Hold the Space brings together artists whose feminist practice-based research examine space and embodiment in a variety of different ways. Ranging from drawing and photography to installation and archives, these practices centre bodies through gestural acts and material traces.
Zara Worth examines relationships between the digital and the divine to propose a visual and metaphoric convergence between religious imagery and smartphones through the figure of the threshold. Created using imitation gold-leaf gilded onto polythene, Think of a door (temptation/redemption) (2022) considers the ethics of social media inspired aspirations. Cutting Together A/part (2024) literally cut-together the forms of Eastern Orthodox icons and smartphones, working on both sides of the paper.
In Touchers (2024) Marika Grasso examines our daily encounters with touch-screen devices in order to explore our tactile relationships with technology. Her research considers how textiles and touchscreens become untouched and unworn, despite being an intimate component of daily life.
Ellen Sampson considers the relationship between textiles and bodies in Archival affects: bodies, absence and trace (2024).Presenting clothing archives as repositories of labour, emotion, and bodily trace, the installation plays with the imagery and forms of archival storage and display; how we attended to, preserve and organise these intimate and bodily things.
Paula Chambers’ crochet covered objects could be viewed as an archive of an ageing body. In Last Bus Home(2024) crochet topped paperweights stage femininity as if overcompensating for the processes of aging. Bad Faith (2024) features beauty products produced for menopausal and post-menopausal woman. Each crochet cover hides a product designed and marketed to alleviate the signs of female aging – such as oestrogen gel, collogen supplements, and anti-aging face cream – in order to bring the undisciplined female body under control.
Archival material is also a source material for Alison J Carr who uses her own image archives to explore the complexities of feminine display. In Spirit of a Muse (2024- ) and Crown / Halo (2021- ) she creates drawings from photographs in which she embodies ambiguous poses, conveying complex emotional interiority while her body is posing and showing off.
Also using methods of self-portrayal, Elizabeth Orcutt explores her sense of self using digital collage, frequently becoming entangled in genres such as family snapshots, paintings, and silhouettes. The Shadesadopt the proto-photographic silhouette that was popular from the end of the 18th Century until the mid-19th Century. In the images Orcutt expresses surprise, rage, fear, disgust, happiness, sadness, and contempt to explore how these emotions effect experiences of self-recognition.
Dawn Woolley uses gestures and poses in self- and other-portraiture to critique and subvert binary gender and beauty norms in selfies and portraiture. #Rebel Selves (2023-4) experiments with ideas of entanglement, camouflage and parade to create performative spaces in which visitors can create queered selfies. Glitchies(2024) are video portraits vignettes made in collaboration with Jay Yule a queer contemporary dancer.
On Saturday 15th June (1.30-2.30pm) Woolley is running a gesture workshop in which participants can create their own selfies and co-create a queer gestural language.
This exhibition is kindly supported by Leeds Arts University.
You’ve been doing what you do for some time, but you’re feeling some burnout or a little bit lost in terms of how to organise and strategise your practice. Or you are refocusing on your practice after time away. I can guide you through a period of personal or creative evolution, so that you can identify your own sustainable work solutions.
Maybe you’ve found career success, but instead of feeling confident and secure, found yourself fearful of how others see you? Do you see competitors rather than allies? Are you still fearful of other’s perceptions of you?
Have you begun a new journey as a creative after years in a job that didn’t feel like you? Do you feel being an artist is your true self, but years of living as a people-pleasing false self have taken their toll? It’s taking some time to evolve and you need structured support while you change.
Perhaps your work in activism means, that when you come back to your practice, you don’t see its value? Maybe your practice even feels frivolous, particularly in our current political and environmental climate? You find it difficult to see how your purpose fits the bigger picture.
Do you live in the chaos of all of your ideas? Before breakfast, you’ve solved all the world’s problems. By lunch, you don’t know which solution is your priority. By tea, the overwhelm has taken over… You’re lucky to be so creative, but you burn yourself out, how can you identify what matters most and see it through?
I can help.
By hearing your dreams and visions and identifying the excessive tangle of spaghetti strands stuck together that have become burdens and limitations, we will work together to pick out the individual strands that matter most to you. I will suggest practical strategies to nurture what matters to you and manifest your ideas in the brightest, boldest ways. You will feel empowered and in control of your creativity and practice. You will find the joy in your work.
Together we will refuse limiting beliefs and we will hold dear your tender visions together.
HOW I WORK
My philosophy respects you as a whole person. I do not judge your journey and our work will be confidential. I believe you already know what you want to do, want to create. I am here to help you find your own motivations, and refuse your limitations. I am here to guide you into new ways of working so that you can manifest your inspiration exactly as you envision it. When you deeply understand how to overcome your blocks, you can then unlock the boundless possibilities for your own practice.
MY STORY SO FAR
For more than a decade I worked as a university lecturer and before then as an artist-practitioner in community, museum, and school settings. I have observed time and again that artists and visionaries need to feel they have permission to do what they do—and when they cultivate this for themselves, the magic happens.
I am also a practising artist myself, and while I draw on this to give professional advice, the tools I have developed to nourish my creativity and resilience come from the experience of overwork and overwhelm that led to a migraine that lasted nearly 10 months and chronic headache problems for the next five years.
Everything in my life seemed to feed the pain—my ambition, all the toxic feelings around work I was carrying, the numerous ways I was limiting myself through my own mindset. It was a negative spiral. I felt professionally invisible and this compounded the physical pain, which made me less visible.
This was a catalyst moment and since then I have spent time developing methods to handle stress and the precarity of my work life. I developed boundaries and eliminated any people-pleasing. I have learned to say what I need in order to feel safe, secure, and able to flourish. I concentrated on giving myself permission to feel joy and I rejected the cliched narratives of a frustrated artist. It opened up space for my own joy and pleasure in my practice, to reframe what a practice might look like.
I draw on these experiences to empower others to feel more confident in the work they do and have a range of practical tools to draw on when they wobble.
In 2023 I took Ceri Hand’s Mastering Mentoring course, and this has enabled me to turn my gifts into a business idea.
WHAT I CAN OFFER YOU
I want you to feel more joyful and empowered, to refuse the self-punishment and ‘work-harder’ narratives. I will share with you how to cultivate more confidence, integrity, and resilience to handle whatever your career might throw at you and to enjoy the journey.
We can work in an expanded way, negotiating what would work for you. From in-person meetings (Sheffield only), video calls, WhatsApp voice notes or email check-ins so that you can feel supported as you rebuild your vision. I charge £80 per hour for meetings and if an expanded package including emails and voice notes would suit you we can work out a bespoke package for you.
How shall we begin? Complete this registration form so I can get to know you. I encourage you to get to know me through my mentoring-related Instagram account here, Artistic Mystic and subscribe to my Substack, Joy Development. You are welcome to have a free no-strings informal chat with me. For our informal chat, and all other appointments, please book-in below.
One way for us to start working together is on my package for writing artist statements. I have a gift for listening to artists and catching what matters, hearing what an artist is saying, that they don’t hear themselves. I’ll make notes, we’ll edit together, we repeat the process with ample space for reflection. Over 3 x 30mins sessions online I believe we can come up with something you love. The total cost these 3 sessions is £150.
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TESTIMONIALS
I had a 1-hour session with Allie which was so helpful in assisting both my big-picture thinking (I can get a bit caught in the details!) and helping me to reconnect with (and own) my values in relation to my practice and aims for the future. The session made me reassess and rewrite my artist statement and give me some much-needed energy around applications. I’ll be coming back for more!
Libby Scarlett
I’m so glad that I discovered Allies mentoring sessions in the resources section of a.n. The whole experience was positive and enlightening. I felt like my ideas and processes were reorganised into something tangible and concise. For writing statements it’s been transformative.
Jane Shanks, artist
Allie opened up new pathways for me – lots of prompts about how to push the work forward, other artists work to look at for inspiration, and how to turn limitations into possibilities. This was thoughtful and astute mentoring for my DYCP.
Liz Hall, artist
Artist statements. Why artists need them? How to write them? What they should include? It takes a lot of time and emotional digging to write a true statement. I have never felt mine has been truly right. So when @kateenters recommended @alliejcarr @artistic_mystic_allie I booked on to her three 30 minutes sessions over three weeks and what an amazing process. Allie works collaboratively with you to really understand your Artist DNA and the scaffolding that is needed to write a statement. We dug deep. Allie has the amazing skill of leading you to uncover what really motivates you to create your Art. Today was my last session and having taken the time between sessions to process and reflect on the writing I felt like I hit gold. I can’t wait to share my new statement with you. I left the session so inspired and proud of who I am as an artist and ready to make a new body of work. I 100% recommend you check out Allie if you need someone to guide you and ignite you to connect with who you are.
Jo Mitchell Long, artist
DISCOUNT OFFERS
I am so grateful for all the people I work with, I want to share discounts with those of you who support my work. I’d like to offer:
£10 discount for one mentoring session for mentees who have worked with me on the Artist Statement Writing package and would like to book for an hour mentoring sessions
£10 discount for one mentoring session per new client referral
In 2019 the surviving Tiller Girls, representing many different generations of dancers, met up for a reunion in Blackpool—a key home of the troupe. I went along with Helena Öhman, to record the event and talk to the women.
The footage of the event shows glamorous older women, posing, chatting, laughing, negotiating one another, reliving memories, and showing me how to link arms as a Tiller Girl.
Interposed text highlights speech, emphasising the insights and opinions that develop and challenge earlier video works. Black and white archival footage of filmed theatre performances depict Tiller Girl dances giving visual descriptions to pair with the stories.
Alison J Carr presents Night World, an exhibition of new works on paper. With an incisive precision and tight focus on showgirls, Carr reconsiders the potential of the night. Her collages and traced paintings indulge in the unruly and often-obscured spectacles of nocturnal entertainment, celebrating the fancy, audacious, and salacious.
During the show, I will be doing a book reading event, launching The Night. After the reading I will be in conversation with Katherine Angel. Event free but booking essential, details here.
Still from Modernity / Power Video, 12.50 mins Made from appropriated backstage musical Hollywood films made between 1929 and 1940, Modernity / Power reframes latent power dynamics on the screen through text interventions and foley sound–clips, clicks, clapping, tap-dancing, and breathing. These disruptions draw attention to the labour of the bodies performing and their incredible skills.Pose and Shadow, Alexandra Danilova Watercolour on A4 watercolour 300gsm paper
Wish You Were Here, Real Photographs, Mlle De Bremont (2008) Series of nine photographs B&W fibre-based photograph, edition of 5, 51cm x 60 cm Edition of 15, 20 cm x 25 cm
Recreations of found cigarette cards from 1939, using myself.
Wish You Were Here, Real Photographs, Maria Gregor (2008) Series of nine photographs B&W fibre-based photograph, edition of 5, 51cm x 60 cm Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Maryse Grandt (2008) Series of nine photographs B&W fibre-based photograph, edition of 5, 51cm x 60 cm Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Jacqueline Ford (2008) Series of nine photographs B&W fibre-based photograph, edition of 5, 51cm x 60 cm Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Iya (2008) Series of nine photographs B&W fibre-based photograph, edition of 5, 51cm x 60 cm Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Ginette Vrala (2008) Series of nine photographs B&W fibre-based photograph, edition of 5, 51cm x 60 cm Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Getty Jasonne (2008) Series of nine photographs B&W fibre-based photograph, edition of 5, 51cm x 60 cm Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Erni Erika (2008) Series of nine photographs B&W fibre-based photograph, edition of 5, 51cm x 60 cm Edition of 15, 20 cm x 25 cm
Wish You Were Here, Real Photographs, Catherine Hamilton (2008) Series of nine photographs B&W fibre-based photograph, edition of 5, 51cm x 60 cm Edition of 15, 20 cm x 25 cm
One afternoon in 2005, I came across a tin full of cigarette cards at a flea market. I leafed through to look more closely at the miniature pin-ups. I noticed the backs of the cards with the dated biographies of the girls on the cards. I selected all the dancers from the tin (there were actresses, models, swimmers and tennis players I rejected, no one in the tin I had heard of before) and bought all of them. As I walked home, I decided to recreate all the photographs using myself as the model. The original cigarette cards were objects to be held, looked at closely. They were private cards to view, collect and exchange. As enclosures in cigarette packs in the late 1930s, it was presumed that these were gifts for a male consumer. Looking at them with contemporary eyes, they look glamorous, innocent, staged and seductive.
An audio piece. I recount some formative art encounters, in order to think about what remains of the encounter. The afterwards reflections; did these experiences form the artist I am now? I presented this as part of the Mid-Residency group show at CalArts.
A Place To Perform (Because Other Places Were Inhospitable), 2019 70 cm x 35 cm Giclee photograph on smooth white cotton paperBubikopf, 2019 Performance, 40 mins
Bubikopf is an art history lecture on gender that morphs. An examination of women in the modernity of the Weimar Republic with new opportunities to be independent in the city, to go to art school, perform in cabarets. Weaving together gendered forms of feminine visibility this piece spotlights and speculates women’s entertaining, creative and Avant Garde work.
Ascending A Staircase, Library Theatre, Sheffield, 1934, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cm
Ascending A Staircase, City Varities, Leeds, 1865, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cm
Ascending A Staircase, North Pier Theatre, Blackpool,1863, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Stockport Plaza, Stockport, 1932, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Stockport Plaza, Stockport, 1932, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cm
Ascending A Staircase, North Pier Theatre, Blackpool,1863, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Victoria Theatre, Halifax, 1901, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cmAscending A Staircase, Pendle Hippodrome, Pendle, 1914, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cmAscending A Staircase, Lyceum, Sheffield, 1897, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cmAscending A Staircase, Pomegranate, Chesterfield, 1879, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cmAscending A Staircase, Darlington Hippodrome, Darlington, 1907, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cmAscending A Staircase, Penistone Paramount, Penistone, 1914, 2019 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cm
Ascending A Staircase, Grand Theatre, Blackpool, 1894, 2020 Giclee print on white cotton rag paper, edition of 5, 84 cm x 84 cm Edition of 15, 34 cm x 34 cmHow Can I Perform As An Image? (Catherine Hamilton and Burgundy Circle) Collage on A4 watercolour (300gsm) paper (210 x 297 mm)How Can I Perform As An Image (Getty Jasonne with Gold Triangle Head) Collage on A4 watercolour (300gsm) paper (210 x 297 mm)How Can I Perform As An Image? (Erni Erica with Gold Square) Collage on A4 watercolour (300gsm) paper (210 x 297 mm)How Can I Perform As An Image (Abstract / Bauhaus Catherine Hamilton) Collage on A4 paper (210 x 297 mm)How Can I Perform As An Image? (multicolour silhouette Getty Jasonne) Watercolour on A4 paper (210 x 297 mm)Pose and Shadow, Dorothy Dilley Watercolour on A4 watercolour (300gsm) paper (210 x 297 mm)
At present I’m at Shows of Sheffield at Castle House most days, as part of Festival of the Mind. I’m presenting my cigarette cards and theatre flats and having some great conversations with the public!
My work will be in Act II and Act III of S1 Member’s Show, Three Act Structure at S1 Artspace, Sheffield. Act II is open 6th August–23rd August and Act III which is a re-mix of Acts I and II featuring all of the works is open 27th August–13th September. The opening of the whole show was on 11th July, and now there is a programme of events that will take place during the subsequent Acts.
In particular there will be a publication and print portfolio launch on Friday 15th August and a screening and performance event on Saturday 6th September. For the latter I am working on a new performance.
I’ll post more about the up-coming events–it’s a very exciting project to be involved in!
I instigated a video show collaboratively curated with Megan Cotts, Alexis Hudgins, Ali Prosch & Brica Wilcox shown at SIA Gallery in May. The show featured ten video works by Alison J Carr, Alexis Hudgins, Ivan Iannoli, Julie Orser & Jon Irving, Ali Prosch, Elleni Sclaventis, Matt Siegle, amy von harrington, Brica Wilcox, that respond to the provocation of Hollywood Forever: the dream, the film industry, the cemetery on Santa Monica Boulevard. Each takes a different approach to Hollywood—from considering the myth, the geography, the surplus of images it gives us, the imperative to perform, the seduction and the make-believe.
S1 Artspace is pleased to present You Me You Me You Me, a screening of six short video works which will be followed by a discussion between artists Alison J Carr and Lindsay Foster.
In this screening, S1 Studio Holder, Alison J Carr, selected Lindsay Foster’s The Last Frontier as a starting point alongside which she presents four additional works: Notes on You and Me by Alexis Hudgins, The Pulse of Madame K by Isabella Streffen, Nadia by Katy Woods, and her own A Response to Unmastered by Katherine Angel; inviting Foster to select a final piece to sit alongside her own: Making A Past Present by Stephanie Owens.
The videos take different approaches to reflect on personal experiences and collective memories, on images and language and how we find ourselves formed through our encounters with culture. Across the selection are witty, playful observations as well as sincere enquiries. What is it to be a person?