Between January and August 2022 we collaborated with Assembly House, an artist-led community arts organisation, project space and artist studios located in Armley, Leeds. Working with Assembly House was so much fun. Throughout the process we visited each other’s studio spaces, explored various studio practices, and tested different types of peer support and mentorship. We learnt how important it is for artists to work with one another and meet new people who can support and question how we work.

Unfinished Things

We decided that it’s ok for artists not always to show ‘finished things’. Our collaboration culminated in an exhibition of our emerging ideas and artworks in progress called ‘This is an Irregular Art School’. In the exhibition, audiences encountered different examples of how we had collaborated, supported, and been inspired by each other and our studio environments.

For example, in response to the studio itself, Alfie produced an access audit of Assembly House studios (frustratingly hidden away in a series of locked boxes) which later informed adjustments made to the physical space. Other artists like Ria and Victor showcased how the collaboration had been productive for their individual artistic development.

Kev Devonport, artist from Assembly House describes how, “I think this project is groundbreaking in terms of challenging the exclusive society we live in. I’m in the process of collaborating via painting practices with artist Ria from Pyramid inspired through similar life experiences involved with being encapsulated within different systems.”

What did Assembly House think?

Creative Producer at Assembly House Alice Boulton-Breeze described how, “This project has been transformative for the way we think about our building, artists, and our future at Assembly House.

Being in a heritage building, with all the access issues that presents, has often made us feel defeated, but working with the Pyramid artists has shown us what is possible and what we can do, despite some of the immoveable limitations of the building; access is so much more than just whether we have stairs or not.

Additionally, it has highlighted the endemic and unseen bias away from learning disabled artists working in grassroots spaces. It’s easy to not see this and this project has really revealed that this is ingrained in a lot of how these spaces operate.”