My work is about nationhood and landscape. My work is predominantly hand-cut paper in wall based and sculptural forms.
I have exhibited across the UK and I am represented by Paper, Manchester. I am currently based near Preston and am Senior Tutor Scholarship and Research at Blackpool School of Arts.

Tracey Eastham's Axisweb profile

See more information at Paper

Qualifications and training
2006 MA Wimbledon School of Art
2005 BA Hons Loughborough University

Solo exhibitions
2017 Babel, Paper, Manchester
2015 Memories of Places Never Visited, Art Gene, Barrow on Furness
2012 This Idea of a Lost England, Airspace Gallery, Stoke on Trent
2010 Tracey Eastham, Cornerhouse Gallery: Projects, Manchester
2009 Soul Satisfied, The Vault Gallery, Lancaster

Group exhibitions
2019 - Under British Skies, Chapel Gallery, Ormskirk
2017 - Material Matters, Saul Hay Gallery, Manchester
2016 - Paper Dialogues, Kir Royal Gallery, Valencia
2016 - Greater Manchester Arts Prize, Manchester Chamber of Commerce
2016 - Into The Wilderness, Chapel Gallery
2016 - Semiotic Geurilla Warfare III, Dean Clough Gallery
2015 Manchester Contemporary, Paper Gallery, Manchester
2015 Tracing Paper, Paper Gallery, Manchester
2014 Contemporary Art Society group exhibition, Mirabel Studios, Manchester
2014 Glitter and Gold, Cardroom Gallery, Manchester
2014 Re-unpacking, Nottingham Castle, Nottingham (curated by Andrew Bracey)
2014 Grey, Harrington Mill Studios, Nottingham
2014 Resilience, Cardroom Gallery, Manchester
2014 Seeing Beckett, Chester and Liverpool (touring)
2013 Not Just for Christmas, Contemporary Art Society, Manchester
2013 Like A Monkey With A Miniature Cymbal, Aid & Abet, Cambridge
2013 Fresh Intelligence, No.11 Gallery, Bristol
2012 Fundraising Auction, Castlefield Gallery, Manchester
2011 AirVent, AirSpace Gallery, Stoke on Trent
2011 The Manchester Contemporary, Mermaid and Monster, Manchester
2011 Pulp Fictions, Transition Gallery, London
2011 Endlos umstritten, ewig schön: Interrogating Beauty, D21 Gallery, Leipzig, Germany
2011 We Are All In This Together, Bureau Gallery, Manchester
2010 Exeter Contemporary Open 2010, Exeter Phoenix Gallery, Exeter
2010 They Do Things Differently There, Talbot Rice Gallery, Edinburgh
2010 Cure Leukaemia Art Auction, Wraggle & Co, Birmingham
2010 Stories, Wolverhampton Art Gallery, Wolverhampton
2010 Haiti Art Auction, CUBE Gallery, Manchester
2010 POST, Trove, Birmingham
2009 Collaged: Tracey Eastham with Louise Bristow, Harris Museum and Art Gallery, Preston, Lancashire
2009 The Manchester Contemporary, Castlefield Gallery, Manchester
2009 Coller-Elective, Arena Gallery, Liverpool
2009 SLICK Dessin, Cynthia Corbett Gallery, Paris
2009 AAF, Cynthia Corbett Gallery, London
2008 Interchange, CCP Car Park, Liverpool
2008 Artists Book Fair, Wolstenholme Projects, Liverpool
2008 Future50, PSL Leeds, Leeds
2008 Not For Your Eyes, Wolstenholme Projects, Liverpool
2007 Cut and Colour, Blyth Gallery, Imperial Collage, London
2006 AntiFreeze, Cynthia Corbett Gallery, Stockwell Studios
2006 MA Show, Wimbledon College of Art
2006 Centre for Drawing Project, Wimbledon Collage of Art
2006 BASE, Trinity Buoy Wharf
2005 Emerging Artists, Warsaw Project Space, Ancoats, Manchester
2005 BA Show, Loughborough University

2011 Live Collages, Bruntwood Arts and Business Awards Ceremony, Manchester

2011 Bradley Fold Allotment Residency, Allotment Diaries & Environmental Hubs by Elizabeth Wewiora, Didsbury, Manchester
2011 Collaborative Residency with Anna Francis, The Burlington Arts Club, Manchester
2009 AA2A Scheme Artists Residency, University of Central Lancashire, Preston

2013 Essay and Artwork for 'Agoraphobia', Blackpool & the Fylde College
2009 March edition A-N 'Funded Art Shows'
2009 Catalogue Essay Green Close Studios
2009 Apocalypse - The Liverpool Art Journal special edition
2009 Artists Book Fair - The Liverpool Art Journal special edition


Future50, PSL [Project Space Leeds] 21 - 23 November 2008
In November 2008 Axis staged Future50,
a selling exhibition of work by 50 artists selected from the Axis directory.
Curator and gallerist Ceri Hand and Axis curator Liz Aston chose 50 artists from the Axis directory, highlighting those they consider are 'the ones to watch'. The exhibition took place in PSL [Project Space Leeds] over the weekend of 21 - 23 November 2008. All work was for sale at the show and also on the Axis website.

Tracey Eastham uses collage and cut out techniques to assemble scenes of 'nature' that are, in fact, anything but what they first appear to be. Her depictions of nature, landscape and the rural are mediated through mass culture and art history, bringing together images appropriated from both classical and contemporary sources, and high and low culture. The resulting clash of styles, historical periods and skewed proportions between different elements within the one picture frame are simultaneously completely absurd and totally revealing of how we formulate our perceptions of the world through 'second hand' representations that are so common place that they have become part of our daily reality.
Eastham's assemblages present us with fictive landscapes, sometimes in formations akin to heraldic crests that serve to highlight the stylised reality of these depictions of nature. These works reflect the sentimentality for nature and the countryside that has existed for centuries, propagated through art and literature, and one that is at odds with the often harsh and brutal reality of rural life. Ridiculous and beguiling, they debunk the myth of the rural idyll and unpick and expose our pretension that we can ever really understand – or represent – the 'truth' of these subjects.
Paul Stone, 2008


Axis MAstar Award - 2006
Graduated from Wimbledon College of Art
Selected by Paul Glinkowski

For her MA show at Wimbledon College of Art Tracey Eastham presents a series of small-scale works made using collage and cut out techniques. In one untitled piece, a pastoral idyll excised from a reproduction of a 19th century sentimental narrative painting jostles for space in the foreground with a blousy still-life of a flower arrangement made triffid-like through distortions of scale. In the background, a gaudy other-worldly landscape from the cover of what appears to be a pulp sci-fi novel irrupts through a jagged cavity in the clouds. It is as though we are peering through a black hole connecting different dimensions; not only in time, space but also in the representation of landscape.
Eastham's (literally) multi-layered works sit ambiguously at the crossroads of high and low culture, cliche and invention, mass reproduction and original expression. Unassuming in scale, one wonders whether these beguiling creations will prove bold enough in content to enable Eastham to negotiate the tricky transition from student artist to post-graduate success. (Paul Glinkowski, 2006)