CV

SHELLEY THEODORE Born in Brisbane, Australia Lives and works in London, Barcelona and France https://shelleytheodore.tumblr.com/ https://www.axisweb.org/p/shelleytheodore/ EDUCATION 2012 MA Visual Art (Fine Art), Camberwell College of Art, University of the Arts, London 1995 Bachelor of Fine Art (Hons), Goldsmiths College, University of London 1992 Dept of Continuing Education, Goldsmiths College, University of London, Certificate in Art 1980 Bachelor of Social Work, University of Queensland, Australia SELECTED EXHIBITIONS AND PUBLICATIONS 2022 Artist Feature Special Issue: Best Artists of 2022 Magazine 43, Hong Kong 2022 Magazine 43 Film Friday featured artist April 2022 https://magazine43.substack.com 2021 Deptford X Festival, Art in the open Supported Application Guide shapeslewisham introducing@shelley_theodore 23 March 2021 Deptford London 2021 Post Analogue Labyrinth IV, virtual exhibition, https://www.artsteps.com/view/ 6092eeaca33cc06fe89a823f 2019 Post Analogue Labyrinth Ill, as part of DEPTFORD X FRINGE, AAJA Deptford 2018 Post Analogue Labyrinth 11, Sister Midnight Records 4 Tanners Hill London Gaze, Axisweb: Contemporary Art UK Network, online exhibition Aesthetica Issue 81, p157, Artists' Directory, Published on Jan 24,2018 2017 Drawing Open, 26 -28 May, No Format Gallery, Arch 29, Rolt Street, Deptford 2016 Prison Drawing Project, Dean Road Prison, Scarborough, UK Artrooms Fair 2016, Melia Whitehouse Hotel, London 2015 Uncertain States Annual, Mile End Art Pavilion, Mile End 2014 Pala, an online digital program of artist's film and video works curated by Laura Mansfield 2013 Bloomberg New Contemporaries 2013, Spike Island, Bristol, and ICA, London 8 STUDIOS FROM HERE, Faircharm Studios, Deptford Postcard From My Studio, Acme Project Space 44 Bonner Road, Bethnal Green, London 2012 Crash OPEN, Charlie Dutton Gallery, 1a Princeton Street, London The Salon Art Prize Exhibition 2012, Matt Roberts Art, 25b Vyner Street, London Jerwood Drawing Prize Exhibition 2012, Jerwood Space, London No Now, Space Station Sixty Five, Kennington Bend over Shirley, Beaconsfield Contemporary Art 2011 CCW Artist Moving Image, HMV Curzon, Wimbledon 'Chain letter' worldwide exhibition 2011, GIBSMIR family, Zurich, Switzerland. Flash in the Pan, curated by Naomi Sidefin and David Crawford, Beaconsfield Contemporary Art The Unsung Heroes of the studio, ASYLUM, The Chapel, Caroline Gardens, Peckham 2010 Peckham Space Open, Peckham Space, Peckham Deptford X Fringe Award, Deptford X Fringe Nunhead Open Art Exhibition, The Surgery, Nunhead 2009 Creekside Open, selected by Mark Wallinger, APT Gallery, Deptford Creekside Open, selected by Jenni Lomax, APT Gallery, Deptford 2008 London Art Fair, Islington, Beverley Knowles Fine Art 2007 London Art Fair, Islington, Beverley Knowles Fine Art RESIDENCIES 2022 Studio Residency, San Quirze Safaja, Barcelona 2021 Photography Workshop with Architect Lisa Harmey and architecture students University of Cardiff, UK 2015 'Backs to the Future' Residency, FIVE YEARS 66 Richmond Studios, 8 Andrews Road, E84QN 2014 2014 LUX Critical forum, London 2012 Gasworks Curatorial Workshop, Gasworks 2011 Urban fabric 2 (UF2) Paradox Conference, Crawford College of Art and Design, Cork, Ireland 'Sculptural Drawing Collaboration', The Woodmill Project Space, Bermondsey

We have seen that craftsmen have been showing their work of art in the set up exhibitions to see their craftsmanship. Our expert specialists in Bristol are doing likewise and we have consistently had faith in advancing and making workmanship online in Bristol so that individuals can see the fine art and worth it appropriately. In the event that you are an expert craftsman in Bristol and searching for a medium to show your stuff, you can come to us. Visit our website https://sealionpro.blogspot.com/2021/07/some-benefits-of-gallery-presentation.html , for more information.

Submissions and Opportunities

‘Eros’ submission for ‘The Future is Queer’ online exhibition - monoprint on paper.

For the last year I have not set myself a brief or project to work towards in terms of a physical body of work, but have opted to use this time to think about how I might make myself known to my audience. Part of my methodology of achieving this has been to apply to opportunities and open calls that place myself in context with other like-minded creatives.

I have become more proactive in the last six months especially at submitting work to a variety of open calls, and fortunately I am beginning to develop a thick skin as rejections are regrettably inevitable. That being said, there have been times where my work has been accepted which is always great for morale. 

Publications

Fourteen Poems is a poetry journal that showcases LGBT+ poets, each issue they publish fourteen of the best queer poets three times a year. I submitted the poems that I composed for the ‘anagapesis’ artist’s book to potentially get published in the fourth issue. Though finding my peer group within the visual poetry field is important to me, I would also like to test the waters and see how my written poetry would fair as well. Sadly the application was unsuccessful, but now that my first submission has been sent it might not be so intimidating next time.

Earlier in the academic year I took part in S.J. Fowler’s visual poetry course, ‘Seen as Read’. The correspondence I have had with him since the course has ended has confirmed my inclusion in a publication that collates the work of visual poets from around the globe that also attended Fowler’s poetry courses. Each participant submitted some works and text that highlight how the course impacted their practice. I chose to submit some images of the preliminary writing and finished laser cut typeface that I made in response to the asemic writing week. I have since been told that there will be an event to launch the publication in London that will be attended by all contributing artists. This would be a great opportunity to network with some of these artists and establish connections in a real space, away from the online forums we used to navigate our way through the poetry course. 

‘To Call’ magazine is a mimeo-printed visual poetry publication by psw (Petra Schulze-Wollgast), based on the last issue of Tlaloc, 1970. Petra advertised an open call that requested artworks that were influenced by the pandemic. I sent some images from the ‘Exhale’ performance drawing series, made during my daily breathing and drawing ritual that began in lockdown. I have had confirmation from Petra that I will be included in issue number fifteen. This is the submission I have been the most excited about. I feel that my work lends itself to book arts quite fittingly due to its handwritten and autobiographical aesthetic and tone, and so having the opportunity to have a piece sit in a DIY publication alongside other visual poets is very in keeping with who I am as an artist at this present moment.

‘Write a song’ submission for ‘Resite’ - offset lithography on paper.

‘Resite’ is an assembling publication by Field Study that offers an element of audience participation. The editions are a nod to the Fluxus tradition of performance-based interactions and the pages are packed with scores, manifestos and documentation. 

Since learning about the Fluxus movement from the Block Zero projects we got involved with I have been very aware of how my work is in dialogue with many Fluxus concepts. In lockdown I began to explore the links my practice has with performance and I have understood that these moments of outward reflections of inward feelings are candid happenings, much like those popularised by Fluxus artists in the 1960s. 

I printed an edition of forty double-sided lithograph prints that have an event score on one side, instructing the reader how to write a song in the way that I would transcribe one through asemic writing. The text in this print is a direct homage to Yoko Ono’s ‘grapefruit’ manual of scores, even down to the date sign off at the end. The reverse side is a polaroid photograph that documents one of these happenings. These prints will be included in the next Resite assembling book and each contributing artist will be given a copy of the finished publication.

Exhibitions 

I was delighted to have work selected to show in a digital exhibition entitled ‘The Future is Queer’ - the first time that I have exhibited solely with other queer artists. I have only briefly touched upon this side of my identity in my practice, and so relished the chance to have myself placed under this umbrella for the purpose of this exhibition. I have a lot to say about queer culture, and I feel that now more than ever the world needs people to speak up about the treatment and mistreatment of people from the LGBT+ community. For this reason I see participation in this exhibition as a first step towards telling more honest stories about what it is to be a gay man in contemporary society. 

In keeping with this idea I have also submitted works to be exhibited at Bristol Pride this summer. I noticed the advert on social media and am still awaiting a response. The exhibition would be widespread around the city centre as opposed to a singular exhibition. If I have understood it correctly, it sounds to be not too dissimilar from an art trail - where there are multiple venues around the city for people to wander around and discover.

‘Wild Things’ was a call out by Beach Gallery in Orkney, Scotland that I entered just for fun, which from time to time can be a breath of fresh air. The call asked for artworks that focussed on wildlife, and so I submitted a series of three bumblebee monoprints. I was thrilled to learn that my prints are the focal point on the gallery’s website, being the first works you see upon entering the virtual gallery. 

‘Bumble Bee III’ submission for ‘Wild Things’ exhibition in Orkney, Scotland - monoprint on paper.

Residency

A big achievement for me during lockdown was having my application accepted to be an artist in residence at the Museum of Loss and Renewal in Collemacchia, Italy.

I have been extremely fortunate to have been able to spend the last three years developing my practice and honing my interests in visual poetry in an encouraging environment, however I am ready to explore my practice away from an educational institution. There have been moments of anticipated self-doubt as the final weeks of the masters degree are looming. The opportunity to explore my practice in a residency setting would encourage personal growth in the form of self-confidence as well as being able to assert myself as an artist in a creative context.

Furthermore, since returning to my studies I have experienced first hand how important it is to discuss and unpick ideas with a peer group, and so I am keen to collaborate and build relationships with other artists at the residency.

I am eager to continue developing my ideas of discerning a narrative through reading asemic marks, and investigating where we might find narratives. I have proposed that during the residency I would like to place myself in the local community and examine through first hand research how these ideas might translate in a setting where the language spoken is not my mother tongue. How might a language that I don’t understand translate visually? My aim will be to record my findings through drawing and printmaking. 

Immersing myself within a village community will provide extensive opportunity to explore a dialogue with new people and hopefully build a body of work that not only reflects these conversations but serves as a common language that is able to be read by all. I must remember to keep the emotional attachment at the heart of my practice and remind myself of the lessons I learnt from my residency at Bower Ashton Library - not to allow my work to become too formulaic and emotionally cold.

Artistic and Curatorial Agency (Digital) // artist and curator collaborative process

In ‘Curating Between Worlds: How Digital Collaborations Become Curative Projects’ (2015) Harrison writes about ISEA 2009 where panel of curators were brought to Bristol to interrogate a new curatorial process, the main question being: ‘Are virtual spaces and digital technologies enabling us to re-evaluate the relationship between curator and artist; between artist, curator and the process of creative practice? Or do they force challenges to the established templates of creative practice and agency?’ (Harrison and Doyle 2010).

My answer to both questions would be positive, I think digital technologies at the same time enable and force us to re-evaluate these relationships and the established templates. Because these practices have been developed and the curator’s role has been nourished for working with different mediums they most of the time can’t work for the new technologies, the instable media.

Below Harrison sums up the findings of the curator panel at ISEA 2009:

Real-world curating: Curating is ‘audience centred’: curators are uninterested in collaborations; Second Life (SL) artwork copies and can only ever be representative of the real world: SL artwork is restricted by a sanitized aesthetic.

Online/In World Curating: Curating is ‘artist cantered’; materialized avatars/objects in the white cube gallery are representative of the SL world; SL curating allows for social inclusion in a democratic exhibition space.

Panel summation: Artists will continue to push the limits of the SL platform; artists will continue to communicate and collaborate through virtual social platforms; SL curators will develop new forms to accommodate artists but will need to consider ‘audience’ access and engagement, to accompany the needs of the artists; dialogue should continue between audience-centred and artist-centred curators to eliminate misunderstandings and bring new social art forms to shared public spaces.

Nobody could have guessed at the beginning of the year that within a few months our entire lives would have been turned upside-down by a global pandemic. Companies all around the world have had to quickly figure out how to operate on a remote working basis, and it hasn't always been easy.

While the mechanics of running a business during this lockdown are straightforward – ensuring everyone has the hardware and software they need, and nailing down video conferencing, chatrooms and systems to send large files, for example – keeping things running smoothly and ensuring staff are coping in isolation is a whole other matter.

For design agencies, often based around small, close-knit teams in regular communication, this can be especially challenging. It's a whole new working world, and often we're having to make the rules up as we go along, but the creative industries are rising to the challenge. We spoke to five studios to find out how they're coping with the lockdown; here's what they had to say.

7 design exercises to keep your skills sharp

01. dn&co

dn&co has been able to improve its workflow during the lockdown

"This is hard," says Joy Nazzari, founder at dn&co, "and the first step is accepting we need to ease anxiety in order to make room for good thinking.

"At dn&co, we've been able to find small opportunities from the lockdown challenge. We've improved our workshop process and they have been surprisingly effective by way of repurposed interactive conference-polling apps. The necessary structure of video conferencing has resulted in ordered, thoughtful and democratic feedback from our clients that has propelled many projects.

"With new technology has come more presentation practice, making us feel and look sharper, coherent and professional. Yes we're doing Zoom workouts, quizzes and drinks like everyone is, but maybe it's actually the 1-1 calls without the noise of the studio that's giving us closeness with colleagues — and you hear the quieter voices more clearly.

"But the most striking difference has been at an industry level, where it's really heartening to see how many studios have banded together in private Slack channels to share strategies for survival. The way it has brought agencies together will be, I hope, a lasting legacy of this terrible pandemic."

02. Superunion

For Superunion, fostering a studio feel for remote staff has been essential

For a global agency the size of Superunion, adapting to the lockdown is a much bigger challenge than for smaller studios. Executive creative director Stuart Radford notes that isolation and collaboration are two opposing forces; however the agency has learned three useful lessons to help keep things moving.

Build a virtual studio

"We've started using Milanote, an online platform that enables us to share ideas/images and comment and add content in real-time, so we can review projects in one place, just as you would on a studio wall – let the collective chin-scratching continue!"

Keep up the 'What do you think of this?' chats

"Structured reviews are important but they're no substitute for ad-hoc studio chats. A random 'How about this?' starts a conversation that makes a massive difference to the work and is one of the most rewarding parts of the process. So, we're encouraging 'What do you think of this?' calls – randomly and regularly."

You can't isolate a strong culture

"Lockdown is a real test for agency culture. It's been heart-warming to see 'Superunioners' finding any excuse to hang out: quiz nights, birthdays, team and Friday night drinks. Unexpectedly, some great memories have been made in this weird and difficult time – full credit to our people!"

03. Noughts & Ones

Noughts & Ones, which recently won awards for its site for Fevered Sleep, has found plenty of ways to keep staff and clients engaged

Like many agencies, Bristol-based Noughts & Ones is relying on Slack and Zoom to keep its team talking, but also making sure to inject a little levity into the process. So its Monday morning kick-off call includes a 'Show & Tell' segment where everyone shares a project they've been working on over the weekend. "The first couple of weeks have been very plant-focused," says founding director, Tom Locke. "Who knew we were such a green-fingered team!"

Optional beers for the end-of-day team call are a welcome way to close off the working day; Noughts and Ones also organises a game every Friday, and its sent a care package of coffee and snacks to every team member, something it plans to do regularly.

"Overall," says Locke, "I feel that the experience has been really quite positive for us as an agency, as it has got us focused on our own (and each other's) workload and communicating super clearly. We're also having to really thinking outside the box in terms of how we can 'add value' to our clients. 

"In terms of working with clients that are struggling, it's all about supporting them however we can in term of positioning – we're also exploring how we can facilitate collaboration and partnerships between some of our e-commerce clients that fall into the non-essential category with others that fall into the essential category. We're starting to see some really exciting and innovative conversations happen!"

04. Rose

Like so many agencies, the team at Rose has found the adjustment to lockdown life to be disorienting and dislocating. Studio partner Simon Elliott tells us that the team have been brilliant in how they're coping and responding, and explains that one way they've found to cope with their newfound circumstances has been to create a daily 'Cultural Coffee Break'.

"Many of our clients (past and present) are in the cultural and visitor attraction sector (including English National Opera, Bletchley Park, National Portrait Gallery, V&A, Tate, The Photographers' Gallery, Natural History Museum, Science Museum, The Old Vic etc)," says Elliott.  "And in light of them all having had to close their doors indefinitely, we thought it would be nice to create a series of mini virtual tours on Instagram to share some of the many shows, exhibitions and events for theatres, galleries and museums we've been involved in over the past two decades, for our followers to enjoy during the lockdown. 

"We also hoped it might ensure the many amazing arts organisations and cultural institutions out there remain in people's thoughts throughout this difficult time, and can still be supported somehow, if not in person.

"For our team, it's provided some welcome respite from the crisis, to keep them mentally active and agile, and given them an excuse to delve into our archive and discover some of the many projects we worked on before their time at Rose."

Rose's Cultural Coffee Break happens every weekday morning on its Instagram account.

05. Magpie Studio

Another agency turning to Instagram to keep team spirits up is Magpie Studio. "A strong studio culture has always been a priority for us," says creative partner Ben Christie, "so it was certainly a challenge to adapt to an entirely new way of working overnight.

"Once we'd found our feet, we wanted to put a message out on our Instagram and LinkedIn to say that we're still here, still strong and still working together successfully as team.

"For us, happiness fuels creativity – it's great for general wellbeing and contributes to a positive team spirit which, in turn, produces better work. So, amongst the hard graft, we also have a lot of fun in the studio.

"It made sense that our post reflected this by being upbeat and making people smile. We also wanted it to have a family-like feel, so the Brady Bunch reference seemed to hit the spot.

"It was great fun to make and a perfect excuse to get the whole team involved. We're already thinking about the next one!"

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ASSIGNMENT TASK 3 - FINAL

REFERENCE：

·Environmental Pollution- http://www.globalstewards.org/environmental-issues.htm

http://theweek.com/articles/728023/why-some-want-giant-trash-pile-pacific-country-status

https://inhabitat.com/mysterious-giant-hole-cracks-open-in-antarctica/

http://www.firstcarbonsolutions.com/resources/newsletters/july-2015-top-environmental-problems-and-their-impact-on-global-business/top-environmental-problems-and-their-impact-on-global-business/

http://codsteaks.com/portfolio/public-art/the-bristol-whales

Nunes, A, "How Artists Are Fighting Air Pollution in Beijing.". in Creators, , 2016, <https://creators.vice.com/en_au/article/wnpb4b/artists-and-air-pollution-in-china> [accessed 22 October 2017]

LEATHAM, X, "Shocking images show how bottles, bags and rubbish are choking oceans.". in Mail Online, , 2017, <http://www.dailymail.co.uk/news/article-5002084/Oceans-choked-plastic-bottles-bags-rubbish.html> [accessed 22 October 2017]

azzarello, n, "naziha mestaoui projects virtual forests growing onto paris' monuments.". in designboom | architecture & design magazine, , 2014, <https://www.designboom.com/art/naziha-mestaoui-virtual-forest-growing-paris-monuments-06-16-2014/> [accessed 22 October 2017]

·Animal Hurt- http://www.plasticpollutioncoalition.org/pft/2015/10/27/the-turtle-that-became-the-anti-plastic-straw-poster-child

http://www.onegreenplanet.org/animalsandnature/marine-animals-are-dying-because-of-our-plastic-trash/

https://www.globalanimal.org/2011/03/23/radiation-and-wildlife-the-impact-on-animals/

·Animal’s Death- http://www.chrisjordan.com/gallery/midway-film/#trailer and http://www.chrisjordan.com/gallery/midway/#CF000313%2018x24

https://www.theguardian.com/environment/2015/sep/01/up-to-90-of-seabirds-have-plastic-in-their-guts-study-finds

http://www.care2.com/causes/5-ways-water-pollution-is-killing-animals.html

http://pollutionarticles.blogspot.com.au/2011/03/how-does-pollution-affect-animals.html

http://www.takepart.com/article/2015/02/20/ocean-plastic-pollutions-shocking-death-toll-endangered-animals

·Animal Variation- https://www.sarahderemer.com/hybrids/

Assessment3 “Now”

For this task, we created a 10-pdf-long connected work with two more pages for cover and statement.

We focus on the global issue/crisis - the ecology and mainly talk about the animals.

turtle with distorted turtle shell, seal whose neck is hurt badly by a plastic wire, penguin cover by the leaking oil, died sea lion holing a plastic bottle, died sea birds and sulphur-bottom which ate a lot of rubbish, died squirrel whose life was influenced by the environmental pollution, cat with two more wired ears, sika deer with six legs, fish with a bird's mouth... etc. 

Our project shows that the environmental pollution brings the animals hurt, death and even variation.

By connecting the pdf pages, the idea is shown fluently: this pouring down rubbish river ruins the animals' life and this rubbish river comes from human living.

REFERENCE：

·Environmental Pollution- http://www.globalstewards.org/environmental-issues.htm

http://theweek.com/articles/728023/why-some-want-giant-trash-pile-pacific-country-status

https://inhabitat.com/mysterious-giant-hole-cracks-open-in-antarctica/

http://www.firstcarbonsolutions.com/resources/newsletters/july-2015-top-environmental-problems-and-their-impact-on-global-business/top-environmental-problems-and-their-impact-on-global-business/

http://codsteaks.com/portfolio/public-art/the-bristol-whales

Nunes, A, "How Artists Are Fighting Air Pollution in Beijing.". in Creators, , 2016, <https://creators.vice.com/en_au/article/wnpb4b/artists-and-air-pollution-in-china> [accessed 22 October 2017]

LEATHAM, X, "Shocking images show how bottles, bags and rubbish are choking oceans.". in Mail Online, , 2017, <http://www.dailymail.co.uk/news/article-5002084/Oceans-choked-plastic-bottles-bags-rubbish.html> [accessed 22 October 2017]

azzarello, n, "naziha mestaoui projects virtual forests growing onto paris' monuments.". in designboom | architecture & design magazine, , 2014, <https://www.designboom.com/art/naziha-mestaoui-virtual-forest-growing-paris-monuments-06-16-2014/> [accessed 22 October 2017]

·Animal Hurt- http://www.plasticpollutioncoalition.org/pft/2015/10/27/the-turtle-that-became-the-anti-plastic-straw-poster-child

http://www.onegreenplanet.org/animalsandnature/marine-animals-are-dying-because-of-our-plastic-trash/

https://www.globalanimal.org/2011/03/23/radiation-and-wildlife-the-impact-on-animals/

·Animal’s Death- http://www.chrisjordan.com/gallery/midway-film/#trailer and http://www.chrisjordan.com/gallery/midway/#CF000313%2018x24

https://www.theguardian.com/environment/2015/sep/01/up-to-90-of-seabirds-have-plastic-in-their-guts-study-finds

http://www.care2.com/causes/5-ways-water-pollution-is-killing-animals.html

http://pollutionarticles.blogspot.com.au/2011/03/how-does-pollution-affect-animals.html

http://www.takepart.com/article/2015/02/20/ocean-plastic-pollutions-shocking-death-toll-endangered-animals

·Animal Variation- https://www.sarahderemer.com/hybrids/

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At Bristol, I have been filling in as an expert talented laborer all through the previous 42 years, under the name Sealionpro Ltd. I make an expressive gem with a specific spotlight on the spaces between people. To buy any of my work, if it's not too much trouble, reach out today. Visit our website https://www.sealionpro.org.uk/products , for more information.

At Bristol, I have been filling in as an expert talented laborer all through the previous 17 years, under the name Sealionpro Ltd. I make an expressive gem with a specific spotlight on the spaces between people. To buy any of my work, if it's not too much trouble, reach out today. Visit our website https://www.sealionpro.org.uk/, for more information.

Virtual online art galleries in South West, we might want to add how these displays are significant and what is the reason for showing the work of art in actuality. We as a whole have some new objectives to launch our year and start our year by visiting our companions, family, or celebrating. In the accompanying part of the article, we will see the reason, significance, and which means of such craftsmanship shows. Visit our website https://www.emazoo.com/blogs/67215/What-is-the-purpose-of-an-art-gallery , for more information.

Virtual online art galleries in South West, we might want to add how these displays are significant and what is the reason for showing the work of art in actuality. We as a whole have some new objectives to launch our year and start our year by visiting our companions, family, or celebrating. In the accompanying part of the article, we will see the reason, significance, and which means of such craftsmanship shows. Visit our website https://docs.google.com/document/d/1JLEY2PcF5UtCNLGbmAGBCuKZvA1pihwURXXULsSAR0k/edit , for more information.

Some benefits of gallery presentation of art work

In the past years, we have observed that artists have been displaying their artwork in the established galleries to see their artwork. Our professional artists in Bristol are doing the same and we have always believed in promoting and creating art online in Bristol so that people can see the artwork and value it properly.

Going to an online gallery can be a very enriching experience and it may convert into a successful venture for a few entrepreneurs. These days, a gallery (physical or online) has proven to be a much more beneficial option for emerging artists time and again. As we stated earlier, we have loved this idea and we will keep promotion and creating art online in Bristol.

There are a lot of advantages of displaying the artwork and let us give you a few reasons here:

1.You get a better and top-botch clientele for the professional artist in Bristol. This is the biggest advantage of displaying the artwork. Start displaying the artwork of various artists in town and see the kind of footfall you get there.

2.When an artist knows that the artwork is going to be displayed, the artist also gets extra time to focus on creating the artwork and later display it properly. Also, when they have the right platform to display their work, they are encouraged to create more incredible art pieces in life.

If you are a professional artist in Bristol and looking for a medium to display your stuff, you can come to us. We can help you or visit here https://www.sealionpro.org.uk/gallery