I’m taking part in this show at Turps Gallery and we will be opening up our studios for you to have a nose around too.
My new art practice utilises biofilms to create sculptural paintings. I’ve been developing this since 2014. I grow microbial cellulose surfaces from probiotic good bacteria and yeasts.
These intricate surfaces, resembling skin, are translucent and beautiful. I aim to make artworks that draw the viewer into the surface yet show a sense of decay and the visceral, intrigued by the slightly uncomfortable.
Drawn to the Japanese ‘wabi-sabi’ aesthetic of beauty in the transient and imperfect, and how we react to the abject, I feel that these artworks can subtly convey themes of sustainability. Life-cycles, decay, ruin, and human relationships with nature are intertwined. I incorporate my interest in survival, bush-craft, and making-from-scratch into my practice, creating works which reference the past, and the now by using this alien yet seemingly familiar material with established art conventions like stretcher bars.
I consider my ‘Metro-Botanic’ works to be paintings in the ‘expanded field’ since they don’t use paint, brush, or canvas. They have a painterly sensibility and are very much about surface, colour, and allowing the glitches within the material to help drive my compositional decisions.
I’ve been investigating the utilisation and display of these intriguing films and have a wealth of ideas I still want to explore. I’m discovering ways to sculpt & collage the material and colour it with pigments which cling in a marbled fashion or natural dyes which impart intense translucent colour. I love exploring materials, testing them to their limits and using their unique properties.
I learnt about these biofilms from my brother, who did vast amounts of research into kombucha, a health drink made from fermented tea, rich in probiotics, vitamins, and minerals. He used this knowledge to launch his skincare company Biomic, and here is its Facebook page. I used it to explore the culture which ferments the liquid, and grows as a by-product of the process, and how I could harness its properties to make art.
I’m excited to be a part of this show and it would be lovely to see you there. I’ll be showing some of my “Metro Botanic” works, really making the most of this atmospheric environment to showcase the unique properties of the work, and interweave it into this unusual space. This is no white cube show, and worth the journey for a unique experience. I’ll be there for the private view and at other times so please contact me if you’d like to arrange a tour.
HOUSEWORK: 11 Artists’ Take on a Victorian Ruin
An Art Show at Safehouse 1
(behind the Bussey Building in Peckham)
139 Copeland Road, London SE15 3SN
Private View Thursday 26 November 6.30 – 9.30pm
Opening hours: Wednesday 25 November – Sunday 29 November, 12 – 6pm
Friday late opening as part of South London Art Map, 12 – 10pm (party in collaboration with Disco Picnic: cocktails and street food)
We’ve all lived in one, almost.
The Victorian Terrace
A setting for everyday life.
Featuring artists who in various ways
Respond and intervene in this
Stripped down skeleton of a space.
They cut and clean,
Sweep, scratch and sand and stretch,
Make noise, brush and write.
Phillip Allen, painter
Leslie Blakelock, sculptor and painter
Paul Carter, sculptor
Jo Dennis, painter and installation artist
Simon Haddock, painter
Lizzie Lloyd, art writer and poet
Fiona Long, painter and installation artist
Jessie Makinson, painter and installation artist
Dorian McFarland, musician and multi disciplinary artist
Isabel de Vasconcellos, novelist, art writer, curator
A show inspired by the beauty of mould creeping across a wall, where paint brushes and scrubbing brushes could be interchangeable, and letters with smudges.
The everydayness of art practice up against the peeling paintwork of every Victorian house you have ever lived in.
I’m taking part in a group show entitled: ‘ Turps Goes West’, curated by Marcus Harvey and Phil Allen at Edel Assanti Gallery.
The exhibiton runs from the 25 August – 1 September 2015 with the closing party on the 1st September.
This is the final show of the Turps Banana Studio programme I have participated in over the last twelve months.
Please note that the gallery is closed on bank holiday Monday.
Adam Fenton’s Painting Club brings together a diverse range of 13 contemporary painters, artists who perhaps wouldn’t normally meet or exhibit together. The artists presented share an interest in a figurative painterly language and the exhibition aims to emphasize the breadth of different approaches it encompasses. The exhibition has been curated to create a dialogue between works and to form the basis for a discussion.
MOMA curator Laura Hoptman recently claimed that contemporary painting is in a state of atemporality, reflecting our current cultural moment. At a time where “all eras seem to exist at once”, any historical genre, stylistic language or motif can be adopted by the contemporary painter.
Adam Fenton’s Painting Club posits the idea that ‘contemporary painting’ as it is often presented is indeed nothing but a genre in itself, recognizable by very distinct formal elements. And often it is determined in so many ways by the intermediary segment of the art world – curators, collectors, gallerists – rather than by the artists themselves.
Thus, the exhibition wishes to address the notion of painting in terms of ‘personality’, as opposed to ‘contemporary’. Each artist in the exhibition demonstrates a personal passion for a unique subject matter, process or style that goes far deeper than just illustrating the current critical discourse. Hopefully, the exhibition will thereby contribute to pointing to the very rich breadth of painting today and a discussion of the diverse and interlapping elements of it.
Ben Clarke, David Dellagi, Mark Edmonds, Adam Fenton, Callum Green, Fiona Long, Paula MacArthur, Benjamin Prosser, Matthew Randle, Mark Sheeky, Hideatsu Shiba, Dovilė Šimonytė, Eleanor Watson
Private View: Friday 21st August 6-9pm
Open: Saturday 22nd August 1-5pm
Discussion: Sunday 23rd August 1-5pm
No Format Gallery
Second Floor Studios & Arts,
I had a glorious evening at the Royal Academy of Arts last week. After a busy week, I had the pleasure of starting my Friday evening in the splendid surroundings of the Reynolds Room for an in conversation with Sir Peter Blake and Tim Marlow. They were discussing the work of Joseph Cornell and relating Blake’s interest in collecting to that of Cornell. The event was part of a programme of events running alongside the fantastic exhibition Joseph Cornell: Wanderlust.
I have long been an admirer of Blake’s work and also fascinated by his collections. I loved the Magnificent Obsessions: The Artist as Collector at the Barbican Gallery earlier this year in which a sample of his collection and artwork featured and The Museum of Everything’s collaboration with Blake back in 2011, also displaying some of his magnificent collections.
I’ve always been a collector, or perhaps more accurately, a hoarder. Both of my parents are hoarders so I don’t think I stood a chance! I believe that there’s a correlation between hoarding and creativity. The reason I can’t call myself a collector is that none of my gathered categories are large or precious enough to really call them a collection, except for my obsession with masks. I’ve made bodies of artwork about collecting but on the whole, I can justify most of my strange accumulations (and behaviour in general for that matter) by saying “it’s for an art project”. I’ve even got my family involved in the madness, collecting flies from windowsills and saving pepper seeds for me.
I was therefore very interested to hear Peter Blake describing the distinction between his and Cornell’s collecting. Blake collects things that appeal to him for the sake of making a collection and having them. They may well inspire and artwork and he enjoys appropriately appropriating the work of those he admires. And of course, one of these artists is Joseph Cornell. Cornell was also an avid collector of objects and maps and things but these accumulations were for the purposes of making things from them. They were carefully categorised but so as to facilitate his making.
I’ve loved Cornell’s work ever since I encountered it many years ago. I love it for it’s immediacy and accessibility. You don’t need to be an art-world aficionado to understand it, in fact that might even hamper someone’s appreciation of it. One simply needs to look and allow themselves to enter the world he’s created for them to explore.
Sir Peter Blake first encountered Cornell in the mid 1950s. He talked about acquiring his first Cornell box from a dealer or ‘procurer’ as he put it! It was a swap for a painting from Blake which he never quite got around to doing. Cornell’s work rose greatly in worth and the box was taken back. Apparently the plaster at the back had begun to crack a little and Blake wasn’t sure what to do about that anyway.
With their timeless quality, I can’t help wondering if they look even better today with a bit of decay.
I learnt that Cornell never studied as an artist and worked as a textile salesman before losing his job in the Great Depression. He made work through collage and his own unique assemblage that came naturally to him.
Blake described his own artistic practice as tree-like. The trunk is a figurative painter, and the branches follow explorations into engraving, etching, sculpture, and so on.
Blake talked about Tony Curtis who was a fan of Cornell and collected 6 of Cornell’s boxes before starting to make his own! Blake has also been inspired by Cornell but his versions are more subtle appropriations. He showed us an example after the talk which was a real treat to see.
I took delight in visiting the exhibition after the talk. It was amazing to see so many examples all at once. I felt transported into Cornell’s imaginary world.
How amazing that Cornell never travelled. He knew the world and beyond so well through his extensive reading and fascination with maps and star charts. It feels as though his art making was his exploration, escaping so far beyond his local streets with his own imagination. He cared for his mother and brother and it seems as though there’s a sense of yearning, nostalgia, and oppression in his art. Expansive worlds confined within restrictive boxes.
Cornell’s intuitive and poetic way of making art shines through. On exploring the exhibition after the talk, the sense of these being little Wunderkammer or Cabinets of Curiosity shone through. Not big, show-off displays but little private universes. Cornell achieved everything I hoped to in my ‘Surface Views‘ series but didn’t, perhaps because I was thinking too much or even because I was attempting to cast grey magic…
Cornell enjoyed the surreal art of the time but denounced the ‘black magic’ of it’s subversive and erotic elements. He, instead, wanted to cast a ‘white magic’ with his work of the innocence and games of youth and that sense of discovery with open eyes.
The whole evening made me feel transported by white magic.
We would be very pleased to see you at our Turps end of year show, opening Friday 10 July at Turps Gallery. We will also open our working studios so you can have a nose through all the other stuff we’ve made, and are currently working on, over the last couple of months.
We hope that this approach of displaying a taster in the galleries and then seeing a real snapshot of the whole practice will make for a more interesting visit than turning everything into a degree show style format.
We’d be delighted if you come and join us for a drink and see what we’ve been up to as a result of our year of painting at Turps. The Turps Painting Programme is a studio based professional practice mentoring scheme including friendly and honest talks from visiting artists alongside mentoring from the team of truly excellent mentors.
The programme focuses on painting, encouraging wide ranging dialogues on the subject in an increasingly digital world where I feel that the pleasure of the slow act of observing and encountering a painting in real life will never die.
Many of us, including myself, have gained so much from the experience, that we are continuing next year.
The show will remain open over the weekend of 11 and 12 July, 11am-5pm. I’ll be around on the Sunday from 11am-2pm and at the opening. It’s also possible to view by appointment only on Wednesday 15 July. If you’d like to come along that day then please let me know and I can arrange for someone to show you around.
We’d love to see you there for this fun event where you can snap up incredible art bargains as we raise funds for the bar for our end of year show next month. Other bargains can be snapped up from amazing artists including Gavin Turk, Sir Peter Blake, Tracey Emin, Polly Morgan, and Bob and Roberta Smith among many others. It’s well worth a visit!
I’m proud to announce that my quirky painting ‘Norman’ has been selected for this year’s Royal Academy Summer Exhibition.
Norman hides in plain sight. People walk past him and don’t realise who he is or what he’s been through. But when people see him, he reveals his secrets. He shows the fragility trapped behind his hard, masculine, weathered exterior. Is he just a workhorse, a utilitarian object or do his battered ribs show the life he’s led and survived? A badge of honour. What doesn’t kill you makes you stronger. Once discovered, Norman has stories to tell from all that he has learnt, all that he has seen as a fly on the wall whilst the world acts out oblivious….
This year’s theme of colour devised by Michael Craig Martin gives the exhibition a joyful atmosphere. Perhaps some of the works compete against their colourful backgrounds but I like the invigorated atmosphere of the show.
I like how my almost monochromatic painting sits rather surreally against the sky blue walls of the Lecture Room. When I showed it in Turps Gallery for our interim show, I displayed it incredibly subtly, near the toilet door, and very low. It was tucked way below one of the ventilation grilles that inspired it. Many people didn’t notice it as a work on display but I was playing with observation and realisation.
I’m thrilled that it’s been placed so prominently in the Royal Academy and given such space in a generally jam packed salon hang! That the audacious humour of the piece was appreciated and for it to be hung with such prominence in such an establishment is an honour and a delight.
If you can’t make it along to the exhibition, then you can see everything in the exhibition on the new browsing feature on the RA website. You can find my work by it’s catalogue number 1029.
Each of the Turps Painting Programme participants will be showing a painting in this warm and intimate space in Malvern. If you’re in the area, we’d be delighted if you come and see the exhibition.
Private view 23 April 6.30-8.30
Exhibition 24 April – 15 May
No, 4A Gallery
4A North Malvern Road