Exhibitions and Events
| Gallery | Artist | Dates |
| Upstairs & Mosaic | Tony Chisholm | 29th Nov – 25th Jan ’26 |
| Upstairs & Mosaic | Bradford Print Workshop | 31st Jan – 5th Apr |
| Photography Gallery | Jim Souper | 31st Jan – 5th Apr ’26 |
| The Crossley Gallery | Philip Booth | 21st Feb – 24th May ’26 |
| Tiny Gallery | Linda Brill | 27th Feb – 29th Mar ’26 |
| Upstairs & Mosaic | Louis Benoit | 28th Mar – 31st May ’26 |
Tony Chisholm
Playing for Time
The Upstairs and Mosaic Galleries
29th November – 25th January 2026
This selection of paintings, collages and constructions reflects an ongoing interest in reclaiming, reshaping and reforming materials as a series of visual metaphors.
The work appropriates and exploits card offcuts, found objects and other torn, broken and reconstructed remnants, all of which have been used to anchor ideas and suggest pathways for development.
The arrangement of shapes, colours, objects and textures in the paintings and constructed pieces hold poignant historical references (Playing for Time – a holocaust memorial) and (Mytholmroyd Floods 2015). The work is often contemplative, sometimes playful and the final forms are the result of both deliberation and chance, of studied choice and happy accident.
Kurt Schwitters and Margaret Mellis are probably artists closest in spirit to Tony Chisholm’s work, demonstrating the ability to breathe new life and meaning into often discarded materials. This exhibition is a complex coalition of ideas, changes of scale and mixture of processes worthy of attention and closer scrutiny.
Eileen Adams 2025
Bradford Print Workshop
Print is the Link
The Upstairs and Mosaic Galleries
31st January – 22nd March 2026
Preview 31st January 12-2pm All Welcome
Sue Ripley, Barbara Sykes, Martin Hearne and Amrik Varkalis are four artists linked by PLACE and PRACTICE. PLACE – Bradford College of Art and Design Department of Printmaking. PRACTICE – Printmaking and Painting.
Sue Ripley
‘Landscape explorations in print and paint’. ‘I am a painter who uses printmaking to give supportive rigour to my painting practice’.
Barbara Sykes
‘A return to printmaking .. with a more comedic element’.
‘Printmaking connects seamlessly with my paintings but has more subtle quiet humour’.
Martin Hearne
‘The spontaneity of mono printing reveals new thoughts’.
‘The mono print has delightful potential to make discoveries through a change of direction as image is constructed’.
Amrik Varkalis
‘I am an aggressive painter and calm printmaker’.
‘A limited pallet of inks in contrast to a much broader pallet of paints links comfortably and suits my style of working’.
Jim Souper
Encounters with the Calder
The Photography Gallery
31st January – 5th April 2026
Encounters with the Calder is a personal exploration of our human relationship with the landscape and nature, from both historical and contemporary perspectives. Following the course of West Yorkshire’s River Calder, Souper’s photographs depict the influence and impact of human activity along the river, from medieval times to the present.
Jim Souper is a landscape and nature photographer based in West Yorkshire. His work reflects both his love of the natural landscape and his long-standing interest in landscape history. He studied Contemporary Photographic Art at Batley School of Art and Design, graduating in 2009. He is an Associate of the Royal Photographic Society and was certified as a Climate Aware Photographer by the Carbon Literacy Project in 2022.
Philip Booth
Breathing Out Slowly
The Crossley Gallery
21st February – 24th May 2026
In Zen, full attentiveness is found in the slow exhale — a principle mirrored in my work, which invites sustained looking and rewards repeated encounters. Rooted in early conceptual art, lightly baroque in tone, and with an inherent critique of the purely gestural, the work explores our layered and often fractured relationship with nature. It challenges the perceived divide between humankind and the natural world, while also celebrating nature’s richness.
Drawing is often the starting point, especially in landscapes with an “edge of the world” quality—places of collision and tension. These encounters evolve through a process of invention and integration, resulting in abstract forms that suggest geology and natural forces without replicating them. The work engages myth, assemblage, and makes reference to an expansive range of material, creating a space that moves outward from the wall toward the viewer, echoing the experience of landscape.
Meticulous and contemplative, yet intricate and dynamic, the work seeks to express vital matter beyond anthropocentrism—foregrounding nature’s agency over human control. It operates in the space between mathematics and art, geometry and flow, abstraction and figuration, experience and myth. My practice is primarily studio-based, with additional work in commissions, landscape design, and public art. My work is held in private collections across the UK, EU, and Japan, and in the British Museum.
Linda Brill
New Work
The Tiny Gallery
27th February – 29th March 2026
My paintings are an invitation to reflect on the still and the everyday. I aim to capture the material qualities of objects, the differing textures, the play of light.
My work celebrates both the stillness and the life of things, organic or man-made and is both meditative and contemplative. There is beauty to be found in the everyday.
Louis Benoit
Mechanical Animal
The Upstairs and Mosaic Galleries
28th March – 31st May 2026
Preview 31st January 12-2pm All Welcome
The idea of a mechanical animal suggests a kind of uneasy fusion—creatures shaped by instinct but held together by something more rigid, more imposed. It’s a title that speaks to adaptation, survival, and the tension between inner life and external structure.
Louis Benoit’s drawings are immediate, instinctive, and deeply personal. His animals, often hybrid, often uneasy, feel like they’ve been pulled straight from the gut. There’s no polish here, no attempt to smooth things over. Instead, Benoit leans into the rawness: the awkward limbs, the tangled expressions, the sense that something is trying to make itself understood.
There’s something of Ralph Steadman in the energy, ink that feels flung rather than placed and forms that resist containment. But where Steadman’s chaos is often satirical, Benoit’s is quieter, more internal. His experience of autism shapes the way he sees and communicates. Rather than working through conventional language, Benoit builds a visual vocabulary that’s entirely his own. The drawings don’t explain themselves. They don’t need to. They speak in gesture, in texture, in the space between control and release. There’s a quiet dignity to the work. It simply exists—honest, unresolved, and full of life.
