Fighting for Crumbs, at The World Transformed, Liverpool

I was very pleased to be invited to exhibit at The World Transformed, a 4 day festival hosted by Momentum as The Labour Party held their conference,  and the leadership election results were announced, in the very same city. It felt great to be taking our exhibition project ‘Fighting For Crumbs (Art in The Shadow of Neoliberal Britain) to the Black-E inLiverpool, to have our work in the same location as speeches by many figureheads at the forefront of a movement to push for much needed changes to the way politics is done and society is run.

#TWT2016 is about practising the new politics. We believe in a positive, future oriented approach to changing society. We believe in amplifying unheard, grassroots voices. We believe in broadening the definition of politics to include art, music and spoken word. We believe that politics is a bout more than just PMQs and Westminster. 

With Fighting For Crumbs being somewhat instigated by the ask to do something to celebrate the 50th anniversary of The Redshed  (Wakefield Labour Club), we worked with the organisers of The World Transformed find a way of using ‘Redsheds’ to exhibit our work and documentary by Connor Matheson. Here are some photographs of the project.

The World Transformed – Liverpool, 24-27 September


I will be showing a few of my pieces alongside more from our recent Fighting For Crumbs (Art in The Shadow of Neoliberalism) project, at The World Transformed, an exciting event going off in Liverpool next week from the 24th to the 27th.

“The World Transformed is a celebration of politics, art, music, culture and community. Hosted by a coalition of grassroots groups and powered by Momentum, The World Transformed will promote a radical, positive vision for the future.

Running alongside the Labour Party Conference, 23rd – 27th of September in Liverpool, we will host over 200 hours of workshops, talks, art exhibitions, gigs and cultural events. While there will be big name speakers, we are particularly excited to host a range of inspiring grassroots groups who wouldn’t usually be able to exhibit at conference..

The vast majority of the festival will be free to attend. All of the festival will be open to the public. Information on tickets, accommodation and transport are coming soon.


24th – 27th September.”

£$[We]€$[Can’t]$£[Take]£€[Any]$€[More!!]$£ (2016) is one of the pieces I will be showing





JD Taylor – Island Story: Journeys Through Unfamiliar Britain


I’ve finally finished reading JD Taylor’s brick of a book ‘Island Story: Journeys Through Unfamiliar Britain’ published by Repeater Books. Admittedly I missed most of the section on Scotland, due to a large pen leak defacing most of the section – but there again, being a visual artist, who carries everything he needs even when he makes a short journey means rucksack spillages happen against best intentions. But I read most of this 450 page brick (although it’s probably more fitting to liken it to a piece of sedimentary stone, carbon dated to the British Isles in the second decade of the 21st century), and although it’s a large book, it’s pleasurable reading.

I started following JD Taylor’s blog after taking an interest reading his 2012 book ‘Negative Capitalism’, published by Zero Books. In 2014 I realised he’d been undertaking the sort of project that had become close to my heart in the last few years: assessing the social spirit of the times by traveling the land, and getting close as possible sense of what it feels like to live in the towns and cities of this country. I caught up with the blog literally just after he had posted about traveling through the area from where I was reading the post! And I was intrigued by what he was saying from then onwards.

JD Taylor didn’t go around the Island telling folk what was and wasn’t, he actually listened to what they had to say. Listening isn’t an easy thing to do, and I’m as bad as the next person for making interruptions before somebody has finished a sentence.  I don’t think it’s ever been easy to sit down and let somebody else explain how they see and feel about the world, but certainly not in times where there is an intense social pressure to compete against each other for economic survival. Listening thus requires our want for empathy to win over our gut feelings to get our opinion over before others can. But for those wishing for a future beyond the current inertia, telling rather than listening possibly entrenches the necessary one-upmanship of a social model based around scarcity.

I asked JD Taylor to come speak at a recent art and film project I was involved in undertaking. ‘Fighting For Crumbs (Art in The Shadow of Neoliberal Britain)’ was somewhat a response to being asked to show my artwork in the Wakefield Labour Club (commonly known as ‘The Redshed’) as part of its 50th anniversary events. I’m not in the habit of carelessly flinging works up on walls, and I was keen to do something that spoke of the political mood and social spirit of these times, to contrast with what my friend, and Redshed stalwart, Sandra Huthinson, said was the spirit of 1966; one of political optimism, in spite of the troubles in the world. Taylor seemed not only to speak for the same generation as my own, but I thought his findings upon the roads of this island were closely in tune with the aims of our project. I’ve never asked a writer to speak at an event before so it was an initially daunting task, but thankfully Taylor seemed more than happy to take part, and it became part of a larger tour promoting his book.

Within the island-round journey taken his book unearths forgotten uprisings to challenge the assumption that our collective story is one of putting up and shutting up. There’s a disconnect between Here and There, that seems to become an Us and Them. As a northerner there’s a tendency think we are the worst treat by the powers that be, with the locus being London. This isn’t an unreasonable feeling, especially when looking at the half-century’s worth of diabolical infrastructural neglect over this region. But it’s not necessarily true, and Taylor’s accounts of Kent, as he comes to the end of his travels, leave me quite moved. As it seems that many of the people populating a county most think of as England’s green and pleasant land are as struggling and confused as anywhere else on the island – possibly even more so due to lacking a strength through identity that still gives many in other regions spoons full of spirit every now and then.

The overall conclusion in Island Story is a sense of confusion but mostly defeat. I think he’s on the pulse when saying “young people are worst affected by the peculiar “nowhereness” of the moment” – I’ve heard this misdirected into a sense of personal failure in many who were traveling through their teens and twenties especially since the financial crash. However, the conclusion is not one of eternal defeat.  Aren’t many of us more punch-drunk optimists than pessimists? One section of his conclusion particularly stirs my damaged optimism. Taylor says that

“this sense of inertia and in-betweeness suggests the accruement of desiring energies around the block. Gathering force yet unable to release, time is slowing into one interminable moment before the extraordinary happens, what few considered possible even a few moments before.”

Whether this is a good sum up of this great book, or more of a means of thanking  JD Taylor for speaking at our Fighting For Crumbs event, I’d strongly recommend this book to both my like-minded friends, and my not-so-like-minded friends – after all, the conclusion I hope the book gives you is that wherever we are we all more or less desire and worry about the same things in life.



Fighting for Crumbs (Art in the Shadow of Neoliberal Britain) – Video Documentary.

This is our video documentary, crafted and produced by Connor Matheson/DEADIDEA Productions. It accompanied our recent exhibition. Please take a look.

Thank you for everybody who contributed to our crowdfunder earlier in the year.

Reflections on 2016, so far

It’s been a bit of a weird year, and states of mind have conspired to bring the very worst in me quite a few times. But I feel I’ve been as on the ball with the production of new art to say the least. Most work has gone towards two exhibitions ‘Under Digital Rain‘ (curated by John Wright) and ‘Fighting For Crumbs  (Art in the Shadow of Neoliberal Britain)‘. I feel these exhibitions are the outcome of focuses  (in and out of all parts of life) that have taken up my past 5/6 years. I’ve been saying this for most exhibitions for a couple of years. But with these 2 shows I feel I’ve actually started to get it together properly – with the help of fellow artists and philosophical companions. Although I am working on a project with John Wright, and Dave Jarvis, called The Retro Bar at The End of The Universe, right now I’ve been transmitting far too much, and now to start to doing some receiving, listening to what people have to say in the our post-Brexit UK.


This Land –


NoteToSelf (2016)


Tired of Life (“I Want To Leave Myself”)





£$[We]€$[Can’t]$£[Take]£€[Any]$€[More!!]$£ web large




Hunger Games Darwinism (900x1280)

Hunger Games Darwinism

Bound up in Binary

Bound up in Binary

I am Becoming Nothing (Closure no3)

I am Becoming Nothing

Streamed Out

Streamed Out

The Capacity to Care (1370x2000)

The Capacity To Care


Rot_in_Silence_2016 (a work I made in response to being asked to contribute an original print to a crowdfunder for the film Dispossession: The Great Social Housing Swindle


The Worldwide Oneupmanship


Under Digital Rain


The Worldwide Oneupmanship


The Worldwide Oneupmanship


Under Digital Rain

England’s Nervous Breakdown


YOUR Freedom


YOUR Freedom

A3 picture_0001

A Grief That’s Been Gagged and Buried


Fighting For Crumbs – ‘Broken Slates’ installation


Fighting For Crumbs


Fighting For Crumbs

Fighting For Crumbs – a Virtual Tour

We were all really pleased with how the works played off one another;  a coherence of many preoccupations that made up the reasons for having this exhibition which addressed political pessimism, the age of disbelief, austerity and the overlooked areas of the UK.

Whilst John Wilkinson’s paintings addressed the damage done both by once worker-hungry industries, and then their disappearance in a global market economy that then told these workers to become entrepreneurs of themselves, Connor Matheson’s photography documents these very areas a generation on, a landscape with little more opportunity than call-centre dead-end jobs. The Dearne Vallery, Sheffield, Rotherham, Barnsley, Wakefield.

John Wilkinson’s paintings also deal with the post-colonial nationalism that chokes the UK’s horizons, clouding out a future that would lead us from making the same mistakes and get us out of spiraling destructive cycles. Amidst these paintings is an installation by Corinne Deakin, which, more than anything, I feel looks either like flotsam and Jetsom in-the-making or something in decay that refuses to accept it; a empire built on maritime dominance that refuses to give up its ghosts and in process drags everything else down with it.

I wanted to put works into the show that both addressed the mood of the land and looked at the geography of the area that connects up the Post-industrial Yorkshire towns intrinsic to the Fighting For Crumbs project. First off I wanted to get the poet Jonathan Butcher involved. John’s poetry is subtly political, a gritty realism and focus on the landscape he has seen community disintegration and lost futures from within. I worked with him to make a way of getting his words into an art exhibition. Growing up on Hall Road, in the Handsworth area in the eastern suburbs of Sheffield, I tried in to incorporate some of my memories of seeing the nearby Manor Estate in a state of dereliction, with the fact that the Sheffield Parkway trunk road slices Hall Road in two, to make a place for Jonathan to write his poetry that visualised community/social disintegration.

I made a installation centred around a large memory map of The West Riding of Yorkshire I undertook in 2013, mainly focussing on Barnsley, Wakefield, Leeds and Sheffield that documents the visible impacts of austerity next to feelings of confusion, frustration, alienation. I incorporated a other geographically-focused works that look at the mood of the country through the first ‘season’ of austerity, the run up to the 2015 election, and then the run up to the EU referendum. Always intent on tying together the areas where Fighting For Crumbs is based around, being held at (The exhibition continues 20+ miles north of Sheffield at the Wakefield Labour Club, ‘The Redshed’, on Saturday 13th). And I have installed some of my drawings in the somewhat smaller Redshed venue

Somewhat hidden in the corner is Rebekah Whitlam’s installation ‘Vanitas Britannia’ that talks about how the riots, kettling, protest and upheavals at the turn of the decade have been swept under a ‘handmade’ carpet of a ‘keep calm and carry on’ crafts culture, satirising the tactics of a nation that retreats into its mythical past, by playing on the morbid theme of mortality that occupies the Dutch Vanitas paintings. “As a textile artist…[Rebekah} feels a pressure of balancing a vision of socially inclusive creativity without undercutting [herself] and other artists financially.” Adding that as a craft-skilled artist it is hard not to become part of the problem when “as handmade, locally sourced business cashes in on developing the streets, financial and emotional security remains distant for their neighbours and the divide becomes increasingly widened.”

It connects up with a running narrative in the show about the gentrification of a few ‘hip’ areas in these post industrial towns to the cost of all the surrounding working class communitiess which become invisible in their struggles. The fact the there is no lighting in the room both seems to reflect the dark colours of the Vanitas paintings. and, I felt, becomes a satire on the ‘keep calm carry on’ ‘Blitz-spirit’, austerity = black outs, narrative etc etc. Just make sure the that fact the room is unlit doesn’t make you think it’s not part of the exhibition!

The exhibition doesn’t so much dwell on the past as look at the inertia of the present; the future we have forgotten in favour of ways to guide us through the day in hand. We seem to have forgotten that we need something to believe in. The world appears a place in a downward spiral of cruelty and sadness, but dead-end pleasure-seeking in a depressed landscape doesn’t quite hold its excitement for very long – it just sets in stall a pursuit of even more extreme pleasure seeking later on. Fighting for Crumbs somewhat tries to visualise a country that wake from a defeatist slumber that it perhaps doesn’t even recognise as being in.



‘Development Opportunity’ and ‘We’re all in it Together’ – John Wilkinson





Installation by Corinne Deakin in front of ‘Draped in Faded Glory’ by John Wilkinson


(Right to Left) A Man hesitantly looks at Thermal Socks for Sale in Barnsley – Connor Matheson, ‘Keep Calm and Keep Shopping’ – John Wilkinson


Corinne Deakin’s installation in front of ‘The Imposition of Conformity’ by John Wilkinson


Youth Riding a Small Motorbike – Shirecliffe


Broken Slates – installation piece – Jonathan Butcher and John Ledger


Poppies (For Jonathan Butcher) – a painting John Wilkinson produced for the show in response to one of Jonathan’s poems.


Installation by John Ledger


West Riding of Yorkshire: A Pyschogeographical account


<p><a href=”″>Lost Bus Routes and Pre-Election Rambles</a> from <a href=”″>john Ledger</a> on <a href=””>Vimeo</a&gt;.</p>


Vanitas Britannia – Rebekah Whitlam


At the Redshed, Wakefield on Saturday, 1pm onwards, we will be showing our Fighting For Crumbs documentary, which will look at all the artist involved. We will be showing the brilliant documentary Sleaford Mods – Invisible Britain, and JD Taylor will be giving a talk. JD Taylor is the Author of Negative Capitalism: Cynicism in The Neoliberal Era, and Island Story: Journeys Through Unfamiliar Britain

Images of Redshed show



12.08.2016. Performance and poetry@Fighting For Crumbs


On Friday 12 Aug from 6:30pm on-wards we’ll be having a performance and poetry event, alongside a last chance to see The Fighting For Crumbs exhibition

Nick Kilby


Artist Nick Kilby will be breaking his two year performance fast to put something together for the Fighting For Crumbs event on August 12th at the Gage Gallery in Sheffield, located inside KIAC, Sheffield, S3 8DB. 6:30 – 9pm

‘”To the 330’ is a noise/aktion blood hex against an occupying administration. Be fun to see some of y’all. There will be no milk x”


Jeff Jethro Platts

Jeff is a singer with Parson’s Lot and CAMBODiA, a writer, performer, activist, campaigner, ex miner, ex many things.


follow our events page on facebook to keep up to date.

6:30-9pm, Gage Gallery. The Lions Works, 40 Ball St, Sheffield S3 8DB



Fighting For Crumbs…


I’ve been involved in setting this project up for the best part of a year…

Over the past few years or so I have found a few people who were agreeing with my growing sentiment:

That the mood and spirit of this society (global too) was in a deep depression, and that this had to be addressed before there could ever be a popular movement that would well and truly galvanise the daily-downtrodden’s into believing in something so much that they were prepared to fight for it.

(Let’s be honest. I’m a daily-downtrodden myself. I’m no freedom fighter.)

Trying to hold a belief that another world is possible up to the light of a new day in UK2015 was like holding a flower up to a nuclear blast – it withered and recoiled before the toothpaste was on the toothbrush. Before you know it the old depressive-pleasure-seeking kicks in: cider after cider, angry self destructive acts, a spree of undecipherable text messages  – enough to write another day off until a new dawn fades.

Art has been my backbone in a world which seems bent on being cold and meaningless in equal measure. Without it I’m a mollusc looking for the nearest dark spot to dwell in For “there are brighter sides to life and I should know, because I’ve seen them, but not very often”. And I always recoil to my work as an antidote-maker.

I’m bored of expressing this. Deeply bored.


Another world….

…a better world

Isn’t there a plant in the desert that only flowers once a generation? Is that not a perfect analogy for English optimism?

The week that followed from May 8 2015 was actually a special week for me, for it felt like I was sharing something with others. What I felt I shared was a despair and fear now that the Tories and the media were taking their gloves off for some sadist pleasures. And I felt this sharing of despair beginning to jolt people into a sort of action most of us hadn’t engaged in before. But it didn’t last…

Rotten Soil….

…A couple of months later I discovered the Sleaford Mods. Their channeling of the rotten soil of nowhereland sank into hole where a soul, a love of life should’ve been. An Antidote. Later that year I was surprised to find that a film called Invisible Britain, that followed the band, was following them on a tour of the Ingored-lands. The Ignored-lands I meandered within and wrote about: mainly Barnsley and Wakefield.

I felt an idea coming along..

This idea was given one leg to stand on when I was asked by friends to put on an exhibition at the Wakefield Labour club (Aka The Redshed).

2016 marks the 50th birthday of The Redshed, also known as The Labour club. Situated in the heart of the Yorkshire city of Wakefield, the place is somewhat unique, and has defiantly resisted the capitalist forces that have penetrated nearly everything else around it. A year-long line-up of events are now marking this anniversary.

Sandra Hutchinson, a lifelong supporter of the club, spoke of how The Redshed began at the height of the social and political changes happening in the 1960’s. In-spite of the seismic troubles around the world, it was an age of political optimism, and there was a strong belief that things could be and would be changed.

I needed to put something on that spoke of the disbelief that has penetrated the years I’ve been an adult.

Artist Corinne Deakin coincidentally came up to me thinking of doing something very similar. Looking at the way the arts were being pushed out of the reach of many people due to 5 years of needless austerity, low wages and high living costs. I must’ve said the words ‘fighting for crumbs’, in one of my waffles that I never remember, and Corinne remembered it and said that we need to call our project this.

And then it just seem to fall into place. I’d worked with the artist John Wilkinson the year before, and knew his work and thoughts were ideal for our project. And during conversations with friends Rebekah Whitlam and poet Jonathan Butcher I realised how appropriate their work was to addressing the cultural mood of this secretly unhappy Island. Corinne knew a photographer from Barnsley called Connor Matheson, who was just that little bit younger than my own town centre social circles for me to have know him prior to the this project, but I think I’d already seen his photographs and thought they would work well alongside our works, especially John Wilkinson’s paintings. In a way that is sort of Inspired by Invisible Britain, I thought it would be great to make a talking head documentary for this project – the Fighting for Crumbs documentary will be on show at the Redshed event, and hopefully all way through the Gage Event. Anyway, here’s a link to all that.

Here are a few lines from each artist. All I can say is that I hope whoever reads this can make it to at least one of the events that we are putting on:

John Wilkinson (B 1962 – Sheffield based)

The price of coal

The Price of Coal

Austerity, the ugly reality of post-war Britain and the backdrop to the founding of the welfare state has come back to haunt us once again. Trying to invoke that spirit that enabled us to survive and rebuild the last time, David Cameron famously said ‘We’re all in it together’ but the truth is that we’re not, and it isn’t the same. A North decimated by industrial decline and unemployment is not the same as the manufacturing centres that provided the growth and foreign trade that led us to economic revival in the 50’s. A class abandoned because the education bar has become too costly to climb over is no longer the motor of the economy, and so the economic benefits of whatever financial services revival they paid for never reach them. Instead of building the State that supported growth we are dismantling Health, Education, Housing and Welfare, and replacing all but the cheapest labour with technology that frees us from work and with it income. As an artist, my work is a response to the world I live in – a mirror that reflects reality, and what it might become. Through it I express my compassion for a people who built the foundations of our world, and will be left to rot in its basements until we can see what is happening, and ask for better. Then I’ll paint pretty landscapes.

Corinne Deakin (B 1988)

Corinne Deakin

During the past 5 years, or perhaps longer, we have seen old architecture and independent business give way to gentrification and cuts that effect the working class. Education is being stifled and the youth of Britain are entrenched in large debts they may never be able to pay off, with suggestions of unfair consequences. The idea of community is disintegrating, as we are encouraged to evolve into self absorbed, cutthroat individuals where its constant networking and making a career for yourself is based more and more on who you know, not what you know- and it never hurts if you’re born into wealth. Glorifying low paid internships and getting very little in return. This is the ideology that’s being sold to aspiring artists; the dark introduction of how to make it as a successful artist today.

Jonathan Butcher (poet, B 1978, Sheffield)


Over the last 40 years the structures that should constitute a society have been eaten away by ideals which have been instigated by the few, with the intention to pollute the many. Ideals that strive to restrict us and attempt reduce human expression to the level of the banal and the superfluous; achievements considered wasteful,and without worth. We have been left empty, yet we are expected to remain grateful for the meager gains we have scraped together; gains which when pursued only through shear necessity, place money above time and psychical and mental strain above thought and basic fulfillment. Slivers of hope are offered, but are usually temporary, and for the large part conducted by those just as driven by this machinery as those they purport to despise. This now continual scenario enforced upon us attempts to define us. It claims to speak on our behalf, without offering a single answer to this problem or a solution to our fate.

John Ledger (B 1984, From Barnsley, works in Wakefield)


There has arisen a deep disbelief in the abilities of the human race, without much shared understanding of how we came to feel this way. Maybe it comes from the fact that with what we now know (regarding climate change, the impacts of social inequality, living memories of 20th century horrors), there’s a sense that we SHOULD be in the process of building a far better world to live in. But NO: in 2016 we are within a state of affairs that is making us scrap amongst ourselves for pieces of barely anything. Are we surprised if nervous breakdowns and spells of aimless rage are commonplace amidst this deeply absurd situation?”

Rebekah Whitlam, Sheffield, 1984

Vanitas Britannia.

Since the recession there has been a pseudo-nostalgia of post-war Britain. Kettling, rioting, and protests were swiftly detracted from by weddings, jubilees, and cake on the BBC. The “keep calm and carry on” craft trend has escalated; beer, baking, and bunting have become synonymous with community togetherness.

Whilst we crave authenticity in ourselves and our society, empty slogans are sold back to us. The commodities of craft offer us promises of a community, but leave us all the more alienated. As handmade, locally sourced businesses cash in on redeveloping the streets, financial and emotional security remains distant for their neighbours and the divide becomes increasingly widened.

As a textile artist I feel a pressure of balancing a vision of socially inclusive creativity without undercutting myself and other artists financially. The lapping of cushions, cards, and craft is at my feet, but how do I not become part of the problem?

Austerity strains us economically and is having a detrimental effect on personal integrity and creative freedom.

Connor Matheson (B 1992 Barnsley)


The works I am showing in Fighting For Crumbs explore the everyday lives of normal people in the Post-Thatcher era, with particular focus on themes such as family relationships, the local economy and drinking culture. With a specific focus on the north of England, this project is an accurate representation of working class culture, depicting the everyday lives of people who are often vilified in the mainstream press as “scroungers” or “yobs”. The work shows the effects of government economic policy yet also shows the human element, relationships and humour in life and celebrates the diversity of people and the character of areas.

Gage Gallery, Ball Street, Sheffield, S3 8DB

Monday 8 August: Opening night. 6:30 – 9pm
Friday 12 August. Music and poetry night. 6:30 – 9 pm

The Redshed, 18 Vicarage St S, Wakefield WF1 1QX

Saturday 13 August. 1Pm onwards. Film-viewing, and talk by JD Taylor
Normal gallery opening times: 8 August – 13 August, 7-11pm (call 01924215626 to check room is not in use)





Friday 12 August. Fighting For Crumbs – Poetry and performance night

On Friday 12 August as part of Fighting For Crumbs (Art in The Shadow of Neoliberal Britain) there will be performance and poetry within our exhibition at Gage Gallery, Sheffield, starting at 6:30 and running until 9pm.


Artist Nick Kilby will be breaking his two year performance fast to put something together for the Fighting For Crumbs event on August 12th at the Gage Gallery in Sheffield, located inside KIAC, Sheffield, S3 8DB. 6:30 – 9pm

‘”To the 330’ is a noise/aktion blood hex against an occupying administration. Be fun to see some of y’all. There will be no milk x”

Our poets and poetry readings are yet to be confirmed, but follow our events page on facebook to keep up to date.

A Grief That’s Been Gagged and Buried (2016)

A Grief That’s Been Gagged and Buried (2016, mixed media on A3)

A3 picture_0001

I don’t know when you could say such a time began (maybe at some point during the past decade or even earlier?), but I sense we are overdue some grieving time. And that’s because our civilisation (specifically our faith in a capitalist model – one based on exponential growth – to bring well-being and prosperity) has died. Grief is a natural process in order that we can rehabilitate so as to move on to the next stage of life, but it has been emphatically denied us. Its existence has been denied, and the denial has been played out in a turbo-charging forwards with the persistence of now-dead beliefs. And look at the pain that it is causing; to be forced to work harder for something deep down we know is not only going nowhere, but is in a process of perpetual deterioration. It has made knowing-zombies out us, an anxious-undead, clutching our Iphones, trying to climb out of the daily dread. But it has to give-way at some point. More and more of us are suffering under the psychological strain of knowing we will have to work harder and harder for diminishing returns from a dead/dying system, and all around you can see people cracking up. Nobody knows what this outcome will finally lead to, but there is potential for a rebuilding, not so much physically, but culturally. However, right now we are in need of an healing process.

This work will feature in the Wakefield Redshed section of Fighting For Crumbs (Art in The Shadow of Neoliberal Britain

Fighting For Crumbs (Art in the Shadow of Neoliberal Britain) is a group of artists from Yorkshire working amidst the after-effects of Austerity Britain 2.0.

The project was inspired by the film ‘Invisible Britain’ (based on the work of Sleaford Mods) that looks at overlooked UK towns and cities, and motivated by a request to contribute to the 50th anniversary celebrations of ‘The RedShed’ (Wakefield Labour Club). The event is based in Sheffield and Wakefield and explores the position of art, and artists, in a period when we are all being pressured to ‘strive’ for crumbs – a time when wages are low, and the market dictates creativity

Gage Gallery, Ball Street, Sheffield, S3 8DB

Monday 8 August: Opening night. 6:30 – 9pm
Friday 12 August. Music and poetry night. 6:30 – 9 pm

The Redshed, 18 Vicarage St S, Wakefield WF1 1QX

Saturday 13 August. 1Pm onwards. Film-viewing, and talk by JD Taylor
Normal gallery opening times: 8 August – 13 August, 7-11pm (call 01924215626 to check room is not in use).