Bienamada

The intention of the exhibition was to prompt discussion about art and artists' processes in urban sites by presenting very individual approaches to a specific location. The artists included referred to the historical, social, emotional and architectural aspects of the space. They reacted to the building in its current transient state as a resource of inspiration, a mediator of ideas and images and a practical work space...hoping to provide a counterpoint to nostalgia.

Bienamada (Well loved) refers to Alison Kershaw's lit sign erected on the outside of the building, reminiscent of fairgrounds, celebrations and makeshift shop displays. The sign is intended to raise the question of what this landmark building means to the local neighbourhood and the city. Ironically this well loved building appears from the outside to have been neglected, despite the vigorous activity taking place behind the scenes. Since her Year Of The Artist Residency in the building, Alison Kershaw and the Friends of Victoria Baths, have facilitated and researched the use of the building by a number of artists, companies and local community projects, including the suitably named Pool Arts who now have studio space in the building.

Humberto Velez, an artist based in Manchester and Panama made work inspired by the Victoria Baths, during a recent residency at the Gasworks in London. His piece "L'Avventura" (The Adventurer) was installed in the First Class Males Pool. A larger than life Pterodactyl, created using past editions of The Times and The Financial Times, swooped over the pool. Velez created a piece that considered the themes of freedom and death, the relationship between emotions and social restrictions, desire and control, fantasy and reality.

Helen Pugh chose to use the Female pool as the site for her work "Measuring Fear". Her interest in "resonant spaces" has led her to develop a number of works in relation to The Victoria Baths. These have included drawing and performance, actions aimed at investigating personal psychological responses within the space. In this work the steps into the deep end became her focus.

Pool Arts opened their studio spaces for the duration of the exhibition showing paintings. Visitors saw the work of artists whose interest in the building is that it allows them to practice their work in a unique setting. It is recognised that their presence contributes a valuable creative energy to The Victoria Baths. Works included Theresa Atkinson's paintings based on ideas about war, Simon Austin's "Black Dogs" and Richard Scott's expressive canvasses.

Members of Pool Arts also include Rachel Robinson and M.. Both artists' work seem to reference notions of imperialism, ecological destruction and exoticism, all themes identified with the building itself.

Rachel Robinson presented her "Virtual Polaroid's". She says, "The works here are an early experiment with used engine oil. The reflective qualities are very appealing but also deceptive and illusory in their never ending depth. The bonsai's fit in with the size alteration of the Polaroid frames. They are dead though and have absorbed the oil, highlighting its dirty, deadly, nature-destroying traits."

M. re-presented his installation "Born As Ghosts" of which he writes: "There are many myths in this country, one of being that the Victorian Era was somehow the golden age of Britain. In reality many people had to endure extreme hardship, poverty and disease. Today many of the diseases, thought to be have been eliminated, are on the increase again. The gap between rich and poor, healthy and unhealthy is widening and the poor are still 'born as ghosts'. The figure at the bottom of the stairs is left to fade in the darkness."