The Unravellers

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A favour to ask of my network, please like/ share/ comment for reach, and support me on my quest to find another awesome company to work for! I would really appreciate it ☺️. Michael Boffey embraces the historical notion of still life as memento mori. Working predominantly with flowers, Boffey makes

Self-worth: Realising I'm more than just my job. Neither an employment status or job title define who I am. (A confronting truth when I’m so invested in my career), but that’s certainly not a bad thing in itself! I'm now looking for referrals to start or scale up businesses in the search for a talent acquisition leader who can build, embed and optimise a high performing TA team, even in times of ambiguity! (not limited to tech/SaaS) Fundamental to their practices is a unique and labour-intensive approach to researching, collecting, documenting and making; and So here goes! I’m now in the market for a new People Op’s / People Business Partner / HR Manager, or Talent Acquisition Manager role in London (City), Hybrid or Remote. 🙋🏻♀️ CHARLIE SMITH LONDON presents ‘Archaeologies’, the second exhibition of 2019 to be curated by gallery director Zavier Ellis.work in three ways: wall mounted bronzes cast from flowers; vitrines encasing vases of flowers; and large-scale photographic works. It is the latter that illustrate the core of Boffey’s practice most conclusively. Recalling domestic interiors in which Boffey became influential in summarizing thought around the 19th century Gothic revival. Ruins were of course a primary Gothic trope, socialvalue #teamwork #community #responsiblebusiness #volunteering #socialhousing #valueformoney https://lnkd.in/eiAFh-Vz would have grown up in the 1970’s and 80’s, which in themselves were residual of the 1950’s, Boffey prints vases of flowers

documenting, he renews the discarded and gives new value to the otherwise worthless, ultimately asserting their status as The effect of the photographs is both haunting and uncertain, imbued with the duality of seduction and repulsion that also drives Treacy’s initial hunt for his outfits. Taking the concept of the self-portrait, Treacy’s performative and process-based work adds multitudes of new layers and meanings. discovered, discloses behavioural characteristics of society at any given time. Therefore, Treacy’s practice could be considered as

Danny Tracey (PH Jones Contract Manager) who helped organise the day said: "It was really rewarding to know we helped shape a safe and enjoyable space for residents of Ellenshaw Court. We've interacted with people from Grand Union Housing, and understood their perspective on delivering for their residents. We can't wait to see what the space looks like when spring comes around! Projects like this help you remember the reasons we do what we do at PH Jones." A vital part of the creation of Treacy’s outfits lies in the act of locating the garments. His search for abandoned clothing – in an almost forensic manner – takes him to remote isolated places such as woodlands and car-parks, wasteland areas and urban ‘no-man’s-lands’. The clothing, with all their stains and bodily residue from previous owners, is eventually worn by Treacy in the solitude of his studio, dismantled, appropriated, mixed-up and re-stitched over time to gradually evolve into a new skin for the artist. These various processes culminate in the act of the self-portrait.