︎
                                                                                                                                     ︎︎︎ ︎ info@larissashaw.studio
L҉ a҉ r҉ i҉ s҉ s҉ a҉   S҉ h҉ a҉ w҉   


↳ Info
     2025 ++
        2025 Action Manifesto
        Library Index
        About / Bio? / CV
        Are.na Resources

↳    Buy my time / Sell your
        time
↳ Writing —
       a-n newsletter
       Radical Art Review
       Vivid Projects
       ArtLicks
       IKON blog
       Esthesis.org
↳ Selected work 

    ☼ GLOAM x Free House

    ☼  Matters of Interest
    ☼ British Art Show 9,
       Activities
    ☼ Poems for Mourning
       Caterpillars

    ☼ How to Make a Blueprint
       for a City

    ☼ Poster Work

    ☼ Amongst Common
       Interest and Other
       Sanctuaries/Empires

    ☼ A Manifesto
    ☼ Soft Spaces for Seizures
    ☼ Small Acts of Care
    ☼ An Artist Manual
    ☼ Beanbags and Soft Things
    ☼ Soundtrack of Dancing
       Vibrissae and Other
       Soft Shore Things
        
Mark
Materials found at House of European History, Brussels. The depiction is of 'Mother Louse' — a satirical engraving of a 17th century alewife. An alewife would wear a tall hat to advertise her selling of ale at markets, something later bastardised to become the stereotype pointy Witch hat, along with her broom and cauldron. 🧙 Being an alewife, at that time, was one of few reliable means of ‘respectable’ incomes for women. An alewife could exist without a husband and was generally in charge of her own finances — even sometimes owning property. The rise of the European Witch hunts coincides with the male mass production of beer and, therefore, the removal of alewives from ale and beer history. This idea is a collaboration between myself and @dinosaurkilby for @freehouse____ ‘s group exhibition at @gloamgallery in Sheffield next week. Our work celebrates Free House’s (originally The Royal Oak Inn) 200th anniversary as a standing building — purpose built on Fazeley Street, Birmingham, as a free house in 1825.
Beer mats, designed and photo by Keith Dodds.
Designed by Keith Dodds, brewed by Brum Brewery. Artists, Larissa Shaw and Dinosaur Kilby. GLOAM, Sheffield x Free House Birmingham.


Cut vinyl in red. Text by Larissa Shaw. Installed at GLOAM, Sheffield. May 2025.



Mother Louse 'Alcohol free' 0.5% beer. Brewed by Brum Brewery. Graphic Designer, Keith Dodds.



︎︎︎How to Make a Blueprint for a City, 03/2021. Billboard outside Cheap Cheap Gallery / The Lombard Method, 68a Lombard Street, Birmingham.

Activity Sheets for Mark Essen and Sahjan Kooner's 'School of the Underkraft' for British Art Show 9. University of Wolverhampton. 01/22 - 04/22



IKON for Artists, IKON Gallery, Birmingham. 05/2021. ︎︎︎Welcome To New Earth, with Black Hole Club at Vivid Projects, Birmingham. 12/2021. Designed by Keith Dodds. ︎︎︎Exhibition with Grand Union Women at 4 Cose, London, for ArtLicks Weekend, 2019. Photo by Sophie Huckfield.


Activity Sheets for Mark Essen and Sahjan Kooner's 'School of the Underkraft' for British Art Show 9. University of Wolverhampton. 01/22 - 04/22




︎︎︎SHOW UP, Oldbury Allotments. With Sofia Niazi, Sahjan Kooner, Roo Kaur Dhissou & Fred Hubble. 09/21.

︎︎︎Artist Rehab Club (ARC), Welcome to New Earth. With Roo Kaur Dhissou. 12/21. Photo credit to Marcin Sz and Cathy Wade.

.
︎︎︎Poster at Sandberg Instituut, Amsterdam NL. 10/2019


︎︎︎Work in progress of Goldfish, Amongst Common Interest and Other Sancturies/Empires, 09/20



︎︎︎Front & back cover of a-n 40th anniversary newsletter, designed by Keith Dodds. 01/2021.

︎︎︎Book page scan from Garden Brickwork for documentation of the history of goldfish ponds in UK public gardens, 1981.



︎︎︎ Public Language / Word Power, MA writing, 2020.


︎︎︎Book page scan from Garden Brickwork for documentation of the history of goldfish ponds in UK public gardens, 1981.


︎︎︎Front page scan of ArtLicks, issue 23 Peripheries, 2018, writing with Grand Union Women.
︎︎︎Book page scan from Garden Brickwork, 1981

.


︎︎︎Webpage screenshot of exhibition locations with Grand Union Womxn for ArtLicks Weekend, 2019 (London). Locations include 4Cose [Cambridge Heath], 1C Enterprise House [Hackney], The Old Police Station [Deptford] & DKUK [Peckham].



︎︎︎ Webpage screen shot of Mayday Reader [Black Hole Club publication], 01/05/2020.
︎︎︎Poems for Mourning Caterpillars, DOOM (Turn Away from the Sun): Black Hole Club at Vivid Projects in Birmingham, 07/2021.


︎︎︎’Snail Mail’, work from the Visual Communications class at State Academy of Art & Design in Stuggart #thankyoupostalworkers #thankyoufrontlineworkers #thankyouheathcareworkers IG: @klassethomas ☼



︎︎︎ Brexit mice, rant to accompany a painting. Short snippets of hope amongst the darkest: shortest day, longest night. Hopeful notes to leave folks whilst I’m not here because nothing has changed since March, except the seasons, so let’s meet in London for missed lunches in tier 2. Images of photos from phones, marking moments of happiness and hope within a banner of lightness. A moment in 2019 when we were happy, when we find the strength to say no to things when the conditions (i.e., a pandemic) aren’t right. The moment I find a caterpillar and let it crawl across my fingers. Images of caterpillars. Smooth jazz background. Opening and closing desktop windows on screen recording. Poems. Signs/graffiti on the side of buildings in Walsall and caterpillar ceremonies. Here’s to screen sharing extravaganzas. 6:30pm, next Thursday, be there or be not-represented-by-screen-recordings.
Mark