Tim Noble and Sue Webster
Tim noble and Sue Webster are associated with the post YBA generation of artists.
They take ordinary things, such as rubbish, to make assemblages to show a great likeness to ‘something identifiable’.
Thuring is interested in ratios of man construction effort to function: The enormous amount of engineering that goes into industrial structures that perform relatively simple tasks.
Thuring often works onto linen canvas and leaves it’s bare surface visible in many places.
Mustafa tries to make art as visually attractive as possible to arrest the gaze. They’re designed to “stop you in your tracks and hold your attention”.
His images are open-ended and have no specific narrative. They’re universal signs that anyone could understand.
Michael Landy is best known for his performance piece cum-installation breakdown in 2001. Most of Landy’s work is intended as a comment on consumerism and society.
Mat Collishaw takes photography to a disturbing level, often with Surrealist overtones.
His images are provocative, and have a level of darkness and menace to them.
Jake and Dinos Chapman
Acclaimed photographer Tim Flach, has created a collection of striking portraits which show the more human-side of our distant relatives.
This image of a featherless chicken stands on a single tiptoe as it strides across the camera lens- Literally a case of poultry in motion.
Hirst specifically created this monumental formaldehyde work for the Tramshed restaurant. ‘Cock and Bull’ – a Hereford cow and a cockerel preserved in a steel and glass tank of formaldehyde – makes reference to Tramshed’s menu which is centered around chicken and beef dishes.
The work forms part of the ‘Natural History’ series, Hirst’s seminal collection of preserved animals.
This Mural is situated near the back of the Tramshed restaurant.
Blackford’s work fuses together a number of his interests; from his involvement in graffiti and the street art scene to his background in self-published comics. His work echoes his passion for Japanese history and pop imagery and its merging with American culture and sensibilities.
This painting hanging over the bar area is by Henry Hudson. At first glance, it may resemble an oil or acrylic painting, but it is in fact derived from plasticine. Henry Hudson is a mutinous artist and intuitively a playful one who subverts traditional narratives and mediums.
This illustration is situated near the bar at Tramshed. Morgan was part of a staff competition to install and mount their work.
This sculpture can be seen at the entrance of Tramshed.
Webb has created a visual vocabulary that re-articulates cues from the history of sculpture in a voice that is distinctively suggestive, humorous and surprising. Brave choices in palette enhance a sense of volume and scale that is exaggerated, nearly human and somehow askew.
This piece of film can be seen in the men’s toilets at Tramshed. He brings these timeless nude studies to life in video works. These slow moving ‘paintings’ effuse sensuality as the figures seamlessly move in and out of moments of sheer eroticism and soft tenderness.
Sarah’s work spans sculpture, photography and installation, and is characterized by confrontational humour, sexual puns and ironic exploration of ‘Englishness’.
Lucas has been using food as substitutes for human genitalia, both male and female, since the early 1990s. One of the principal themes in her work is a confrontation with traditional female roles and identities. She explores the ambiguities in her own attitudes and those of others towards sexual objectification and desire.