so, finding the involvement of the IDVA invaluable in being able to provide them with the independent advice, information and emotional support that they would not otherwise have received. Although in general they were positive about IDVAs, users could also identify problems due to the telephone-based nature of the advocacy that was offered and the duplication of services that sometimes occurred. This paper argues that an IDVA provides an important service to victims of domestic violence, which is likely to be particularly valuable in rural locations. However, the terms of reference for the role need be reviewed in order to maximise the contribution that IDVAs can make.

The chapter explores the issues surrounding the use of drugs and alcohol by employees and the impact on the workplace and the wellbeing of staff.

The installation (exhibition) was constructed with the notion of creating ‘little visual disturbances’ within the field of vision – disturbances that mitigate against an overall unifying impression of the ‘show’. The intention of simulating a self-conscious pictorial ‘fracture’ (hence ‘seeing walls’) comes out of problem-finding in conventional artistic, studio based methodologies. The pieces in this installation consist of a loosely interlocking ‘mesh’ of especially constructed objects, wall drawings, ‘ruined texts’ and video, often with urban or domestic connotations.

Avenue Gallery is pleased to present ‘Distance’, an exhibition of new work by UK artists Alec Shepley (Head of Lincoln School of Art and Design) and John McClenaghen (Head of Fine Art at Glyndwr University, North Wales). Both artists have exhibited their work nationally and internationally, last showing together in a joint exhibition in Shanghai in 2006. ‘Distance’, comprising assemblages and collages, photographs and drawings, is the result of their continuing long-distance artistic conversation.

The presentation of the fragmented work and the presence of dilapidation is tangible in much of their artistic practice. However much of this work focuses on the positive aspects of ruin – on a thing that might be coming into being as opposed to be left to decay. There is evidence of a preoccupation with cutting, placing, re-cutting and re-placing, joining and unjoining, in the collages/assemblages and one look inside either artist’s workshops would reveal an almost neurotic disruption of the ‘outcome’ – telescoping between making and un-making. Could the ‘works’ themselves be ruins – failing in a way to remain intact?

Any reading of the ‘complete picture’ is disrupted and we are afforded only partial, distanced view - the artwork/viewer/location relationship is interrupted through a provisionalised engagement - meaning and function are unstable. The pre-occupation with fragmentation and the temporary artwork; cutting and rejoining; doing and un-doing; building and un-building, are attempts to reveal ‘spaces of potential’ – perhaps to prise open and invite occupation of the ‘joins’ or gaps themselves.

Avenue Gallery is located in The University of Northampton’s Avenue Campus on St. George’s Avenue, Northampton NN2 6JD. Admission is free. For more information about the exhibition please contact the Gallery on 01604 893046 or email gallery@northampton.ac.uk.

This comparison of motive explores; perpetual memory/cultural time and space/landscape as a membrane between experiences; something/nothing, mass/absense, body/aura. Initially conceptual, the artworks explore the graphics of line/colour/form with the poetic relationship between human perception and cultural conditioning represented in the concept of the horizon.

Haywood is fascinated by environments and horizons that evidence obscured history and traces of colours, weathered by natural process and human interaction. His work represents a location, a time and an interaction with an environment, through chromatic ingredients that infuse the palette of the landscape, which he then edits to a limited key of colours. Currently, using lens based media, he selects colour on the horizon, which is then filtered to merge tone into an overall sense of colour, confused by distance and a lack of focus (Train/Window/Industrial Landscapes series). Heald elaborates timelines and choreography for the camera, transforming everyday movements into dance-like passages with the assistance of the slow-motion effects, reminiscent of Haywood’s Train series, which depict the dancing lines of the horizon. The slowing down of Heald’s film, references poetics and time, recognising Kristeva‘s writings, on time (1979) and the semiotic chora (1974). Liggett’s, paints surfaces with veils/layers and gestural brush marks. The depiction of geographical barriers including horizons, create, metaphors for weathering/ageing/movement/time/creative or psychological barriers.

Liggetts repetitive horizontal line paintings (Sea series, First/Second/Third Attempt) formulate a working method inducing a meditative inspirational state. Oblivious to time during creative insights, Liggett sees this as akin to losing track of western linear time and being lost in the horizon that is the body. In The Dream Space Heald slept in Japanese ‘capsule’ hotels/ryokans/Buddhist temples, accessing simultaneous timelines/zones, capturing the transient/surreal nature of dreams. These performances encapsulated, through colour and movement, an ‘in–between-ness’ that relates to the chora. Heald and Liggett will explore cyclical and monumental time through ideas relating to ‘eternity’ or ‘transcendence’ exploring the horizon of the body/aura through painting and film.

Within their presentation the artists will discuss, the differences/similarities between horizons/timelines within their work.

The cure kinetics were analyzed using several kinetics models. The results showed different activation energies for conventional and microwave curing and suggested different reaction mechanisms were responsible for curing using the two heating methods. Resins cured using conventional heating showed higher glass transition temperatures than did those cured using microwave heating.