No title

I have been still
I have been flat
I know no tomorrow’s.

I think of nothing
I dare not dream
I devour sorrows.

The poison is non liquid
Has never seen love
It lives within my soul
It is urine, it is wasted it is death.

Surrounding my bare winter trees….the bite, the storm, the emancipated.
I dream of perennials.


HSAD visiting lecture series.




A unique and beautiful take on that artists old chestnut of mark making processess.  The use of desktop software to produce drawings is not entirely a new concept, yet Brians is fresh, contempoary and extreamlly intruging all the same.

There are an abundace of documented works on various multimedia sites, in which you can be awed with the volume and enthusisum of this quick witted and culturally balenced individual.  The drawings reminded me of my interest in modernist art works and the works of the 1950’s, linear, repitition and pattern.  I enjoyed this lecture and was intrigued to dig further into the work of this interesting human, on the finding of his website i was suprised at how right my intuition was about the kind of person mr Gilson projects.

There is considerable community based works, evident in the form of landcape and gardening projects, there is an air of fathership, of consideration and also links to his artworks and the way he expresses himself through other mediums, mixed ideas, developments and creations, its worth the time i takes to ponder his uses of time, for himself and that of others.




Interesting, if not overbearing i was not and did not enjoy this lecture, its sometimes difficult for me to be so blunt but in the confines of an overly warm lecture theatre with little concentration i was beaten in the outset.  I thought i would comment and place the entry all the same,  be it in a negative format, i have heard some mixed feedback and reviews and do not doubt that the subject and information was greatfuly received by some.  Weither it be the day, my feelings, the subject matter, and/or the circumstances this lecture was a non starter from the presence of the poster in the studio.

Apoligies for the sentiments, it is after all only my opinion.

If further reading would be your interest………..



A subject close to my heart xxx

A Buick in the Land of Lexus

Mental-Illness 2



When you have a kid who’s “challenging” (euphemism for “major pain in the ass”), receiving a phone call from his preschool teacher at 8:30 at night is NOT a good thing. You know she’s not calling you at that hour to gush over what a little darling he is.

At 3, my son was defiant, intense, uber-intelligent, willful and aggressive. Hence the phone call from his preschool teacher, asking,

“Is there a problem in your family?”

Mrs. Katz-  in your vast experience educating 3-year-olds, have you never encountered this type of kid? Even the best 3-year-olds make you want to drink in the daytime.

I’m sure it’s hard to be an underpaid, overworked preschool teacher with Little Dude in the room, making his weird-ass noises and destroying furniture and what not. But, lady – this is your JOB.

Did she really think I was going to sigh with…

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Proposal docx

Artist as a practitioner – initial proposal.​​Helen Chance.

The decision to procrastinate illicit art in Hull was one thought of over a meeting, cups of tea, previous interventions and a pinch of fortitude. Sound like a recipe for success?
I had myself, last year met with Andy P of the KAG (Kingston Art Group), we had met under the guise of looking into the available studio space at KAG, and talk soon turned to the use of illicit art works in the urban capitals of the world, how it can influence media, politics and popular culture as well as serving of reconnaissance for the artist themselves.
I had already used such tactics in the previous year, using the anonymous placement of interventions for personal interest only. Conscious of them still in place (if a little weathered and forlorn), made the decision for me to use semiotics, key visionaries from my studio practice, whilst also remaining entirely anonymous.

The concept itself is to highlight human ignorance toward mortality, fear of death and the arbitration we seek to define our existence. Through art I can portray feeling, evoke response, and prompt fictitiously, momentarily what one would otherwise angst? I have decided to remain detached from my interventions as I feel that I can express myself more freely, and use the responses to the work more productively. (Fig 1.)

The allotment itself will be the use of surgical instruments, and known patient surgery attire. Semantically my direct literature will not be present, leaving the viewer to devise strategy, adjust emotions and develop theorem.
I have a specific location in mind…a popular public footbridge which stretches the gap of now somewhat derelict landscape between the Hull Marina, adjacent to the Tidal barrier and destining at the Deep.
Steeped in history the ignored, decaying spaces are a clear match to the way one believes we behave toward impending mortality. We know that the concept exists; yet we choose to spend time there as and when we please. To juxtapose the popular destination with the use of inappropriate visual intervention is my proposal for my public art piece. (Fig 2,3,4)
I have chosen this placement in relation to the latest bout of extreme weather we have experienced, and the Hull tidal barrier being the “anti aging cream” or “SPF” that saves us from impending mortality. I dance with idea of it being a place of beauty and brouhaha visits, along with the knowing of it being dangerous, risky and well documented as such. When we pursue cosmetic surgeries, we again are aware of the risks yet we are consumed by beauty. I see the connections with human excess and the damage it has on our landscapes, as well as the decadent ignorance of the ultimate consequence.

The materials required are simple, that of medical/surgical gowns, and surgical viewing implements as previously used in a studio setting. The gowns will be hung, preferably from trees, as to work with and react, both with the public and the elements.
Whereas the speculums will be placed ideally adjacent to the permanent viewing devices already in situ on the Marina edge.
The audience target in this consideration is definitely public, non-disclosed and/or preempted. The intention of the clothing are nearly almost visual to prompt fear, disassociation, and question evident existence.
Yet the speculums are there to be interacted with and used as an alternative-viewing device aside from the conventional.

The event itself will not be publicized, promoted or hinted at in any way by myself. It will be photographically documented on placement, and I will visit the sites anonymously on prediset occasions to document any interactions, speculation or vandalism to the works.
There could be potential for media speculation, or external documentation, as this is a popular sightseeing attraction within walking distance of the city Centre.
In comparison the opportunity for damage, weathering and loss is evident in abundance as there are no assurances, contracts, insurance, sponsorship or permissions.
Due to its illicit nature I believe the location to be ultimately available, on request, without the need to pre-book and organize a slot/placement. Times and dates also become defunct. It will be a workable, flexible and affordable project for me to undertake, which harks to the direct principles of my current studio practice.

List of illustrations.​​​​​​Helen Chance.​​​​​​​​​​​​​​​​​

Figure 1.​​​​​Figure 1a.

Figure 3.​​​​​Figure 4

Figure 5.

​​​​​​​​​Helen Chance.

Map of Hull Marina. Specific sites to be finalized.



The latter of the 1980’s saw the uprising of the Guerilla Girls. The political, illicit art steam train that drew to light the consensus of a nation on the turn of a modern thinking, decision making planet earth.

The art works where general, site specific, anonymous, informative and with a “robin hood” vigilante style that would highlight racism, sexism, feminism, politics, war and popular culture.  Contre to popular belief illicit art works do not have to be that of a graffiti artist branding faciors with a can of neon paint!  works are often a lighthearted, fun and almost always different way for an artist to express themselves without the limelight of conventional curation.

That being said there is always room for the activist, the unconventional, and the macarbre to express themselves under the blanket of annominity, to give their food for thought without speculation and or judgement.  I have in the past saught to give hull the experience of some illicit intervention, i have held talks in the past with Andy P a local artist and member of KAG (, surrounding the possibilites of staging some stiring guerilla artworks in the cultural quarter of the hull city centre being that of the old fruit market and the venue of choice for the annual music and arts festival HUMBER STREET SESH (

I beleive in this platform as the opportunity for me to leave my message a little bit more openly with the view to being understood in various ways by a diverse audience, to not gauge reaction, to not seek recognition, but just to express myself in the only way i know how…… with honesty and purpose.