We're very pleased to working with Ikon, Eastside Projects and Grand Union on Winter Art Fair.

We will be presenting works for sale from The Lombard Method co-directors and studio holders, and artists we've worked with.

The fair features a range of affordable works – including limited edition prints, posters, books and sculptures – suitable for the home or office, as an investment or a great Christmas gift. Prices range from £10 to £5000 with all profits directly supporting the galleries.

If you're interested in purchasing any of the works here, email info@thelombardmethod.org.

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Winter Art Fair
Winter Art Fair
Winter Art Fair
Winter Art Fair
Winter Art Fair
Winter Art Fair

Opticktocks, 2013
Rachel Adams
Vinyl on laser cut MDF, between 30 x 30 and 60 x 80cm
£150 - £400 (size dependent)
Unique works
Rachel Adams undertook a research residency at The Lombard Method for three months in 2013.

Passionately Outgoing, 2013
Stuart Layton
Oil on paper, 14 x 19cm
£150
Unique work
Stuart Layton was a studio holder at The Lombard Method during 2013. He is currently studying at Royal College of Art, London.

Reverse Running, 2013
Stuart Layton
Oil on Paper, 13 x 18cm
£120
Unique work
Stuart Layton was a studio holder at The Lombard Method during 2013. He is currently studying at Royal College of Art, London.

Carrier, 2013
Joanne Masding
Ink on di-bond aluminium, 15cm x 10cm (each)
£200 (pair)
Edition of 5 plus 2artist proofs
Joanne Masding is a co-director of and studio holder at The Lombard Method.

In the refinery, 2013
Joanne Masding
Digital video and installation instructions on air dry clay sculpted USB drive
£300
Edition of 5 plus 2 artist proofs
Joanne Masding is a co-director of and studio holder at The Lombard Method.

Looks good with trouble (detail), 2013
Mathew Parkin
Etched photo crystal, 80 x 60 x 25 mm
£100
Unique work
Mathew Parkin is a studio holder at The Lombard Method.

Cut, 2013
Mathew Parkin
Digitally printed mousemat, 23 × 19 × 0.5 cm
£40
Unique work
Mathew Parkin is a studio holder at The Lombard Method.

Cut, 2013
Mathew Parkin
Digitally printed mousemat, 23 × 19 × 0.5 cm
£40
Unique work
Mathew Parkin is a studio holder at The Lombard Method.

A Subductious Fragment, 2013
Adam Ulbert
MDF, plywood, print, paint, ceramic vase, towel (installation)
£1500
Unique work
Hungarian born Amsterdam based artist Adam Ulbert was commissioned to make a new solo exhibition at The Lombard Method ‘The Peeping Metals Experience’, in 2013.

Deep Ridge 2, 2013
Matt Welch
Cast plaster, spray paint, 35 x 15 x 15 cm approx
£150
Edition of 10 plus 2 artist proofs (each is hand painted so unique)
Matt Welch was artist in residence at The Lombard Method in 2013, where he produced a solo exhibition of new work ‘Lossy Accent’.

its been real, 2013
Matt Welch
Poster, A3
Free!
Edition of 100
Matt Welch was artist in residence at The Lombard Method in 2013, where he produced a solo exhibition of new work ‘Lossy Accent’.

A series of events celebrating artist's moving image and the conclusion of our 2012-13 programme.

Something like a wrap-party, the fortnight will reflect some of the artistic concerns of those we have worked with during the past year, and marks the end of this year's programme.

Narrative day
6, 7, 8, 23 November, 12-6pm (as part of the Engage conference Fringe programme)
Limulus, 2013, video, stereo sound, 11 minutes 43 seconds, Karen Kramer
Questions for the Time Being, 2011, HD video, 5 minutes 23 seconds, Edmund Cook
Call of the Klondike, 2012, video, 7 minutes 18 seconds (looped), Alice Evans

CG day
12 November, 6-8pm
Rainbow Narcosis, 2012, CGI animated HD film, 8 minutes 46 seconds, Jonathan Monaghan
In the Long Tail, 2009, documentation from the Abrons Art Centre (via YouTube), 58 minutes 40 seconds, Mark Leckey
I am Proud of People, 2013, HD video, 10 hours, Matthew Ferguson

Broadcast day ***ONLINE***
17 November
Quadrat I & II, 1982, TV short, 20 minutes, Samuel Beckett

Katherine's day, 'Joints in Associate Scenes', curated by Katherine Fishman
20 November, 6-8pm, followed by drinks and discussion with Katherine and some of the featured artists at The White
Swan, Bradford Street.
Free Radicals, 2013, video, 5 minutes 45 seconds, Patrick Goddard
Pole Man, 2012, HD video, 9 minutes 53 seconds (looped), Alex Culshaw
Dentist, 2009, single screen video, 1 minute 16 seconds (looped), Olga Koroleva
All of its Experience is Lost, 2013, silent HD video, 11 minutes, Alice Gale-Feeny
Walking Woman, 2012, HD video, 10 seconds (looped), Alex Culshaw
Marganith, 2012, HD video, 13 minutes 17 seconds, Tzion Abraham Hazan

Groundhog day ***ONLINE***
22 November
They Think They Can Fix You, 2012, looped HD video, Oliver Sutherland
Feral, 2008, wall painting video projection (via Vimeo), 2 minutes 21 seconds, Torsten Lauschmann
Plus special guest

Wrap party
23 November
Another opportunity to see Narrative Day, followed by drinks to celebrate the launch of The Lombard Method Annual 2013, published by An Endless Supply.
12-6pm, Narrative day
6-8pm, The Lombard Method Annual launch
8pm and beyond, Wrap Party!

'Temporal Logic' is the final presentation from our 2013 graduate artists in residence, Amanda Grist and James Lomax.

Amanda Grist has been working responsively with both physical and sonic elements of the building to develop a new video and sound installation, 'nox'. Anecdotal histories of the building and surrounding area inform narrative elements within the work, and sit alongside an ongoing exploration of impermanence.

James Lomax has used the residency to experiment with different approaches to making. Distancing himself from the 'fine craft' which he had previously engaged in, and presenting installation with video, sculpture and painting, Lomax's work explores temporality framed within literary references.

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No More Swimming, James Lomax
nox, Amanda Grist
Exhibition view
Foreground: I Went Back to Home Depot, James Lomax. Background: nox, Amanda Grist
nox, Amanda Grist
Bahia Flamingo, James Lomax
Head Scratching II, James Lomax
Exhibition view
Exhibition view.
Exhibition view. ]]> https://thelombardmethod.org/past/temporal-logic/ 2013-11-02 13:33:30 Summer residency and solo exhibition
In residence: 25 July - 22 August
Exhibition: 24 August – 8 September, Thursday - Saturday 12 - 5pm
Preview: 23 August, 6 - 8pm

Selected by The Lombard Method and Helen Legg, director of Spike Island, Bristol, Matt Welch was in residence at The Lombard Method for one month, producing new work for solo exhibition 'Lossy Accent'.

"God, Margaret. You really have to wonder why we even bother to get up in the morning. I mean, really: Why work? Simply to buy more stuff? That's just not enough. Look at us all. What's the common assumption that got us all from there to here? What makes us deserve the ice cream and running shoes and wool Italian suits we have?"

'Lossy Accent' combines a term associated with the compression of digital data with a word used to describe the manner in which something is pronounced or emphasised. There is a possible strain between these two words as lossy symbolises a reduction by means of compression with concern for retaining the best possible image, and accent denotes an embellishment or character added to a known object. To locate the accent you must know the object.

What can we take out here to leave only what is necessary so that it remains of this thing, in a way that it remains intact?

An accent suggests embellishment, ornamentation or making use of language in a way that signifies a particular identity. The works in this exhibition focus on the construction of a language and an identity as a problem. Layers of pop cultural and art historical signifiers suggest a research practice that is disparate, accummulative; building architectures around the negotiation of a presentness that is without historical location or any radical agency beyond the accentuation of its surfaces.

It is a means of condensing storage space; it is going through your things and getting rid of stuff that no longer is necessary.

Matt Welch (b. Liverpool 1988) currently lives and works in London. Previous group exhibitions include ‘Lounger’ Matthew’s Yard, Croydon, 'John Moores Painting Prize' and ‘Cave’ both Liverpool Biennial 2012, residency at Goldsmiths College, London in collaboration with Laurence Alan Price 2011, Saatchi /Channel 4 New Sensations 2010. Forthcoming projects include Ceri Hand Gallery Summer Fete and Manchester Contemporary Art Fair with Ceri Hand Gallery.

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Exhibition view.
Exhibition view.
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]]> https://thelombardmethod.org/past/lossy-accent/ 2013-09-03 15:46:36 Some text
Some image;

The Lombard Method is pleased to present 'The Peeping Metals Experience', a solo exhibition by Amsterdam-based Hungarian artist Adam Ulbert.

Working in sculpture and video, Ulbert juxtaposes man-made objects with naturally occurring forms to consider the cultural connotations of materials, colours and shapes.

Influenced by human sciences and psychoanalysis, Ulbert considers the physical and cultural attributes of each component within his work. Through re-ordering and re-positioning these individual elements within his pseudoscientific works, and undergoing a process of analytical examination to reach a finished piece, he suggests new ways of interpreting this information.

Ulbert presents sculptural works comprising wooden structures coated in a skin of tile and printed rock, with quartz crystals and ceramic vases sitting atop their shelves and surfaces. These newly commissioned works function also as props that set the stage of the exhibition, and as gallery display structures that enable the display of their object components. Ulbert describes this new body of work as 'domesticated catastrophe', where volcanoes become scaled down to resemble furniture or ornaments.

The layering of textures, images and objects continues through Ulbert's video works, which focus on material in a state of flux, and the moment of a creative act as opposed to the product of it. Ulbert records sculptural processes and materials to consider the instant of manifestation; observing a mid-point from which to maneuver - into creation or destruction, growth or decay.

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Exhibition view. 
Exhibition view. 
Exhibition view. 
Exhibition view. 
Exhibition view. 
Exhibition view.  ]]> https://thelombardmethod.org/past/the-peeping-metals-experience/ 2013-07-15 13:18:23 Artist in residence March - June 2013
Artist talk - 20 March
Just Imagine... - 16 - 18 May
Suburban Mystic - 13 - 21 June

Glasgow based artist Rachel Adams was in residence at The Lombard Method from March until June 2013, focusing on research that will inform the development of future work.

Adams’ sculptural works explore the relationship between science fiction, classical sculptural motifs and decorative craft techniques, questioning the historical and cultural value of materials.

Adams uses materials and processes that have a specific cultural and historical identity, such as tie-dye, macramé and crochet, in works that reflect the aesthetics of science fiction. Adams often mirrors methods employed to produce the ‘alien’ environments of 1970s television sets, which marked a growing distrust of the technological advancements of the preceding decade. The retrospective contexts of Adams' sculpture draw on an increasingly nostalgic engagement with new age themes such as self-improvement.

Just Imagine...
Taking its title from the 1930 science fiction musical comedy of the same name, 'Just Imagine...', curated by Adams, brings together a showreel of research explored during her residency.

Comprising film trailers, movie clips, promotional footage, artist films and archive footage, 'Just Imagine...' presents a snapshot of the artist's influences, including moving image treats from science fiction, craft workshops and feminist history from the '60s, '70s and beyond.

Suburban Mystic
For this end of residency presentation Adams has produced new objects combining craft techniques including macramé with contemporary commercial techniques such as laser cutting and vinyl printing. The works all use motifs commonly seen in interior design from the 1960s and 70s, such as eye clocks and plant hangers. By combining these materials and motifs, Adams aims to create associations between interior styling and predictions of the future, creating an installation synthesised from an unfamiliar combination of past and present 'Earth' styles.

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Exhibition view. 
Exhibition view. 
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]]> https://thelombardmethod.org/past/rachel-adams/ 2013-06-25 11:32:14 Exhibition as Cinema
Curated by The Lombard Method

'Strabismus' is an exhibition articulated through cinematic film, featuring work by Helen Brown, Grantchester Pottery, Janet Hodgson, Tom Ireland, Stuart Layton, Joanne Masding, Ciaran O'Dochartaigh and Clemens von Wedermeyer. Artwork, documentation and description become their mise-en-scene counterpart and fulfill the role of scenery, narrative, character and plot. Featured artworks support a narrative that explores the possibilities and restrictions of mediating an exhibition through cinema, such as continuity, context and authorship.

The film follows a psychologically fractured interview between two unnamed characters, haunted by an unknown entity within the film. This unknown spectre finds a physical body through works exhibited in the film, and allows the protagonists to explore the medium of their own representation.

A dramatic re-contextualisation posits limitations on principle readings of artworks. However, cinematic devices such as soundtracks, dialogue and narrative structure open up possibilities of new readings. The relationship between works becomes mediated through the chronology of narrative, offering a new criterion for works to engage with one another.

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Strabismus at The Lombard Method, Birmingham 
Strabismus at The Lombard Method, Birmingham 
Strabismus at The Lombard Method, Birmingham 
Strabismus at Mexico Project Space, Leeds. 
Strabismus at Mexico Project Space, Leeds. 
Strabismus at Mexico Project Space, Leeds.  ]]> https://thelombardmethod.org/past/strabismus/ 2013-06-25 10:26:16 Richard Sides & Angharad Williams
24 January – 9 February, 2013

'Fortune tellers make a killing nowadays' is an exhibition developed by artists Richard Sides and Angharad Williams. The newly commissioned work uses the form of a play, in which scenes are presented as both architectural and theatrical propositions. Here, sculpture, sound, moving image and mise-en-scene are used to generate a fictional, physical reality. Central to the production are the journal entries of an astronaut on a journey to Pluto: a decommissioned planet, the ultimate non-place. The experiences of the protagonist, told through a first person narrative, provide a diegetic framework in which to pose questions with the materials of the installation. The work proposes an interrelationship between linguistic narrative and sculptural concerns; elements of the work function as theatrical props, whilst the corporeal account of the central character informs a physical understanding of objects and environment.

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Fortune tellers make a killing nowadays, 2013. Exhibition view. 
Fortune tellers make a killing nowadays, 2013. Exhibition view. 
Fortune tellers make a killing nowadays, 2013. Exhibition view. 
Fortune tellers make a killing nowadays, 2013. Exhibition view. 
]]> https://thelombardmethod.org/past/fortune-tellers-make-a-killing-nowadays/ 2013-02-17 23:32:31 Katherine Fishman & Jack Branscomb: Graduate Residency
6 – 8 December, 2012

‘Fa•cet Fa•cet’ was the culmination of this year’s Graduate Residency Prize; a presentation of new work by Jack Branscomb, who graduated from Birmingham City University, and Katherine Fishman, who graduated from Nottingham Trent University.

Fishman exposes nuanced psychological moments through video works in which intricate dialogues are engendered through the editing process. During the residency she has been considering perceptions of social situations through the gestures and tensions present within an observed encounter.
‘Each Frames How Two Are Similar And Different From A Third’ reconstructs a spectated instance involving a group of three friends. They are first seen enacting bold, swift movements, subsequently engaging in casual conversation. Actions appear out of context, yet are simultaneously embedded in the context of their surroundings, giving the incident a sense of real-time continuity error. Through focusing on different compo- nents within the setting, Fishman explores how composition, framing and perspective shape multiple percep- tions of a situation. She also considers how the viewer places themselves in relation to the group when observing their actions and gestures. The relationship between each member is intangible, yet the group comes in to view as a social object within a space to be encountered.

Drawing on familiar forms such as geodesic domes and minimalist cubes, Branscomb deals with the temporal- ity of object making. The poverty of materials in Branscomb's work, such as polythene and duct tape used in previous work, is often reproached by the presence of more solid materials such as walnut. Whilst in residence he has continued his investigations into and reactions against modernist ideas of the monumental.
The sculptural forms in Branscomb’s installation are informed by his continued research into modernism, object making, and a utopian reading of progress. These objects, which resemble domestic and gallery furniture, aim to challenge historical ideas of the ‘monumental’ in relation to unattainable utopian ideologies. Branscomb is interested in the fragmentation inherent within utopian ideals; individuals strive for a personal utopia, and yet they cannot fully corroborate en masse.

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The Distance Between You and I, Me and You, 2012. Howea Forsteriana, pine, plywood, steel, rope, iron fixing, heater. 
The Distance Between You and I, Me and You, 2012. Howea Forsteriana, pine, plywood, steel, rope, iron fixing, heater. 
Each Frames How Two Are Similar And Different From A Third, 2012. HD video projection. 
Each Frames How Two Are Similar And Different From A Third, 2012. HD video projection. 
]]> https://thelombardmethod.org/past/facet-facet/ 2012-12-11 12:33:58 Frieze London, Regents Park
12 - 13 October, 2012

Frieze Floss at the Eastside Projects Stall, Frieze London

During Frieze London, The Lombard Method served candy floss from the Eastside Projects stall in Yangjiang Group's 'Shu Fa at Cricket Pavilion'. Birmingham culinary art space Edible Eastside were also invited to sell 'Warick Bar' fudge along with artists bread by Eastside Projects. The event was part of a wider project, 'The Colosseum of the Consumed' by Grizedale Arts featuring stalls and new commissions from artists and organisations such as Bedwyr Williams, Marcus Coates, An Endless Supply, and Junaeu Projects.

hello@thelombardmethod.org

We regret that we do not currently have wheelchair access.

View The Lombard Method in a larger map

The current directors of The Lombard Method are Jon Elliott and Joseph Welden.

As of 2025, The Lombard Method houses 14 studio spaces and a Showroom. To apply for a studio space, or to arrange a visit to The Lombard Method and see what we're about, please contact us at thelombardmethod.org

Until 2013 The Lombard Method programmed a series of residencies, exhibitions and events, listed in the Project archive. Part of this programme was supported by Arts Council England.

Past members and those that made us what we are today include;

Sally Bailey
Guy Blundall
Leah Carless
Jacob Carter
Rachel Darke*
Jeanette Dean
Meghan De Greef
Matt Evans
Sarah Farmer*
Fierce Festival
Oliver Farrow
Matt Foster*
Marie Fischer
Matt Geden*
Ben Harding
James Harris
Janette Harris
Brenda Hickin
Dinosaur Kilby*
Stuart Layton
Bethan Lewis
Zed Lightheart
Joanne Masding*
Emma McKinney
Ciarri McShane
Soffia Moffa
Sophia Moseley
Santhanha Nguyen
Mathew Parkin
Laurence Price
Dan Roblin*
Olly Romoff David Shipway
Adam Smythe*
Antonio Sobrino
Beth Stevington-Crinks
Tim Stock*
Sharonjit Sutton
Mads Washbrook
Swoomptheeng

*Previous directors

The Lombard Method launched in 2009 hosting 'What Takes Place', an exhibition by Crowd 6 as part of The Event 2009. The Event is a bi-annual visual arts festival co-ordinated by Birmingham Contemporary Art Forum. The opening night also saw Mark Essen's 'And You Will Know Us By The Trail of Morris Men', a performance escorting audiences from each venue of the festival to the after party at Eastside Projects.

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Elizabeth Short, What Takes Place. 2009. 
Mark Essen, And You Will Know Us By The Trail of Morris Men. 2009. 
Jamie Randall, What Takes Place. 2009.  ]]> https://thelombardmethod.org/past/the-event/ 2012-08-20 23:51:27 18 September - 17 October, 2010

In September 2010 The Lombard Method selected Birmingham City University graduate Matthew Brooks for our first Graduate Residency award. Brooks used the month long residency to develop his practice in drawing, investigating associative relationships in architecture and human behaviour.

Matthew Brooks, Limits. 2009.

Organised by Alias and g39/WARP in collaboration with Cerbyd, Supersaurus and Surface Arts, Dense Cluster was a knowledge exchange event for self-organsied survival. Coming at a time when arts organisations across the country are being hit by cuts in funding, Dense Cluster brought together a range of examples of ‘what is possible’ through shared endeavour, interest and skills.
Invited groups from across Wales, the South-West and the rest of the UK presented, in the widest sense, a representation of their activity to include discussions, screenings, performance, installation and documentation resulting in a Dense Cluster of activity. A publication was produced on the day, marking the events and exchanges that took place as well as creating a document of recommended survival tips for these hard times.
Presenting groups included Hand in Glove, The Lombard Method, Redwire, An Endless Supply, Folded Glued and Printed, Project Space 11, Surface Arts, Supersaurus and Cerbyd.

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Dense Cluster. 2010. 
Dense Cluster. 2010. 
Dense Cluster. 2010.  ]]> https://thelombardmethod.org/past/dense-cluster/ 2012-08-20 23:50:24 14 September - 15 October, 2010

Malaysian artist, Sharon Chin, joined us as artist in residence as part of the Inter-Faith Inter-Cultural Artists Narratives initiative.

“IFICAN is new initiative from Difference Exchange that seeks to enhance debate and understanding of the relationship between art and faith. With a recently awarded grant from Arts Council, England (ACE), the project will invite five artists to make a new work placed with faith organisations in various parts of the world. The project will ask ‘in what ways would inter-faith relations change if an artist from one faith background was invited to develop ideas and make new work in an entirely different religious environment’. The aim, ultimately, is to promote inter-faith and intra-faith understanding through artistic dialogue and exchange.”

Sharon Chin, How to Talk to Strangers. 2007.

Held in partnership with The Rea Garden, participants were invited to explore sound recording techniques, manipulation, and presentation. The workshop began with a visit to The Rea Garden. Participants collected field recordings, sound objects, and ideas, whilst gaining insight into artist in residence Graham Dunning's work. The site itself is a former industrial unit which lay derelict for 20 years following a fire. As such it contained a wealth of interesting objects, including pieces of broken shellac from its former use as a record warehouse. The workshop then moved to The Lombard Method for an informal exploratory session, in which participants were able to share ideas, and discover new processes through collaborative practice.

Graham Dunning, Found object. 2010.

British Racing Green are an artist collective based in Cardiff and London. The number of members that make up BRG is flexible and often changing, and this was reflected in the shifting dynamic of the residency as members travelled back and forth between Cardiff, London and Birmingham.
Whilst individuals whittled away at their own practices, a thread of discussion was drawn across the weeks as notes were left for one another, a blog updated, and a series of questions put to BRG by The Lombard Method were considered, the culminations of which were laid bare for the audience to see during the final event. These discussions grappled with the basic qualms arising from working as part of a group; What are the expectations of individuals within a group? What brings the members together?
The residency concluded with an informal discussion event over shared food, with a presentation of works, notes, and correspondence produced over the two week period.

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British Racing Green, Final Event. 2010 
British Racing Green, Final Event. 2010 
British Racing Green, Final Event. 2010  ]]> https://thelombardmethod.org/past/british-racing-green/ 2012-08-20 23:49:07 The Lombard Method, Grand Union, and Rogue Studios
5 - 6 June & 12 - 20 June, 2010

Meanwhile in Manchester/ Meanwhile in Birmingham was an exchange between The Lombard Method, Grand Union, Eastside Projects and Rogue Studios. Artists from The Lombard Method, Grand Union and members of Eastside Projects' Extra-Special-People were selected by Magnus Quaife to exhibit at Rogue Studios in Manchester for 'Meanwhile in Birmingham'. Following this, artists from Rogue Studios were selected to exhibit in a mirrored exhibition at The Lombard Method and Grand Union. 'Meanwhile in Manchester' featured Louise Adkin, Andrew Bracey, Paul Cordwell, Stuart Edmundson, Hilary Jack, Lawrence Lane, and Magnus Quaife.

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Stuart Edmundson, Untitled. 2010. 
Stuart Edmundson, Untitled. 2010. 
Paul Cordwell, Liar. 2010. 
Andrew Bracey, Frames. 2007 - 2009.  ]]> https://thelombardmethod.org/past/meanwhile-in-manchester/ 2012-08-20 23:48:39 17 - 28 May, 2010

Matthew de Kersaint Giraudeau uses humour and reflectivity in his practice to engage with the gap between critical thought and everyday living. During his residency at The Lombard Method, he made a series of sculptures and drawings as proposals for hypothetical objects – hypothetical in terms of scale, logical possibility and temporal likelihood. This culminated in ‘Possible Monuments’, a one day exhibition at The Lombard Method consisting of proposals and maquettes for commemorative sculptures, as well as a video installation examining the role of sculpture in the public realm. The proposals include ‘Monuments to Sir Cliff Richard’s Eternal Flame (PXXXXXg Fire)’ and ‘Maquette for a Monument to the Travellers who Stole a Henry Moore Sculpture and Melted it Down and Sold it For Scrap’. The video installation uses videos and a spoken narrative to explore questions such as; why is there a Frank Zappa sculpture in Vilnius, Lithuania? And why does the Cerne Giant in Dorset have such an enormous erection?

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Matthew de Kersaint Giraudeau, Possible Momuments. 2010, Installation view. 
Matthew de Kersaint Giraudeau, This is Not a Public Right of Way. 2010, Film still. 
Matthew de Kersaint Giraudeau, This is Not a Public Right of Way. 2010, Film still.  ]]> https://thelombardmethod.org/past/possible-monuments/ 2012-08-20 23:48:07 15 - 28 March, 2010

Purple Ceiling was the culmination of a two week residency at The Lombard Method by Ella Lucas. Laying bare her efforts to raise raw material into an elevated staging, Lucas presented a series of raw timber ‘figures’ hopelessly dressed with cloth rags. The figures stood precariously under dramatic theatre lights, gazing at film footage of the 1960 Italian singer Mina Mazzini. Mina’s emotional vocals filled the gallery, resonating with the tragic story of her fall from grace, banned from Italian TV and radio for her immoral relationship with married actor Corrado Pani.
Lucas’ fascination with the tragic elements of staging and performing continued through to a sculptural piece which draws on the Trent Harris’s ‘The Beaver Trilogy’. The first film of the trilogy, ‘The Beaver Kid’ documents the real life events of ‘Groovin’ Garry’, a young performer growing up in the rural town of Beaver, Utah. Garry commits social suicide as he enters a talent contest, performing in full drag as Olivia Newton-John. The film is followed by ‘The Beaver Kid 2’, which stars Sean Penn as ‘Groovin’ Larry’ re-enacting the tragedy of Garry’s performance. The last instalment ‘The Orkly Kid’ stars Crispin Glover re-enacting Penn’s performance. A continual cycle is formed throughout Lucas’s work, replaying and restaging embarrassing and painful performances, feeding back into the process of staging sculptural works, which are often later discarded or relegated to the context of the studio.

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Ella Lucas, Purple Ceiling. 2010, Installation view. 
Ella Lucas, Purple Ceiling. 2010, Installation view. 
Ella Lucas, Purple Ceiling. 2010, Installation view.  ]]> https://thelombardmethod.org/past/purple-ceiling/ 2012-08-20 23:47:33 21 - 30 October, 2012

As part of The Event, Birmingham’s third bi-annual visual art festival, The Lombard Method transformed its studios and gallery into a site of dialogue between galleries and artists from across the UK. A concatenation of exhibitions, screenings, and performances within The Lombard Method gave physical realisation to the studio’s short history of supportive networks. Artist John Walter was invited to perform the role of host for the opening night, serving gin and tonics in full costume from his lubricious bar-come-gallery, Lezi-Bar. The physical structure of The Lombard Method was adapted, responding to the requirements of the 10 invited organisations and artists (Bristol Diving School, David Dale Gallery, g39, Generator Projects, Ikon, John Walter, Malgras|Naudet, Meantime, Rhubaba, and S1), resulting in a range of temporary gallery sites.

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Left to Right: Jonathan Kelham (Meantime) Bristol Diving School 
Rosie Dalton and Niamh Conneely (g39) 
Left to Right: Rosie Dalton and Niamh Conneely (g39) James Bell (Generator Projects) Jonathan Kelham (Meantime) 
Jonathan Kelham, Meantime 
John Walter, Lezi-Bar 
Foreground:James Clarkson (S1) Background: Emily Musgrave, Charlotte A Morgan (S1) 
Left to Right: Emily Musgrave, Charlotte A Morgan (S1) 
Emily Musgrave (S1) 
Joseph Cutts (S1) 
Giuseppe Mistretta (David Dale Gallery) 
Alan Currall (Rhubaba) 
Alan Currall (Rhubaba) 
Alan Currall (Rhubaba) 
The Invisible Committee Prestwich and Whitefield Branch (Malgras|Naudet) 
]]> https://thelombardmethod.org/past/the-lombard-method-at-the-event/ 2012-08-20 23:47:01 Eastside Projects, Birmingham
10 September 2011

The Lombard Method, Falafel Rocher

Exhaustion and Exuberance was a daylong event at Eastside projects, with innovative artists and groups from across the UK invited to share knowledge and exchange ideas about notions of success and survival. The event featured a series of actions, social platforms, food, and silk-screen printing from: Aid & Abet (Cambridge), An Endless Supply (Birmingham), BAZ (Birmingham), Castlefield Gallery (Manchester), Institute for Boundary Interactions (Nottingham), Other Asias (London/Lahore/Dhaka), Outpost (Norwich), Tactile Bosch (Cardiff), The Royal Standard (Liverpool), and The Lombard Method.
During the day The Lombard Method presented ‘Falafel Rocher’, a portable and ever adapting food stand, serving a pyramid of falafel. The food stand is used as an entry point into the discussion of possible solutions and resilient models for art production and dissemination in the 21st century, and has previously exhibited in reconfigured forms at the Outpost Summer Fayre, and Dense Cluster at Bristol Diving School.

Group discussion at The Meter Room

The Lombard Method at Meter Room was the first in a series of residencies at Meter Room under the banner ʻInputʼ, whereby independent curators and artist-run organisations are offered the Meter Room project space to use as their own studio for a four week period in which to generate new collaborations and site-specific responses. ʻInputʼ residencies aim to contribute to ongoing discourse on the hybridised role of the artist-curator, and the forms and function of the studio-gallery.
Members of The Lombard Method used the residency for a series of overnight discussion sessions regarding artistic practice and wider discursive subject matter. Using the extensive prior knowledge of individual practices and the intimacy evolved over the group’s two year history the group re-questioned fundamentals within each others practices. Acting on the outcomes of these discussions the Meter Room also became a site for the production of new work.

For Outpost's Summer Fayre, a series of formal presentations by artist-led organisations, The Lombard Method presented Falafel Rocher, a portable food stand. The structure, previously used for Dense Cluster at Bristol Diving School, was reconfigured as a point of entry into discussing artist-led spaces over shared food.

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Falafel Rocher. 2011. 
Falafel Rocher. 2011.  ]]> https://thelombardmethod.org/past/falafel-rocher/ 2012-08-20 23:44:56 School of Art, Birmingham
14 - 18 March 2011

Members of The Lombard Method were invited back to Birmingham City University, where seven of the eight artists studied, to exhibit at the university’s new project space ‘Article’. The Lombard Method invited Sean Edwards to curate the exhibition, and write a short text;

. . .This may be an exhibition brought about solely by location, coincidence and time, all of the artists graduated within a year of each other, but what is clear from these range of practices brought together is that the Lombard Method is clearly more than just a studio space. Having been involved in various knowledge sharing events in the wider field of Birmingham and beyond, what runs through this group is a sense that through enquiry comes a new understanding of both the future and the past. That in dialogue, what appears to have been and what could be is never fixed but always open to change. . .

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Foreground: Adam Smythe. Background (left to right): Matt Foster, Joanne Masding.
Foreground (left to right): Joanne Masding, Matt Foster. Background (left to right): Tim Stock, Adam Smythe.
Foreground: Matt Foster. Background: Joseph Welden.
Joanne Masding, Show Your Workings [(un)ravelled lollipop sticks].
Joanne Masding, Trouble in the Bored.
Adam Smythe, How to find the moisture content of aggregates.
Adam Smythe, How to find the moisture content of aggregates.
Joseph Welden, DNF.
Joseph Welden, Sweating Because You Are Fanning Because You Are Sweating.
Matt Geden, Intervention.
Tim Stock, 110302 B4 7XG A+B. ]]> https://thelombardmethod.org/past/the-lombard-method-at-article/ 2012-08-20 23:44:19 15 January - 27 February 2011

Post-Industrial Revolution was a one month residency culminating in an exhibition of work by artists Christian Costa, Kamila Szejnoch, and culinary arts group MASH/HER/DIP. Curated by Roma Piotrowska and Kate Pennington-Wilson, the residency drew parallels between the area of Digbeth in Birmingham and the Gdansk Shipyard in Poland. The artists made work responding to the site of Digbeth in a variety of ways including public art interventions, an informal dinner with retired workers from the Digbeth area, and film works. Following on from the exhibition at The Lombard Method, British artists were selected for a residency hosted at Wyspa Institute of Art in Gdansk.

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Post-Industrial Revolution, exhibition view. 
Christian Costa, exhibition view. 
Kamila Szenjoch, For What?. Production still. 

]]> https://thelombardmethod.org/past/post-industrial-revolution/ 2012-08-20 23:43:57 7 - 22 January 2011

The Estate of Alex Bloom. 2011.

For their short period in residence artists Magnus Quaife, Sovay Berriman, Joe Devlin, Paul Cordwell used The Lombard Method as testing ground to explore working with the estate of another artist, Alex Bloom. The project is ongoing involving a variety of artists including Luis Alvarez.

Collectively we came together to make art and, as a group, we quickly became as concerned with what that might mean as we were with whatever we may have made. We had managed to build art together but never entirely lost ourselves, each of us maintained a presence. So when by chance the opportunity to manage the estate of the artist Alex Bloom presented itself it seemed as if we might finally be able to deny our own hands through adopting the roles of curator, administrator, and executor. It was with resoluteness and sobriety that we contemplated this act of self sacrifice before accepting the gift as it had been offered. We now come together at Lombard Method to consider the artworks, artefacts, and ephemera left in our charge and to start to form strategies for how we might work with the estate of Alex Bloom.

Are we ham acting? Have we missed the fact that it all stopped in 1983 and we’re all just out there on a repeater because it’s something to do on a Sunday?

For 16 days from April 1st 2011, Tether were stationed at The Lombard Method. The Nottingham based collective worked towards creating new works that sought to interfere with the Lombard Method and the way people interact and react within it. Through permanent and time-specific alterations, the works addressed abstract concepts of space, time and history, placing diverse happenings or ephemera alongside each other in a non-linear format.
In chess, an interference occurs when the line between an attacked piece and its defender is interrupted by sacrificially interposing a piece. Tether’s interferences attempted to hinder, obstruct and impede; travelling through time, interrupting moments that have, will and could happen between April 1st and 16th. The group’s collaborative practice embraces the ‘muddle’ that comes from pushing, condensing and concentrating things to see how the process can lead a community of people into the production of something.

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Day 3: Performance rehearsals. 
Day 6: Demise and Legacy, performance interruption. 
Day 12: Group discussions  ]]> https://thelombardmethod.org/past/16-days/ 2012-08-20 23:42:43 22 - 29 July 2011

During his short residency at The Lombard Method, Bristol based artist Angus Wolf conducted research into connoisseurship, associative relationships, and michelin star cuisine. The residency concluded with 'The Brandenburg Tour', an exhibition of works produced over the residency including assemblages of found objects, a found footage film, and a menu.

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Angus Wolf, The Brandenberg Tour. 2011, Exhibition view 
Angus Wolf, Home Made Car. 2011, Film still 
Angus Wolf, Home Made Car. 2010  ]]> https://thelombardmethod.org/past/the-branenburg-tour/ 2012-08-20 23:42:17 3 - 5 February 2012

Our annual Graduate Residency was awarded to Birmingham City University graduates Ryan Hughes and Winston Thornton-Clarke, culminating in a 3 day exhibition coinciding with The Lombard Method annual Open Studio.
Hughes uses pseudo-architecture and techno culture to critique a web of global communication, web 2.0 and social media. During the residency Hughes explored ideas of remoteness and dislocation, establishing heterotopic environments through a series of video works, and produced a publication documenting mediated correspondence with the directors of The Lombard Method.
Thornton-Clarke uses installation to investigate the comprehension of space and memory. His work distorts familiar sites into spatially salient reconfigurations, creating dynamic environments in which associative elements interrupt formal perceptions of space. Thornton-Clarke produced a new work during his residency in response to the architecture of The Lombard Method.

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Winston Thornton-Clark, Untitled. 
Ryan Hughes, Untitled (network of artist-led activity). 

]]> https://thelombardmethod.org/past/graduate-residency-and-open-studio/ 2012-08-20 23:41:19 Spike Island, Bristol
4 - 7 May, 2012

During Spike Island Open, The Lombard Method invited audiences to join them in the Associate space for ‘Flap-Jacques Derrida’, the third incarnation of an ongoing project which sees a modifiable and portable stand used as a point for opening conversation. Offering printed Derrida texts and flapjacks as starting points, the material on the stand, and the stand itself, evolved tangentially over the course of the weekend through dialogue with visitors.

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Flap-Jacques Derrida at Spike Island, 2012. 
Flap-Jacques Derrida at Spike Island, 2012. 
Flap-Jacques Derrida at Spike Island, 2012.  ]]> https://thelombardmethod.org/past/flap-jacques-derrida/ 2012-08-20 23:37:15 All Events Residencies Exhibitions
2013 Winter Art Fair Artist Film Fortnight Temporal Logic Lossy Accent The Peeping Metals Experience Rachel Adams Strabismus Fortune tellers make a killing nowadays 2012 Fa•cet Fa•cet Frieze Floss Flap-Jacques Derrida Graduate Residency & Open Studio 2011 The Lombard Method at The Event The Meter Room Falafel Rocher 16 Days Post-Industrial Revolution Dense Cluster IFICAN British Racing Green Possible Monuments The Event ]]> https://thelombardmethod.org/past/ 2012-08-20 23:34:02