Golborne Gallery is proud to present Jess Littlewood's first solo show at the Gallery.
"This all Makes TOTAL sense” brings together a new body of work that continues Jess Littlewood’s ongoing investigation into what it means to be human. The title of the exhibition alludes to this quest, with the ironic title expressing a collective bafflement at where the world currently finds itself.
These works straddle time, they fluctuate between the past and the future and they end up in the ‘right now’.
Littlewood’s work explores our challenges and triumphs, our flaws and obsessions, using found material from the never ending source of Google images to produce works that appear at once, familiar and strange. It’s our world but it’s not, it’s us but not as we may know ourselves, or want to see ourselves.
These elaborate and detailed works almost appear sacred, they have a strong mystic allure that makes the work feel as though it’s not intended for us, they appear alien but yet they are strangely grounded in reality. The artist uses what she refers to as ‘human objects to try and reveal truths, and as 'stand-ins for our frail physical forms'
Littlewood doesn't shy away from confusions or contradictions, instead they work in unison to inform a practice, like a lot of great artist before, that seeks to ask questions rather than to provide answers.
Opens on 2nd November from 6pm - 9pm
Scratching a Different Itch is the first solo from Camberwell graduate Elliot Fox. Incorporating welded steel structures alongside a series of illusionary canvas works, it sees the 25-year-old explore to what extent we are the product of our environment -- and to what extent our environment may become the product of us.
"It does what it says on the tin, really", says the apparently Ronseal-sponsored Elliot of the show's title. "I've been working in a metal shop for the last year or two -- doing woodwork and metal work alongside my art -- and all of those lines, in the build-up to this show, kind of blurred a bit. I realised I could combine all these different methods in my artistic approach and they could all satisfy a different part of me."
The metal shop in question lies in the industrial heartland of South Bermondsey in London, where Elliot also occupies a studio. "Next to me is a big industrial printers and a powder printers", he describes. "And, consciously but also subconsciously, it's sort of crept into the work. That kind of machine-made element resonates with a lot of the other ideas around it."
Those other ideas are the themes of repetition, bold lines and sharp edges that seep into the exhibition. Two dimensional pieces play on your field of vision and challenge you to interact with the work on a physical level, as well as a physiological one. Different characteristics of paint -- metallic, gloss, silk -- contrast against dull, matte finishes, coming layered with repeating motifs and drawings that roughly match the palette of the paintings. There are, admits Elliot, "a lot of different things going on" -- but that's half the fun.
"There's not really a definitive beginning and end, but I think you can get a sense of the environment it was made in", he continues. "I just hope that people can draw their own narratives from it. The idea of the title was that it could maybe satisfy a need that they didn't know they have." i-D Magazine by Matthew Whitehouse OCT 11 2017, 12:35PM
Artist Gary Card is well known for the giant colourful sculptures, fictional characters and imaginary landscapes that he creates for some of the biggest names in fashion, but until now he has not exhibited his original artworks that laid the foundation for these creations over the years.
Golborne Gallery presents ‘Happy Breakfast’ a collection of works by Gary Card. An explosion of colour, the show explores Gary’s creative impulses. ‘Happy Breakfast’ epitomises anti-restraint, it's about going as far as you can go while freeing oneself of the constraints of the 'less is more' sensibilities and embracing colourful chaos that is full of life and unlimited in potential.
Private View Thursday 14th September 6-9pm
Exhibition continues until Sunday 1st October
Wednesday to Saturday 11 - 5, Sunday 12 - 4
Over Under Around and Through.
18th August - 10th September
Golborne Gallery is please to present an exhibition of new works by Graham Sayle, Tegerin Roberts and Graham Moulding.
Over, Under, Around and Through is an exploration into a prescribed environment and the architecture of defence. Through the re-appropriation of objects designed against human interaction, power is displaced and gifted to the viewer.
The objects are removed from context highlighting their individual qualities and nuances. Sayle’s works act as almost demonstrative educational aids in the same way as the show’s namesake does (Grover singing about these prepositions on Sesame St). They open the possibility of circumventing defensive structure with everyday objects such as a carpet or car jack, yet sculpturally remain deeply rooted in the language of the industrial through their materiality.
Roberts’ and Moulding’s work explores finding a creative outlet whilst incarcerated. The painting is an ode to their shared cell ceiling whilst serving a 2 year sentence for criminal damage. Made withonly a smuggled HMP lighter, the work was completed whilst on house arrest.
“The first person who wanted a piece of nature as his or her own exclusive possession and transformed it into the transcendent form of private property was the one who invented evil. Good, on the contrary, is what is common.”
Turbulence. Golborne Gallery 'is proud to present'.... blah blah fucking blah. Most press releases bore the shit out of me. Art intellectualised. Sell, sell, sell. Buy me, buy me, buy me. Do me a favour and don't read any further than this. Screw this paper into a ball and throw it at the person's head in front of you. You're still alive, remind them that they are too.
This isn't an attempt at using reverse psychology. I really mean it, please stop reading. Tear this up. Tiny pieces. Criss cross shreds, then into the air like snow flakes. This place looks posh, they must have an intern that can clear it up.
If you're still reading, then I'd like to take this opportunity to say Fuck you for ignoring me but thank you for your interest. As
yet another general election approaches, this group exhibition Turbulence curated by Alex Sain is an attempt to illustrate the uncertainty of the times in which we are currently living. Where do we go from here? Can art through self expression make any positive contribution or are we merely adding fuel to the fire?
"As it disrupts such demands, The Neutral introduces responses that had hereofore been unthinkable - such as to slip, to drift, to flee, to escape. In a world fixated on the freedom to speak and the demand to be heard, The Neutral proposes "a right to be silent - a possibility of being silent... the right not to listen... to not read the book, to think nothing of it, to be unable to say what I think of it: the right not to desire". It allows for a practice of gentle aversion: the right to reject the offered choices, to demur, to turn away, to turn ones attention to rarer and better things.” - Maggie Nelson on The Neutral by Roland Barthes.
Zip it up,
sweat it out.
Point the finger,
happiness is door shaped.
“It is not in the role of an artist to worry about life – to feel responsible for creating a better world. This is a very serious dis- traction. All your conditioning has been directed toward intellectual living. This is useless in artwork. All human knowledge is useless in artwork. Concepts, relationships, categories, classifications, deductions are distractions of mind that we wish to hold free for inspiration." - Agnes Martin
Easy to say,
from sunshine, dust, cosy seats,
window views, squared tumbleweeds.
when the sirens sing,
Trump, Brexit and Theresa May. Everyday's a protest,
when home is a ditch,
south of a sign that reads 'Nowhere'.
"People in the theatre who can do nothing but talk and who have forgotten that they had a body have also forgotten the use of their throat.” - Antonin Artaud
Eyes, Ears, Arse and, Elbow.
The focus ring on Jack Whitefield's camera lives on a setting marked with an infinite symbol. No barriers, no walls, no bollards. He looks as far as he can see, and knows that still, he needs to look some more. I wonder if his camera were a gun, when he clicked the shutter and fired the bullet, could it have enough power to do a loop around his earth and come back to rejoin the space it left, his head. If photographs were bullets, then yes. A way out and a way home.
Stuck in the middle of you. Looking down from a plane in the sky, Alex Saine is looking up. The green leaves that defy weed killer. Fight or flight. Or fight and flight. Watching you, watch him.
Chaos Paintings by Sue Webster. As Charlie Manson once said, "No sense makes sense".
No TV, no news, media blackout. Square the circle,
Turn it off and float away. There’s no rich gamblers,
in the graveyard...
“It is not the paradox but the space between the two parts of the paradox that is important” - Christopher D’Arcangelo - Kingsley Ifill
The new exhibition looking at Still Life in 2017
A _is A__. is the latest edition in curator-du-jour, Antonia Marsh’s impressive resume of group exhibitions. Debuting at the Golborne Gallery on 26 April, the show boasts firm favourites in the up-and-coming fine art scene such as Richie Culver, Tom Beard and Kingsley Ifill. Not to mention the works of Kate Falcone, Othelo Gervacio, James Concannon, Chase Hall, Alice Kirkpatrick, Carl Mark, Matt McCormick, Tristan Pigott, Matilde Does Ramussen, Alex Sainsbury and Rebecca Storm.
Antonia first gained notoriety in the art world with her all female artist collective ‘Girls Only’ in 2014. Aside for being known for her impressive eye in her own photographic endeavours she has curated shows in London, New York, Japan, Mumbai and Art Basel to name a few. Forever moving forward, Ais A focuses on the still life, or a ‘reassessment of objects and their associations’. Inspired by a Gertrude Stein’s line “Rose is a rose is a rose is a rose” mirroring Shakespeare’s Romeo’s ‘lovelorn bid to answer “What is a name?” And consider the inextricability of meaning from objects and their designations”.
Marsh has been especially interested as to what exactly a still life means in 2017; in context of gender, does a male artist create a more stereotypically masculine scene? How does feminism translate through objects or does the artist’s gender identification play no role, are still lives non-subjective?
We catch up with Richie Culver, Othelo Gervacio and Kate Falcone to talk about the still life in 2017.
What constitutes/represents a still life for you?
Kate Falcone: In art history, a still life is traditionally a two dimensional work depicting a staged grouping of natural and man-made objects. As an artist in the 21st century primarily working in sculpture, I think my understanding of the still life has definitely updated this notion. I think at its core a still life has some sort of narrative, background story, or deeper meaning beyond what is represented; what is depicted is merely a stand in of some sort. For me, still lifes exist everywhere in real life and can be readymade. I definitely think there is a transient quality to contemporary still life that people can capture on their phones.. I see them on instagram and in New York all the time! I think what I leave on my bed when I'm getting ready in a rush - a pile of clothing with my cat sleeping on top, a half eaten apple and a lipstick - is a still life.
Richie Culver: Maybe the days of watching Jeremy Kyle on repeat. Or old morbid still life's found at a Carboot sales when i was young.
Has personal environment/experience influenced the way in which you would view your piece? Or affected your method and the objects of which it is constituted?
RC: Yes, massively. I have been playing around with various barren objects which at one time or another have played key parts in my life.
Alone, each object poses no threat what so ever. Yet together they become a force to be reckoned with. Since Brexit happened, the pieces finally had a voice or a place in the world - hence the title: Starter Kit.
Have you tried to convey a certain message through your piece?
Othelo Gervacio: At the beginning of every piece, I source every flower or combination of flowers and photograph them for the duration of their lives. I then pick a moment (photograph) that speaks to me the most and in turn, that photograph becomes the image I paint. What I look for the most is the "body language" in the flowers and compositions. I see the flowers as anthropomorphic representations of people. I, of course, have my own idea of what the painting is saying, but what I find most intriguing is how other people interpret the pieces. I try most of the time to leave my opinion off the table and survey what other people think . The title of the piece is, "You Said Forever." Without giving it totally away, I think maybe that clues into how I see it?
Do you feel that gender affects what it is you choose to represent? Or how you represent it?
KF: I think a lot of objects signify gender through use, decorative attributes, or what domain they exist in. Generally speaking, a power drill and an antique embroidered quilt bring lots of different associations to mind, in terms of time, machine made vs handmade, use, user, sphere, gender, anatomy, etc. In sculpture i like to use the intersection of materiality / color / and what is being represented to play with gender and sexuality, for instance a piece of thick rope from a hardware store painted pink and coated in resin. The symbol of the bow and color pink can recall certain associations to mind, but the material can offset that. With my still life laura ashley heart chakra I chose a mix of readymades and depicted natural objects: a flower, shell, egg, pillow, and diaper pin stuck in chewed bubblegum. I treat the energetic body of my work with reiki and crystal healing, which balances its auric field and subsequently morphs its outer expression of gender and sexuality.
OG: For me it's less about gender and more about human beings in general. It's about the complexities of relationships; platonic, romantic and even familial. The piece could represent a woman and a man, a man and man, or a woman and woman. One of the main goals for me is to evoke an immediate, personal and relatable emotion within the viewer. If I don't make it that far, I at least want them to feel like they are looking through a window and witnessing an emotional moment between two people.
A___is A____. opens Wednesday the 26th (Private view 6-9pm) of April until May 13th at the Goldborne Gallery, 72 Goldborne Road, London W10 5PS.
Words by Indigo Lewin Courtsey of Love magazine
How Art Works: A show curated entirely through Instagram, is this the future of exhibitions?
Just as you thought you knew everything and understood the art world it all changes, and as it happens that’s exactly what is going on in the world of curation too. Or so we thought.
London based artist Tomo Campbell has put together a group show of artists he’d met and admired through Instagram. Gone are the days where it’s just a bunch of mates living in the same building showing together or from the same university or area, now it’s all done via “friends” on Instagram. The show ‘Glimpse’ starts today at the Golborne Gallery in West London, filled to the brim with paintings by Tomo’s ‘found’ artists and one by himself. Is it the future of art shows and curation? “No” says Tomo but it’s definitely a novel idea.
You must be one of the first people to curate a show solely from artists you’ve discovered via the web, was that intentional?
I'm not 100% sure I am, but I definitely wasn't conscious of that. I follow and discover lots of talented painters on Instagram, it's a really easy platform to view things like paintings. And when the Golborne asked me to curate a show it seemed very natural to contact these people that I had been admiring.
Had you met any of them before hand?
I'd met Shaun Mcdowell and Ralph Hunter-Menzies before, in another group show, but four others I hadn't met or seen their work in the 'real life.'
What attracted you to each of them?
This is where it became interesting for me because the types of works in the show vary quite drastically, but there was an underlying link that was drawing them together. When you're on something like Instagram, you know you’re not seriously engaging, it took a while to kind of understand what it was that was tying it all together. (That's where the idea of the show 'glimpse' came from.)
Do you think this is the future of curation?
No I don't think so. What is happening that's never happened before is that art movements are no longer based on location, the YBA's and their Goldsmiths connection or the abstract expressionists in New York or even back to the impressionists in France. Nowadays I can be linked to any place or any time via the internet, it's all very fragmented and there isn't any dominant way, and I'd be surprised if there ever was again.
The art world has always had a whiff of elitism and people in group shows always seem to be friends of friends, does curating it with unknowns mean you’ll get a real mixed bag of artists?
Yeah I'd say so, there are artists at very different levels of their careers in this show. But I was never interested with showing just established artists, it would be very easy to do that, but to be honest I was just looking at the work solely on its own merits, you don't have biographies and much info to go on via Instagram.
Did the show have a theme when you asked them to be a part of it?
Not at all, I just contacted them saying that I wanted to use their work in a group exhibition, at that point I hadn't thought more about it than that. Some people curated shows based on things like 'the body' or 'outsider art' but I wasn’t thinking like that to be honest. I just wanted to show these people and see the works in real life.
What drew me to each painter is that you can see their thought processes laid out on the canvas. Some of them are very sure of themselves and others are very tentative and gentle. For me, and how I paint and think about painting, each of the artists in the show excited a certain part of my head.
If you could whose painting would you put a red sticker on a buy for yourself?
Haha I couldn't answer that! They're all there on their own merits, I think if I was drawn to one person in particular then it would have been easier to just offer them a solo show.
You have one painting in the show, but ultimately your role is curator, how did you find being a curator? Were you any good!
I'd just call myself an organiser, to be honest I think very few people are entirely sure what curators do, but they seem to be hot property. I just pulled together a group of painters that I really admire. It was a pleasure to do, but whether it's any good or not is kind of out of my hands now.
What is the premise of the Golborne Gallery, does it speak to a certain person or show a certain type of art?
No, the Golborne Gallery is very new, it doesn't sign artists to its table, I think its plan is to work with a variety of artists and show a range of disciplines and then begin to hone in on what seems to be working and just to let it all happen quite freely. It's a very refreshing place to work with, the owner is so enthusiastic and fully invested in each show, you can't ask for more than that.
Glimpse is on from the 29th March to the 23rd April at Golborne Gallery
Interview by Harriet Verney for Love magazine
A Central Saint Martins graduate, former artist-in-residence at the English National Ballet, and briefly a model for Dior, Tomo Campbell is undeniably a talented artist who doesn't strive towards perfection in his art but finds joy in its flaws. This month, his debut show Held On The Tips Of Fingers will be exhibited at Golborne Gallery.
The 28-year-old painter and photographer was born in Twickenham to a family of footballers, though football was never his calling. “As a kid I was always colouring in, you know, more so than most kids do. But I was never aware of it as an option in life. I used to design football kits when it was too miserable to play football.”
On his painting style, Campbell doesn't like to categorise himself as it comes across as “so predetermined”, but he explains that during the process, the brush strokes happen quickly, in a fast manner, and almost instinctively. “My process begins with no plan and with no aim. I just kind of work through, constantly swinging between feelings and emotions, seeing how things progress, sometimes feeling confident and sometimes feeling like it's a disaster. And I think that the balancing point between those two things is actually where the work lies. It's why the show is called Held On The Tips Of Fingers. Like it's quite grasped but not quite dropped, just on that fragile tipping point.”
Campbell takes some time to pinpoint his influences; until it suddenly dawns on him. Like his paintings, his thoughts become ”activated and it all kind of fits in place”.
On his influences, one particular band has shaped the way he paints. “There's this jazz band called Portico Quartet... they write these incredible pieces of music where it seems at any point it could all fall apart, and it does. It can collapse beyond anything recognisable as a song. I'd go and watch them perform and each time the songs would develop differently. It felt really organic and like the process was where the feeling was. This idea of variations and mistakes and basically just attempting to articulate feelings has become probably a really conscious influence on me.”
While Campbell “used to kind of pray for something... like some kind of divine intervention”, he no longer feels the need to search for a higher power as his own art informs itself and one painting leads to another. His residency at the ballet, too, has helped him to discover his creative process. Campbell draws upon the mistakes found in this different form of art, and his own way of thinking draws parallels to the flawed movement of ballerinas. “I'd see them make mistakes; the mistakes made the whole thing seem real and added a weight to what, otherwise to an outsider, can seem dull, easy and outdated. And I went away wanting that in my paintings. To not try and impress people with how good the paintings are and how proficient a painter I am, and to actually show how much struggle and real effort these things take. And they don't always work; there's a human process throughout the whole thing. There's a whole host of different feelings in them – from arrogance to cluelessness.”
TextVivian Yeung courtesy of Dazed and Confused