| 8th – 11th June |

A mixed-media exhibition featuring work from 20 artists, developed in response to archive materials, stories, and memorabilia from the former Post Office and its staff, along the theme of antiquity. Visit the Platform16 page. Join us on Wednesday 8th June from 6pm as we launch this new exhibition.

Part of Sheffield’s Year of Making 2016 – which foregrounds and celebrates all forms of making in the city and region – Catalyst is a festival of exhibitions, workshops, talks, conferences, performances, installations, and a pop-up cinema. Created by Sheffield Hallam University in association with Bank Street Arts, The Poetry Business, Sheffield Museums, Doc/Fest, Heeley City Farm, Yorkshire Sound Women Network, Alzheimer’s Society and many, many more.

If you would like to learn more about Sheffield, City of Makers, read the report published earlier this year.


Alex Allison presents his poem ‘History (or, The Art of Hitting a Fly with a Brick)’, based on Norse Mythology and the repetitions of history.

Alice Eaton uses screen printing, photography, and sculpture to address animal rights in ‘decorated Individuals’.

Ashley Oldham’s printing stamps re-visualise an ancient relic in ‘Visual translatin of the ancient heritage: The Phaistos Disk’

Benedict Bede Robinson depicts modern struggles through medieval printing press in ‘Men of God’ and ‘Angel of the NHS’.

Brave Little Pixel reuses outdated computers in ‘Play Things’.

Chelsea Abbott uses polaroid photography to capture industrial scars in ‘Palimpsest’.

Em Smith uses vintage soil riddles to explore modern ideas of craftmanship in ‘Vintage Riddles’.

Harry Botley’s photography explores cinematography in ‘Verdigris’.

Jake Smithies distorts everyday objects into illustrated documents with ‘Stand in Someone Else’s Shoes’.

Jubby Taylor’s large canvases recreate his stream of consciousness in ‘The Big Reveal’.

Mandy Gamsu emulates prehistoric art in ‘Cave Painting I’ and Cave Painting II’.

Maximilian Harms’s photography depicts man-made forests in ‘Interruptions’.

Olivia Punnett uses photogravure printing to depict colcanic erruption in ‘Plume’.

Pink and Gray performance partnership react to lunchtime botox in ‘Betrayed’.

Rachel Durance uses photography to decipher relationship dynamics in ‘Winifred and Catherine’.

Rachel Whittington investigates the use of objects through sculpture in ‘Functionless Tools’.

Scott Cockerham emulates protest signs in ‘Mary Hutton: Degenerate Days’.

Stefan Nedelcu explores industry through photography in ‘Above Wright Wood’.

Sue Burley’s sculpture mimics ossuaries in ‘Reimagined Relics’.

Thomas Lee Griffiths reimagines the traditional bust sculpture in ‘Cavity’.

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