Selected Exhibitions
2009
Police and Violence
06/06/09
Sassoon Gallery SE15
Curated by Mark McGowan
Anne Margrete Bergh, O.B.de Alessi, Richard Dedomenici, Chiara Mu, Simon Ould, Louise Loudoun, Robin Bale,Shitter of the Yard Charlie Fox, Sara Burgess, Jenny Gordon, FREEE, Andy Zapp, David C West, Aaron Barschak, Rachel House, Micalef, Jo David, Neil Drabble, Gilbert and George, Byron Pritchard, Yul Hilton, Jackie Clark, Laura Oldfield Ford, Rachel Cattle, Harry Pye, Sottish Weirdo's, Jim Woodall, Vanessa Mitter, Kate Kotcheff, Geraldine Ryan, Liam Herne, Phoebe Collings James, Fiona Symes, Francis Thorburn, Honky, Catrin Wyn Owen
Sassoon Gallery SE15
Curated by Mark McGowan
Anne Margrete Bergh, O.B.de Alessi, Richard Dedomenici, Chiara Mu, Simon Ould, Louise Loudoun, Robin Bale,Shitter of the Yard Charlie Fox, Sara Burgess, Jenny Gordon, FREEE, Andy Zapp, David C West, Aaron Barschak, Rachel House, Micalef, Jo David, Neil Drabble, Gilbert and George, Byron Pritchard, Yul Hilton, Jackie Clark, Laura Oldfield Ford, Rachel Cattle, Harry Pye, Sottish Weirdo's, Jim Woodall, Vanessa Mitter, Kate Kotcheff, Geraldine Ryan, Liam Herne, Phoebe Collings James, Fiona Symes, Francis Thorburn, Honky, Catrin Wyn Owen
Creekside 2009
04/06/09 – 21/06/09
Exhibition selected by Mark Wallinger
Carolina Ambida Jenny Baines Nick Ferguson & Richard Beard Jane Bolden Hannah Brown Marc Burden Trevor Burgess Eleanor Cleasby Bernard Debaille Steve Dixon Neil Drabble Mary Louise Evans Jan Freuchen Enrique Gavilanes David George Matt Golden Sigune Hamann Michael Hammond Eleanor Havsteen-Franklin Bruce Ingram Steve Johnson Jamie Lau Ian Law Alanna Lawley Sarah Lederman Mindy Lee Linda Litchfield Brigid Mcleer Alice McCabe Andrew Miller Linn Pedersen Steve Perfect peter Ole Rasmussen David Redfern Tim Simmons Christine Stark Bill Stewart David Theobald Shelley Theodore Eithne Twomey Jacqueline Utley Benjamin Walker Paul Westcombe Emma Williams Ben Woodeson Yohei Yashi
Exhibition selected by Mark Wallinger
Carolina Ambida Jenny Baines Nick Ferguson & Richard Beard Jane Bolden Hannah Brown Marc Burden Trevor Burgess Eleanor Cleasby Bernard Debaille Steve Dixon Neil Drabble Mary Louise Evans Jan Freuchen Enrique Gavilanes David George Matt Golden Sigune Hamann Michael Hammond Eleanor Havsteen-Franklin Bruce Ingram Steve Johnson Jamie Lau Ian Law Alanna Lawley Sarah Lederman Mindy Lee Linda Litchfield Brigid Mcleer Alice McCabe Andrew Miller Linn Pedersen Steve Perfect peter Ole Rasmussen David Redfern Tim Simmons Christine Stark Bill Stewart David Theobald Shelley Theodore Eithne Twomey Jacqueline Utley Benjamin Walker Paul Westcombe Emma Williams Ben Woodeson Yohei Yashi
Your face, your race, the way that you walk…
08/05/09 – 14/06/09
VINEspace, Vyner St E2
Neil Drabble, Sean Fader, Oskar Slowinski
Roland Barthes discusses the photograph and its ‘punctum’. Looking through photographs of his late mother in an attempt to seek a meaningful connection, he realizes the inadequacy of photography to properly document memories; their specifics and peculiarities. He eventually feels satiated by the unique and surprising significance to him of an image of his mother as a child (obviously taken at a time when he couldn’t possibly have known her). In ‘On Photography’ Susan Sontag states there is an anxiety in our culture to retrieve a “vanishing connectedness” with reality. We are obsessed with photographing our lives and the things we see, perhaps because we are so fearful of the transience of existence and the passing of time. The urge to freeze reality and scaffold our memory creates new objects to treasure (photographs). Perhaps this urge is based on an innate belief in the existence of the ‘punctum’. That we will be rewarded in a way that is beyond the practical and educational and that when we look at photographs (our own and others’) we know that if we want to bother, there is hope of experiencing it.The nub of this exhibition is to question the extent to which photographs are an imprint of reality, and how much they resemble other art forms in their interpretation of the world and their meaning to us; how these works communicate.It is as if the ‘punctum’ epitomizes something that lies beyond what we know, what is familiar; possessing profound glimpses of truth. Experiencing this is always going to be subjective – but subjectivity is crucial to the interpretation of every image (personally connected to us or not). It is when we drift free of the constraints imposed by the impossible task of grasping what is real about a photograph (an activity based on a range of complexities such as the subject, the photographer and his/her intentions, when, where and how it was taken) towards imaginations, fantasies and concoctions (triggered by the image) that we truly are satisfied with a photograph and its impression on our lives.
‘Hello My Name is Roy’ is the result of an 8 year collaboration.Neil Drabble states that this work ‘…could be viewed solely as a documentary-style portrait of a young boy approaching manhood. However, by photographing someone else repeatedly and intimately over many years, a sense of mirroring begins to emerge, reflecting something of one’s own adolescent self. In this sense these photographs could also be considered self-portraits.’
Sontag raises the notion that photographs are a way of ‘imprisoning reality, making the memory stand still’. The question is, if a reality has been imprisoned, and a memory has been frozen, who do they belong to? This work is not an objective record of Roy’s early life; the artist’s interventions are too evident. Choices and decisions made when taking the pictures, as well as those made during the process through which they eventually become presented to others, suggest that memories of what really happened are potentially the sub-plot and that the ‘reality’ depicted is entirely of the artist’s making.
If, as Barthes states, ‘Every photograph is a certificate of presence’ it is interesting to note that the artist’s ‘presence’ is as significant, if not more significant than Roy’s (the supposed subject). The artist recognises this significance as autobiographical; he is re-living his own adolescence and even inviting us to do likewise – consequently a sense of knowing pervades the installation, contrasting with the innocent and carefree behaviour of Roy......“If only I had known then, what I know now...... “. Photographs are often seen as evidence of what no longer exists, and we realise we are looking at something lost, something gone; because of that it seems all the more compelling.
VINEspace, Vyner St E2
Neil Drabble, Sean Fader, Oskar Slowinski
Roland Barthes discusses the photograph and its ‘punctum’. Looking through photographs of his late mother in an attempt to seek a meaningful connection, he realizes the inadequacy of photography to properly document memories; their specifics and peculiarities. He eventually feels satiated by the unique and surprising significance to him of an image of his mother as a child (obviously taken at a time when he couldn’t possibly have known her). In ‘On Photography’ Susan Sontag states there is an anxiety in our culture to retrieve a “vanishing connectedness” with reality. We are obsessed with photographing our lives and the things we see, perhaps because we are so fearful of the transience of existence and the passing of time. The urge to freeze reality and scaffold our memory creates new objects to treasure (photographs). Perhaps this urge is based on an innate belief in the existence of the ‘punctum’. That we will be rewarded in a way that is beyond the practical and educational and that when we look at photographs (our own and others’) we know that if we want to bother, there is hope of experiencing it.The nub of this exhibition is to question the extent to which photographs are an imprint of reality, and how much they resemble other art forms in their interpretation of the world and their meaning to us; how these works communicate.It is as if the ‘punctum’ epitomizes something that lies beyond what we know, what is familiar; possessing profound glimpses of truth. Experiencing this is always going to be subjective – but subjectivity is crucial to the interpretation of every image (personally connected to us or not). It is when we drift free of the constraints imposed by the impossible task of grasping what is real about a photograph (an activity based on a range of complexities such as the subject, the photographer and his/her intentions, when, where and how it was taken) towards imaginations, fantasies and concoctions (triggered by the image) that we truly are satisfied with a photograph and its impression on our lives.
‘Hello My Name is Roy’ is the result of an 8 year collaboration.Neil Drabble states that this work ‘…could be viewed solely as a documentary-style portrait of a young boy approaching manhood. However, by photographing someone else repeatedly and intimately over many years, a sense of mirroring begins to emerge, reflecting something of one’s own adolescent self. In this sense these photographs could also be considered self-portraits.’
Sontag raises the notion that photographs are a way of ‘imprisoning reality, making the memory stand still’. The question is, if a reality has been imprisoned, and a memory has been frozen, who do they belong to? This work is not an objective record of Roy’s early life; the artist’s interventions are too evident. Choices and decisions made when taking the pictures, as well as those made during the process through which they eventually become presented to others, suggest that memories of what really happened are potentially the sub-plot and that the ‘reality’ depicted is entirely of the artist’s making.
If, as Barthes states, ‘Every photograph is a certificate of presence’ it is interesting to note that the artist’s ‘presence’ is as significant, if not more significant than Roy’s (the supposed subject). The artist recognises this significance as autobiographical; he is re-living his own adolescence and even inviting us to do likewise – consequently a sense of knowing pervades the installation, contrasting with the innocent and carefree behaviour of Roy......“If only I had known then, what I know now...... “. Photographs are often seen as evidence of what no longer exists, and we realise we are looking at something lost, something gone; because of that it seems all the more compelling.
Propeller Island
05/01/09 – 01/02/09
Curated by Pippa Gatty
Guest curated by Mark McGowan
Propeller Island takes its name from the science fiction novel of the same name by Jules Verne, in which a string quartet is lured onto a roaming island where they perform as the island is propelled across the ocean, stopping off at various locations through out its journey.
The concept is simple; the project aims to blow open the creative process by placing it firmly within the public arena. Utilizing the huge glass shop-front as a window in the working world of the artists involved to passers by. By opening the space every day the public are allowed a unique view into the goings on and not just the final product of a finished and hung show, enabling them to engage at all stages of the production process involved in making a piece of work. The work produced will be representational of the broad range of methods in contemporary fine art practice from painting, drawing and sculpture to sound, video and live performance.
Curated by Pippa Gatty
Guest curated by Mark McGowan
Propeller Island takes its name from the science fiction novel of the same name by Jules Verne, in which a string quartet is lured onto a roaming island where they perform as the island is propelled across the ocean, stopping off at various locations through out its journey.
The concept is simple; the project aims to blow open the creative process by placing it firmly within the public arena. Utilizing the huge glass shop-front as a window in the working world of the artists involved to passers by. By opening the space every day the public are allowed a unique view into the goings on and not just the final product of a finished and hung show, enabling them to engage at all stages of the production process involved in making a piece of work. The work produced will be representational of the broad range of methods in contemporary fine art practice from painting, drawing and sculpture to sound, video and live performance.
2008
Everything Must Go
But some things have to fly
28/07/08 - 03/08/08
Open studio – closed studio
A week long, rotating exhibition of works made in the studio, marking the final days in the space.
Shot Andy / Fuck Forever / Enough is Never Enough / Dead Artists / Squirt / Gun Club / LSD
Open studio – closed studio
A week long, rotating exhibition of works made in the studio, marking the final days in the space.
Shot Andy / Fuck Forever / Enough is Never Enough / Dead Artists / Squirt / Gun Club / LSD
Consume Peckham
14/07/08 – 20/07/08
Peckham Arts week 2008
A coordinated arts progamme of exhibitions, installations and events in a range of unusual venues in Peckham town centre and is part of the ‘I Love Peckham’ summer festival.Venues include Peckham Multiplex, Peckham Rye train station and many other shops , pubs and local businesses.
Consume Peckham has invited artists to take on mini residences and explore the area and the community in relation to their practise. Consume Peckham provides space for everyone – one and all- to engage in a diverse range of creative outcomes by taking art out of gallery spaces and putting it in the local environment.
Neil Drabble, Charlie Fox, Phil Biffin, Helga Steppan, Francis Thorburn, Gina Gogenham, Mark Tovell, Matthew Stone, Daniel Lehan, Harold Offeh, John Frum Press, Michelle Oliver, Dido Hallet, Patrick Ward, Jo Dennis, Ruth Beale, Kieron Dennis, Andrew Clark, Tim Foxon, Dominic Watson, Emily Druiff, Gina Geogenham
Peckham Arts week 2008
A coordinated arts progamme of exhibitions, installations and events in a range of unusual venues in Peckham town centre and is part of the ‘I Love Peckham’ summer festival.Venues include Peckham Multiplex, Peckham Rye train station and many other shops , pubs and local businesses.
Consume Peckham has invited artists to take on mini residences and explore the area and the community in relation to their practise. Consume Peckham provides space for everyone – one and all- to engage in a diverse range of creative outcomes by taking art out of gallery spaces and putting it in the local environment.
Neil Drabble, Charlie Fox, Phil Biffin, Helga Steppan, Francis Thorburn, Gina Gogenham, Mark Tovell, Matthew Stone, Daniel Lehan, Harold Offeh, John Frum Press, Michelle Oliver, Dido Hallet, Patrick Ward, Jo Dennis, Ruth Beale, Kieron Dennis, Andrew Clark, Tim Foxon, Dominic Watson, Emily Druiff, Gina Geogenham
New origin of the world
15/05/07
ARTARTART Launch @ VINEspace gallery
Project 133 (Neil Drabble / Kieron Dennis )
As part of a series of performance based works to celebrate the launch of ARTARTART online magazine, Project 133 staged a live interpretation of Gustav Courbet’s infamous painting L’origin du monde.
An unannounced life drawing class was set up in a crowded pub in Peckham, South east London, and filmed using two cameras. One camera remained focused on the model during the duration of the event. The other camera concentrated on the artists as they studied the model. The images were then projected via a live video link onto a large screen in the Victory pub, in the East End of London.
ARTARTART Launch @ VINEspace gallery
Project 133 (Neil Drabble / Kieron Dennis )
As part of a series of performance based works to celebrate the launch of ARTARTART online magazine, Project 133 staged a live interpretation of Gustav Courbet’s infamous painting L’origin du monde.
An unannounced life drawing class was set up in a crowded pub in Peckham, South east London, and filmed using two cameras. One camera remained focused on the model during the duration of the event. The other camera concentrated on the artists as they studied the model. The images were then projected via a live video link onto a large screen in the Victory pub, in the East End of London.
30 Consecutive days and nights
20/03/08 – 18/04/08
Curated by Mark McGowan
Thirty consecutive days and nights of ; art, poetry, music, dance, performance and conversation at the Sun & Doves pub in Camberwell, London.
Meiko Takanami, Paulo Pereira, Olivia Jane Ransley, Simon Ould, Ali MacGlip, Cassandra Needham, Ruth Beale, Boyle & Shaw, Tobias Collier, Cnidoblast, Adam James, Adrian lee, Harold Offeh, Laura Wilson, David Medalla, David C West, Stephen Micalef, Jennifer Allen, Sally Bangs, Richard Dedomenici, Frog Morris, Stella Scott, Marco, Will Self, Neil Drabble, Kieron Dennis, Raza Amaresh, Aaron Barschak, Lucienne Cole, Sacha Craddock, Brian & Jack Catling, Bob and Roberta Smith, Andrew Hunt, Charles Thomson, Joe Machine, Bill Lewis, Wolf Howard, Peter Bond, Maia Sambonet Marcia Farquhar, JJ Charlesworth
Curated by Mark McGowan
Thirty consecutive days and nights of ; art, poetry, music, dance, performance and conversation at the Sun & Doves pub in Camberwell, London.
Meiko Takanami, Paulo Pereira, Olivia Jane Ransley, Simon Ould, Ali MacGlip, Cassandra Needham, Ruth Beale, Boyle & Shaw, Tobias Collier, Cnidoblast, Adam James, Adrian lee, Harold Offeh, Laura Wilson, David Medalla, David C West, Stephen Micalef, Jennifer Allen, Sally Bangs, Richard Dedomenici, Frog Morris, Stella Scott, Marco, Will Self, Neil Drabble, Kieron Dennis, Raza Amaresh, Aaron Barschak, Lucienne Cole, Sacha Craddock, Brian & Jack Catling, Bob and Roberta Smith, Andrew Hunt, Charles Thomson, Joe Machine, Bill Lewis, Wolf Howard, Peter Bond, Maia Sambonet Marcia Farquhar, JJ Charlesworth
2007
Christmas Present
08/12/07
Project 133 (Neil Drabble / Kieron Dennis)
Christmas Present was a one day event in two parts.First a traditional christmas party with food, drink and music was organised for local pensioners. The pensioners’ party was filmed and projected live during the whole event. A second party for regulars and other members of the public was created for the evening in exactly the same space. The pensioners film was re-projected as a backdrop onto the evenings party which was then also filmed. The sights and sounds of the day became intertwined with the night, the two events inextricably locked in a meditation on the past, present and future.
Project 133 (Neil Drabble / Kieron Dennis)
Christmas Present was a one day event in two parts.First a traditional christmas party with food, drink and music was organised for local pensioners. The pensioners’ party was filmed and projected live during the whole event. A second party for regulars and other members of the public was created for the evening in exactly the same space. The pensioners film was re-projected as a backdrop onto the evenings party which was then also filmed. The sights and sounds of the day became intertwined with the night, the two events inextricably locked in a meditation on the past, present and future.
Nothing Doing
10/11/07
In the fourteenth century Pope Benedictus XII was selecting artists to work for the Vatican, requesting from each applicant a sample of his ability. Although the Florentines painter Giotto (1266-1337) was known as a master of design and composition, he submitted only a circle drawn freehand.
The discovery and appreciation of the circle is our early glimpse into the wholeness, unity, and divine order of the universe. Some psychologists say that the discovery of the circle arrives as the child discovers the self and distinguishes himself from another. Every circle is identical, they only differ in size. Each circle you see or create is a profound statement about the transcendental nature of the universe. Expanding from the "nowhere" of its dimensionless center to the infinitely many points of its circumference, a circle implies the mysterious generation from nothing to everything
The discovery and appreciation of the circle is our early glimpse into the wholeness, unity, and divine order of the universe. Some psychologists say that the discovery of the circle arrives as the child discovers the self and distinguishes himself from another. Every circle is identical, they only differ in size. Each circle you see or create is a profound statement about the transcendental nature of the universe. Expanding from the "nowhere" of its dimensionless center to the infinitely many points of its circumference, a circle implies the mysterious generation from nothing to everything
GASH
04/08/07 – 11/08/07
Peckham Arts week 2007
Project 133 (Neil Drabble / Kieron Dennis)
GASH was the inaugural show of a six month residency in the Bun House pub in Peckham.The intention of the residency was to create a series of interactive art interventions within a public non-gallery environment.
GASH consisted of various interlocking elements based around text extracted from miscellaneous waste print ephemera gathered from a local print shop.The found stock was collated, edited and overprinted to highlight or delete certain text. When bound into a pamphlet, the previously unconnected texts read as pseudo religious / political mantra. Slogans were then extracted from the new mantra and printed onto beer mats which were distributed throughout the pub for the duration of the show. The show culminated in a musical chant rendition of the mantra performed by Mark McGowan and Meiko Takanami.
Peckham Arts week 2007
Project 133 (Neil Drabble / Kieron Dennis)
GASH was the inaugural show of a six month residency in the Bun House pub in Peckham.The intention of the residency was to create a series of interactive art interventions within a public non-gallery environment.
GASH consisted of various interlocking elements based around text extracted from miscellaneous waste print ephemera gathered from a local print shop.The found stock was collated, edited and overprinted to highlight or delete certain text. When bound into a pamphlet, the previously unconnected texts read as pseudo religious / political mantra. Slogans were then extracted from the new mantra and printed onto beer mats which were distributed throughout the pub for the duration of the show. The show culminated in a musical chant rendition of the mantra performed by Mark McGowan and Meiko Takanami.
My Arsenal (solo show)
2007
Mixed media.
Installation at Vinespace gallery, London.
What at first glance appears to be a cache of weapons, grenades and landmines is on closer inspection a collection of plaster casts made from everyday disposable packaging such as food containers, shampoo bottles and children’s toys.The work explores the mutability of objects and the commonality of seemingly disparate forms.
Mixed media.
Installation at Vinespace gallery, London.
What at first glance appears to be a cache of weapons, grenades and landmines is on closer inspection a collection of plaster casts made from everyday disposable packaging such as food containers, shampoo bottles and children’s toys.The work explores the mutability of objects and the commonality of seemingly disparate forms.
Meme
24/05/07 – 15/06/07
A group show by members of Bermondsey Artists Group
A meme is a unit or element of cultural ideas, symbols or practices; such units or elements transmit from one mind to another through speech, gestures, rituals, or other imitable phenomena. The etymology of the term relates to the Greek word mimema for mimic. Memes act as cultural analogues to genes in that they self-replicate and respond to selective pressures. The word was first used by Richard Dawkins in The Selfish Gene (1976) to describe how one might extend evolutionary principles to explain the spread of ideas and cultural phenomena. He gave as examples melodies, catch-phrases, and beliefs (notably religious belief), clothing/fashion, and the technology of building arches.
A group show by members of Bermondsey Artists Group
A meme is a unit or element of cultural ideas, symbols or practices; such units or elements transmit from one mind to another through speech, gestures, rituals, or other imitable phenomena. The etymology of the term relates to the Greek word mimema for mimic. Memes act as cultural analogues to genes in that they self-replicate and respond to selective pressures. The word was first used by Richard Dawkins in The Selfish Gene (1976) to describe how one might extend evolutionary principles to explain the spread of ideas and cultural phenomena. He gave as examples melodies, catch-phrases, and beliefs (notably religious belief), clothing/fashion, and the technology of building arches.
2006
Shibboleth
17/11/06 – 09/12/06
Curated by Neil Drabble,
Charlie Fox and Nigel Robinson
What is right but what we prove to be right ?
And what is true but what we believe to be true ?
Fifty artists from all corners of the globe will descend on Dilston Grove in the heart of Bermondsey, South London. A carpet, a shed, a strip light, a weed, a jigsaw, graffiti, a micro- wave oven, a mini opera, an alien abduction, a miniature power station, a tower of fabric, the familiar and the strange will rub shoulders within the unique confines of this de-consecrated church on the edge of the park. The building long since stripped of its religious trappings, reduced to a ravaged husk, denied its intended purpose is itself an enormous Shibboleth, a huge ‘Russian Doll’ housing the many shibboleths within.
David Adkins, Matthew Appleby, Phil Biffin, Richard Box, Sean Brannagan, Stephen Butler, The Kollaborators, Daisy Delaney, Neil Drabble, Kieron Dennis, Sarah Dwyer, Beth Elliot, Tessa Farmer, Mia Fernandes, Ernst Fischer, Charlie Fox, Amanda Francis, Andrea Meneses Guerrero, Laura Green, Keith Harrison, Brede Korsmo, Debbie Lawson, Anne-Catherine Le Deunff, Wendy Lewis, Rob Menzer, Mark McGowan, Marcus Oakley, Maurice O’Connell, Alasdair Peebles, Pelado, Emma Puntis, Nigel Robinson, Matilda Saxow, Ian Skoyles, Harald Smykla The Royal Art Lodge, Kate Terry, Maiko Tsutsumi, Adam Wei, Mark Wilshire, Kate Williams/John Lloyd, Alys Williams, Kenneth Woodward, Wu Weihe/Bai Chongming, Shu Yang, Qiu Zhijie
Curated by Neil Drabble,
Charlie Fox and Nigel Robinson
What is right but what we prove to be right ?
And what is true but what we believe to be true ?
Fifty artists from all corners of the globe will descend on Dilston Grove in the heart of Bermondsey, South London. A carpet, a shed, a strip light, a weed, a jigsaw, graffiti, a micro- wave oven, a mini opera, an alien abduction, a miniature power station, a tower of fabric, the familiar and the strange will rub shoulders within the unique confines of this de-consecrated church on the edge of the park. The building long since stripped of its religious trappings, reduced to a ravaged husk, denied its intended purpose is itself an enormous Shibboleth, a huge ‘Russian Doll’ housing the many shibboleths within.
David Adkins, Matthew Appleby, Phil Biffin, Richard Box, Sean Brannagan, Stephen Butler, The Kollaborators, Daisy Delaney, Neil Drabble, Kieron Dennis, Sarah Dwyer, Beth Elliot, Tessa Farmer, Mia Fernandes, Ernst Fischer, Charlie Fox, Amanda Francis, Andrea Meneses Guerrero, Laura Green, Keith Harrison, Brede Korsmo, Debbie Lawson, Anne-Catherine Le Deunff, Wendy Lewis, Rob Menzer, Mark McGowan, Marcus Oakley, Maurice O’Connell, Alasdair Peebles, Pelado, Emma Puntis, Nigel Robinson, Matilda Saxow, Ian Skoyles, Harald Smykla The Royal Art Lodge, Kate Terry, Maiko Tsutsumi, Adam Wei, Mark Wilshire, Kate Williams/John Lloyd, Alys Williams, Kenneth Woodward, Wu Weihe/Bai Chongming, Shu Yang, Qiu Zhijie
John Moores 24
Shortlisted for Kimono My House. 2005
First sudden gone the one. First sudden back
20/09/06 – 11/10/06
Curated by Francesco Pedraglio & Pieternel Vermoortel
The show presents 15 artists and explores their relation with the theoretical strength and the physical reliability of confusion. The works presented deal with chaos in most diverse ways: as an attitude towards their production, as a friction to be solved or simply as a theme to work on.The gathering of the works aims to create a critical environment by the confrontation and interaction of different sensitivities: the artists, the curators and the public.
Allsopp & Wier, Santiago Cirugeda, Kieron Dennis, Robert Flint, Kiwoong Ko & Alexandros Vazakas, Matilda Saxow, Neil Drabble, Edgar Schmitz, Raymond Taudin Chabot, Luca Trevisani, Andy Wauman, Carmen Cebreros Urzais & Claudia Rodriguez-Ponga.
Curated by Francesco Pedraglio & Pieternel Vermoortel
The show presents 15 artists and explores their relation with the theoretical strength and the physical reliability of confusion. The works presented deal with chaos in most diverse ways: as an attitude towards their production, as a friction to be solved or simply as a theme to work on.The gathering of the works aims to create a critical environment by the confrontation and interaction of different sensitivities: the artists, the curators and the public.
Allsopp & Wier, Santiago Cirugeda, Kieron Dennis, Robert Flint, Kiwoong Ko & Alexandros Vazakas, Matilda Saxow, Neil Drabble, Edgar Schmitz, Raymond Taudin Chabot, Luca Trevisani, Andy Wauman, Carmen Cebreros Urzais & Claudia Rodriguez-Ponga.
The Mouse That Roared
21/04/06 – 14/05/06
Curated by Kieron Dennis
The show brings together a mix of emerging and established artists, each responding to the theme of SCALE in the production of new work. Although aspects of size, measurement and range are strongly evident inn the conceptual base of these works, the show is not simply a summary of how individual works relate to the given theme. Rather, the exhibition explores how fragmented networks of artists can speak clearly about an uncertain and fragmented world. In this sense The Mouse That Roared celebrates the paradox that lies at the heart of expressing the universal through the particular.
Veronika Seifert, David Spero, Chris Lawley, Fraser Sharp, Mark McGowan, Stephen Butler, Rob Menzer, Neil Drabble, Phil Biffin, Michelle Olliver, Ben Woodcock, Kieron Dennis, Richard Sommerville, David Blamey, James Angus, Zavier Ellis. Tessa Farmer, Juliana Amaral Leite.
Curated by Kieron Dennis
The show brings together a mix of emerging and established artists, each responding to the theme of SCALE in the production of new work. Although aspects of size, measurement and range are strongly evident inn the conceptual base of these works, the show is not simply a summary of how individual works relate to the given theme. Rather, the exhibition explores how fragmented networks of artists can speak clearly about an uncertain and fragmented world. In this sense The Mouse That Roared celebrates the paradox that lies at the heart of expressing the universal through the particular.
Veronika Seifert, David Spero, Chris Lawley, Fraser Sharp, Mark McGowan, Stephen Butler, Rob Menzer, Neil Drabble, Phil Biffin, Michelle Olliver, Ben Woodcock, Kieron Dennis, Richard Sommerville, David Blamey, James Angus, Zavier Ellis. Tessa Farmer, Juliana Amaral Leite.
2005
Ruthless
14/11/05 – 30/11/05
A group show of painting, sculpture, video, sound and performance by artists living and working in Peckham.
Phil Biffin, Stephen Butler, Martin Church, Kieron Dennis, Neil Drabble, Renata Fernandez, Charlie Fox, Roselina Hung, Rob Menzer, Katy Moran, Alasdair Peebles, Richard Sommerville, Alice White, Masaki Yada
A group show of painting, sculpture, video, sound and performance by artists living and working in Peckham.
Phil Biffin, Stephen Butler, Martin Church, Kieron Dennis, Neil Drabble, Renata Fernandez, Charlie Fox, Roselina Hung, Rob Menzer, Katy Moran, Alasdair Peebles, Richard Sommerville, Alice White, Masaki Yada
2003
Tree Tops Tall (solo show)
1999-2003
C-Type prints, dimensions variable.
Gazing upwards into the lofty canopy of a treetop provides one of the most universal experiences and images of childhood. The very act of 'looking up' is imbued with the fundamental sensation of ‘reverie’. As little children we 'look up' to adults, people who possess the same stature and benign attributes of a great tree: support, protection and permanence. The sing-song quality of the title, evokes a phrase from a nursery rhyme or the alliteration of a children’s illustrated alphabet. Roland Barthes wrote, “According to the Greeks, trees are alphabets”, if so, the tangled branches and foliage could also be interpreted as arboreal inscriptions etched onto the blank page of the sky.
Book published by Steidlmack 2003 ISBN: 3-88243-917-3
C-Type prints, dimensions variable.
Gazing upwards into the lofty canopy of a treetop provides one of the most universal experiences and images of childhood. The very act of 'looking up' is imbued with the fundamental sensation of ‘reverie’. As little children we 'look up' to adults, people who possess the same stature and benign attributes of a great tree: support, protection and permanence. The sing-song quality of the title, evokes a phrase from a nursery rhyme or the alliteration of a children’s illustrated alphabet. Roland Barthes wrote, “According to the Greeks, trees are alphabets”, if so, the tangled branches and foliage could also be interpreted as arboreal inscriptions etched onto the blank page of the sky.
Book published by Steidlmack 2003 ISBN: 3-88243-917-3
2002
Impress
15/06/02 – 22/06/02
Camberwell Arts week 2002
An exhibition of prints from the South London Gallery’s permanent collection and works by local artists.
Gavin Turk, Sean Scully, Jessica Potter, Mimmo Paladino, Anne-Catherine Le Deunff, David Hockney, Charlie Fox, Tracey Emin, Neil Drabble, Maria Carleton, Sonia Bruce, Peter Blake, Chrys Allen
Camberwell Arts week 2002
An exhibition of prints from the South London Gallery’s permanent collection and works by local artists.
Gavin Turk, Sean Scully, Jessica Potter, Mimmo Paladino, Anne-Catherine Le Deunff, David Hockney, Charlie Fox, Tracey Emin, Neil Drabble, Maria Carleton, Sonia Bruce, Peter Blake, Chrys Allen
