



All We Like Sheep (The Chosen Ones), Oil on linen, 150 x 100 cm, 2024.
Joie de Vivre, Oil on linen, 40 x 50 cm, 2022
Athena and Ares, Divine Retribution, Oil on linen, 100 x 120 cm, 2025
The Miser and the Hunter of Souls, Oil on linen,
76 x 61 cm, 2026
Angela Lizon
BA (Hons) at Bristol Polytechnic (1983 - 1986)
Postgraduate scholarship (funded by the Polish government and the British Council) for study at Krakow Academy of Fine Art in Poland (1986-1987)
Elected academician at RWA Bristol 2018
Appointed Vice President at RWA Bristol 2025.
Winner of the Jackson's Art Prize 2026
Drawing on the language of 17th-century Dutch art with its ready-made gravitas - mortality, fragility, ostentation - I have been staging narratives using digital collage, photographs, oversized flowers, kitsch objects and ornaments, investigating the tension between high and low art
The aggressive fairies respond to the well-known photograph of a bare-chested Putin riding a horse, which epitomises for me the hyper-macho posturing prevalent in today’s politics. Symbolically shrinking violence and aggression to a minimal size renders them harmless.
My cultural heritage is reflected in the resultant paintings, a blend of Polish exotica and Cockney humour, which influences the work both atmospherically, emotively and aesthetically. Lockdown 2020 gave me time to take an in-depth look at the flora and fauna of the domestic garden and to reevaluate it as subject matter alongside art historical sources. I now grow and photograph my own flowers, using the bouquet as a stage or backdrop, to intertwine my daily living with my art practice.


Blancmange
6 - 8.30pm
Kampus Gardens, Aytoun St, Manchester M1 3GL
“Welcome! The stomach can handle around 4 litres of food so we must begin in earnest. We have all the cuisines - compliments to the chef - and our platters, like our hospitality… Endless. When you get tired and you think you are full, open your mouth and I will pour it in. Everybody is well fed here. This is the place where the history of gluttony began….”
In his new work for A Modest Show, Elliott Flanagan invites you to eat yourself to death. It is the night before tough new laws from the Convention for Climate Protection and Environmental Recovery come into force. In the morning, the start of meat rationing. Responsible consumption and production will be introduced. The mixed grill will be outlawed, an illegal Sunday roast will carry a fixed penalty fine and a SWAT Team will descend on any BBQ without a permit. In this gastronomic climax, Flanagan studies how in the shadow of an impending climate and nature emergency, what we eat has become a moral question. Our public and private habits, traditions and rituals towards food and drink are intensified during this one last party of overflowing plates, spilt glasses, swollen bellies and crumbs in your lap.
In his work Flanagan dissects masculinity and plays with elements of pop culture intrinsic to his identity and to class as an act of reclaiming and defining values. His works incorporate moving image, installation, sound, performance, poetry and text, and collaboration with artists and musicians. He makes work with artist Sarah Boulter in collaborative duo Nightshift International. He has presented work at The NewBridge Project, Newcastle, UK (2022); HOME, Manchester, UK (2021); Manchester Contemporary, UK (2019); and Begehungen, Chemnitz, Germany (2019). His collaborative work has been exhibited at Proforma Pavillion, Venice Biennale, Italy (2022); and g39 Cardiff, Wales, UK (2019).
(A private view event will be held on the 20th July, 6-8.30pm)
Elliott Flanagan
20/07/22
20/07/22
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