We will be open Saturdays & Sundays 6th, 7th, 13th and 14th June. Full details here.
Batch of glass Christmas tree decoration gone in the kiln ahead of E17 Designers Market and Xmas popup shop over the next 2 weekends.
2 new artworks came home with me from The Other Art Fair today… Happy Pills by Emily Marjot and Floating Branch by Jessica Ward.
Saturdays & Sundays 31st May – 8th June. 11am-6pm
Steven Smith – A selection of new and old ceramic sculpture on display alongside popular range of glass bowls, porcelain dishes and some domestic pottery.
Joanna Thornhill – Home for Now: Making your Rented Space or First House Beautiful. Meet Walthamstow-based author Joanna, purchase signed copies at a special reduced show price and ask her advice on your burning interiors questions.
Sonia Hunt Photography – Space unburdened. Coastal images taken over a two year period paired with work from ongoing project celebrating the stripped back geometries found within the A12 corridor.
I am honoured that my work is featured on the cover of Walthamstow’s E-List magazine for January 2014.
A great range of media and techniques on dispay here from talented artist Julie Caves. From tiny egg tempera portraits painted from life in a single sitting, to the huge, intensly colourful abstract ‘monolith’ series, there is something here for everyone. Around every corner in the surprisingly large (and very atmospheric) crypt gallery, lurks another surprise. As well the varied series’ of paintings exploring the use of colour, there is site-specific installation work, drawing on the inspiration the space itself provided. At times I felt (wonderfully) lost in the space, as well as the work itself. Arcrylics in the ‘Spring’ series had so much depth to the that viewing was like staring into an infinitely deep pool.
In sharp contrast (but great compliment) to Caves’ colour-saturated work, guest artist H Locke has taken over one of the crypt’s vaults with an impressive 9-metre long fantastical monochrome drawing, depicting the growth of a city and the activities of its many inhabitants, both above and below ground. Shown in this labyrinthine gallery space it was easy to imagine that you might take a turn and stumble upon one of these subterranean workers going about their bizarre business.
Overall I really enjoyed this show, and it was a joy to be able to talk to the artists (who I am told who can be found at the exhibition most days) about their work, which adds another dimension. I highly recommend a visit.
I can’t shake the feeling that I missed something significant in Punchdrunk’s sprawling promenade theatre production in a converted warehouse next to Paddington station. Donning white masks and instructed to keep silent at all times, we were herded into a lift and then released a few at a time on various floors of ‘Temple Studios’, with no further guidance than to choose our own path. What followed was just over two hours of wandering around the vast expanse of Hollywood Studio sound stages trying to piece together a narrative from the various sets occasional brief encounters with performers going about their business in the studios or performing intense, passionate dances together.
The set and staging itself was very impressive. Attention to detail was spot on and you felt incredibly immersed. But immersed in what and for what reason? The answer to this is still eluding me having discussed it afterwards and ruminated on it overnight. It brought to mind for me installations such as Mike Nelson’s Coral Reef in the Tate collection, or the immersive environments of Secret Cinema only without the fun element or watching a film at the end which ties the threads together.
All of the individual elements of this production were impressive in themselves, but for me it just never really came together and I can’t work out why. Clearly this was not the same for everyone though as it received a rapturous response from some elements of the audience. What did they extract from it that I didn’t? I’d love to find out.
I was almost instantly mesmerised on seeing the first piece of work in Bill Viola’s exhibition; Walking on the Edge. In this beautifully shot film two men, father and son, gradually approach the viewer, and each other, from through the heat haze of a vast desert scene. Shown in slow motion they move almost imperceptibly closer before eventually meeting fleetingly and continuing on their separate journeys, with the briefest of glances in each-others direction.
The title piece of the exhibition, Chapel of Frustrated Actions and Futile Gestures, is a grid of nine screens each showing repetitive, futile actions. One man digs a hole and promptly refills it; another drags a cart to the top of a hill only to let it roll back down the the bottom again. A third scene depicts two men in a boat, one bailing it out whilst the other slowly undertakes the opposite action, scooping water from the lake to replace what has been removed. Each of the nine actions is repeated seemingly without end, prompting the viewer to consider possibly some of the elements of futility within their own existence.
The final work of the exhibition; the dreamers, was particularly haunting. Seven people are depicted, almost at life-size, sleeping (or are they on the verge of drowning?) under water, at the bottom of a stream, the ripples slowly distorting their images. The room is darkened and filled with the gentle sound of running water, drawing the viewer in to become a part of the work themselves.
Overall, I found this show was a delight. Exquisite HD films with very little action, yet each telling engaging stories and holding the viewers’ attention for an extended period.
Barcelona April 2013, a set on Flickr.
Photo highlights from my recent trip to Barcelona. Click the link above to see the full set.