10/03/2006 - 31/03/2006

1st Anniversary Show


The Chameleon Gallery opened its doors on the 9th March 2005 with a show entitled 'Utopia'. This was a collaborative show from inception and brought together a wide variety of artists. The gallery was created with the effort of all involved, transforming part of the factory premises located at 23-25 Sandwell Street into how you see it today.


The gallery's main aims are to promote the wealth of talent that exists within the artistic community, locally, nationally and hopefully internationally. also to produce a wide and eclectic series of exhibitions that include all parts of the cultural community we find ourselves living in today, putting on shows ranging from local painters to international performers. This past year has seen many varied shows and events take place within the gallery confines. The gallery currently receives no funding and so far all monies have been re-invested to pay for the maintenance and continuation of the gallery space.


Alan would like to thank all artists who have exhibited in the last year, especially those involved in the first show: Peter Hadfield, Dianne Taylor, Martin Humphries, Nick Clark, Bobby Bird and Phillip Mantom who all helped with physical/technical support in making the gallery. So far all the shows that have been put on have been well received, so thank you to all of you who have been involved in visiting, promoting, publishing and sharing the knowledge of what is happening here. Without the various contacts at organisations such as Walsall Community Arts Team, Creative Alliance. The Public, West Midlands Disability Arts Forum and without individual help/mentoring from the likes of Lee and Sandra, Harry Palmer, Noel Dunne and Rhonda Wilson, to name but a few! My job of keeping the gallery afloat would have been more of an uphill struggle.


Further thanks to Helen Grundy and Chris Poole who developed the Chameleon arts website. I realise I am lucky to know so many people involved in the arts scene around the West Midlands region and hope that at some stage further collaborative shows can be produced at the gallery.


The artists


Ros Willis

Chrysanthemum Moon

One of a set of work born for found objects for my Regeneration series. I went to a factory in Tyseley, Birmingham in search of favourable objects to create a set of sculptural paintings. This work evolved from my passion for architecture and interest in found objects that can be regenerated into something beautiful rather than be discarded. Chrysanthemum Moons was a set of three paintings made from scrap that was produced by the daily toil of the workforce. A lot of the men working there had been doing the same job for half a century and I made something to adorn interiors far removed from the environment from which these objects had been born.

I have since produced several other pieces and have sold to the JD wetherspoon pub chain work along these lines made from discarded paper and metal.






Lisa M Thompson

18 Times More
Medium: Enamel paint on aluminium
18 2mm aluminium tiles@ 250x250mm - various dimensions due to freedom of arrangement.

Repetition of a cultural sign can have a powerful and political effect on the society it circulates within. Mainstream cinema is an exceptionally powerful medium. My work appropriates cultural imagery and subtly subverts its appearance, offering its audience a different view. The same motif is repeated on each tile and carefully hand painted giving the appearance of machine made. But no two tiles are the same.

In 2004 I graduated from Solihull with a BA(hons) in Fine Art, and during this time my individual practice centred around using paint on various grounds. The research I undertook to inform my practice focused on how the audience identifies with the screen protagonist in mainstream cinema, regardless of gender, sexual orientation, age or nationality.

This mis-representation led me to become interested in new media technologies as a method of self-representation. The Internet, for example, is recognised as an experimental site for the fluidity of the subject that is not bound by the confines of the skin.

These issues are directing my studies towards an MA Degree at BIAD, Margaret Street, Birmingham. My current practice involves connective technologiesand how the artist can 'open up'pathways to invite participation beyond the limitations of the body.


18 Times More 18 Times More 18 Times More



Martin Humphries

Repetition got the best of me. A series of A4 images

Without some sort of change, repetition must very quickly turn into some sort of torture. with a slow, subtle progressive change, it can become soothing, peaceful and flowing. Repetition makes practice perfect.

"Eidetic Cabinet" wood, mirror, glass, tile and paint.

all the sets of similar entities combined become one image, when presented in a series of repetitive groups coming out as as an intense momentary whole.

I learnt how to paint in a traditional manner in the early seventies. and carried on painting stories about things that had happened or recording landscapes. In this millenium, whilst still painting a lot, I seem to be attempting to make things that have alife of their own. That are making their own statements, as oppose to talking about other events.



Repetition got the best of me


Repetition got the best of me


Repetition got the best of me


Eidetic Cabinet



Helen Grundy


Digital Image

I have taken the ritualistic and obsessive act that teenage girls indulge in, the repetitive tearing of petals from a flower to divine the depth of their lover's feelings. On a repeated grainy background made up of autopsy images from ovaries I have overlayed the pre-pubescent mantra of 'he loves me, he loves me not.'

Helen, a recent graduate from BIAD, Margaret Street, focuses on everyday moments and explores the fine line between two emotional states - that of comfort and discomfort. Through two and three dimensional work Helen tries to pinpoint the space between these two states, the moment where feeling is suspended, where we are unsure of what will happen next.









Nick Clark
As good as it gets?

My grandfather didn'twant to retire. When he did he was dead in months, the withdrawal of his addiction killed him, he couldn't handle the come down. Are we all addicts? Do we all have a drug of choice? Do we break one addiction only to replace it with another?

Nick Clark. Artist or artisan, builder who sculpts, artist who builds. Nick sculpts in unusual, often found naterial creating sculptural interpretations of buildings in diverse settings. He uses his work in gallery settings to explore his thoughts and express them in physical forms.


As good as it gets?


As good as it gets?



Joe Rogers

The Circle of Conflict
Comprimising: The Dictator, The Democratizer, The Occupier, The Terrorist, The Freedom Fighter

Each character within 'The Circle of Conflict' represents a group, individual or ideal that is responsible for conflict in the world today. Each character within the circle is reliant on the existence of at least one other for the engagement of conflict e.g. The democratizer is reliant on the existence of dictators for conflict, and freedom fighters are reliant on occupiers etc. The classification of each character within the circle is also blurred depending on your point of view e.g. one man's freedom fighter is another man's terrorist, one man's democratizer is another man's occupier etc. etc. The Circle can never be completely destroyed and so the REPETITION of violence continues.

A recent graduate from The Birmingham Institute of Art and Design, Joe Rogers is a highly versatile artist that is comfortable working in a wide range of media, Joe Rogers works in bothe digital and traditional media, to produce a variety of artworks from commercial illustrations, to fine art pieces on canvas, and from flash animations to design work on logos and websites. Joe Rogers recently set up an artist collective (WE'RE STILL ALIVE!) that champions the work of recently graduated fine artists and illustrators based in and around the Midlands. To find out more visit


The Circle of Conflict



Richard South


Concrete and Vaseline sculpture




Iyfg  Iyfg



Peter Hadfield

Oil on Canvas;

"conveys my attraction or lack of it to being repetitive."

Pete's art practices lead him all over the UK, if not found ripping factories apart (and putting them back together in the most creative of fashions) he can be found scavenging the highways and byways around Birmingham, this man can turn anything into art! He has an uncanny knack of coming across the obscure. With quick wit, skilful pencil and dry humour this man's knowledge of man knows no bounds.


Oil on Canvas



Mitra Memarzia


3 x digital prints onto Perspex 80cm by 80cm

"Axis" is a series of digital images comprised of patterns. Robert Clark of The Guardian guide described the works as: "topical and potentially loaded digital images arranged to ironically mimic the hypnotic symmetries of traditional Islamic mosaics and Persian Rugs." The title is a playful evocation of the ways in which labelling can be misleading, and how images can be constructed from an outsider's point-of-view. These patterns are a collection of visual correspondence between Iran and the West.

Mitra is an Iranian-British artist based in Birmingham. She has exhibited internationally including New York, berlin, Bishek and Shiraz. She works in a variety of mediums including photography, installation, sculpture and performance. Having recently completed a PhD in Fine Art, her specialist subject is the construction and representation of identities. Although her work is diverse, she often explores the notion of identity, displacement, boundaries and power. her other activities include lecturing, workshops and live performance. Her main artistic aim is to create creative dialogue and exchange through a variety of creative practices.


Axis  Axis



Jain Mckay


Everyday at 20:29 the phone alarm goes off and the scene before the artist is photographed. looking at the repetition of time, of life and of routine. These photographs give us an insight in to the world of human behaviour.

jain Mckay is primarily a figurative artist looking at behaviour and relatioships. She is currently studying for an MA in Fine Art at Wolverhampton University, She runs and her work can also be seen at








Pamela Wells

"This often happens"

Arranged and rearranged, text is typed onto plastic and sewn together, copied and counted and charted on a spreadsheet. this text is from 'The making of Americans' by Getrude Stein
(1925), an author who spent a great deal of time playing with words, she would re-say things in slightly different orders until meaning dissloved and reformed.

Pamela Wells uses a wide range of materials - everything from paint to clay to plastic. she initiates astist-led projects as well as working with galleries and organisations internationally. Whether making objects, installations or performances, her methodology includes engaging with strangers, siting work in unusual places and the use of everyday materials.



This often happens  This often happens



Phillip Mantom

I am an almost an exact copy of myself
I am almost an exact copy of myself

Large format poster, digital montage of a mechanical process.

The Identity of Indiscernibles is usually formulated as follows: if for every property F, object x has F if and only if object y has F, then x is identical to y.
The Identity of Indiscernibles is a principle of analytic ontology first explicitly formulated by Wilhelm Gottfried Leibniz in his Discourse on Metaphysics; this is often referred to as 'Leibniz's law' and is typically understood to mean that no two objects have exactly the same properties. The Identity of Indiscernibles is of interest because it raises questions about the factors that individuate identical objects. It states that no two distinct substances exactly resemble each other.

There is no such thing as a 'copy'

The artist would like to thank Nicholas Rushby (NESTA Awardee) for technical support.

I am almost an exact copy of myself I am almost an exact copy of myself



Darrin Andrews

Candystripe x 2, each 90 x 90cm. Liquid coloured resin on canvas
Gridlock 100 x 75cm. Acrylic on canvas

The connection here is the repetitive lines over both canvases using different colours. Candystripe is more uniformed in its lines across the canvases, but still making this a very vibrant and colourful piece of artwork. As it is a solid form going across the canvas it also makes it very touchy feely and adds a nice dimension to the painting.

For Gridlock the connection here is firstly the 2 lines of red and white fading to distance and then the repetitive coloured dots symbolising lights, again fading to the distance. A simple but thoughtful piece of everyday life, something I think we have all seen on our travels at some point.

My paintings are mainly Contemporary Abstract with Acrylic on canvas. I am also using liquid resins to add to the canvas to give a different feel and look and I am finding this medium very exciting to work with as it almost has a life of its own once it starts to dry and allows you to be very creative in its application.

having just acquired a new studio within The Jewellery Quarter, Birmingham, I now can spend more time being creative with my art and my paintings. Here at Damn Good Art what I wish to achieve with my paintings is an opportunity for everyone who enjoys art. With my paintings I try to create images, using colour and ideas to produce something quite unique, whether the idea is my own at Damn Good Art or through a commission from a customer or a gallery.

Damn Good Art, 22 Tenby Street, Jewellery Quarter, Birmingham B1 3EE
Tel: 07913134443







Justin Wiggan

Audio Piece

Justin Wiggan uses the media od phonics, text, film, object changing and drawing to make interface solutions to problems that only he has created.

"shouts, screams, shrieks, wails, hoots, howls, death rattles and sobs are all soaked up by this unfinished structure of our space. I have been responding and disappearing in the swollen bellies of cityscapes. Old is modernised or destroyed to allow room for new and unique and individual architecture. This is supposed to give people space to move, freedom to choose direction, freedom to choose individual product.

On closer inspection we find our selves lost in a shuffling crowd, herded down isles of repetitive consumer units.......

"And so I look for treasures for the individual. And so I look."




Daddy long Legs

Educational Pornography


Self satisfaction is repetitive, you repeat something so as to learn. Reproduction is also repetitive and life goes on.

Studied art. Enjoyed myself. Had some exhibitions. Went loopy being unemployed. Read a lot of easy to read philosophyt. Became a postman. Walked about thinking about music. Come and hear what happened next at


Educational Pornography Educational Pornography Educational Pornography



Neil Corbett

'Junkbots' materials - things that the everyday folks leave behind.

I started making robots when I had some free time at work. I made one or two and very quickly it became habitual. Some of them look like people I know and others hark back to being a kid loving anything to do with the 'future'. Now I'm in 'the future' and where are the robots walking around among us? Where are the rocket boots? Where is my personal jetpack? Why am I drawn towards the action figures in supermarkets? I don't think these questions should be looked into too deeply as I'd like to think of myself as mature and well-balanced!

I graduated from Wolverhampton University in 2000 with a degree in Fine Art(Printmaking) and now work as a Community Support Worker alongside people with disabilities to help them realise their artistc potential.

please contact me if you wish to buy a robot for your uncle Bob.








Alice Cheeseman


Natural Portuguese cork/ cast pewter lapel pins

The process of manufacturing the salamanders is part of the repetitive theme due to the amount needed to present the idea of "scramblers" crawling up a tree. The salamander pins can be individually bought for £2.00 each.

Alice is 13 on the 10th March 2006, and as she is the gorgeous daughter of the curator, it was thought that including her enterpreneurial ideas into the birthday show was a grand idea, she enjoys most types of art practice and is yet to have her own solo show.


Scramblers Scramblers



Claire Spooner

'Block I - V, Stone Circle' 5 images 39cm x 54cm, acrylic on canvas

Inspired by Castle Rigg in The Lakes. The work is a circle expressed through a line - cyclical & infinite, exploring the red/yellow spectrum. Both the painting process & image are repeated on each canvas, even though the image & colour shift incrementally in each.

Claire Spooner is a visual artist with a growing reputation. She works in acrylic paint &oil pastel, producing understated images in a limited pallet, as she investigates the aesthetic strength of simplicity. Previous works have been heavily textured; however recent work has developed a subtlety & softness of approach as Claire continues to explore & define her way of working with acrylics. what Claire creates is a visual response to the memory of the incidental & everyday things encountered in the physical environment & her internal perceptions of the world.



Block 1-V Stone Circle


Block 1-V Stone Circle



Rob Colbourne


mixed media/video

This piece of work was inspired by the experience of driving/getting lost around the comparatively new road systems in the Telford area. Although repeated and looped in the literal sense, it is a reaction to the ambiguous nature of the mapped/built environment, which can perhaps have the safety of facsimile and also beca generic nightmare.

I tend to feel ambivalent about the technologised and the natural, or whether there is an actual difference between them. My work falls under this umbrella, although in many guises. The inextricably linked complex relatioships between notions of 'human' science and technology, nature and environment, is a source of personal confusion that drives my practice. in essence I'm not sure whether I would like to be a zoologist, anthropologist, environmental scientist or engineer, but try to combine them in all in a sense that personally challenges generally accepted principles, ideals and 'truths' that define our reality. This could mean working as an anatomist constructing skeletal structures, by introducing techological sculptures to interact with specific environments or by building models that could be mistaken for the real. I find it increasingly difficult to believe in any aestheticised theory or fact, but on the other hand want to believe in everything, perhaps to absorb myself in cultural ideals and the romance of wilderness and find spiritual enlightenment through a text book view of the natural world.





Harry Palmer

Non-Redundant Technology Performance on 31st March from 6pm

A Premier performance of Harry Palmer's video home studio instrument system - a live performance concert with the 'extrapolating machine' (the agent of non-redundant technology)

Harry is a folk artist who continually "doodles" - in the manner of words spoken, actions performed in locations and with people from car boots to allotments, canals to bridges, village halls, streets and alleyways to beaches and boats. He also writes and publishes.




Hank M Valant


audio piece

With the music or in pictures repetition's arguably in the attitude or the approach, often the same starting point, and certainly in the process even when the results are dissimilar. In the seventies I was happy with tape loops, running round jam jars all over the room. Nowadays it's all accordion drones and digital smudges or Photoshop and a rebate plane, states of mine and points of you. 21 track CD £12.00



Alan Cheeseman


paint on ply/retail tags

Mixing the repetitive image of pop-art culture. a Warhol banana is depicted alongside kept banana tags representing the thankless task of shopping/cooking/consuming. Each tag is a uniform portrait of corporate retail identity yet each shows the difference of date/price. Is the repeat image of a popular iconic pop-art idol monotonous or exciting - you decide.


Love of Work

vulcanised organic rubber

This collection of air feeds each individually cut whilst during the process of making rubber moulds for the fashion jewellery industry symbolises the tedious process of actually making the same moulds over and over again, yet from these moulds came amazing pieces of miniature art forms in the form of pewter castings.

Alan cheeseman works in all sorts of media preferring to produce three dimensional art, he was trained as a diamond-mounter before moving into the fashion jewellery trade and working with pewter as a medium which is how he supports his artistic endeavours today. Jewellery modelmaker/artist/sculptor/curator/mentor are some of the more polite ways to describe his practices!

Tel: 01922 646724
Chameleon Gallery, 23-25 Sandwell Street, Walsall WS1 3DR


bananas  Love of Work