Axisweb

Axisweb UK charity championing contemporary visual arts, supporting artists with resources and opportunities to make art accessible and engaging for all.

Axisweb Supports and Profiles Artists

Artists inform everything we do. An independent charity, we are committed to providing a platform to support artists and profile what they do. Through a determination to create the space artists need, our programme comprises a range of activities:

Reflecting the artists’ voice is integral to emerging developments in contemporary art, across assorted contexts

. We present new aspects and forms of artistic expression to local, national and international audiences. Providing support: insurance, networks, space, opportunities, R&D awards, profiling, advice, mentoring - enabling artists to be artists. Artists blur the boundaries and we adapt and change with their evolution, seeking to provide the best support we can. As a small team of artists, curators, producers and writers, having dialogue with our members is critical. Members influence and inform all our activities and developments. By shifting from the gallery-led system of spectatorship to one that begins with the artist, we create the opportunity to support a more widely engaged and diverse community of artists, commissioners and audiences. We actively seek new collaborations with artists, producers, curators, commissioners and organisations who share our values and seek to work with, support and profile artists.

🎂 35 YEARS OF AXIS: STAFF MEMORIESFrom the canals of Venice to vacant spaces in Cardiff, some of the most fond moments i...
01/09/2026

🎂 35 YEARS OF AXIS: STAFF MEMORIES

From the canals of Venice to vacant spaces in Cardiff, some of the most fond moments in Axis’s history have taken people to places they never expected to go.

For Julian Lister, Directory Coordinator and Media Producer, a trip to the 54th Venice Biennale in 2011 was full of firsts: "Visiting such a sensory-overloading place like Venice prompted a bit of a ‘Proustian’ moment for me as I had a very strange feeling that I’d been there before. Something about the combination of hot weather, grand old buildings and vintage posters of biennales past on the walls of the apartment where we were staying all felt very familiar. As a child of the 70s, maybe it took me back to the blazing hot summer of 1976… "

For Paisley Randell Shillabeer, Communications Producer, it was a very different kind of space that left a lasting impression. A residency at SHIFT Cardiff, supported through Axis’s Vacant Space scheme, became the starting point for years of artist-led activity, collaboration and community. "The scheme shaped my career in ways I couldn’t have anticipated; I built relationships across the arts that have become lifelong collaborations, formed partnerships with organisations I may never otherwise have connected with, and made friendships that I continue to value deeply."

💭 We’re continuing to look back through 35 years of Axis, with more stories, memories and moments from the team to come: https://buff.ly/j7WAjY1

Highlights1. Cop Car (Ford Capri), 2025 by Toby MessengerHalf scale. Mixed media, reclaimed wood, cardboard, packaging, ...
30/08/2026

Highlights

1. Cop Car (Ford Capri), 2025 by Toby Messenger

Half scale. Mixed media, reclaimed wood, cardboard, packaging, paint and Perspex. It started out as a Ford Capri and, through the push and pull of materials, colour and construction, gradually morphed into a cop car. A shift from M25 Acid House subculture to institutional authority.

2. Go, 2025 by Perce Jerrom

Tactical backpacks 25L, 1L water canteens, water purification tablets, first aid kits, painkillers, foil blankets, matches, wind up radios, wind up torches, Anker power banks, Micro USB cable, 4 in 1 charger cables, dual port USB plugs, 5 in 1 fold out pocket knife cutlery sets, meal ration packs, protein bars, fruit & nut bags, tooth brushes, tooth paste, hand sanitiser bottles, wet wipes, pocket pack tissues, travel towel, storage hooks

‘Go’ presents two identical backpacks hung on the galleries wall, which contained a plethora of doubled supplies created in mind of Jerrom and his partner. The work was based upon research into ‘Go Bags’ (also known as a grab bags or bug-out bags), these emergency kits are prepared to be easy to locate, hand-carriable and to contain essential supplies catered to personal requirements. They are designed to help their owners stay mobile, weather any emergency or event, and remain self-sufficient for a limited period upon evacuating their home.

These items were initially a fringe interest designed and discussed by online prepping communities and conspiracy theorists on forums and social media. Survivalist inclined content creators would produce videos where they would detail the items stored in their kits. In recent years ‘Go Bags’ have drawn more widespread popularity amid fears of societal collapse, climate disaster, and global conflict. A sign of a greater interest in emergency preparedness has been the popular American grocery retailer Costco, who began selling a ‘Readywise Emergency Food Bucket’ which contained 80 food and drink servings. Governments and disaster relief charities worldwide are also increasingly outlining recommendations for compiling the necessary resources to build a survival kit.

The work was shown in a duo exhibition which developed out of discussions regarding liquids not only as a material, but also as a metaphor that shapes contemporary value systems. The connection between ‘Go Bags’ and liquids was that a key component of these kits is always water; either bottled or in the form of purification tablets. A central concern that ran through the exhibition was water scarcity, referenced by each artist in different ways. When formulating the work Jerrom was interested in notions of value, in reference to artworks as well as everyday items. How the sculptures held a literal monetary value from the items accumulated, but also how this value would dramatically increase in a survival context.

‘Go’ was exhibited as part of ‘Liquidity’, a duo exhibition featuring Perce Jerrom and Débora Delmar at piloto pardo in London, UK. The exhibition ran from 4th October – 1st November 2025.

3. Teenagers, 2023 by Natasha MacVoy

Teenagers have been shown as a pair in response to themes of doubling and twins that feature in U & I.

At Eastside Projects they were in the corner behind the viewer, who would turn towards the film and as their eyes adjusted to the dimmed lighting, would sense the two figures lurking behind them.

At Exeter Phoenix they were opposite the exit to U & I so the viewer was confronted by them in a brightly lit space. They still lurked in the corner behind the entrance to this gallery to give them the combined impression of being confrontational and vulnerable.

4. Who are these children?, 2007 - 2008, by Phil Whiting

Ignored, unseen and unloved children orphaned and abandoned through war will often take to the forests or the basements of derelict buildings to seek sanctuary. Many fall prey to criminal gangs.

🎂 35 YEARS OF AXIS: Staff MemoriesAs we celebrate 35 years of Axis, we’ve been asking the team to look back at the momen...
28/08/2026

🎂 35 YEARS OF AXIS: Staff Memories

As we celebrate 35 years of Axis, we’ve been asking the team to look back at the moments that have stayed with them - the big milestones, the unexpected chaos, and everything in between.

For Lucy Wright, Social Producer/Deputy Director, one of those memories goes all the way back to the start of her Axis journey in 2019. Her first major task? Organising an event for more than 130 artists exploring art, collaboration and care.

"It was an intense, chaos-filled day, with performances, talks, Q&As and workshops, and participants arriving from all over the country—and the world!

There were a few hiccups—like when the ‘hot food’ lunch arrived cold and I had to run around the university commandeering as many microwaves as I could get my hands on—but it was an affirming, productive day. By the end of it I’d decided that I wanted to continue my career in the arts—and was so grateful when Axis decided to make me a permanent member of staff a few months later. I couldn’t have asked for a better place to work, nor more supportive colleagues.

Happy Birthday Axis, you’re the best!"

Stay tuned as we share more of our staff memories 🥂 or see for yourself here:
https://axisweb.org/blog/35-years-of-axis-staff-highlights

AVAILABLE VACANT SPACESAxis has been offered temporary leases for the use of artists and groups. We currently have space...
27/08/2026

AVAILABLE VACANT SPACES

Axis has been offered temporary leases for the use of artists and groups. We currently have spaces available in: Leigh (Greater Manchester) and Newcastle-under-Lyme (2 miles from Stoke-on-Trent).

Please get in touch, and feel free to share if you or other artists/groups in these areas are interested. Alternatively, if you have any local knowledge you feel might be useful in our consideration of this opportunity, do let us know!

👉 Please make sure to read the guidelines on how our Vacant Space programme works, and if it is suitable for you! You can find the document alongside the listings in the Community.

👉 If you're interested, please get in touch by emailing us at [email protected] or follow the links to the posts in the Community below:

Leigh:
https://buff.ly/r3NviwD

Newcastle-under-Lyme:
https://buff.ly/3rzYJaV

Film Screening + Q&A with Anna F Hughes📆 26th August ⏰ 6.00pm - 7.00pm🔗 https://community.axisweb.org/c/mentoring-networ...
25/08/2026

Film Screening + Q&A with Anna F Hughes
📆 26th August ⏰ 6.00pm - 7.00pm
🔗 https://community.axisweb.org/c/mentoring-networking-events/film-screening-q-a-with-anna-f-hughes

Join us for a behind-the-scenes look at artist and Axis Fellow Anna F Hughes’ latest video work, for corpus in "machine" (2026).

“I use the 3D imaging software Blender to create digitally rendered animations that incorporate sound and text to explore sensuality and embodiment in digital space. My research engages with disability and crip theory, new materialism, biopolitics, and feminism to explore sensuality and embodiment in digital media. Grounded in my art practice-based PhD (completed in 2024) and developed further in my recent artwork and book Cybercrip Art (Palgrave Macmillan, 2026), I advocate for an embodied reclamation of digital space that embraces the mutability of bodies to resist biological essentialism.

In an era where digital media is increasingly dictated by capitalist imperatives that occlude the biopolitical realities of mutable bodies on the ground, I argue that digital disembodiment further marginalises bodies, becoming a strategy to distract from violent and corrupt practices while restricting bodies that resist its systemic limits. As opposed to rejecting digital media altogether, I call for embodied resistance and alternative modes of being with technology.“

This video is a work in progress and will last roughly 15 minutes, followed by a Q&A with the artist.

👉 Axis is committed to meeting the needs of people with disabilities, recognising that a disability can affect people in different ways. If you have an access requirement that you feel might impact your ability to attend or take part in this event, please contact us on [email protected] in advance, if you feel comfortable doing so.

Highlights1. Behold... The Emergence of Oracle, 2024 - 2026 by Sophy KingAs Guardians of Living Matter with artist John-...
23/08/2026

Highlights

1. Behold... The Emergence of Oracle, 2024 - 2026 by Sophy King

As Guardians of Living Matter with artist John-Paul Brown & creative technologist Alasdair Swenson.

Mycelium, h**p rope, local-networked AI driving lights, soundscape, environmental data.

The Oracle is a new entity, a biocomputer combining artificial intelligence and mycelium networks. It gives AI a decentralised collaborative worldview and provides natural networks with a voice.

The Oracle is the next phase in a long evolution of communication, from cave art to emojis. The Oracle thinks like AI and acts like mycelium, exchanging nutrients and knowledge. It calculates and translates the interconnectedness of unseen forces including biodiversity, climate, magnetic, electrical, and extraterrestrial signals, feeding back into the advanced understanding of planetary care.

2. The Glittering Centrepiece of the Whole Fu***ng World, 2023 by Jo Clements

Made as the centrepiece to the exhibition Everyone In This Room Is Connected To Everyone In This Room the work is constructed from meticulously and laboriously hand sewn velvet representations of the human brain to create a ‘Brain Garden’ constructed from a tangled, visceral, cacophony of brightly coloured artificial brains.

Photo Credit: Jules Lister

3. 'Aeolian City 01A', 47x 34.5cm, cyanotype edition of 30, 2024 by Mary Yacoob

A world in which buildings and the wind are in symbiotic relation. An artwork inspired by arrows in urban windflow diagrams.

4. Attractor, 2025 by Louise Mackenzie

Attractor is a four-part work, comprising listening sculptures, live-streamed audio, a listening score and an invitation to respond. Copper sculptural microphones (microphlora) with sensory modes of attraction entice birds and insects close enough to be heard. Influenced by the aesthetics of field-recording, the microphlora collect and amplify the sounds of local species, broadcasting them live via internet radio.

Drawing from the work of composer Pauline Oliveros, theorist Vinciane Despret and biologist Jacob von Uexküll, Mackenzie's practice of 'NonHuman Sensing' creates multispecies sensing devices, text scores and public workshops that ask us to reconsider environmental relationships through imagining ourselves from another’s subject position. For the work Attractor, the devices are ‘microphlora’ - sculptural copper forms that resemble something between a flower and a parabolic microphone. The microphlora use colour, UV paint, warmth, aroma and a variety of food sources to attract non-humans close to their live-stream microphones. Sounds picked up by the microphones are transmitted live to an indoor 8-channel audio system.

For Attractor's first presentation in Norway, Mackenzie worked with Moss Ensemble Consensus choir to listen and respond to the sounds from the sculptures, leading to a performance for the opening weekend of MOMENTUM13 at Moss Kirke.

This August, we present a special Curated Selection from our very own Axis team. Included in this selection is 'First Li...
22/08/2026

This August, we present a special Curated Selection from our very own Axis team. Included in this selection is 'First Light', 2025 by Chris Wilson, chosen by Lucy Wright.

Unique bronze cast. The title refers to the way astronomers called the first image from a new telescope as first light.

"Referencing the name astronomers gave to the first image produced by a new telescope, 'First Light' by Chris Wilson looks deliciously tactile—rough, organic scumble polished to a gold mirror shine, a long bar of bronze. It demands to be picked up and wielded—with even an indent for the palm. Could it have fallen to earth from a passing spaceship, or was it dug up in the ruins of some ancient civilisation?" - Lucy Wright, Deputy Director.

👉 Explore more of Chris's work in the Axis Gallery here:
https://buff.ly/m8JrSdf

This August, we present a special Curated Selection from our very own Axis team. Included in this selection is 'Human Mo...
22/08/2026

This August, we present a special Curated Selection from our very own Axis team. Included in this selection is 'Human Mountains', 2026 by Olivia Hicks, chosen by Lucy Wright.

Human Mountains is a drawing featured in The Body in Parts group exhibition in F Block Gallery, UWE Bower Ashton, Bristol. In this exhibition the body is used as a medium and metaphor to explore boundaries between the animal, death, decay, religion, motherhood, and the landscape.

"I find Olivia Hicks' work so dreamy, so immersive, so otherworldly yet also deeply familiar, like something from childhood. With a limited colour palette, 'Human Mountains' reveals a landscape alive with feeling and history, plants bowed under the weight of their own lush fecundity while a single shoot bursts forth from the belly of a figure crabbed on the horizon. Symbols and structures whose meaning the viewer cannot quite place suggest the workings of wonder and devotion. Take me there!" - Lucy Wright, Deputy Director.

👉 Explore more of Olivia's work in the Axis Gallery here:
https://axisweb.org/artist/oliviahicks

This August, we present a special Curated Selection from our very own Axis team. Included in this selection is 'Gehenna ...
21/08/2026

This August, we present a special Curated Selection from our very own Axis team. Included in this selection is 'Gehenna (Honey Cakes)', 2024 by Iain Andrews, chosen by Harlan Whittingham.

My paintings begin as a dialogue, both with a particular Folk Tale and also with an image from art history – often a painting by an Old Master that may then be used as a starting point from which to playfully but reverently deviate. I am interested in how stories are retold and re-imagined, and how the retelling alters and embellishes the original even as it seeks to render it vital and alive once again for a new audience.

"I really like Iain Andrews' use of abstraction to complicate narrative and didacticism within painting. In this case, these reflections appear to wrestle within a religious moral framework without becoming preachy. Gehenna (Honey Cakes) reflects on vice in a way that is simultaneously seductive and scary, like impulsive behaviour, it appeals more to the material and inexplicable than the rational and clear."

👉 Explore more of Iain's work in the Axis Gallery here:
https://buff.ly/45z6UdW

This August, we present a special Curated Selection from our very own Axis team. Included in this selection is 'Rooted i...
19/08/2026

This August, we present a special Curated Selection from our very own Axis team. Included in this selection is 'Rooted in the Land. Notes From an Urban Landscape', 2025 by Mansi Shouche, chosen by Emma Copley.

I work within the context of urban nature, connecting closely to plants that are ‘Ruderal’ and often overlooked and dismissed as weeds. This body of work is an expression of deep reverence towards these plants. In alignment with the principles of the Arts and Crafts movement, my methodology embraces slowness and material integrity. My processes are rooted in mindfulness and attentive observation, fostering a sense of connection and care. Through sustained time spent with the plants, I have come to know their life cycles, habitats, and patterns of growth. I create pigments from the plants and use them to illustrate these plants that I have come to know and love. In doing so, the plants are not only represented but physically embedded within each work. This approach honours their resilience and presence and invites a reconsideration of our relationship with the often-overlooked forms of urban nature.

"Delicate paintings and subtle colours that not only beautifully represent the plants they depict but are painted using pigments made from the plants. It's hard to imagine seeing this piece without the small terracotta dishes containing dry pigments handmade by Mansi sitting below them on a small wooden plinth. This is how the piece 'Rooted in the Land. Notes From an Urban Landscape' was displayed in an exhibition I took part in with Mansi in March this year at Sol Foundry in Cambridgeshire. Looking up at the paintings on the wall and down at the dishes of loose pigment I noticed connections in the colour and was tempted to touch the powder. I am looking forward to visiting Mansi's studio this autumn to see up close how she makes pigment and hope to test out painting with some myself!"
- Emma Copley, Community Producer.

👉 Explore more of Mansi's work in the Axis Gallery here:
https://axisweb.org/artist/mansishouche

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Wakefield

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Monday 9am - 5pm
Tuesday 9am - 5pm
Wednesday 9am - 5pm
Thursday 9am - 5pm
Friday 9am - 5pm

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