CAN WE EVER KNOW THE MEANING OF THESE OBJECTS?
Curated by Kevin Quigley & Sarah Sparkes

‘Archaeologists excavate sites and objects from the past and then write about them; while artists create, and invent objects or situations in the present.’  Sarah Scott, World Archaeology Vol. 38, (Taylor & Francis:2018)

‘Without the Allure of Objects – we are trapped amidst the swirling black noise of any given sensual space.’  Graham Harman,  Object-Orientated ontology: A New Theory of Everything (Pelican Books: 2018).

Archaeologists subject artefacts to hierarchical categories – Artists, by re-making and re-imagining objects, activate apocryphal histories, raise the objects’ status and bring new perception.

In this group exhibition artists are exploring this imagined intent – to generate new relations between objects and their associations with the world around them.

It is hard to resist the ‘allure’ of a mysterious object: a found object, an out of place artefact, an art object, an anthropological object, an archaeological find.

In Harmans’ notion of ‘ Allure’ an object holds a seductive  power beyond its qualities.  Every ‘thing’ can contain an essence of this mystery through imagined intentionality.

Through both the mystery and the allure of the object we make a quantum leap – from one possible reality into the next and  as we examine this reality closer, through ontological study, we question and place what things can exist or can be said to exist and how such entities can be grouped accordingly to their similarities and differences?

CAN WE EVER KNOW THE MEANING OF THESE OBJECTS?

A group exhibition exploring the relationship between made objects and found artefacts

Curated by Kevin Quigley & Sarah Sparkes

Artists and works:

Associated Clay Workers Union
(Helen Carr, Sarah Christie, Duncan Hooson and Annette Welch, Diane Eagles, Alison Cooke, Danuta Solowiej, Stephanie Buttle, Jo Pearl, Raewyn Harrison, Jane Millar)
Unearthed, installation 2021
‘Unearthed’ is a new installation, created for the exhibition and referencing archaeological display and finds processing as well as celebrating collaboration and the allure and mystery of the made object. In the future, the objects in ACWU’s installation will be excavated from somewhere. Making ceramics counters a future cultural amnesia, using an ancient technology that does not decay overtime. ACWU’s clay objects are art works, archeological and material investigation, social commentary, and are assembled here as an archival impulse reflecting on our relationship to place, society and our practice over time.

The Associated Clay Workers Union (ACUW) are a group of London based ceramicists, founded in 2014, who work together on projects, often with a site-responsive focus. They predominantly exhibit outside gallery settings. Recent projects include: Delftware Doodles, ACWU and Clayground Collective for London Craft week 2019,Votive: A series of votive objects made from unfired clay, exhibited at Southwark Cathedral then gifted into the Thames, as part of the Thames Festival; 2018; London Bridge Clay Project, Ceramic objects made of clay dug from 30 meters below London Bridge station, 2017.  Website: www.acwu.co.uk   Instagram: @clayworkers

 

Sean Mclusky 

THE GOLGOTHA NAILS
Property from a deceased gentleman’s estate – Perce Blackborow (1896 – 1949)
Nails from Golgotha AD 36. Acquired by Sean McLusky in 2020
From the family collection of Perce Blackborow (1896 – 1949) an explorer and collector of rare antiquities. Blackborow is known for starting his life of exploration as a stowaway on Ernest Shackleton’s ill-fated Imperial Trans-Antarctic Expedition of 1914–1917.
The Golgotha Nails were originally from a 1951 auction of contents from Cwrt House in Llanychaer, Pembrokeshire to pay family debts. The 1811 ‘Tour of Pembrokeshire’ guide by Richard Fenton described the house as “a handsome modern mansion”, today it stands in ruins. A stump in front of the house is all that remains of a cedar tree grown from a seed brought from the Holy Land by Blackborow’s grandfather in the 1820’s. The nails were acquired by Sean McLusky at a private sale in 2020.
Sean McLusky is an Artist / Gallerist / Musician and collector of art and artefacts

 

Kevin Quigley

SYMBOLS OF THE SUPERNATURAL, Intaglio Etching on paper in Victorian Frame 2021

Birds are used as symbols for angels spirits and daemons in many religions. In this image we have birds ascending and descending. Kevin Quigly is an artist and curator who’s main interest is exploring and developing esoteric culture within art making. Focused on asking questions on archaic ‘occult’ ideas and remoulding them into new strains of thinking for the present being, to produce discussion in modern living, working in a range of cross disciplinary medium from Printmaking / Sound / Drawing / Performance / installation

https://atalentfordestruction.com/author/kevinq/

@kg_quigley

 

Eleanor Bowen

Borderland, digital photographs from original fieldwork photographs, archival objects, sound installation, 2021
‘Borderland’ is an immersive soundscape of edited recordings taken at different times from a prehistoric earthwork that was the subject of her late father’s archaeological research. The installation includes a small selection of items from a vitrine the artist created at the Wessex Gallery, Salisbury Museum. The installation represents aspects of her father’s life and work as a field archaeologist, and incorporates her own (sometimes reframed) finds from the archive he left in the basement of their family home (images, texts, objects). These include professional practice and personal lifetime material,the allure being that you don’t necessarily know what you’re looking at, or hearing.
Eleanor Bowen is a visual artist and writer. Much of her current practice operates in text/image clusters reflecting the way that, in earlier drawing practice, accumulated perspectives were juxtaposed and layered. Working between text and image is similarly a means of addressing multiple perspectives, drawing on and reading other histories, other voices. This expansion of her visual practice is evidenced in the practice of paratext (written/performed), most recently ‘Drawing the Borderline’ (2017, Theatre and Performance Design).
http://www.eleanorbowen.co.uk
https://eleanorbowen.academia.edu
Instagram: @eleanor8472

 

Sean Dower
Lost Monumnet, jesmonite and tinted perspex case, 2021
Sean Dower was active as a performer in the UK industrial music scene in the early 1980s before going on to work internationally with the radical performance art group Bow Gamelan Ensemble. He studied Sculpture at Camberwell School of Art, London (1988- 1991) and attended the residency programme of the Rijksakademie van Beeldenden Kunsten, Amsterdam (1993-1995).
Dower’s artworks often explore the expanded idiom of sculpture, whilst incorporating other media such as film, live performance and sound. He has exhibited at MOMA New York; Matt’s Gallery London; Tate Britain London; W139 Amsterdam and De La Warr Pavilion, Bexhill UK. Since 1995 he has also made electronic music projects under the name Sonofapup.
A monograph of Dower’s work was published in 2018 by Dom Omladine Belgrade and the Franklin Foundation. In 2019 he was awarded a Henry Moore Institute Fellowship and presented a solo exhibition at Laure Genillard London.
Website: www.seandower.com
Instagram: @sean_dowerr

 

Fieldnotes
Primitive Chord: The Russian Bard and his Battered Guit
wood, cardboard, wax, various found objects, 2021
From the city of Minsk Field Notes took a train through Belarussia to the town of Pinsk from where they made their way to the Pripjet River: they were intending to take a boat to Kyiv in the Ukraine whilst searching out and recording old folk tales as they went, instead they were diverted to a burned out church in a forbidden stretch of ground alongside the river and were somehow after many adventures and tribulations sold the icon that they present to you in this show…
Fieldnotes is a project by Johny Brown: Writer and Inga Tillere.

 

Bruce Gilchrist
Idling in the Unreal, HD Video (H.264), Duration – [27:07],2021
Bruce Gilchrist’s seminal artworks have investigated ways of drawing texts from mute bodies via generative encounters with database aesthetics–understood as the poetic retrieval of records in the manner of a search engine. His latest project focusses on the aesthetic operation of error within human-action-recognition algorithms. ‘Idling in the Unreal’, is made from the constraints of a motion capture (mocap) library, and generates language from parsing the movements of digital humans–another way of drawing texts from mute bodies (a kind of body-writing), using a human-action-recognition algorithm in combination with natural language generators.Gilchrist’s collaborative projects have been awarded Honorary Mention by Ars Electronica, Linz; Special Mention VIDA 10.0, Art & Artificial Life International Awards, Madrid; BEST EXPERIMENTAL SHORT, London Short Film Festival 11th Edition. His co-created project, ‘Null Object: Gustav Metzger thinks about nothing’ will be presented in the exhibition ‘To The Edge of Time’ at KU Leuven, Netherlands in October 2021.
Website: https://idling-in-the-unreal.net/
Insta: @office_composing_machine

 

Caroline Gregory
Auguries, installation with Porcelain, copper oxide, fabric, 2021
Box of Auguries, Rejuvenated chimney sweep’s box, containing 24 individual porcelain and oxide objects 2018

‘Auguries’ is an installation and performance including an ancient ritualistic costume, bones, debris, objects. The objects, possibly from a forgotten wasteland or the bottom of the sea, are displayed and appear lying in wait for something new and not yet thought of. Audiences will be invited to touch.
Bio: Following five years of chronic illness and a near death experience, Caroline Gregory’s work centres on notionsof survival and transition in the face of adversity and is an exploration of the changes and transformations that oftenfollow profound life crises. Persistent and enduring threads in her work are around the gathering of seeminglydissonant pieces, creating new fusions and promoting rich and diverse human connection. Caroline Gregory’s work borrows stories, memories, and beliefs that may be held in everyday spaces, objects and people. She often plays around with a mix of new, secondhand or found materials, often re-placing objects in occupied and abandoned spaces, shuffling and shifting things to mess-up, divert, or perhaps even transform meanings contained. Always a mix of old and new and consistently stitch, costume, ceramics, the work finds life and
expansion through its audience.
Website:

Instagram @klinegreg52

Bjørn Hatleskog & Bruce McClure (Storyteller)
Gates of London, Printed reproduction cigarette cards & green felt. 2021
‘Gates of London’ is a serialised psychogeographical short story which examines imprisonment, ethereal gateways and a spectral black dog, presented in the form of reproduction cigarette cards. The works have been installed at the entrance to each of the galley spaces.
Storyteller is a collaboration between writer & occasional filmmaker Bruce McClure and sound artist Bjørn Hatleskog. Active since 2019 they have released two audio cassettes on Adaadat Records, performed at Supernormal Festival, and recorded sessions for Resonance FM, Radiophrenia & Noods Radio.
https://www.adaadat.co.uk/storyteller/

Luke Jordan,
The Hermit, sculpture/installation: wood, roots, soil, clay, football, bed sheets, taxidermy, nails, 2021
Iuke Jordan was commissioned to exhibit and perform at In Nihilum Exhibition, Swiss Church, London (UK) by Goldsmith MFA Curating students, in 2020.
In 2019 he received the Emerging Artist Sonic Arts Exhibition Award, The Auxiliary, Middlesbrough (UK) for which he created the installation and performance ‘Derelict Bodies’. Jordan was commissioned to create a solo installation and performance at Ruby Cruel gallery, London (UK) entitled ‘Incubator of Abandoned Time’. I was selected to perform and take part in a panel discussion at Corroding the Now: Poetry + Science|SF, Birkbeck University, London (UK), and was awarded the Goldsmiths Alumni and Friends Fund, to curate and organise a ‘Psychosonic Action Lab’; an ongoing event series merging live art and sonic art.
Website https://l-r-jordan.tumblr.com/

Instagram @lukejordanart

 

Miyuki Kasahara
Vitrified Mind , Ash, limestone, sand, 2021
Early 2020, a group of scientists discovered small fragments of a glassy, black material extracted from a human skull, this was the vitrified remains of a man’s brain. The victim was buried by volcanic ash at Herculaneum when Mount Vesuvius erupted in 79 AD destroying the town and famously Pompeii. Miyuki Kasahara responds to this by
creating a sculpture.
Miyuki ’s work is research driven and addresses the impact of humans on the
ecosystem. Solo Exhibitions include Red is beautiful, The Stone Space, London (2017) and Trigger,
Art Gallery X, Takashimaya Tokyo (2007). Group Exhibitions include Enduring Nature, Art Lab Tokyo (2019), Swarm, Vestry House Museum (2019)
Commissions include Marsh Harrier’s Shadow in collaboration with the Youth Eco Development Council (YEDC) 2020, Recycling Symphonies, Lakeside Festival Thamesmead 2019, Utoh (Birds of Sorrow), The Ghost Tide, Thames-Side Studios Gallery 2018.Residencies include Youkobo Art Space Tokyo (2018). In 2021, Miyuki started the 5 x 5 Square ft year-long allotment artist-in-residence
at Thamesmead Texas.
Website: www.miyukikasahara.com
Instagram: @miyukiksaharaart

 

Yev Kazannik
Lumens M Series – photograghs, 2021
Kazannik has created a series of ambiguous images, with dream-like surfaces in which mysterious shapes are evocative but not prescriptive of the subject.
Evgeniy (Yev) Kazannik is a Russia-born photographer and visual artist. Graduating from University of Arts London, Evgeniy is currently living and working between London and Berlin. Yev predominantly shoots environmental portraiture and. His work has been published in The Guardian/Observer, Time Out, Kommersant, WIRE, Rolling Stones, NME, WaxPoetics, Shook Magazine, DJMag, MixMag, Bonafide, Electronic Beats, and others.
Kazannik is a founder and director of Green Lens Studios – sustainable photographic studio and gallery space in North London. Yev’s work has been exhibited in Russia, Germany and the U.K. His first book, “Breaking Bread” is due to be published in December 2020.
https://www.kazannik.com/

 

Marq Kearey
Sorong, Gouache on MDF, 2021
Dark Isle, Gouache on MDF, 2019
‘There is something about working on circular panels that sit well with the paintings I make. Initially, ten years ago, the first of these works were intended to act as a vortex, a plug hole, transporting the viewer from the outside of the painting to its inner core. This presented me with something of a conundrum as the surface of the actual work was not only flat but also the pictorial representations were very much two dimensional and utterly about ‘surface’. Since those early challenges, the circle has shifted meaning a little, sometimes a full-stop, sometimes a point of reference. The recent work, including the painting in this exhibition, is an exploration. Painting for me is often a journey, and the directions can offer varied outcomes.’Marq Kearey has exhibited recently in Rzeszow, Poland at Wina Dajcie, and presented his work at Sala752, also in Poland, during his residency. He has shown his work in the exhibition ‘States of Disruption’, and ‘Making Representations’ at The Major Incident Room in Rotherhithe, and the exhibition ’40 degrees C’ at ASC Gallery in Croydon. Marq is co-curating and exhibiting at the M Galleries in Washington, New Jersey April 2022. Instagram – Marq P Kearey

 

Calum F Kerr
The Things Played with or on, 10 Giclée Prints on Hahnemühle German Etching paper, Wooden shelving
Calum F Kerr is showing a print installation from drawings of objects used in improvised collective sonic rituals.
Calum F. Kerr is a UK-based artist whose ideas are expressed through performance, sculpture, film and sound. His projects develop in locations imbued with hidden histories and the mysteries revealed in nature. Kerr’s work has social participation and research as its core and can be encountered at building sites, gardens, market stalls, mountains and shorelines. He inhabits characters such as ornithological investigator J. D. Swann, Brian Guest from the S.P.A.R: Society for the Preservation of Admirable Rubble, a Ghostly White Whale and Maurice the (last) Dodo. He also performs live art/music with Flange Zoo, I Am (Proto) Dragonfly, Lonesome Cowboys from Hell, Mystery Cult, A-Band. His work escapes into galleries as impressions and fragments of activity.

Recent projects include ‘Ideas Travel Faster Than Light’, Mecklenburgh Square Gardens, London (2020); ‘This Land is Our Land / Intersection’, PAPER Manchester & Queensgate Gallery, Huddersfield (2019); Mind Your Head! Art Cabaret, Nunhead (2019); The Ghost Tide, curated by Monika Bobinska / Sarah Sparkes, Thames-Side Studios Gallery (2018); Liminality 2 (The Unknown), curated by Sean McLusky / Kevin Quigley / Bjørn Hatleskog, Gallery 46 (2018). In 2020/21 he received a Time Space Money bursary with [an] and Arts Council England to develop ‘Thamesmead’s Best Beaks’ an online radio series with RTM (Radio Thamesmead). In 2016/17 he received an Arts Council England International Development award to research ‘Calum’s Road to Aonodomon (Elements)’ in Japan. The final film debuted at the Brunel Museum Tunnel Shaft (2018) and in ‘Enduring Nature’ an exhibition with Miyuki Kasahara, Tokyo Art Lab Akiba, Japan (2019). He has also participated in international projects in Bulgaria, France, Germany, The Netherlands, Portugal, Spain and the USA.   www.vimeo.com/calumfkerr

 

Lisa McKendrick
Machine Land, oil paint on canvas, 2021, Machine UFO, oil paint on canvas, 2021 Machine and Chips,oil paint on canvas, 2021
I focus on the interplay between abstraction and figurative and like to catch the painting while it isn’t looking. I am using unfamiliar found photographs together with familiar scenes, interiors of my own space or roads travelled. I mix the familiar with the unfamiliar within the same work and draw on illusory or fantasy-like imagery. There is a narrative aspect to the work which is on the level of the psyche, together with abstract and figurative elements that protrude into the canvas.
Recently I have zoomed in on the car and looked under the bonnet at its mechanics. I have focused on machine parts, and am working with figure and landscape compositions to explore the complexity of these machines. I am drawn to the emotional lure of the landscape and enjoy the contrast between the industrial feel of machines within the land. It is as if these machines are concerned with the mechanics of remembering, yet they are detached from their functional purpose and sit as a still life. Lisa was born in New Zealand, is of Mexican and New Zealand heritage. She has lived in London for nearly two decades and studied painting at Unitec School of Architecture and Design, New Zealand.
Currently she is exhibiting with Little Van Gogh, exhibitions in corporate spaces. In 2007 she was selected for Jerwood Contemporary Painters and Bow Arts Open in 2012. She has designed art music objects featuring her designs and sound exploration. Her own curated exhibitions include: Obsolete Desire (2016), Hey Days (2014), Candy Mountains (2011). Her work is in the James Wallace Collection (NZ). http://www.lisamckendrick.co.uk/
Instagram: @lisamckendrickart

 

Pol Mclernon

Pól McLernon is a Cill Rialaig based artist and musician. Key areas of interest include the politics of wind, time and sound. His work is most often focused on particular physical sites, or around particular social and psychotechnical issues. A strong participatory and theatrical aspect to his work exists as an important counterpoint to his practice.

Pól has exhibited and collaborated with other artists and choreographers, designed sets for theatre, produced a variety of sound installations and performed with Asteroid Ensemble, Tuatha and other improvised music collectives.
He has exhibited and performed nationally and internationally in Ireland and Germany. Commissions include Clandestine Airs with Resonance FM and VOID. Pól holds an MA in Research Architecture from Goldsmiths.

Http://www.mclernonae.com

 

Victoria Rance
Otherworld and Ariel, installation, costumes, pewter, wood, scrim and natural materials., 2015-2021

My work deals with the natural world and the psyche and its often unconscious power over us. I look at archetypal characters, and create my own characters and talismanic objects. Some are there to instruct, some to punish us or curse us for our misdeeds against the environment, some are calling us to action. They are not didactic, rather they are ambiguous in their meaning. They by-pass rational readings and head straight for our superstitious nature, our deeper, dreamier forms of being, evoking fireside stories in the dark, where old family stories might be told. In Otherworld I am looking at connections, real and mythological, between humans, animals and nature. I make groups of small pewter or wax sculptures and set them up in landscapes and tableau scenes. Characters which can appear large scale in my work, appear small here, and the sculptures relate to and affect each other.

Bio Victoria Rance is based at APT Studios in London. She was the 2003 recipient of the Mark Tanner Sculpture Award, as well as prizes from Deptford X, European Cultural Foundation and Arts Council England. Notable solo and two-person exhibitions include: The Night Horse, The Cello Factory, London (2017); I Wish the film, Deptford X (2014, winner of a Deptford X prize); The Sleep of Reason with Sylvia Lüdtke, BBK Kunst- Quartier, Osnabrück, Germany (2013); Medusa Hikayerleri / Medusa Stories with Ruken Aslan, Chalabi Gallery, Istanbul (2012); The Mark Tanner Award Exhibition, Standpoint Gallery, Hoxton, London (2004). Recent group shows include: In the Dark, The Cello Factory, London (2020); Hearten, an online collaboration between APT Studios and Lewisham and Greenwich NHS Trust (2020); Drawing Distinctions, Furlong Gallery, University of Wisconsin USA (2019); Personal Relations, Pulchri, The Hague, Netherlands and Mirror Gallery, Vicenza, Italy (2017).

Website: victoriarance.com Instagram: @victoria_rance

 

JAMES ROSEVEARE
Solid Evidence, concrete/debris, 2021
Solid evidence is suited to a relatively short viewing area/ small space whereby the floating illusion is maintained. Notes…fabrication of the past . . . a faux reality. Do these objects belong in a museum, a gallery or even a grave yard? Are they man made or found objects? Cosmicomics – Italo Calvino . . thing . . . not sure what it is. . up . . down . . .no gravity .. . through solid layers .. . sense of floating in space. Humans all made of atoms – billions of yrs old. After all ‘We are Star dust’ . . it goes on and on

Jim Roseveare is a Member of the Royal Society of Sculptors. He works with sculpture, installation, video and performance. His work predominately focuses on the complex relationship between culture and landscape. He has exhibited internationally and in the UK including Istanbul Art Fair; Saatchi Gallery; Venice Bieannale; Kinokino, Sandnes (Norway); Museo MACO (Mexico); Farley Farm House; Transition Gallery, Aspex Gallery, Portsmoutth and the London Group in Shoreham, Kent.

https://jamesroseveare.com/ Instagram: @jamesroseveare 

 

Martin Sexton
Money Is No Object, installation containing the ashes from the 2004 Momart fire 2021
Exhibited: Tate Britain London, Benaki Museum Athens, Wolfsonian Museum Miami, Venice Biennale (2003, 2005, 2007, 2015, 2017) Poetry Library South Bank London, Hydra Museum Greece and The Economist Plaza London with the Contemporary Art Society. Debut solo exhibition 2015 ‘Sex with Karl Marx’ at Gervasuti Foundation for the 56th Venice Biennale, curated by James Putnam (founder British Museum, contemporary exhibits) In 2015 awarded the Tithe Grant by The Blake Society, judged by Sir Alan Parker. Curated, wrote and produced the world’s first global Sonic Art project ‘We Love You'(Published by Booth Clibborn Editions) first to feature many who exhibited in SENSATION at the Royal Academy. A decade before in Chicago curated the worlds first Acid House album ‘In the Key of E’ co produced and mixed the seminal ‘Can U Feel It’ by Fingers Inc. A&R for Fiction Records, working with The Cure & The Associates, instrumental in The Cure signing to Elektra Records. Curator for Future Forests which created the carbon neutral concept and planted several million trees world wide.

  

Sarah Sparkes
Wood.Farm.Pit. Mixed media on wallpaper on canvas, 2021

After completing her MA in Fine Art, the artist studied a diploma in The Pre-history of Southern Britain, which included many field trips as well as working on archeological sites. This new series of mixed media works on wallpaper refers to a Palaeolithic site of archeological significance. The name of the site holds many stories in just three stark words and so do the artefacts found within it.
Sarah Sparkes’ work explores magical or mythical narratives, vernacular belief systems and the visualisation of anomalous phenomena. Her work is often research led and an exploration into the borderlands where science and magic intersect. She works with installation, sculpture, painting, performance and more recently film. She leads the visual arts and creative research project GHost and is a director of Inspiral London.

Recent projects include, Trail of the Blue Porcupine’ commission from LV21 for Estuary Festival 2021; invited to curate the PSAD student exhibition supported by a Cultural recovery Fund 2021; Arts Council funded commission for “Come Hell or High Water, curated by Caroline Gregory 2020; solo exhibition’ The Ghost Parlour’ at New Art Projects 2019; residency with Ian Thompson at ACA Northumberland 2018; co-curated the Arts Council England funded exhibition ‘The Ghost Tide’ with Monika Bobinska at Thames-side Studios 2018; the GHost Formula an a ACE funded commission and residency at FACT Liverpool and NTMoFA Taiwan 2016-17 as part of ‘No Such Thing As Gravity’ curated by Rob La frenais.

https://www.sarahsparkes.com/blog/ https://www.ghosthostings.co.uk/ instagram @thesarahsparkes

 

Ian Thompson
Ground Lift, 7min sound composition with stereo loudspeakers and digital player, 2021
Ground Lift uses 50Hz hum from an un-earthed electrical circuit as a point from which to explore the materiality of sound through harmonic resonances as it is pitch-shifted across two octaves. In the context of the CWEKTMOTO exhibition, it’s a sonic metaphor for disinterment that characterises much of archaeology. The hum also forms a ground against which a figure is added, completing a sonic image.”
Ian Thompson is a senior lecturer in the School of Design at University of Greenwich, London, leading modules in creative filmmaking technology and sound design. A book chapter, The Soundscape Approach to Sound Design Research, in Doing Research in Sound Design by Michael Filimowicz, is published in 2021. He is writing a book, Audio for Artists, for publication in 2023. Selected recent works include: The Cosmic Pond, with Sarah Sparkes – BEYOND residency output, Allenheads Contemporary Arts (2018); Arrival Time – automatic digital composition based on TfL bus timetable data (2017); Litus Expromo – sound art contribution to Over Time group show, London (2014). Ian often performs as a ‘cellist, in free improvisation with Stephen Shiell and Richard Wilson RA, and with Breathing Space collective.
http://idthompson.co.uk/   instagram: @ian_sta.gram

 

Inga Tillere
A protest against forgetting
Medium Mixed media: Polaroid emulsion transfers on stone; framed Polaroid photographs; digital film projection
https://ingatillere.com/
Instagram: @ingatillere

 

Marianne Walker

Foremother’s Feet, ink and graphite pencil on sculpted paper-clay, 2020            Marianne Walker makes three-dimensional drawings that are heavily informed by the material remains of the past. She uses paper-clay to make fragmentary body parts and then draws across them using ink and pencil. The objective is to escape the rectangular page and push the two-dimensional medium of drawing into becoming a three-dimensional entity that can confront a viewer. The democratic nature of drawing, with its agency and egalitarian materials is important. Equally important is the incarnatory aspect of drawing in making ideas manifest.

Marianne Walker was a recipient of the Observer Magazine New British Artist Award
in 2002 and her work has been exhibited nationally and internationally.
Notable exhibitions include the Jerwood Drawing Prize 2002, Romantic Detachment, a 2004 Grizedale Arts exhibition at PS1 MoMA USA, Alchemical Reactions at Cafe Oto, London in 2011, Contemporary British Drawing at Xi’an Academy of Fine Art, China in 2015, Artworks Open 2018, The Barbican Arts Group Trust, Selected by Tai Shani and Emma Talbot and Invitational 1, selected by Alessio Antoniolli, Director of Gasworks for Unit 1 Gallery Workshop, London in 2020.  Recent residencies include : Radical Residency V at Unit 1 Gallery Workshop 2020, The CoLaB Body and Place Historic Residency 2019 and L’ AIR Arts Drawing Research Residency in Paris 2019, supported by a European Cultural Foundation travel grant. https://www.axisweb.org/p/mariannewalker/                           Instagram: @mariannelwalker

 

Phill Wilson-Perkin
Bad Vibes, I, II and III, HPL Sheet, stickers and enamel paint, 2020
Phill Wilson-Perkin uses sculpture, sound recordings, and performance.
He explores aesthetics used in bolstering cultural systems. Examining their uses in counter-cultural tropes and institutional frameworks. They often work collaboratively with others.
Phill Wilson-Perkin lives and works in London. He has exhibited nationally and internationally including Liminality, at Gallery 46, London, 2019. Hmn, London 2018, We Labour, We Labour, We Labour at FiveYears Gallery, London, 2017. By the End of Play for the Glasgow Open House, 2017. Enter The Dragon at the ICA, London, 2015..
Phill Wilson-Perkin has been a member of Five Years Gallery since 2017.Founded in 1998, Five Years’ initial aim was to set up a gallery that was artist-run and where programming
https://wilsonperkin.com/
Instagram: @phillwilsonperkin

 

Mary Yacoob
Logopolis 01-04, ink on paper, 2021
For this exhibition, Mary Yacoob is presenting drawings suggestive of the ceremonial friezes of an imaginary civilisation.The artworks allude to attempts by archaeologists to decipher the inscriptions on monuments and temples, and allude to the role played within science of imagination, hypotheses and intuition, in reconstructing historic narratives of dormant cities and civilisations.The works are suggestive of logograms and syllabic glyphs found in Mayan temples, suggesting a complex system of codes and ciphers, describing the political inner-workings and mythic infrastructure of a past or future civilisation.
Mary Yacoob’s work encompasses ink on paper, print making, wall drawings, large scale vinyl artworks and light boxes. Yacoob appropriates the visual languages of electrical and engineering diagrams, architectural plans, cartography, alphabetical systems and musical notation. Playing with repetition and geometry, systems and chance, her work involves researching and transfiguring visual source materials, creating intricate, yet
monumental and mysterious thought forms.

Mary Yacoob is an artist based in London who gained a MA in Fine Art at Central Saint Martins, a BA in Fine Art at London Metropolitan University. Solo exhibitions include Five Years Gallery, The Hospital Club, The Centre for Recent Drawing and Seven Seven Gallery. Group exhibitions include The Royal Academy Summer Exhibition, Platform A, Gallery 46, &Model, PayneShurvell, Guest Projects, Saturation Point, Dark Matter Studio, South Hill Park, Galerie8 and OVADA. Residencies include The Delta (Δ) Research Placement at Flat Time House with the Diagram Research Group, The North Devon Artist Residency, a printmaking residency at Mutton Fist Press, and the AA2A residency at Camberwell College of Art print department in 2011.

https://www.mary-yacoob.com/

Instagram: @mary_yacoob