Uncertain Objects brings together new work by 18 artists with interests as varied as folklore, industrial decay, pop culture and ornithology; their work resonates with a poetry that emerges through the complex act of finding form.

I printed this work for the Notice Board as I was thinking about time, territory and the sea. Studying the Flood Map website I could see that, left unchecked, rising sea levels would leave the flag and noticeboard on a promontory reaching into the North Sea at the wide mouth of the River Welland.

OSR Projects: A weekend at Hotel Palenque. OSR Projects was invited to take over the Arnolfini theatre space for a weekend in July, with Andy Parker, Sam Jukes and Simon Lee Dicker.

On the 1st November 2022 I went to Barreiro, Lisbon to produce new work as a selected artist for OSR projects’ contribution to Territory, a collaboration between UK-based Sluice and Portugal-based PADA.

The World Exists To Be Put on A Postcard: artists' postcards from 1960 to now highlights a selection of 300 works from more than 1,000 artists’ postcards recently gifted to the Museum by the novelist and former art dealer, Jeremy Cooper.

Ropewalkers brings together new work by artists Jo Ball, Andy Parker and Simon Whetham made in response to the architecture, history and materials of Dawe’s Twineworks Museum and social history project.

For this show my starting point is a rock housed in a glass cabinet in the wall of the host museum. The rock comes from Pourewa (named by Captain Cook as ‘Spöring Island’) in New Zealand and commemorates Herman Spöring - a Finn who travelled on Captain Cook’s voyage to Australia, but died on the way back.

Outside the polished world of data lies the rough space of things. We hide it as much as possible, closed behind doors and panels; growth, making, fixing, painting, scribbling, elevation, excavation, construction, shaping, breaking.

The harshness of these spaces acts on this exhibition just as the rough questions about our rough lives.

Andy Parker

PAN-PAN is the maritime call made to alert those nearby to a state of urgency. With this title, Parker has not endangered us with the MAYDAY of a disaster in full swing but alerted us to the period before, where focussed attention and careful action are demanded. Throughout the exhibition Parker employs objects and processes from the world, whose meanings are then siphoned and shifted. Public gestures and outmoded objects foreground Parker’s making and doing. His is a practice driven by the artist as maker, and one sensitive to the the minimum requirements for the work to be the work. The materials chosen are led by a criterion of need.

At the beginning of the summer Aspex undertook a rag and bone-style collection of unwanted domestic and small-scale industrial items within Portsmouth and Southsea. Selected artists then took these objects, which were no longer fit or have served their purpose and turned them into something potentially beautiful and definitely different.

In October 2007 I sailed 3,991 nautical miles aboard the last remaining Royal Mail Ship, the RMS St. Helena. I was on a voyage that would last for two weeks from Portland, UK, across the equator to the Island of St Helena in the South Atlantic Ocean.

In autumn 2006 I spent a month living and working in the Lokaal 01 project space, close to the centre of Antwerp. As well as an opportunity to get to know the city, I had the freedom to experiment and develop a new body of work, leading up to a solo show in the gallery.