all welcomE
Some works in the exhibition are for sale and some works are not. NFS means not for sale and POA means price on asking. All sales are through the artist directly, live instagram links for them are provided below. Vault takes zero commission on sales but we are happy to accept donations to help continue our work.
You can do this here
1. Nuala Convery. UNITE. Banner. NFS
The piece calls to unite against gender based violence and depicts a white presenting character and a character wearing a hijab. Particularly with the far right falsely using domestic violence as a false narrative 'protecting women and children from immigrants' when actually statistics show that this usually happens in the home..
2. Sally O’Dowd. Anti-Fascist Tickle Stick. Hazelwood, plastic sheet, ribbon. POA
The tickle sticks help navigate through unfamiliar or changed spaces and ideas.
3. Sally O’Dowd. Women at Work: The Anaka Collective making Funky Ferments at the Cultured Club, Vault Artist Studios, Belfast. Ink on cotton. March 2022 Supported by ACNI. POA
This drawing is a spontaneous line drawing, a kinetic observation, of the Anaka Collective refugee women's group making ferments at the Cultured Club, Vault Artist Studios, Belfast. At this point there is such a bustle of women moving and making in front of me. They weigh and add salt to the big white drums of shredded cabbage, hands in gloves thoroughly stir up the ingredients, a mother checks in on the child in a buggy. I have the privilege of being an observer to the happy active buzz in the kitchen. I commit their movements to the paper, following their concentrated productive actions and including some details of utensils and equipment. The Anaka Women's Collective are a group of women who use their collective skills to educate, support, advocate, and celebrate each other. Together with the Cultured Club, they set up a social enterprise called the Multicultured Club selling mouth-watering ferments and meals to support the Collective.
4. Sally O’Dowd. Women at Work: The Anaka Collective refugee women's group jarring up ferments at the Cultured Club, Vault Artist Studios, Belfast. Ink on cotton. March 2022. Supported by ACNI
This drawing is a spontaneous line drawing of the Anaka Collective refugee women's group jarring up ferments they have made in workshops at the Cultured Club, Vault Artist Studios, Belfast. At this point, the ferments are ready for jarring, labelling and boxing up, ready for markets and shops. There is such an energy in the kitchen as the women learn new skills or share their knowledge, and get all the jobs done. The child potters around followed by his mother. Again, I have the privilege of being an observer to the chattery busyness in the kitchen. I draw their movements, following their concentrated productive actions and including some details of utensils and equipment.
5. Clinton Kirkpatrick. Bulldozer. Oil Painting. £200
My work looks at absurdity and the systems that we are involved in. The Bulldozer in the painting is bulldozing a sun. The bulldozer comes from the right and ploughs directly into the vibrant object in front of him.
6. Helen Gomez. Radicalisation. Ink drawing. £100
Radicalisation happens subtly, all around us. More so than you think. Being on buses every day and hearing disturbing videos blaring out of people’s phones makes you realise how widespread and effective attempts by the right to win hearts and minds really are. Research for this piece included a deep dive into right wing TikTok (it’s bad out there) and sketching on translink.
7. Array Collective. Assembled Weight. Two weighted blanket waistcoats. NFS
These weighted blankets are designed to be worn by those who need to take a rest from protest, a rest from rallying and a rest from the chaos. Drawing from the hi-vis of the marshalls at marches and the blue of the police officer patrolling the march, the waistcoats which are printed with the Westlink walls, use the materials of protest, patrol, assembly and division to offer a moment to take rest. The weighted blanket grounds the wearer, giving them a chance to slow down. This work recognises the fatigue of standing up and fighting back, it also recognises those who are unable to occupy space on the streets for various reasons. The pieces were originally created for the exhibition The Goose and the Common.
8. Laura Nelson. There Will Never be A Border Between Us. Reverse glass gild. £400
Never.
9. Dragos Musat. Life Unfenced. Digital art print. £60
Boundaries as physical fences are a human invention. Lines drawn against the flow of life. Yet nature always finds its way.
10. Jonah Williams. The Heist. Acrylic on canvas. NFS
This is a painting commenting on police brutality and how the system needs to continually carry out violence against those perceived as less within our society on behalf of the wealthy, all while real daylight robbery is committed in the form and of the continuous transfer of wealth to the rich.
11. Jonathan Brennan. Brexshit (hard or soft?). Mixed media. £250
I remember a lot of racists feeling emboldened after Brexit... as if the vote meant their points of view had somehow been legitimised.
12. Cathy Scullion. We control nothing but we influence everything. Text on paper. £60
For over two years we have been taking to the streets in protest and solidarity.
My work in All Welcome is one work in a series that has been created by tracing and re-tracing the single phrase—“we control nothing but we influence everything” from the flyers gathered at these protests. This phrase functions both as a question and a declaration: a questioning of the seeming futility of grassroots resistance in the face of state violence, genocide, and the growing far-right narrative globally; and a defiant reminder that influence often begins with the act of showing up.
By removing the content of the flyers and focusing only on the phrase “we control nothing but we influence everything” the work highlights the importance of repetition, the physical act of protest: people returning to the streets week after week, presence as a form of resistance. An unrelenting demand for justice and visibility.
13. Salwa Alsharabi. Unvisible Presence. Prints/dress. NFS
This piece reclaims the image of my Biometric Residence Permit (BRP) - a document meant to represent identity, yet one that reduced me to a status, a number, a category. When I was an asylum seeker, this small plastic card carried both my existence and my exclusion. It symbolised the power of systems to label and limit, to decide who can belong, who can work, and who must wait. Through this work, I transform a tool of control into a statement of resistance - turning what once silenced.
14. John Baucher. It's a land grab. Set of 4 canvases made using found gifted and retrieved flags. £600
This work is made to highlight the ongoing genocidal land grab in Palestine.
15. Avi Ratnayake. Divided We Fall. Mixed media archival print , cyanotype on canvas. £120
The fragmented photo shows a building in Galway, which was earmarked for housing displaced people. But was torched by a few locals who opposed the plans. Part of the image was digitally reconstructed. A Cyanotype was used as it has its origins embedded with the colonizers/explorers of their time. who regularly employed the tactic of sowing distrust and hate to turn one against the other.
16. Joy Gerrard. Trump Protest, New York, 2017. Ink on paper 2020. POA
17. Caelinn Seaton Kelly. Bread Pitt (1 of 2). Photograph. POA
Whilst walking through The Holylands upon my return to Belfast, I was struck by the luminous yellow spray painted electrical box, including the black face, now synonymous with the Irish hip hop trio, Kneecap. These artists have been powerful activists and spoken out about the atrocities and genocide in Palestine, reminding us how important it is for artists to use their voices, as well as highlighting the displacement of communities from their own home, which many in Ireland have also experienced. The juxtaposition of the red British post box reinforces this reminder, whilst the surrounding street names become even more powerful during the world's current humanitarian crisis - Palestine Street, Cairo Street, Jerusalem Street, to name a few. In the midst of the darkness we must remain hopeful and rise against any anti-immigration rhetoric, making sure those from a different place are welcome to make their home here. "What do you call a sexy fat man? Bread Pitt" is a nod to our humour which carries us through the bleak times and the encouragement to carry on with hope.
18. Philip Arneill. all welcome. Photograph. £350
19. Linda McBurney. This is what democracy looks like. Photograph. £40
“Democracy on trial” commentary on the state of democracy today.
20. Rob Hilken. Come Together. Archival print. £120 (framed)
The text 'come together' is rendered in a range of skin tones, representing all people of all colour/ethnicity, and the text encourages people to unite.
21. Clinton Kirkpatrick. Red Sun Scoop. Painting. £250
There can be sinister occurrences in my painting practices. The Red Sun often presents itself as a form of disruption. In this painting the Red Sun is scooping up someone from the ground.
22. Esther O’Kelly. Fóidín Mearaí. Painting. £595
My work explores disorientation, uncertainty and discovery, often drawing on traditional storytelling—particularly the stray sod. Known in Irish as Fóidín Mearaí (fóidín meaning “little sod of earth,” said to be kicked loose by wild dancing, and mearaí meaning “bewilderment” or “confusion”), the stray sod is a patch of land that causes sudden disorientation to those who step on it. I use this idea as both metaphor and method: a way to embrace getting lost as a catalyst for transformation. In my work, disorientation becomes a gentle but resonant form of activism. It reflects the instability many displaced people experience, where orientation—geographical, cultural or emotional—must constantly be renegotiated. Through this lens, my practice invites empathy, asks how we navigate uncertainty, and seeks connection through shared vulnerability.
23. Wilhelmina Peace. The Stroll. Etching. £420
24. Anfaal Almughallis. Chance for life. £600
Everyone escapes from danger and war to any safe place to have a chance for life whatever it is for himself or for his family.
This earth, for all of us, gives them a chance for life.
25. Cealinn Seaton Kelly. Bread Pitt (2 of 2). Photograph. POA
Whilst walking through The Holylands upon my return to Belfast, I was struck by the luminous yellow spray painted electrical box, including the black face, now synonymous with the Irish hip hop trio, Kneecap. These artists have been powerful activists and spoken out about the atrocities and genocide in Palestine, reminding us how important it is for artists to use their voices, as well as highlighting the displacement of communities from their own home, which many in Ireland have also experienced. The juxtaposition of the red British post box reinforces this reminder, whilst the surrounding street names become even more powerful during the world's current humanitarian crisis - Palestine Street, Cairo Street, Jerusalem Street, to name a few. In the midst of the darkness we must remain hopeful and rise against any anti-immigration rhetoric, making sure those from a different place are welcome to make their home here. "What do you call a sexy fat man? Bread Pitt" is a nod to our humour which carries us through the bleak times and the encouragement to carry on with hope.
26. Leo Boyd. What time is love? Mixed media on MDF. POA
A couple of years ago I nearly got arrested for taking a photo of a CCTV camera in the security restricted zone of Liverpool airport on the way back from the People's Pyramid of the Dead. The CCTV camera was embedded in a giant print of a hyperreal tropical island and the juxtaposition of the island and the camera made me think about the promised freedoms of capitalism being as illusory as a giant photo behind which there are barriers, rules and policemen. This piece is an attempt to recreate that experience.
27. Susan Pau. Fatima. Embroidered Coat. POA
Hand embroidered Palestinian Tatreez on denim jacket.
Previously contributing a hand embroidered panel of 182 names to the @stitch.their.names.together project, honouring lives lost in Gaza since October 2023. Fatima Abdullah Abdul Rahman Shannan (age 97) was the oldest person whose name featured on the panel and her name was surrounded by family members. Intentionally, hers was the last name stitched. This Tatreez jacket honours her memory.
28. Wendynicole McGuinness-Keys. Shopping bag. Hope. Tide of tears. Triptech. £500
A sculptural triptych reflecting on the realities and dreams of Refugees, a voyage through trauma and hope.
29. Jane Morrow. Integrate (الأبْجَدِيّة). Letreaset, tracing paper, carbon paper, paper. POA
Jane uses Letraset, carbon paper and other antiquated transference mechanisms as vehicles to think about that which is lost, used up, extinguished, exploited, or duplicated imprecisely, never to return or be quite the same again. She is interested in how language marks one’s identity and status, as well as its evolutions over time, borders and generations. The Arabic alphabet is cursive: each letter in a relationship with that next to it, changing shape and position in response to their context. This little work considers the many acts of micro-labour involved in imprinting (materials, languages and relationships) and considers whether they will ever translate for those who have not been forced to remake their identity anew.
30. Fionnuala Duffin. Grá Hate you chose. Mixed media painting. £130
My painting ‘Grá Hate you chose’ GRA (love in Irish) hate ring on hands proposal fits within the theme of art as activism and immigration by exploring how language, identity and belonging intersect across borders. The juxtaposition of “GRA” a word rooted in Irish culture and tenderness with the symbol of a “hate” ring confronts the dualities that immigrants often navigate. Through this visual tension, the work becomes an act of resistance and empathy, using art to challenge xenophobia while celebrating cultural connection and the shared humanity that transcends differences.
31. Sally O’Dowd. Weary Traveller Wand. POA
The wandering wand is imbued with the magic of the journey, an artefact for display or a wand to hang your experiences on as you go. It is a safe place for keeping identity and place building tokens, gathered as you go, to aid the bearer in assimilating a new environment or a challenging ideology.
32. Ashley David John. What Shall We Give In Return. Window text. Prints available on request from the artist.
A new poem installation created specifically for the exhibition 'All Welcome'. This new piece in Belfast almost acts as a twinning to a recent work 'Stormy Seas', 2025 - installed in Portsmouth, UK. Both poems act as a gentle disruption and resistance to the rising fascist and anti immigration rhetoric we are openly seeing online and in our streets.
33. Anushiya Sundaralingam. Journeyed. Boat Installation. POA
This work evokes the fragility and resilience of memory through the delicate structure of a boat, its form echoing journeys both physical and emotional. Woven banana tree leaves intertwine with personal and cultural narratives, embodying the transience of belonging and the strength found in what we carry with us.
34. Sinéad O'Neill-Nicholl. A life lived far away. Film. NFS
The poem re-imagines migration from Ireland, both historical and contemporary. Using extracts from extensive journalling from a recent trip to Minneapolis, the artist explores the idea of the Irish as colonisers (rather than colonised). Reflecting on the reasons for migration in the context of the current global displacement crisis and questioning what makes one person an ex-pat and another illegal?
35. Ken Fanning/Akenevilthing. Chaos circus and cinema. Film. NFS
36. Rarewitch. Billy no mates. Animation. NFS
'Billy No Mates' is an animated, musical short about how far right grifters use their online platforms to manipulate people's insecurities, fears and government distrust to radicalise them into a life of hatred, racism and fascism.
37. Dragos Musat. Life unfenced. Film. NFS
Boundaries as physical fences are a human invention. Lines drawn against the flow of life. Yet nature always finds its way.
38. Sally O’Dowd. Mothership Tickle Stick. Bamboo, wool, milk carton, gold foil. POA
These wands and tickle sticks tell a story about feeling or being alien in a place, or in one's own body.
39. Yasmeen Märker. Impatiens. The artwork is a culinary experience. A donation/cup.
Invasive aliens are often blamed for the loss of biodiversity, despite them being brought here during colonial expeditions. Impatiens glandulifera (Himalayan balsam) is one such plant once admired for its vigour and now described as ecological villain. Language surrounding this ecological phenomena often borrows from right wing rhetoric and may impact responses to this environmental issue. In reality, the issue is more nuanced with increased human vectors, nutrient pollution and other anthropogenic disturbances contributing to its growth and spread. Whilst control efforts, like joyous balsam bashing create enormous costs and are usually fruitless, the plant's flowers not only have a sweet scent and make great tea, but promise numerous health benefits. Impatiens is suggested to be for the impatient, for its ability to calm the nerves, widely present in Bach Flower remedies. Additionally, it has potent anti-fungal properties promising to be a good candidate for pharmaceutical exploitation.
40. Artists Against Genocide/Mary Jordan. "Prep for a Protest"/"So you've been arrested". Zine with info re anti-racist protests/"So you've stood up for human rights and you've been arrested" colouring book. Donations welcome.
The purpose of the zine would be to engage with people on the subject of anti-racist protests, from placard-making , through types of protest, to top tips on what to do if you're arrested.