gleaners, artists, ramblers. Land that has been walked for generations; to work, to play, to defend.
In making this work, informed by walking, I think about reduced horizons, the smooth and the ragged, the presence of water, the growing of food, solitude, quietness, wider nature, the loss of communities, what is a home, a sense of time and space.
I wonder how the feet of the future will access the knowledges being cemented underfoot.

Selena Chandler is an artist rooted in Essex; its land and river scapes, its social histories and knowledges. Her practice draws on heritage crafts and is concerned with the sharing of domestic and trade skills, the languages of making and consideration of connections between past and present.

Exhibition 73 is HOPES/FEARS by Christoer Jarratt uses local wind conditions as a barometer for the current socio-environmental climate. How it works:

1. The HOPES/FEARS flag gets raised.
2. A live feed from the flag’s nearest weather station is visually represented through the live HOPES/FEARS animation 24 hours a day, 7 days a week for the duration of the flag being raised.
3. This can be viewed through using your camera on your smartphone to scan the QR code or by going to www.christopherjarratt.com/hopes-fears-live
4. The faster the wind, the faster the animation. Watch for a while for changes in conditions. Use it to find out what conditions are like in other villages, towns and cities.
5. Every location that the flag is raised will be archived and continue to have a live feed animation so you can continue to check in on local socio-environmental conditions according to the wind.
6. If you would like to raise HOPES/FEARS and add your live conditions to the project email contact@christopherjarratt.com

Powered by the wind, HOPES/FEARS is in-conversation with itself and simultaneously projecting its voice to the viewer both in person and online.
Sitting between a tarot reading, a finger in the wind, true environmental change and doom-scrolling. Calm sunny days turning unexpectedly into a storm out of nowhere. Earth is unpredictable right now.
HOPES/FEARS looks to give a visual reading of the feelings and emotions we have been dealing with in recent years. In one moment everything seems possible, we have the ability to change, adapt, work together with the environment, communities, governments… and yet, in an instant, it all feels overwhelming, too far, out of reach. The yin and yang, opposite but interconnected forces. Hopes and Fears.

Christopher is based in Sheffield and creates artworks embedded with human stories and our relationship to the environment. Christopher’s work draws on play, sustainability, colour theory and contemporary folklore to create unique pieces that are imbued with soul & narrative. www.christopherjarratt.com / @abstract_land