Corbin Shaw

🎨🌟 New @TalkArt ! We meet artist @CorbinShaww , live from the @CrossedWiresFest podcast festival in Sheffield’s City Hall. #CorbinShaw (b. 1998) is a British artist based in East London, originally from Sheffield. Exploring the complex realm of masculinity and identity through the medium of textiles. Using his upbringing in a South Yorkshire ex-mining town Corbin investigate’s masculinity and how it was defined to him growing up. Breaking stigmas and stereotypes through his re-imagination of masculine ‘icons’ and objects. The artist pays homage to the people and places that have shaped his northern identity – the pub, football pitches and boxing gyms. Collaborations include Women’s Aid, BBC Sport & Fred Perry and had cover’s for EXIT, Perfect Magazine and Circle Zero Eight as well as features in The Guardian, The Face, Dazed and Metal Magazine. Corbin Shaw presented his fourth London solo show ‘Little Dark Age’ at @__incubator__ , Marylebone, where he explores modern day Britishness through ancient crafts, exploring what is the meaning of tradition and questioning what it means to be ‘English’ today. 🔗 Follow @CorbinShaww . Learn more: 💕 Thank you #Sheffield for being a wonderful live audience #CrossedWiresFest . 📻🎧 Listen free @applepodcasts @spotify or wherever you get your podcasts! 📸 Corbin portrait by @OliverTruelove . Talk Art portrait by Christine Ting.

monochrome prints I did with @jealous_london back in september made from recycled sun newspapers.

‘england is ruining my life’ t-shirt available from 4pm today via corbinshaww.com sizes XS - XL Loy wears a size small @sillysillyorchid (thank you for being our superstar popstar) @judebellingham

“It’s about everyone looking after each other, not just in football but in general... and these boys, this England team, is one of the very few things you can point to as a form of national pride.” The Euros are finally here, and red and white crosses punctuate the streets. Sheffield-born artist @corbinshaww has been using England flags as his canvas for a while now, and with the help of BUILDHOLLYWOOD’s Your Space Or Mine project and their billboards, his take on St George’s Cross now adorn city streets up and down the nation. 🏴󠁧󠁢󠁥󠁮󠁧󠁿 Read more about the collaboration, Corbin, his influences, and his work over on the @buildhollywood site - follow our link in bio. 🔗

‘rock series’ (2024) chalk rocks sourced from the bank of the river thames.

This Sheffield artist has recently collaborated with Fred Perry!

dear sheffield, i love you. Such a lovely weekend back in sheff’uld. thank you to @crossedwiresfest and @talkart for having me on. i had such an amazing time, i loved our conversation and can’t wait for everyone to hear it. the episode will be out soon. an thank you to @bbcsheffield for having me on the breakfast show. I am so full of love and sheffield pride!

rubbings from my show ‘little dark age’ @__incubator__ thank you once again to everyone who came to see the show. for enquiring about the work contact @__incubator__ Brass rubbing was originally a largely British enthusiasm for reproducing onto paper monumental brasses – commemorative brass plaques found in churches, usually originally on the floor, from between the thirteenth and sixteenth centuries. It was particularly popular in Britain because of the large number of medieval brasses surviving there, more than in any other country. The concept of recording textures of things is more generally called making a rubbing.

Calling all art lovers! The Talk Art LIVE podcast show in Sheffield is this Saturday, 1st June 🎨 Join @russelltovey  and @robertdiament  with special guest @corbinshaww  at Sheffield City Hall 🎟️ Get your tickets at crossedwires.live #sheffield #talkart #podcasts #sheffieldevents

LAST DAY TODAY! ‘little dark age’ @__incubator__ 11:00 - 6:00

“SHEAFSPRINTER 1995” an “FARTHING 1983” (2024) brasss and leather the workhorse becomes the workvan and so on. A horse brass is a brass plaque used for the decoration of horse harness gear, especially for shire and parade horses. They became especially popular in England from the mid-19th century until their general decline alongside the use of the draft horse, and remain collectors items today. In England many of these items of harness found their way into country public houses as the era of the heavy horse declined, and are still associated today as a pub decoration. By the late 19th century heavy horses were decorated with brasses of all kinds and sizes. During this era working horse parades were popular throughout the British Isles and prize or merit awards were given, some by the Royal Society for Prevention of Cruelty to Animals (RSPCA). In ancient Rome, horse harnesses were sometimes embellished with horse brasses known as phalerae, normally in bronze, cut or cast in the shape of a boss, disk, or crescent, most often used in pairs on a harness. In medieval England, decorative horse brasses were in use before the 12th century, serving as talismans and status symbols, but extensive, original research by members of the National Horse Brass Society has shown that there is no connection whatsoever between these bronze amulets to the working-class harness decorations used in the mid-19th century which developed as part of a general flowering of the decorative arts following the Great Exhibition. EXHIBITION CLOSES SUNDAY 26th MAY @__incubator__

‘Josh’ & ‘Lucy’ (2024) cotton thread, velvet mount, steel frame 9.22 x 21cm Rozsika Parker’s book ‘subversive stitch’ caught my eye. Culturally, needlework—which encompasses everything from embroidery to cross-stitch to crewel—has been considered “women’s work,” a “craft” (as opposed to “Art”) and limited to the “domestic” sphere of place. Parker explores that history and traces how needlecraft was used to both define femininity and likewise be defined as a feminine craft. ‘subversive stitch’ brings to light the relationship between women (mainly upper and middle class) and embroidery.  Exposing how embroidery was used to subdue and control girls and make them ready for marriage. How samplers represented the quiet dignity of a girl but also how some also stitched quotes into them hinting of their unhappiness. This led to women using stitch as a means of communicating their dissatisfaction of their lot. Examples of this are the suffragettes and the anger of the women’s lib movement. Now on show @__incubator__ for enquires @__incubator__