John Moores Painting Prize release 'virtual tour' interactive video of 2021 exhibition



Tricia Gillman's interview for

Trinity Buoy Wharf Drawing Prize



Tricia Gillman selected for

John Moores Painting Prize

Walker Art Gallery, Liverpool.

February 2021 - June 2021



Moments 1: Minds Eye


Pencil, charcoal, pastel on unprimed cotton duck    

187 x 102 x 3cms




MOMENTS 1: MIND’S EYE, is one of a series of works, aiming to locate, document and process awareness of being conscious.


As the works evolve, they construct and deconstruct themselves, mirroring the emergence and dissolving of thoughts, feelings and sensations as they unfold within the container of the medium.


Drawing is like breathing, sensing directly, and evolving the work on raw canvas, feels like the way a tablecloth, a sheet, or a wall collects stains, or the skin we live in rides its years. Materials chosen, are “of the earth,” (charcoal, graphite, pastel,) somehow elemental, like dust, pollen or sediment.


Things seen, everyday oddments, notes to oneself, collision, anxiety, emptiness, clarity; this is the bric-a brac accumulation of mind-time and body-listening.


Accretions of response and adjustment; thoughts and felt sense surrender to the moment, bearing witness to the continuum of the “now” and the lure of the half-formed, latent state. Touch, layering, erasure, become material embodiments for experience, accumulating the real-time spaces of presence.


A residual language, an eroded surface and place emerge, mapping the imprint of being here, awareness, steadfastness, vulnerability; an indexical notation for life’s touch.


The slow and generous act of looking negotiates this intimacy of consciousness. 


Tricia Gillman selected for Trinity Buoy Wharf Drawing Prize 2020.

Touring to:

Drawing Projects UK, Trowbridge, 2 - 31 October

Cooper Gallery, Dundee, 13 - 19 December 

Trinity Buoy Wharf, London, 9 - 22 January

TheGallery, Arts University Bournemouth, Spring  2021 (tbc)



Moments 3: Beneath The Skin


Pencil, charcoal and pastel on unprimed cotton duck



Tricia Gillman selected for Wales Contemporary


Each Moment 4


Collage, acrylic & charcoal on canvas




Tricia Gillman selected for A Personal Perspective, APT, London



Black Magic


Oil on canvas


Liz May : A Personal Perspective
An exhibition of artworks chosen by Liz May to celebrate 18 years at APT : 2002 to 2020 
5 to 8 November 2020, open 12noon to 5pm


Peter Anderson  |  Charming Baker  |  Cuillin Bantock  |  Dominic Beattie  |  John Butterworth  |  Gill Capewell |  Eileen Cooper  RA  |  Tori Day  |  Bea Denton  |  Sarah Durham  |  Fred Gatley  |  Tricia Gillman  |  Oona Grimes  |  Clyde Hopkins  |  Kabir Hussain  |  Matthew Krishanu  |  Simon Leahy-Clark  |  Maggie Learmonth  |  Sara Lee  |  Wayne Lucas  |  Enzo Marra  |  Liz May  |  John McLean  |  Jane Millar  |  Lisa Milroy  RA  |  Barbara Nicholls  |  Jayne Parker  |  Kasper Pincis  |  Joanna Sands  |  Patrick Semple  |  Keir Smith  |  Chris Sowe  |  Christine Stark  |  David Theobald  |  Alaena Turner  |  Annie Turner  |  Claire Undy  |  Jacqueline Utley  |  Virginia Verran  |  Ben Woodeson  |  Maike Zimmermann


In recognition of Liz’s contribution, dedication and commitment, APT is pleased to present Liz May : A Personal Perspective. Comprised of artworks from previous exhibitors, as well as peers and friends, this exhibition presents a comprehensive showcase of paintings, photography, films and sculpture that have been etched into her mind and whose impact on the gallery she could not forget. A Personal Perspective marks the eighteen-year anniversary of Liz’s work at APT and pays homage to her outstanding direction and devotion to the arts since 2002. 

During Liz’s tenure as APT’s manager - director - organiser - project leader - curator - technician - accountant - boss - guv’nor - baker - decorator and cleaner, many professional relationships and friendships were formed, and APT gained recognition as not just a well-renowned studio group b­ut also a flagship gallery in South East London. With a reputation for showcasing cutting-edge contemporary artworks, artists and collectives, many returned time and time again. The remarkable space, light and dynamism that APT provides as a backdrop was second only to the kind, welcoming and expert guidance Liz provided.  Not to mention the cakes!

APT has served as a beacon of contemporary visual art in London for twenty-five years and after the restrictions of the Covid-19 pandemic are lifted it will continue to do so in perpetuity.  This exhibition shows the artworks that have shone the brightest for Liz over the past eighteen years and hopes to illuminate the path for the next twenty-five.

APT Gallery  |  6 Creekside  |  Deptford  |  London SE8 4SA
Registered Charity No 1045363



Tricia Gillman Solo Exhibition

October 2016


Time Being 

Recent Work



Exhibition runs from

Wednesday-Sunday 26-30th October,

opening hours 2-6pm


The Cello Factory,

33-34 Cornwall Road,





An interest in the brain, neuroplasticity, wisdom traditions and training to re-wire neural pathways, underlies this work. The desire is to register unadorned, an open, primary experience of time and being. Using household recycling, studio debris, rudimentary drawing and collage, it aims to make present a quiet witnessing of ordinary consciousness. The provisional, piecemeal structures, intend to harness moment by moment unfolding of thought, sensation and feeling and to map awareness as it engages, dwells and passes on; a kind of negotiated looking which slows down and spotlights awareness as it flows. The mind's eye journey.

This attitude is orchestrated by time, chance and choice and the resulting by-product, is the work. These accumulated moments, linked bit by bit, (drawing notations, rubbings, collage, found surfaces, notes one's written to oneself, ) enact a direct transference of real, haphazard everyday things into this open-ended and non-hierarchical document. This might take the form of a map, a diary, a list, a dictionary, structured perhaps, as a stack, a scatter, a string: a sequence, piece by piece.  

The particularity of how something is made and structured, however basic, must concentrate one’s looking on just this bit now. A just is-ness. Each mark needs to have the “now” focus of a fly crawling across a window pane…and yet to question the possibilities, of being able to make connections between systems and meaning, to encounter the dilemmas of signs, through just being aware that we are here, and looking, in real time.


Tricia Gillman

August 2016

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