Liverpool Biennial 2025 - Bedrock (Photo & Film by A.Nelson.Art)

A Morning in Liverpool

It was a Thursday morning, the summer edging towards September, and the thought of a new academic year was already hanging in the air.

For our summer project, we’d been asked to visit the cultural city of Liverpool and explore its Biennial and gather experiences to inspire two artworks we’d be showing when we returned in mid-September.

We had booked the train the weekend prior, and my daughter was eager for a “Dad day out.” Clair dropped us off early at Bangor train station, armed with coffee and healthy treats for the journey. I’ve always loved the train ride into Liverpool—the line traces the coast and beaches, opening up to a vast horizon where boats drift lazily and seabirds sweep the air.

We rolled into Liverpool Lime Street just after 9:15. First stop was the library, but really, it was also a chance to stretch our legs and use the facilities. As we walked, I found myself looking up at the buildings—grand, ornate, and heavy with history. You can’t help but feel the weight of the city’s past: all that power and wealth, much of it built on the back of the slave trade. The architecture is beautiful, but also unsettling when you think about the human cost behind it.

The Central Library itself is a fascinating place. The Hornby Library, in particular, feels like stepping back in time—spiral staircases, wooden shelves, and a dome so vast that the tiniest sounds echo. At one point, I pulled on the zip of my bag and it echoed so loudly I froze, half-expecting the room to shush me. My daughter just smirked.

We wandered into our first exhibition there: Dawit L. Petros’s project exploring a British-led expedition to the River Nile in 1884–85. I didn’t expect it to draw me in the way it did. Through sound, video, books, and archives, the installation told the story of the 379 voyageurs from Canada—French Canadians, Western Canadians, and First Nations—who had taken part. It was moving to see Liverpool’s own imperial archives reshaped into something that gave space to forgotten voices. My daughter was quietly fascinated, pointing things out to me as we went.

We wandered into our first exhibition there: Dawit L. Petros’s project exploring a British-led expedition to the River Nile in 1884–85. I didn’t expect it to draw me in the way it did. Through sound, video, books, and archives, the installation told the story of the 379 voyageurs from Canada—French Canadians, Western Canadians, and First Nations—who had taken part. It was moving to see Liverpool’s own imperial archives reshaped into something that gave space to forgotten voices. My daughter was quietly fascinated, pointing things out to me as we went.

Skyline Views and Echoes of the Past

After taking in Dawit L. Petros’s exhibition, we rode the escalators up through the Central Library and stepped out onto the top floor. From there, the whole city stretched out in front of us. It felt good to stop for a moment and take it all in—the skyline dotted with domes, spires, and newer modern buildings We could roughly trace the direction we’d be heading later that day, like mapping out the adventure ahead.

From the library we walked over to the Walker Gallery, excited to see the contemporary art section. Unfortunately, it was closed, but we were still able to dive into one of the Biennial exhibits housed there.

The first pieces that grabbed me were by Leasho Johnson. His work is full of energy—vibrant colours, bold forms, and a dynamism that makes the paintings feel alive. You can almost sense the movement radiating off them.

Then came something completely different - the installation by Antonio José Guzmán and Iva Jankovic. Their work focused on the Liverpool riots, and walking into it was like stepping into another world. The sounds surrounded you, the maze-like structures closed in, and the atmosphere felt tight and claustrophobic.

As I moved deeper into the space, I noticed writing across the walls—snippets of memory, fragments of voices from the past. It was powerful, unsettling even, because you could feel how those echoes still live on in the city’s streets today.

Liverpool Central Library - Outside Viewing Platform

Leasho Johnson, Walker Gallery, Liverpool, Photo by A.Nelson.Art

Antonio José Guzmán and Iva Jankovic, Photo by A.Nelson.Art

Breakfast, Street Art, and the Bluecoat

After leaving the Walker Gallery, we went in search of some breakfast and ended up around Fleet Street at the Lime Kiln Yard. It was still fairly early, and the city felt like it was just starting to wake up. I tucked into a small traditional breakfast while my daughter went for a healthier option—poached eggs on toast. Simple, but perfect.

What really caught my eye in this area was the street art splashed across the walls. It had that raw, creative energy that reminded me of Kelham Island in Sheffield, a place I’ve always loved for its mix of grit and artistry. Liverpool seems to wear its creativity out in the open, and I found myself smiling at how the walls themselves became part of the city’s gallery.

The Lime Kiln Yard pub was also just a stone’s throw from a few more Biennial venues, so it felt like we were right in the heart of things. Our next stop was the Bluecoat Gallery.

Inside, I was particularly struck by the works of Alice Rekab and Odur Ronald works. Ronald’s piece All in One Boat stayed with me. At first glance, it looked polished and almost gleaming, but there was a darkness lurking beneath the surface. The passports shimmered with the promise of opportunity, but I couldn’t help asking myself: opportunity for whom? Were they symbols of freedom, or reminders of exclusion? A nod to the past, or a commentary on the present?

Using passports as both a symbol and a medium, it delves into the tension between free movement and the restrictions imposed by borders. For Ronald, these documents are more than just identification; they highlight how global mobility and personal autonomy are shaped by societal constraints, ultimately representing permission or denial of freedom to pursue one’s aspirations.

Stepping outside again, the gardens at the Bluecoat were a welcome surprise. Green, peaceful, and tucked away from the rush of the streets, they offered a quiet moment to breathe. It was a lovely pocket of calm right in the middle of Liverpool’s concrete jungle.

Alice Rekab 'Isatu at Rest' , Photo by A.Nelson.Art

Immersed in FACT

After leaving the Bluecoat Gallery, we walked up to FACT. This stop ended up being one of the highlights of the day.

Inside, we came across Kara Chin’s installation, and it really blew us away. My daughter loved it straight away—it was colourful, playful, and immersive. Since she’s into Manga and video games, this felt like it was made for her.

The work, Mapping the Wasteland: PAY AND DISPLAY, was full of strange little details—seagulls, parking meters, even Buddleia plants growing like weeds in the city. At first they felt almost funny, but then you realised they were also symbols of bigger things: frustration, decline, and the unease we all feel about the world right now.

What I liked was how Chin took those everyday annoyances—like pests, weeds, or even parking charges—and turned them into something loud, almost comical. It made you laugh, but also made you think about how small problems often get blown up into something bigger, especially in the media.

We left FACT talking about it, my daughter still smiling. It was the kind of artwork that sticks with you, both fun and thought-provoking at the same time.

Kara Chin - *Mapping the Wasteland: PAY AND DISPLAY, FACT Gallery, Photo by A.Nelson.Art*

Street Art and the Liverpool Cathedral

After FACT, we wandered through the streets, noticing some artworks in the windows of Euro Chemists, before heading to the Liverpool Cathedral.

Outside on the grounds, I really liked a series of sculptures by the Athenian artist Petros Moris called Ghost (ALONE) I–V(2024). They were part of his ALONE series and felt very thoughtful. Moris takes pieces of the past and transforms them into something new, making you think about history and the future at the same time.

The story behind the series is fascinating. Moris found a marble mosaic that his parents made in 1985 in an abandoned playground in Greece. Later, someone had painted the word “ALONE” over it. This mix of past and present inspired him to create the series we saw in Liverpool, using discarded marble tiles from his parents’ studio to make new sculptures. The shapes were unusual, almost animal-like, and had a sense of history layered into them.

Inside the cathedral, the space is enormous. It felt calm and timeless. There were also works by Ana Navas and Maria Loizidou, which added a contemporary touch to the historic building. Walking through, I couldn’t help thinking about how old and new, past and present, all come together in a place like this.

Liverpool Cathedral, Photo by A.Nelson.Art

Food, Shopping, and the Docks

After the cathedral and lots of walking, we were both starving—and Evie was definitely in need of some shopping therapy. So we headed to the Red Brick Market. I loved the vibe—it reminded me a bit of Camden Town in London, full of independent shops, quirky stalls, and amazing street food.

I went for a pizza and a Camden Easy IPA, while Evie chose a Thai green curry and water. We wandered around, shopped a little, and just soaked up the energy of the place. It was the perfect pit stop to recharge.

Once we were full and happy, we made our way down to the docks to see the Liverpool Mountain near the old Tate. The mix of old dockyard buildings and modern architecture like the RIBA building was fascinating. It felt like a city that’s constantly evolving, but still proud of its history.

We finished the day at the galleries—RIBA & Tate, and the Open Eye Gallery. By the end, we were tired but buzzing from all the art, the streets, and the city itself. Walking back, I felt inspired, full, and grateful for a day spent exploring Liverpool together.

The Liverpool Mountain, Photo by A.Nelson.Art

RIBA & TATE Liverpool, Photo by A.Nelson.Art

Evaluation of the Liverpool Trip

My time in Liverpool with Evie was both inspiring and thought-provoking. The Biennial works were particularly engaging, with many pieces feeling relevant to today’s world while also offering historical context. It was exciting to see emerging artists challenge norms, explore modern issues, and spark new ideas.

The street art also had a big impact on me—it inspired me to create a couple of digital works, which I shared on my Art Instagram. Experiencing the city and its art has motivated me to start two new artworks for the summer.

I find the blogging process really valuable. Writing about what I saw and experienced helps me to reflect, process, and think more deeply about the art. It allows me to linger on ideas, letting them sink in and influence my own creative work.

Liverpool Biennial 2025

A Morning in Liverpool

Penmon Priory