Elizabeth Willow

elizabeth-willow-image Elizabeth Willow lives and works in Liverpool, and has studied dance, psychology and fine art.

She has exhibited locally and nationally, including Jump Ship Rat, the Bluecoat, the Royal Court Theatre, Rossendale Museum and Glastonbury festival.

Elizabeth’s practice combines elements of sculpture, installation, intervention, poetry and performance, and draws on diverse methods and techniques including flower-arranging, taxidermy, embroidery, dance and bookbinding.

Her work is often inspired by myths and stories, and explores memory, longing and contradiction.

Curve Gallery Webpage



Richard Meaghan

richard-meaghan-image Richard Meaghan’s paintings are an amalgamation of a number of differing experiences that revolve around memory, making use of allegorical and pictorial inventions and references from contemporary art and art history.

Meaghan’s narrations are not linear, but rather associative and analytical, so that the works function like short stories, in which the plot is compressed into a single image. However, the fragments have to be pieced together and thus can seemingly fall somewhere between dream and reality. The resulting paintings appear as visions of somewhere familiar yet strange, uncanny shimmerings based on careful study of our world that in turn suggests another.

“I am interested in the whole history of painting as a kind of dictionary of ideals that needs to be sought through as completely as possible, a need for all the infinite possibilities and characteristics of painting, from the silly to the sophisticated, to be simultaneously represented.”

On graduating, Meaghan was awarded a travel grant to study Renaissance Art in Italy. The resulting work was awarded first prize in the Sefton Open, followed shortly with his first solo Public exhibition at the Atkinson Art gallery, Southport.

Meaghan was recently chosen as one of three emerging artists to exhibit alongside Turner art Prize winners Chris Ofili and Keith Tyson in ‘Exposed- Art and Culture in England’s North West’.

Richard has exhibited widely both nationally and internationally and has future exhibitions planned for Liverpool, London, Copenhagen, Denmark, Berlin, Germany and Brussels, Belgium.

Recently Meaghan has concentrated on curatorial collaborations resulting in exhibitions that play with ideas of language, diversity and the 20th Century’s apparent conflict and antagonism between self reflection and the function of depiction. This has manifested itself, for example, in creating exhibitions which premise have ranged from the invention of a fictional character Mary Kapellmeister, feeding off certain traits existing within the pantheon of art history and romanticised notions of the anima, the hero and the outsider to a pact with the devil and our reflection on a passage in Goethe’s Faust, “In the beginning was the deed.”

Recently Meaghan’s work has revolved around ideas of globalisation and new technologies with research into related interests including film, geography, ecology, politics, religion, war, money and exploitation. The resulting new media work has developed alongside his normal concerns and ideas of painting and installation.





Nicki McCubbing

nicki-mccubbing-image “My work focuses on the everyday, the cheap, the crude, the funny, the throwaway. I use objects in sculpture and installation that I find in cheap shops, second hand shops, pound shops and joke shops that are innately representative of the society they come from. I am interested in appropriation and creating fiction out of reality.
Often the process of shopping plays a role in my work, and the constant pursuit of cheap materials, takes me to many interesting places, as well as some scary ones. It is interesting that most cheap shops selling bright, cheerful plastic goods, are situated in poor, often troubled areas, where there is sometimes little to be happy about. This is reflected in the work. It is happy and funny, but with a dark side. Humour is often used to mask darker currents, especially in the culture I have been brought up in, in Liverpool.

Shopping Centres, cartoons, ‘Fun’ times, teenagers, car boot sales, Japan, Poundland, British tabloids, ‘making do’, John Waters, music videos, dreams, advertising, old men’s pubs, all have an influence on me. As a consequence, I make work that is both familiar and alien at the same time.

I have exhibited my work in and around Liverpool, and at all Liverpool Biennials. I have also exhibited in Birmingham, London, Stavanger, Norway, Reykjavik, Iceland and Berlin, Germany. I have worked on educational projects with (amongst others), National Wildflower Centre, Liverpool Biennial, The Big Draw and Knowsley Council. I have made work for British Airways, Save the Children and Liverpool HAT. My work has also been featured in Tatler, Artist’s Newsletter, Art Review (online) and various Norwegian press.” Nicki McCubbing




McCoy Wynne

mccoy-wynne-image Steve McCoy and Stephanie Wynne are based in Merseyside with a commercial photographic partnership and a fine art practice relating to landscape and the environment.

During the Liverpool Biennial this year they launched their book and photographic exhibition of quiescent places awaiting their planned regeneration.

Over the past 5 years they have responded to buildings and environments that are about to undergo a change of use.

The photographs depict the subjects during a period of stasis, after one use has ceased and before the next begins. They are not images of abandonment or dereliction but a document of calm hiatus before the clamour of redevelopment begins. Evidence of former occupations remain but also traces of present occupation, an appropriation of the space by birds and plants.

The spaces, both internal and external, have a future use outlined for them and most were photographed just before the moment of change and redevelopment when they were transformed to meet new needs.




Terry Duffy

terry-duffy-image Terry Duffy was born in Liverpool and at the early age of 13 won a scholarship for Art School in Liverpool. Following this he trained as a lithographer / photographer and then for several years worked in several print and design studios in London.

From 1972 he studied at Liverpool Art College, where he met and worked with such eminent visiting artists as Joseph Beuys, John Cage & Merce Cunningham. In ’75 and ’76 he was selected for the New Contemporaries exhibition in London. His work experimented with line, form and space as it does today yet also with the then radical issues concerning Live Art and questioning perceptions of the gallery space.

From 1978 to 80 he exhibited at the ICA, Air and Acme London and in West Germany exploiting challenges within the “Art Games” project and gallery space nationally.

From ’81, he returned to painting wanting to comment on the then Riots and social unrest within Britain and produced the “Victim Series”. This has followed consistently showing nationally and internationally and with serious media coverage.

From the late 80’s the work gradually became abstract later in the 90’s realising that the same values of line, form and translucent colour had been in the work throughout. The 90’s saw greater success and recognition which has progressed ever since. Terry Duffy stands by his maxim that for him “painting for paintings sake is pointless, it is the potential to create new life that is essential”.

“Terry Duffy is a rare individual, he is not an artist who has stayed in his studio and followed one particular path. No, what we have is a creative individual pursuing ideas and visions beyond accepted boundaries. Although Duffy’s artistic career does not begin until the 70’s it is interesting to note that he had already shown outstanding talent as a child and at the age of 13 won a scholarship for what was then the lower school of Liverpool Art College. In the late 60’s he trained and worked as a photo-lithographer. ” Mike Collier 1989





AL and AL

al and al image

AL and AL met in a chance encounter whilst visiting Derek Jarman’s Garden in 1997. Having subsequently graduated together in Fine Art from Central Saint Martins School of Art in 2001, they built a blue screen performance studio in London. From this blue space, AL and AL have programmed and produced a body of digital video work which uses computer generated environments to provide simulated contexts for their studio performances. They have exhibited internationally in galleries, site-specific installations, film festivals and television.


In 2006 AL and AL moved their blue screen studio in to the first passenger train station in the world at Edge Hill in Liverpool. In 2008 their critically acclaimed solo exhibition at the FACT gallery toured to the National Art Museum of China as part of the international cultural celebrations for the Olympic games in Beijing.

“AL and AL investigate the shaping forces of fantasy and reality: they both create dream worlds and stand back in their art to draw attention to their power over us, plunging the spectator into a virtual world of dizzy dimensions.” Marina Warner, Author of Phantasmagoria, Cinema and the Realms of Enchantment.

“AL and AL’s film’s transfer audiences into dreamscapes that are beautiful and horrible at the same time.” Bob Dickinson, Writer and Broadcaster, Art Monthly.