Main Gallery
Protocol Hallucination
Bokcaerin
Tuesday 7th to Sunday 12th July
Open Evening: Thursday 9th July 5-7pm
Jezrom Bokcaerin Self-Fordham’s practice emerges from subconscious Jenga. Pieces are reconfigured as extrapolations of trace signals sensed, unready. Components are gathered; held: until latent connections reveal themselves. Structure and detail (code, language, ego) : meet gateway gestures (meaning>drift, synchronicity, touch). They are sea-worn glass held between the rising (sensing) and setting (knowing) Sun; revealing — for a moment — pathways luminous. They are self-discovery. They are the creative play of individuation, frame We live in a world of high fidelity transmission. We live in a world of high protocol hallucination. Protocol hallucinations are distortions in communication. They are degraded, fragmented signals of non-homologous recombination. They are also the energy of creation. They are the dreams confusing, waking you — for a reason. You feel them, in the relationship you know has ended, before its ending. You feel them in the relationship that has begun before its beginning. Art is protocol hallucination. And if you say ‘Huh? Wha? Nah’ to that, then no one talks about plimsolls anymore.
Main Gallery & Front Room
Norwich Pride Open Call 2026
Tuesday 14th to Thursday 23rd July
Open Evening: Saturday 18th July 5-7pm
In celebration of Norwich Pride 2026 we are offering FREE solo exhibitions to TWO artists, identifying as LGBTQ+. We are currently accepting applications. Deadline Midnight Friday 3rd July.
Main Gallery
Elemental Alchemy
Marian Monas and Andree Shrivell
Tuesday 28th July to Sunday 2nd August
Open Evening: Saturday 30th July 6-8pm
Andree Shrivell and Marian Monas have often travelled together over the years, enjoying the natural world they encountered in local and distant places. These memories have been the basis of their creative practices. Andree Shrivell - Painting When out in landscape Andree responds to the patterns of the land with its changing elements of water, air and weather. She inwardly tunes into her body energy and her emotional responses to light, imagination, colour and breath, in a kind of alchemical transformation to what she sees and feels. The Water-Mixable Oil Paints she uses are also an alchemical process in a scientific sense: Oil and Water are opposed until an emulsifier is added. The paint dries through oxidation and behaves like conventional Oil Paint. Andree paints on the studio floor, with a sense of letting the painting reveal itself in an intuitive process through layering, pouring, dripping or scraping to open up to a liminal world on the edge of the senses. Marian Monas – Fused Glass How did glass first emerge from the raw elements ofnature? Geologists and scientists know it formed through extreme heat fusing natural elements and minerals: lightning strikes melting sand on beaches; seams of glass forming within cooled lava after volcanic eruptions; meteor strikes liquefying minerals and chemicals in the earth. It is extraordinary, that thousands of years ago people developed ways to fuse glass without the sophisticated kilns that a glass artist uses today… Modern glass artists and fabricators still drawn on this knowledge to produce float glass for windows, stained and fusible glass for domestic objects, jewellery and decorative works of art. Marian is fascinated by this timeless, alchemical transformation of natural elements into objects of beauty – by the wonder of calcium, silicon, carbon, tin, gold, lead, copper melting in the crucible of a modern glass kiln. Andree Shrivell Born in Caterham Surrey to artist parents, Andree had a playful arty upbringing making collages and copying how her parents used watercolours and oil paint. Leaving school she went to Croydon Art School for a Foundation Course 1968-1969 followed by a 3 year Textile Design Course SIA (Society of Industrial Artists) 1969-1971 By end 1971 she had got married and started a family, trained as a Yoga Teacher, and carried on with Sketching and Art History. In 1983 Andree moved to Norwich, continuing yoga classes and attended a Life Drawing Class at Wensum Lodge. She appreciated how yoga gave her a deeper understanding of the shapes and energies of the life models. The same awareness being needed in both situations and similarly to see the shapes and energies of the Landscapes she now paints. 1996-1999 she gained a Fine Art Painting Degree at Norwich School of Art & Design. The degree show was followed by various exhibitions in Norfolk, from coffee shops to Galleries including Aldeburgh Contemporary Arts, Grapevine Gallery and Doric Gallery, as well as regularly participating in Open Studios. Professional Organisations; Member of VAA (Visual Artists Association) Teravana International Artists online group @andreeshrivell Marian Monas Marian gained a BA(Hons,1st) Fine Art degree in her 60’s at the University of East London. During her degree course, she also attended extracurricular courses in the techniques of glass fusing to explore her lifelong interest in this medium. She creates fused glass landscapes of Tasmania, based on the memories and impressions of her childhood home in Tasmania: a wild, remote, beautiful, luminous, place... She now lives in Cambridge and also enjoys exploring how to capture the subtler watery atmosphere of East Anglia in glass: its coast, rivers and the wide skies. Her current interests for future pieces are to explore how to incorporate subtle presences of the past inhabitants of these landscapes. Marian uses powdered and cut glass, and high fire enamel paint which needs careful management during the fusing process, reaching temperatures of 870 C. Some works are thick blocks which have undergone multiple firings, the final one lasting over 40 hours. Other pieces are thin, delicate and lace-like. Marian was a Finalist in the 2025 Visual Artists Association’s Artist of the Year Awards (Landscape). She has exhibited in London and East Anglia, and her glass landscapes have been commissioned for private collections in UK, Germany and China. www.marianmonas.com @marianmonasart
Front Room
Homecoming
by Simon Middleton
Tuesday 4th to Sunday 9th August
Open Evening: Thursday 6th August 6-8pm
Homecoming presents a body of new work made following Simon Middleton’s London solo debut, Root of the Madder, at Coningsby Gallery earlier this year. Returning to Norwich, where his practice is rooted, the exhibition reflects a period of consolidation and renewed focus. The works extend his exploration of emotional impressionism, combining instinctive, physical mark making with quieter structures drawn from memory, myth, and place. Simon Middleton is a Norwich based artist working primarily in painting, drawing, and mono printing. He describes his approach as emotional impressionism, concerned less with depiction than with expressing an internal landscape. His work moves between abstraction and suggestion, sometimes hinting at animals or landscapes, often shaped by archetype, myth, and symbolism. Alongside his visual practice, he is a published writer and has worked in weaving and photography, as well as in music. Across all media, he seeks a sense of timelessness, creating works that feel discovered rather than made.
Front Room
Homecoming
Simon Middleton
Tuesday 4th to Sunday 9th August
Open Evening: Thursday 6th August 6-8pm
Homecoming presents a body of new work made following Simon Middleton’s London solo debut, Root of the Madder, at Coningsby Gallery earlier this year. Returning to Norwich, where his practice is rooted, the exhibition reflects a period of consolidation and renewed focus. The works extend his exploration of emotional impressionism, combining instinctive, physical mark making with quieter structures drawn from memory, myth, and place. Simon Middleton is a Norwich based artist working primarily in painting, drawing, and mono printing. He describes his approach as emotional impressionism, concerned less with depiction than with expressing an internal landscape. His work moves between abstraction and suggestion, sometimes hinting at animals or landscapes, often shaped by archetype, myth, and symbolism. Alongside his visual practice, he is a published writer and has worked in weaving and photography, as well as in music. Across all media, he seeks a sense of timelessness, creating works that feel discovered rather than made.
Main Gallery
Photographing the Invisible
Mike Howlett
Tuesday 4th to Sunday 16th August
Open Evening: Saturday 8th August 5.30-7.30pm
There are two types of microscope slide, aside from all differences in subject matter: there are the masterpieces of the art, the exquisitely mounted and beautifully preserved gems made by professionals and gifted amateurs that are much sought-after and prized even a hundred years or more since they were made. Then there is the other sort, the hastily assembled quickie for a pathology test, the disposable sample where a clean, labelled slide isn’t necessary, or the sort of mess a beginner makes before he’s acquired the skills involved. But herein lay Aladdin’s Lamp, and the genie has now been let out: look closely (under the microscope, of course) at the unsightly mess left by too much Canada Balsam and – if you’re lucky – you’ll find gems of your own – a Turneresque seascape, Impressionist figures in a weird landscape, an underwater vision of light. This exhibition displays two dozen images of sealant that has leaked from under coverslips on about ten slides. They were photographed using a digital SLR on an Olympus research microscope with a dark-ground condenser, where the subject is revealed by refraction around the coverslip rather than the specimen itself. Originally appearing as mud, cross-polarization and post-production gradually revealed the scenes shown here. Mike Howlett graduated in Applied Photography at Salisbury College of Art in the late 1960s, and subsequently held posts at Imperial College, Guy’s Hospital (medical photography) and then at British Steel’s research labs in Battersea, London. After working on a number of in-house documentaries, he went to Naples with a friend to make their own first film. It won three International Amateur Film Festival awards, so they then went to Glacier Bay in SE Alaska for three months to shoot their second, a documentary on post-glacial species’ recovery that sold to 15 countries under Anglia TV’s ‘Survival’ series. For Mike there followed 20 years as a lighting cameraman, running a small production company for 12 of them, and then freelance with a tendency to shoot films that interested him rather than those that just paid the bills. As a result, among other escapades, he helped rescue a dozen steam locomotives from Arctic Finland, flew in microlights and hot air balloons in Bhutan and Beirut, toured Eastern Europe and Russia with a chaotic string orchestra and had to endure three weeks in St Lucia on a documentary about bananas. Alas, the fun had to end when his wife and friends found out how skint he was, so he retrained in IT and spent the last ten years of his employed life as a network engineer in the NHS. And regretted it on day one. He retired to Suffolk in 2010 to take up astro-photography and (latterly) photomicroscopy, with the results that can be seen here in this exhibition.