Clifford Chance

This year we were privileged to showcase a selection of artworks curated from the educational institutions and the core of the artistic community from the North East.

Each piece contributes to a shared narrative that underscores the critical role of LGBTQ+ visibility across generations. The event served as a celebration of art that not only connected but also elevated the rich and diverse tapestry of our LGBTQ+ society.

It shows the rich diversity and talent that is present in our region and brings a new perspective on the experiences of the young LGBTQ+ community living in Newcastle upon Tyne and the surrounding area.

The artworks serve to cultivate, energise and enhance the power of collective involvement, partnership and unity, with the aim of bolstering, fostering, maintaining and championing a society that is fairer and more inclusive. The emerging artists pay tribute to celebrate and uphold the LGBTQ+ young communities of today, while the contributions from the seasoned artists lay the groundwork upon which modern LGBTQ+ social justice and existence are constructed.

The pieces on exhibit demonstrate the capacity of art to record, depict and preserve our existence, narratives and heritage, as well as to construct and fortify community bonds.

Nick Fox’s paintings and objects are a combination of fine art and craft, romantic desire and explicit eroticism, decorative pattern and loaded symbolism.

"Interlude" is part of a series where Fox’s landscapes are populated by figures, predominantly male and often engaged in sexual acts, whether solo or with others. Often culled from contemporary pornography, rather than jarring with their surrounds, his subjects seem at home, lost in self-absorption and the pursuit of their own pleasure. Fox’s juxtaposition of florid romanticism and the explicit representation of the sexual act are neither intended nor appear as ‘shocking’.

 Jock Mooney’s drawings are uncompromising, offering monstrous visions of apocalypse. Fascinated in the varying ways in which societies visually memorialise death - in particular the gaudy ceramic wreaths seen in French graveyards - Mooney’s own wreaths are collaged from hand drawn and coloured images, cut out of card, and combined and contrasted in a variety of formations.

"Nightmares in a Damaged Brain II" is part of a series where there is no pretence or politeness here, instead we are presented with an eclectic, unashamedly alternative view of the world. The artist asserts truly lateral thinking, subversive and unique. Visually informed by both high and low culture - from pop art, underground comic books of the 1960s and manga, to pastoral landscapes, Japanese prints and nursery rhymes - all Mooney’s work shares the same imaginative manipulation of materials, intensity of labour, and quirky outlook that is equally disturbing and endearing. 

 Jo Feijó, (he / she) is a Portuguese non-binary sculptor working extensively with moving sculptures, made from non-traditional materials. Their work delves into archetypal stories sourced from mythology and cultural lore. Jo has exhibited giant sculptures nationwide, collaborating with notable arts organisations and festivals, and has shown extensively in Portugal.

A member of UNION: The Northern School for Creativity & Activism, Jo is backed by the Arts Council and Aviama International bursary.

"Commercial mercury: how we steal your cows" contemplates queer existence within a capitalist framework, drawing on Mercury's mythological ascent to challenge societal norms and celebrate adaptability and resilience.

Ash Martin-Allman, (he / him) a Gateshead College Art and Design student. They channel their trans journey into art that confronts identity stereotypes.

Their sculpture "Wendigo" depicts a gender-neutral entity grappling with isolation and self-discovery, mirroring Ash's personal mental health experiences. It symbolises growth and the quest for self-understanding.

"You Don’t Look Like a BOY" uses mixed media to defy traditional gender norms, showcasing that trans identity eclipses societal expectations of masculinity. Incorporating real-life remarks, it underscores the emotional impact of coming out and the importance of empathy and support for the trans community..

Kuba Ryniewicz, (he / him) is from Poland now based in Newcastle. He crafts narratives that surpass traditional portraiture and travel imagery.

His "Utopia" series, commissioned by Fantastic Man magazine, is inspired by Edward Carpenter, the esteemed gay philosopher. It celebrates Carpenter's life in Millthorpe with over 25 queer individuals participating in a pride parade, capturing their unique identities and collective spirit.

Ryniewicz's work, rich in human emotion and cultural depth, showcases the vibrant essence of the queer community, their diverse backgrounds, and their unified strength through visual storytelling.

Xavier White, a London-based activist artist, tackles themes of gender identity and toxic masculinity through his vibrant art. Utilising childhood toys and vivid colours, he juxtaposes innocence with socio-political critique.

"Transubstantiation" celebrates trans identity using stained-glass imagery, challenging the historical persecution of queer individuals by religious institutions.

"Transitions: Female to Mattel" is a lenticular print prompting reflection on gender assumptions, featuring the iconic Ken doll. Exhibited at the Royal Academy Summer Exhibition 2020, it also features in the pioneering LGBTQ+ VR Museum, spotlighting White's commitment to challenging and reshaping narratives around gender.

Emory Southwick, (they / them) is a disabled, neurodiverse, trans nonbinary artist and owner of EmoryArtModel, is also a part-time MLitt student at Newcastle University. Their art, often self-taught, delves into identity and connection, informed by personal experiences.

"Missed Connection," an acrylic on canvas, captures a transient yet poignant moment with another queer individual on public transport, expressed through a poetic advert format. Another piece,

"Untitled," reclaims the black triangle symbol, historically used to mark disabled individuals, set against a backdrop of colours symbolising the emotional journey since Emory's disability onset in 2016.

Emily Davidson (they/them) is  a non-binary mixed media artist, specialises in painting that invites interactive audience engagement. Their abstract work, devoid of specific subjects, encourages personal interpretation and reflects their identity through vibrant, expressive styles. Influenced by abstract expressionists like Pollock and Rothko, Davidson's art is a play between chaos and control.

Pieces like "Blur" focus on subconscious human interaction through colour, while "Forces" and "Collision" experiment with controlled abstraction and the disruptive power of contrasting hues, challenging viewers to find meaning in the interplay of paint and canvas

Katie Richardson (she / her) is a contemporary artist engaging with feminist theory, intertextuality, and semiotics. Her work, rich in historical and modern influences, challenges viewers to consider the private complexities of womanhood.

In "I Honour and Prioritise My Own Wellbeing," she confronts the modern woman's battle with self-image and mental health, influenced by social media. Referencing art history's reclining nudes, Richardson places traditional motifs in a modern setting, critiquing contemporary societal pressures on body image and career. The piece's open-ended nature invites personal reflection, capturing the duality of a woman's internal and external worlds.. 

Charlie Day, (he / him) is a fashion photographer and advocate from The Northern School of Art, they use their lens to challenge norms and champion LGBT+ inclusivity. With a focus on the often-overlooked bisexual community, his work confronts the isolation and lack of recognition they face, even within LGBT+ circles.

"Isolated" poignantly depicts the solitude of bisexual individuals, seeking to foster understanding and respect. Charlie's commitment to broadening perspectives extends beyond photography, advocating for the acceptance and celebration of all identities within the fashion industry and society at large. 

Chris Henderson is a Gateshead College design student, who is passionate about digital illustration and character design.

Their work, often an extension of his identity, challenges societal norms and celebrates individuality. The characters defy conformity, making bold statements that resonate with audiences.

In 2022, his commitment to inclusivity was recognised when his art featured in an LGBT+ youth exhibition in South Tyneside.

"I DON'T KNOW" is a prime example of his philosophy, presenting a character that questions stereotypes and invites viewers to reconsider their preconceptions. Henderson's art leaves an indelible mark, showcasing the power of illustration to tell profound stories.  

Max, known as Dead Souls (he / him), crafts digital art that boldly reimagines characters, defying gender norms. His work, centred on these compelling figures, invites viewers to question and reflect.

"Aasimar" is a testament to this approach, blurring the lines of gender with a character that merges traditionally masculine and feminine features, resisting clear classification. Illuminated by pink and blue hues, the piece nods to the transgender flag, while the character's dominant white hue signifies a stance at the gender spectrum's heart. This artwork celebrates the fluidity and indefinable nature of gender identity.