1st-12th September 2020
This exhibition follows a two week residency at Willesden Gallery, from the 17th to 30th August 2020. During the residency Yang-En Hume has been working on a series of site-specific textile and cyanotype installations.
Flea markets in Europe feature overwhelming amounts of domestic detritus. Family photographs, letters, fabric and handicrafts are displayed in disorganised piles, presenting a striking contrast to the carefully classified artefacts exhibited in museums. Such differences reveal a valuing of certain stories and an overlooking of others. Personal histories are embedded within the surfaces of found objects; the intimate, private nature of these items simultaneously reveal and conceal much about the people who once owned them.
In this exhibition, Hume creates cyanotypes from photographs of anonymous women collected at flea markets. The installation of these photos in a gallery setting displaces them from their original contexts. The role of chance in creating cyanotypes echoes the accidental nature of discovering objects at flea markets, while the partially obscured prints reflect the way in which found objects only tell us fragments of a story. The cyanotypes are documented and digitally printed onto translucent fabric which is then cut and layered, distorting the original images further.
Relics invites the audience to question why certain stories and objects are memorialised in museums while others are discarded. The process of organising fragmented photos resembles detective work as Hume works to identify the significance of these images and how they fit together. Fabric, embroidery and portraits of women take up space in the gallery, highlighting the unseen labour of women and paying homage to the often overlooked domestic crafts.
Yang-En Hume is an Australian installation and mixed-media artist based in London. She has held solo and group exhibitions in London, Sydney and France. Her 2019 exhibition, Duplicate State, wove together found objects, cameraless photography and fibre art to explore how personal histories are remembered and constructed. In 2016, Hume coordinated a team of forty embroidery volunteers for her exhibition, Diaspora. She curated the exhibitions Pricked in 2016 and Atrophy in 2014. In 2014 she was team leader for the collaborative collage works, No Human Being is Illegal (In All Our Glory), coordinated by artist Deborah Kelly which were exhibited at the Sydney Biennale.
Hume has been the recipient of various grants and prizes. She won the A-N artist bursary in 2020 and the NG Creative Residency Prize in 2018. In 2015 she was awarded the National Art School Paris Residency, the Australia Council for the Arts ArtStart Grant and the Ian Potter Cultural Trust Grant.
10th - 28th March 2020
This is a retrospective exhibition of John Thorogood’s work in which several groups of work, each quite varied in style and subject matter, are on show.
The ‘Treecolore’ group, with its obvious play on words, explores the decorative potential of winter trees in colours that complement the tricolour flags (in very ‘un-flaggy’colours) that are their backdrop.
The ‘Warrior’ group is an offshoot of a large canvas (also on display) made at art college some years earlier. Each work takes its title from ethnic warrior group classes or practices whose origins are suggested by the choice of colours.
The ‘Sacred Texts’ group also follows a common, simply defined format – originally a mere experiment with masking tape and calligraphic marking with a scraper tool, but emerging as suggestive of arcane writings on tablets or in illustrated scriptures. Some are enhanced by the application of colourful woven and embroidered Indian belts with hints of bookmarks or ecclesiastical shawls.
While these follow some kind of formula, the remaining sections are characterised by diversity of treatment, notwithstanding common themes.
The ‘Waterscape’ paintings range from near-literal interpretation to partial abstraction. The ‘Bridge’ scenes are all based on drawing from observation by the Thames in Central London. From this work there evolved the narrow format ‘Bridgescape’ abstractions, which in turn inspired the two ‘Harbour’ paintings with their flavour of the industrial port of Leith, Edinburgh, where the red geological exploration ships bring a dash of colour to the surroundings.
‘Abstract Squares’ are flights of fancy, with, in two cases, an acknowledgement of Paul Klee’s ‘taking a line for a walk’, where a simple rule ‘two straight, one curved’ governs how lines are steered to create a matrix across the canvas.
Thorogood’s enjoyment of portraiture and landscape are modestly showcased in this exhibition with four samples from his regular attendance at a portrait painting group and two of his occasional recordings of the Cumbrian landscape during family visits.
Carousel Textile Artists
18th-29th February 2020
Carousel is an eclectic group of London based artists who enjoy exhibiting their experimental textiles. They work collaboratively to inspire a shared passion for fibre, stitch, print and mixed media.
As a group they came together after meeting at the advanced textile workshop at a college in Lambeth and come from a wide variety of backgrounds, from social work and education to musician and carnival costume designer. The group name reflects a group in motion but with a nod to playfulness. They have a regular programme of pop up exhibitions in the open air.
The London Threads theme came about because they all have connections to London through family, working and artistic lives and wanted to tell their stories though their textile work. Diverse inspirations include personal history, a court dressmaker, original designs for train fabrics, hidden rivers. Others are inspired by the fabric of London itself, its skyline, pavements and its textile and clothing history.
The group challenged themselves to think beyond the surface and using a firm foundation in textile technique each artist has developed their individual theme in their own style. Techniques used include printing, dyeing, weaving, knitting, shibori, machine and hand embroidery. Colour plays a large part in the work and the interplay of colour and texture informs the finished pieces.
Frances Arnold Alex Mayer
Sheila Dainow Karen Morton
Rosaline Darby Jackie O’Malley
Ruth Darby Brenda Parsons
Fiona Espenhahn Sanae Saragai
Julieta Gimpel Sue Walker
Judith Gubbay Marilyn Williams
5 - 15 February 2020
The idea behind the Retro Perspective exhibition is to present artworks by Fergus Quinn covering two decades of his artistic practice.
Travelling through life, there comes a point when one needs to look back and see the journey and the discoveries along the way, as well as appreciate those that have inspired on the path of learning. Quinn has been painting portraits of world music artists, especially African musicians and singers, as well as spiritual leaders and seekers and also forms of life from the wilderness.
Along the way, his work has led to discovery of cultures from around the world, including Africa, India and other continents. These cultures enrich life with musical creativity, spiritual wisdom and living in harmony with mother earth by making portraits Quinn wanted to celebrate their offerings.
He likes to create artworks using a variety of mediums such as Acrylic paint, spray paint, pencil and pastels. Quinn aims to present and capture the essence of their soul and expression.
Fergus Quinn grew up in West London in a family with a love of the arts, encouraged from a young age to try out and develop drawings skills in a home full of art books by the great artists, such as Leonardo da Vinci and Rembrandt. Quinn was also inspired by graphic novels and comics.
After graduating from Middlesex University with a BA (Hons) in Illustration, Quinn worked as a freelance graphic artist and designer for record and cd covers for many years. Over the last few years he has returned to his passion for painting and produced a large body of work for various exhibitions and events including mural commissions and teaching workshops in his local borough, as well as at the Museum Of Sacred Art in Radhadesh in Belgium.
Identity and Self
A group exhibition featuring local artists
16 January - 2 February 2020
Private View – Thursday 16 January 2020, 6 – 8pm
Willesden Gallery is proud to present Identity and Self, a group exhibition featuring Brent based artists.
Kicking off Brent’s Borough of Cultures, Willesden Gallery invited local visual artists to explore ideas of identity and self. Bringing together 27, the exhibition showcases emerging and established artists displaying a range of work from media such as photography, glass, drawing, sculpture, printing and painting.
Brent is home to a diverse community of creatives and this exhibition aims to celebrate and explore the characters, spirit and cultures of the borough.
Richard Tilbury, Henryk Terpilowski, Slavica Plemic, Irene Molina Aguirre, Marion Hack, Hadina Wright, Ashley Reid, Louise Marlborough, Camille Neuville, Cathryn Shilling, Laura Marrs, Evelyn Sozi, Sacha Bowling, Jagruti Modi, Flora Fekete, Kaye-Anne Smith, Elina Pasok, Shona Elrick, Cemalettin Cinkilic, Khilna Shah, Svetlana Atlavina, Sarah Neale Riddick, Blair Lamar, Daniel S Amedoda, Alison Baptiste, Jax van Zyl & Ocean Loren Baulcombe-Toppin
For more information contact Curator Nadia Nervo at email@example.com
VISIONS OF LIGHT
STANISLAS SLAVOMIR BLATTON AND PROTOKLIS NICOLA
17th December 2019 – 4th January 2020
Stanislas Slavomir Blatton was born in Poland and Studied at the Academy of Fine Arts in Warsaw. He graduated in 1969 with an MA in Painting and Graphics. He gained a scholarship from the Ministry of Culture and in 1970 moved to London. From1975 – 2004, he taught Etching at the Working Men’s College for Men and Women in Central London. He was then employed as Conservation Officer at the National Gallery in London.
Protoklis Nicola studied at Birkbeck, University of London, where he gained a BA and an MA in Philosophy. It was during this period of contemplative studies that he developed an awareness of the deep mysteries of human existence and how important it was to ask questions. Protoklis feels that his fascination with religious icons is a natural extension of his Philosophy studies. He studied icon painting at The Prince’s School of Traditional Arts where he graduated in 2015 with a PhD in iconography.
In the essay Cultivated Uncertainties: the Painting of Stanislas Słavomir BlattonHabib William Kherbek,expresses well Stanislas’s artistic vision: “Blatton finds ways to pose formal questions about the interplay of image and language as well as ideological questions about the roots of totalitarianism. His works serve as records of human experience in the fraught political ecology of the preceding century, but also as deeply personal statements which often endeavour to destabilise the monolithic certainties on which power rests. His recent work continues to be characterised by the same forthright, eternally probing vision that animated his first major works. This determination not to settle into easy orthodoxies - be they aesthetic, relational or political - means that Blatton’s painterly voice remains as relevant and as necessary as it has ever been.”
In the contemplative art of painting icons Protoklis Nicola is committed to the traditional view that in icons the simplicity of form and limited colours all serve to emphasise the intellect’s ascent towards the divine. Through the orientation of desire towards God a new dynamic relationship can be established that is defined by a perpetual participation in the Infinite Being of God. This state is characterised by the experience of encountering new things that are always curious and awe-inspiring. When painting an icon the ‘holy’ form or theomorphic aspect of the figures depicted becomes an expression of the personal journey and objective of the painter and viewer to become God-centred and achieve union with the divine.
3rd December – 14 December 2019
In this series of work, Baptiste combines her two great passions in her life: music and art. Oil based paintings, watercolours and sculptures in this collection are inspired by the emotional responses music has on the human psyche. It is said that music can trigger psychological processes that reflect emotions.
Each artwork has been inspired and created by selected music. The paintings are produced in this trance-like meditation. Baptiste finds that the challenge to paint with a limited pallet, in a limited time and while listening to specific music is a way to focus the mind without distractions. Each artwork tells a different story, however the artist intention is for the viewers to experience and interpret them in their unique way, without been dictated by the artist’s views.
Included in this collection are found objects, here given a second life by appropriating them into musical sculpture. In this form of bricolage, and inspired by the late musician Prince, Baptiste creates a series of 1:6 scale pianos. The feeling of loss as well as the experience of making them, is both therapeutic and expansive.
Baptiste says: “I questioned what effect and influence we leave behind when we are no longer around. What legacy! Some call it hoarding I say everything has a use and a purpose.”
A largely self-taught multi-disciplinary, Baptiste specialises in traditional oil painting. Born in North West London, she trained at Heatherley School of Fine Art and Morley College. Baptiste regained her love of painting after having spent some years living in the Yorkshire countryside.
Returning to London she gained a BA (Hons) in Fine Art (2016) and Post Graduate qualifications in Fine Art at the Cass School of Art (2017). Art is Baptiste passion. Through the mediums of painting, mixed media sculpture, video, embroidery and digital art she aims to express feelings from the heart and soul.
Visual articulations of trauma, A collective voice of lived experience, A starting point for open conversations.
19 November – 30 November 2019
Nobody wants to remember trauma. In that regard society is no different from the survivors themselves. We all want to live in a world that is safe, manageable, and predictable, and survivors remind us that this is not always the case. In order to understand trauma, we have to overcome our natural reluctance to confront that reality and cultivate the courage to listen to the testimonies of survivors.
Bessel Van Der Kolk
Traumatised Selves explores visual articulations of the impact of trauma on mind, brain, and body. More than a collection of artworks, this exhibition brings together the voices of trauma survivors to occupy our sociocultural scene with narratives that do not shy away from the lived experience of trauma. This collective voice is a testimony not only of the reality and complexity of violence, abuse, and neglect, but also, and more importantly, it is a testimony of resilience and empowerment. We weave out of our vulnerability the strength to confront what society is reluctant to accept and we turn our insight into a stepping stone toward positive change.
Laura E. Fischer
Georgia Kitty Harris
M R Matthews
The exhibition is organised and curated by Laura E. Fischer, artist, mental health activist, and researcher. Traumatised Selves is the plural version that follows Laura’s series of solo exhibitions, The Traumatised Self, which placed trauma at the centre of the public discourse.
A special thank you is extended to Holly Gardner for her help.
5th – 16th November 2019
Private View: Tuesday 5thNovember 6pm-8pm
Sokolovski is the author of the concept of neosacral art. The exhibition presents the artist’s latest works - icons and altars. In these, Sokolovski eliminates figures and narrative, the saints and biblical stories are reduced to simple geometric symbols and abstract shapes. His approach is extremely modern - he reinterprets the traditional icon, remaining faithful to original techniques and craftsmanship. This precision allows the works to exude spiritual and material beauty.
Sokolovski’s works can be found in museums and private collections around the world. He created several murals and interiors, of which the most important is the neosacral chapel in the convent of the Salesian Sisters in Jerusalem.
“The work of Krzysztof Sokolovski, follows the paths of geometrical abstraction, although finds its place in a completely different area, does not employ a destructive element, he does not cut himself off from tradition. Rather, it is an effort to continue it in a way that reflects its times. There is also a desire for universalization, for understanding among faiths.
(...) A limited color palette: gold, red, white and black, downplaying of the means, rhythmization of the line - all this leads to an atmosphere of peace and concentration. The art in front of us that can not be interacted with through hasty consumption. It requires contemplation. However, it is worth spending some time on it. Facing Sokolovski’s paintings, we discover something new - not so much in them, but more importantly in ourselves.” Ewa Kiedio
Born in 1985 in Lithuania, Sokolovski moved to Poland as part of the Paderewski program. Then went on to study painting at the Academy of Fine Arts in Gdańsk, a university he had dreamed of from the first days of in Poland. He moved to Warsaw in 2013 and attained an MA from the Academy of Fine Arts. Sokolovsk won the prize for ComingOut 2014 - the Best Diploma of the Academy of Fine Arts in Warsaw” and a distinction in the competition ArtNoble 2014 in Poland.
He is represented by Bohema Gallery, based in Warsaw, Poland.
Exhibition kindly supported by the Embassy of the Republic of Lithuania
22 October – 2 November 2019
“If I don’t holler, you ain’t doin’ it right” Barbara Carr.
We are constantly assaulted by images. Photos of love, violence and sex saturate our senses daily. We have the images; what we need is the emotion.
In this exhibition Haccius presents a selection of oils, acrylics and charcoals that have moved him in one way or another. His images are of everyday people, unassuming at first, but each shimmering with life. But people are more than a physical representation of physiology. Haccius has his cast of characters shout, cry and laugh, and progressively seduce the viewer with their range of passion.
Why Visceral Images? Because there’s no point in painting if it doesn’t touch the viewer somehow, somewhere. Haccius aims for feelings, and expression of emotion over an intellectual exercise of precision and technique. His paintings depict people and places, but beneath the form and thick, angry use of paint there lies a sadness, an anger, a love or a loneliness.
These paintings all have this in common: they all dig deeper than the form.
“If they don’t touch you somehow, I ain’t doin’ it right.”
Mark Haccius was born in the sixties, of English, Swiss, and Australian nationality, and Irish by osmosis. He is a father of four, fascinated in history, people, the Rolling Stones - along with many other subjects. He also enjoys cooking and wine.
After a variety of different career paths, he began teaching in the 80s and decided it suited him: social, relevant, varied and useful. Time also passed quickly. Five years ago he began to channel his energy into his painting, the relationship he developed with the subject on the canvas complementing the energy he injects into his classroom.
Haccius isn’t really sure what an artist is; he just paints. His work has attracted interest in Switzerland, where he has exhibited and participated in two collections: Le Noir et Blanc (2018) and “L’érotique” (2018).
“Painting is all about building bridges and creating links. A bit like teaching, actually...”
He lives and works near Lausanne in Switzerland and escapes to Brittany whenever possible.
Throwing Light, Casting Doubt, Telling Tales: Making The Postcard Women’s Imaginarium
8 – 19 October 2019
“Orientalist, colonial, and patriarchal systems created a powerful Imaginarium, as we are calling it here, that ferociously generated and disseminated images on postcards of women from the so-called ‘East’, to the ‘West’. They leave a profound legacy in our present. We wanted to create a Counter-Imaginarium.”
The Postcard Women’s Imaginarium project group was created and set up by artist Salma Ahmad Caller in 2018, together with artist Afsoon, artist curator Esen Salma Kaya, poet Betül Dünder, translator Neil Patrick Doherty, and writer Stephanie Nic Cárthaigh. The project aims to reveal the problematic and misleading processes that created false ‘exotic’ and ‘ethnographic’ representations on postcards of Southwest Asian and North African women from the late 19th century onwards.
Using photography, collage, drawing, sound, text, poetry, and assemblage, the group members have drawn inspiration from their own family histories, forgotten histories of women, amulets, personal objects and old tales. Transforming Willesden Gallery into a space where imagination can lead to rich diverse pathways and webs of meaning, they will reveal how the present is connected to the past, and to the lives of the Postcard Women.
The exhibition is questioning and exploring ideas about colonialism, identity, immigration, cross-cultural encounters and how women are seen, used, and treated today.
Find out more on the exhibition's Facebook group
E p h e m e r a
Richard Tilbury, Annie Eastham, Fiona Bailey and Rebecca Elliott
24 September – 5 October 2019
Private View 26th September 18.00 – 21.00
Four friends find themselves exhibiting together and the common thread emerges: The artists in the group show Ephemera have been exploring the theme of the ephemeral in their work over the last few years; in this fast-changing world our awareness of the transitory nature of not just objects but experiences, beauty, the built and natural environment and life itself are an immersive source of inspiration.
A group exhibition featuring local artists working in glass, silver, photography, print and paint.
Annie Eastham is a talented artist and jewellery designer. She is a skilled silversmith with exquisite attention to detail, her handcrafted pieces with their representation of natural form are in collections as far as the United States. The delicate flower paintings she has painted for this show capture the fleeting light of blooms before they fade.
Photographer Fiona Bailey has an ability to see and capture the moment in time just before things change forever. There is a still melancholy in her recent series ‘Empty Home’s’, joy and pride in her ‘Rites of Passage, Portraits from Prom.” and a breath-holding beauty in her portraits documenting the passing of childhood and Generation Z.
Rebecca Elliott’s wonderfully observed lino prints of Willesden buildings document the changing face of our city, most recently a little cluster of Edwardian buildings in Harlesden; the Salvation Army, the old Picture House and the warehouse behind shortly to make way for housing. Her lino stills of animals and plants using the traditional printing format belie the transitory nature of their existence.
Richard Tilbury is a glass artist with a fascination with materials and colour and whose skilful experiments with kiln formed glass techniques result in wonderful and unique glassware. His creations respond to changes of the light and place and delight with their texture and luminosity. For this show he has referenced the flowers and birds of his childhood in homage to his mother and their shared Spanish roots
6th - 21st September 2019
Born in Lagos Nigeria, Michael Segilola moved to London 30 years ago for a better quality of life. He is now pursuing his dream, to show case his artwork to an international audience.
Michael started his career at Gee’s a gentleman’s barber shop tucked away in Kensal Rise, North West London. In January 2001, in the neighbouring Kensal Green, he and his wife Jane opened a hair salon, Funkycolour.
In 2013 he fell ill and suffered a stroke, in recovering he decided to seize life. Already having a passion he started to paint. Michael collected unwanted items that littered the streets to be used and recycled in his artwork. Overtime Michael began to create pieces that he would display in the salon. Soon enquires were being made on whether they were for sale. His first exhibition, very successful, was at the Willesden Gallery in September 2017.
Michael’s unique artwork takes inspiration from his life growing up in Nigeria. His pieces are vibrant, strong and experiment with colour, texture and reusing various materials. From textured pieces using fabric, bottle tops, sweet wrappers, cans and plastic that he assembles in vast colourful collages, sculptures and painted faces.
In the last 2 years the direction of his work has developed and has become even more environmentally aware. Michael felt it was time to have his second exhibition.
A group show featuring young emerging Artists from locations scattered across the globe
July 31st - August 12th
PV Wednesday July 31st, 6-9pm
Extended until September 3rd.
In Biblical literature the Babylonians wanted to make a name for themselves and strive for such
greatness that they set to build a city and a tower so mighty that its top would reach the heavens.
God disrupted this work by confusing the languages of the people building it, no longer able to
understand each other the city was never completed and the people set to inhabit it were
scattered across the face of the earth. This narrative is used as an origin story to explain
multiplicity of languages, diversity of culture and multiculturalism, whereby Babel is seen as the
cradle of civilisation.
This scattering, dislocation and confusion experienced by these people is the concept for our
group show, Babel. Today, division is still happening, and it is used by the powers that be to
segregate us and create otherness. We want to refer to the current social and political climate as
an idea of Babel, something that attempts to divide us, but by bringing together the distinct and
separate voices of the artists in our show we hope to highlight that difference is to be celebrated
as we communicate with each other and our communities using the language of Art. We wanted
our exhibiting Artists to respond to this sense of dislocation and social and political
disembodiment that we as young emerging Artists are all faced with. This show is not about
emphasising difference but revelling in it. Rejecting the homogeneity of systemic societal
propositions through embracing the diversity, multiculturalism and global interconnectivity of our
Artists. Who will be navigating this subject using the diversity of their Art forms and practices, with
approaches ranging from sculpture, installation, digital imagery and video.
We celebrate and revel in this difference, as it makes us better, through teaching us what we don’t
know, showing us things we haven’t experienced before, what we are not used to and the
attempts to find harmony amongst that. We hope that you too can celebrate in these notions as
you experience Babel with us.
The participating Artists:
Curated by Maria Mahfooz and Hugo Hutchins
Be Free for Art
9th - 27th July 2019
How to approach art – the art perception guide.
Look at it. Pass it and forget about it. If it speaks to you turn back and stay with it, perhaps you have something to talk about.
Be free to create.
Once I've noticed that some achievements of the proud mankind are simultaneously defeats of basic humanism: sophisticated life-penetrating systems, which can reduce us to be a kind of filled file in some mysterious document; we are classified in terms of our intellect, emotions, status etc. Our creativity, instead of being used to create more freedom, is used to build a more perfect and "magnificent" system of control and manipulation.
The space for what is irrational, imperfect or disordered becomes increasingly narrow. The room for trials and mistakes, for searching and for research, for listening to others and observing what happens around is gone.
Being inquisitive, asking questions is no longer valued in the world of simple and ready-to-go manifestations. Freedom is leaving us, step by step.
What is free of supervision, beyond statistics and classification, is the only real margin of freedom we can exercise – that is creation, that is art.
Freedom of choice.
Why should we be told how to experience art following someone else’s taste? There are many art spaces, almost countless exhibitions around us, many views and visions, but sometimes I feel like our choice is narrowed to the trends which are “the right and proper”. Can art exist without a crafted explanation?
Freedom of interpretation.
Manipulation in art makes me furious. Being an audience we are informed through different statements how to approach artworks; many people follow this path. We are forced to look at art as seen by ‘influential critics and established experts’. This ‘business’ produces caricatures of both: art and artists. This poses a question whether our current freedom is enough?
Meet my works without any comments or hints from the author. Take it how you will, BE FREE FOR ART!
Maciej Hoffman graduated with a Master’s Degree in painting and sculpture at the Academy of Fine Arts in Wroclaw, Poland in 1992. His early years as an artist were strictly linked to the advertising business as the company leader. In 2007 he quit, deciding to work as an independent artist and moved his studio to London. Focused on painting as his favourite medium he also works with digital graphics, photography, stage and costume design and installations, exhibiting worldwide. For more information please visit: www.maciej-hoffman.com
Shades of Red lll, 2019
18th - 29th June
Featuring a mixed media installation surrounded by two-dimensional drawings and paintings. Pamela Leung’s Shades of Red Ill, 2019, sees the artist’s exploration into identity and migration through the colour red.
Consisting of video, sound and participation performances, the installation will echo the voices of migrants and their personal experiences in Moment of Red, 2017. Leung shares: "Red, to me, is the universal colour that runs through humanity – the colour of blood.” The installation invites the
audience to reflect beyond the biology, and extend this sentiment to our psychology and emotions, and thus, the forming of identity through experience.
Moment of Red features a series of interviews between the artist and immigrants from around the world. Leung asks them to cut through years of adaptation, evolution and construction of their identities – challenging them to reflect upon their cultural, national and global circumstances and belonging. It is a series of reduction, in hopes of collecting various anecdotes and histories where all participants will allow themselves to consider and remember their roots, and the very colour that runs through us.
Pamela Leung is a Sydney-based emerging artist, with a Master of Fine Arts in painting from the National Art School, 2016. Following this, Leung received the Emerging Artist Prize in the 65th Blake Prize 2018, as well as exhibiting widely in Australia, Taiwan, Sweden, Hong Kong, Paris, and now London.
For Leung, the most significant shaping of her identity came from her immigrating to Australia, from Hong Kong, in the 1970s as a part of the Chinese diaspora. She shares, "in the ensuing years of acclimatising to my environment, so much of my heritage has been lost, diluted and forgotten; to be replaced by new and eye-opening ideas and transformations of the self in the new world.”
The use of the colour red and a mixed media practice, combined with her migratory experience, allows the audience to meditate on the mundane routine, everyday life, relationships, connections, displacement and diaspora.
Thinking about Jamaica
21 May - 16 June 2019
As a Jamaican living in the diaspora Rachael Minott explores identity while occupying multiple nationalities. Minott works to examine the national representation of Jamaica through the medium of sculpture, painting and print. By referencing symbols of Jamaican national identity such as its coat of arms, national heroes and traditional dishes, Minott constructs reflections on Jamaica’s history as a country and its decisions as a nation. Thinking about Jamaica is mediation on Minott’s work to date, which is placed within the context of her personal art collection of Jamaican prints, paintings and photographs. Amongst the pieces exhibited are works by Edna Manley and Albert Huie as well as the photography of Owen Minott, the artist’s late grandfather, all of whom are represented in Jamaica’s National Art Collection. By considering the influence of these works on Jamaica’s artistic landscape the artist investigates the legacy of historic events and politics explored in her work.
Rachael Minott is a Jamaican-born artist, curator and researcher. She champions collaborative practises and challenges the concept of neutrality in public spaces. Previous curatorial projects have included collaborations with Birmingham Museums Trust, London Transport Museum, Reading Museum and the Robert Sainsbury Library. As an artist she has exhibited in the 4th Ghetto Biennale in Port au Prince, Haiti 2015 and the Jamaica Biennial 2017. Rachael is a Trustee of the Museums Association and is currently Curator of Anthropology at the Horniman Museum and Gardens. Rachael researches Caribbean national representation and her practice reflects particularly on the Jamaican art historical cannon alongside the region’s contemporary issues. Allowing her to draw comparisons through time of the perianal concerns the island faces. By using a mixed discipline practice that encourages spaces for research and exchange Rachael positions visual art as an entry point which allows the viewer to delve into deeper content and conversations.
May 8th – May 18th
A group exhibition featuring young emerging Artists from numerous Arts
A show curated by young artist Sadia Mir connected to University of Arts London. Ten youngand upcoming Artist’s from numerous disciplines and specialisms joined forces to presenttheir individual takes on the powerful word of love. Each artist pursuing their creative careers taking on an opportunity to express themselves.
Love, Love. A presentation focusing on feelings and emotions that most humans have felt. A sadness like no other, a loss of love and a fear of losing someone. We focused on the negative feelings of love. Including heartbreak, loss, lust, anger, delusion, uncertainty and more. Viewing our art could possibly bring back negative feelings you’ve buried over and over again.
The Artists participating in this show:
Danqing Zhang (DQ)
SLAG, STEEL & CO2.
Roger McNulty SLAG, STEEL & CO2.
16th – 30th April 201
This body of work has evolved as a result of Rogers’ interest in, industrial landscape and Roland Barthes deliberations on the truth being found in the detritus 1.
‘Can slag help save the planet’ 2
Having previously studied global traces of steel production he was invited to observe recent scientific research on climate change. The research team are investigating the feasibility of accelerating the natural absorption of Carbon Dioxide from the atmosphere by slag deposits from Iron and Steel. The success of the project could have a major impact on removing greenhouse gasses from the atmosphere.
The exhibition work uses paint, metallic powders and metal on canvas accompanied by video to express; the physicality of the materials; the labour involved; and the concentration, dramatic nature and urgency of the activity.
Roger McNulty’s practice examines borders and materials using painting, video and sculpture. His early experiences; working in engineering in Scotland; study and engagement in Industrial Relations and Employment Law, inevitably influence his work.
“The driving force for the work normally emerges from some current event or series of events affecting how people live, work and interact, although sometimes it might just be a worked item or landscape that engages my thought on the labour involved. I concentrate on the resultant material traces”
Roger studied art at Glasgow School of Art, Havering College and has a BA in fine Art from Central Saint Martins, University of the Arts London. He has worked and exhibited in the UK and Asia and won several International Awards.
Currently he lives and works in Essex.
1 Barthes R. (1981) Camera Lucida Reflections on Photography. London Vintage 2000.
2 ‘Can slag heaps help save the planet?’ The Observer 23.04.17 THE NEW REVEW p19.
‘Space, Light, Colour and Me’
Maryla Podarewska – Jakubowski
02 – 13 April 2019
The exhibition aims are to explore and celebrate nature around us and to celebrate human moods and our internal world of imagination. Maryla is fascinated by trees, in particularly being between trees, the most amazing structures in the world. One feels and senses their power and almost timeless supremacy. Some of the artworks on show are created as a way of escaping from time to time into our own world full of light, colours and remarkable shapes.
Maryla is also intrigued by how the light changes throughout the day. It alters our perception of the world around us and the colours and shapes we experience. The shapes of trees in the changing seasons, sunsets, sunrises and water, all provide wonderful subjects to observe. Maryla uses these shapes and translates them either onto canvas, photographic or digital media.
Maryla takes photographs to remind herself how wonderfully and astonishingly diverse the world is and how important it is to celebrate the details of each object and each individual one comes across. She often likes to experiment with the images created, by using digital manipulation, therefore blurring the border between painting and photography. She mainly uses pastels and gouaches to paint. For her digital images, she takes part of a painted picture and combines it with her photographs to create a ‘digital collage’ as she names them.
This exhibition can be divided in to four sections although these are tightly interwoven:
Inside and Outside e.g. see: Natural Structure, It Might Be Me It Might Be You
Changing Moods e.g. see: The Road in the Forest, Everywhere We Go Is Music, Shadow.
Being Between the Trees e.g. see: Oak Tree at Night, in the Morning and in the Winter.
Living in my Own World e.g. see: Dance, Microcosms, Tree of Life, Nest.
Maryla Podarewska – Jakubowski is a Visual Artist and Architect. She graduated with an
MA in Architecture from Warsaw Technical University. She moved to England in 1972 and since then has worked as an architect on various commercial and social architectural projects in England, Saudi Arabia, Switzerland and Poland.
Maryla has taken part in various exhibitions in London and internationally. Her works are held in private collections in England, Poland, Denmark and France.
Curated by ArtNoble
19 – 30 March 2019
Following on from 2018’s debut exhibition in November, ArtNoble is proud to present Contemporary Connections, a group exhibition displaying works by seven contemporary European artists.
In a world constantly heading towards self-absorption, Contemporary Connections aims to initiate a dialogue among artists, artwork, audience and collectors, creating enduring connections that are fundamental to our happiness, existence and
well-being. Whilst not being tied down to a specific thematic or style, Contemporary Connections will display a distinct selection of works, ranging from ceramics, to photographs and paintings. These works have been chosen to stimulate interactions between the works and artists, with the aim that these interactions will
propagate also to the collectors and visitors.
To enhance this theme of connectivity, talks, workshops and presentations by the artists will be held at the gallery to complement the exhibition. Details of these will be announced on our website.
ArtNoble is a distinctive exhibition platform dedicated to the promotion of unique contemporary talents. Founded by Matthew Noble in the summer of 2018, ArtNoble aims to provide an alternative to the standard art gallery model by sourcing talented
and upcoming artists irrelevant of their background and medium and curating sitespecific
exhibitions, with the ultimate vision of connecting the artists and their works
to an ever-growing number of collectors.
Pierantonio Maria Micciarelli
05 – 16 March 2019
This exhibition will celebrate 36 years of art practice of Houria Niati who arrived in London in 1977. From oil painting to oil pastels to digital art, the spectrum of her work is vividly expressed through all those years of intensive dedication. Houria’s most powerful installation No To Torture (based on Delacroix’s famous painting The Women of Algiers) launched her career in the 80s in London. The central panel will be shown to mark the beginning of Houria’s journey.
Several of her installations (Bringing Water from the Fountain has Nothing Romantic About it) in which she explores Orientalist images and colonial postcards have built her reputation internationally. Most of Houria’s work is intimately self-referential, documenting her own multicultural history. Family photos and snippets of the past are hidden behind a veil of whimsical calligraphy written in English, French and Arabic and selected from the artist’s own poetry, questioning the process of integration and what it means to live with several languages/cultures simultaneously.
Her work is idiosyncratic, based on multi-facet identity and issues resulting from dichotomy, displacement/multicultural environments and experience of war. The artist continues to develop work in forms such as painting, drawing, poetry and singing performance, since 2002 when she purchased her first computer her artistic practice has expanded to include digital media (video installation, digitally manipulated photos) where the artist continues to explore notions of identity and displacement. Her recent paintings have a strong connection with the French movement of Fauvism (vivid colours and spontaneous marks on canvas).
Houria was born in French Algeria where she lived through the war for independence (1954-1962). She was only 6 when she heard the first bomb that launched the war that lasted 7 years. Her passion for art started when she was very little, following the foot steps of her father who was a self-taught landscape painter, inspired by French art. She trained in Community Arts in Algiers. She came to London in 1977 and studied Fine Art at the Croydon College of Art and an MA in Fine Art at Middlessex University. Houria has exhibited widely since 1983, visiting the US, Europe and Middle East. In 2015 she contributed to the Venice Biennale invited by Global Art Affairs showing at the Palazzo Mora (Crossing Borders).
Houria Niati lives in Ealing, West London. She is an active member of the Ealing Beat Art Festival Committee. To find out more about Houria website please check out her website: www.hourianiati.com
25 February – 03 March 2019
Celestine is fascinated by painted colours on different materials and in different spaces. She believes colours and coloured painting can evolve into a new form of painting through the relationships with materials and spaces. Celestine is interested in physical phenomena of different colours on various materials and dimensions.
She has not portrayed and illustrated things in her practical works, but focused on creating phenomenological illusions, through materiality of her painting materials and spatiality of her painted objects and exhibition space. Based on her interest in materiality and spatiality, from a stretcher frame to out of the wall and gallery spaces, she has contemplated ‘What is contemporary painting?’ For this exhibition, she shows phenomenological aspects through different types of her works, such as paintings, photos and installations. Celestine suggests viewers experience the phenomenological aspects from her works.
Celestine Kim is an abstract painter and an installation artist. In Dec 2017, she received her PhD of Art from University of Reading in the UK. Celestine has exhibited her works and has done curatorial works in the UK, Belgium, Germany, the US and South Korea.
For more about the artist see Celestine's website.
12 – 23 February 2019
We live in a complex society where diverse cultures and communities are mixed. Our modern living environment requires us to have multiple identities, often by our own choices.
J Roh (Jung yun, Roh) was born in Seoul in South Korea in 1976. Throughout her life, J Roh has always been fascinated by the dynamic cultural changes of her living space. The interest was further developed when she moved to London in 2010. Since she moved from the eastern to western society, she realised that the true nature of existence is the same, but the identity can be changed based on different socio-political circumstances.
Her major subject areas are questioning the standardised social categories and the power structures of multiple identities. Her viewpoint is not about finding ‘who am I?’ and ‘where do I belong?', rather she tries to articulate how pre-existed power structures and typical social standards dominate an individual's real life. Repetitive walking and drawing are her primary methodologies to explore the subject issues. She argues that the identity is choosing; exploring ambiguous, blurred identity between binary categories.
Based on the personal experience, J Roh captures the evolution and development of the spaces and places around her. Her previous solo exhibition entitled ‘Freshly made in the street' (2018) was a visual Venn diagram, presenting the artist's three different identities – a manual labourer, artist and immigrant. All three identities are very different but they co-exist.
The current exhibition is the development of her previous solo show at the Willesden Gallery. ‘Floating Island’ consists of abstract drawings created on a daily basis since March 2018. The show also includes sound that deals with issues based on J Roh living experiences in London. It aims to represent the uncertainty of the present circumstances of the UK.
J Roh graduated from Hong Ik University with B.F.A and M.F.A, South Korea, and also graduated from Chelsea College of Art with MA in 2011. She is currently a Ph.D. candidate in the Fine Art department at Reading University, UK.
29 January - 09 February 2019
Srabani’s debut show Marking Marks is an ensemble of 2D prints and 3D ceramic sculptures. The common thread running through both bodies of work is the different media used to explore how mark making can express and capture personal identity, telling stories of lives and moments lived.
Srabani is a sculptural ceramicist and an artist. Her heritage defines her and also influences her work. Srabani grew up in India but was born in the UK and lives here now. Her mother was an artist, her father an engineer.
Studying Ceramic Design at Central St Martin’s she learnt to master the medium of clay to give artistic expression to themes that span time and cultures. By taking universal themes and exploring them in unexpected ways the intent is to delight and excite the viewer by making him or her rethink the everyday.
Jaama, meaning garment in her native language Bengali, is a series of sculptural vessels that explore the relationship between personal identity and how that plays out in the garments we wear. This body of work is rooted in her quintessentially Indian delight in observing people in their everyday activities. The question that she often ponders is what do they see in the mirror each morning? Is it an image of themselves or it is the body image stereotyped by the media? What makes the garment; the person who wears it or the patterns and textures that adorn it? A garment is made unique through its wearing, much like our lives. Fired in kilns at century old HG Matthew’s brickworks, the creation of each piece is a journey, which its uniqueness tells the story of. The brick plinths make this connection.
Mai Hu, meaning ‘I am’ in Hindi, is a digital reproduction of a series of 8 drawings. Multiplicity of roles is an enduring part of what defines every woman. Each day brings a new challenge and with it, new incarnations of her self-step forth. Using ink and paper Srabani has tried to capture the moods and modes that jostle to take their place in her person. These musings were made whilst riddling her way across London ever dancing between the spirits of mother, maker, thinker and explorer of creative possibilities.
Creatures of the Womb is a series of images created using original Victorian obstetrical instrumental drawings and prints. These were altered through hand drawn marks reminiscent of Srabani’s habit of doodling on notebooks in school. The scanned images were brought to life through collage and repetition on a digital medium to give birth to abstract creatures and patterns.
Portals to Willesden
22 – 26 January
Portals to Willesden is an exhibition hatched from a two week artist residency at the Gallery
at Willesden Green Library. The daily workshops focused on the library both physically and
conceptually, and the work created by participants is featured as a central part of this
exhibition. These sessions were a great way to discover Willesden through people who have
shared their past stories, experiences and future dreams.
The exhibition contains twelve brand new artworks of NW10 that have been created during
the residency. The illustrative designs have been influenced by Brent Museum and archives;
as well as local industry, popular culture and imagination. Outside the gallery window on
Grange Road are three sets of sonic portals, two of which connect together, the other
remains a mystery. The exhibition taps into the fantastical side of Willesden Green and its
These local images have been weaved together with some very recent pieces from where
the artist lives in south east London.
Barnie is a visual artist working in illustration, documentary and installation. Her interests lie
in heritage, culture and socio-politics presented with a playful twist. Born and raised by the
mysterious Loch Ness she is now digging deep into the murky depths of SE and NW
London. Currently she is focusing on exploring and depicting London based on archives
fused with imagination to create surreal cityscapes.
She has worked with local councils and arts festivals in London to create site specific
installations and street art. Recent projects have provided playful twists on literary
references to historic locals for Greenwich Heritage Arts, and creating and producing murals
to commemorate former local residents H G Wells in Sutton and Charles Dickens in New
Barnie has directed and produced short documentary films which have been screened at
Edinburgh International Film Festival and won awards at Open City Docs Fest. She has also
created installations for festivals including Boomtown and Shambala.
Willesden Gallery Artist Residency
ART WORKSHOPS and EXHIBITION BY Emma Barnie at the Willesden Gallery. Brent Culture Service has invited Emma Barnie to run an artist residency at the Willesden Gallery during the period of
7 Jan - 29 Jan.
During the residency Emma plans to create a series of unique local illustrations influenced by the Brent Museum and archives. Through regular public workshops she will help facilitate the creation of a large scale collaborative illustration of the Library itself, which will then be featured in the exhibition from 22nd - 26th January 2019 at the Willesden Gallery.
Drawing Willesden workshops
The free illustration workshops will involve creating a collaborative large scale illustrative piece for the final exhibition. Emma will create the framework for the design of the Willesden Gallery, where participants can work on detailing and adding to the drawing during drop in sessions which will be tailored for different groups. The activity will be artist led and encourage people to use their imagination to create a local and unique artwork. Inspiration based on archival research will be on display to help spark ideas as well as pens and collage materials. The materials used by public will be pencils and markers, and collage will be created with double-sided tape which is mess free and is non-toxic and anyone with any artistic ability will be able to join in.
This is a playful activity for a range of ages and abilities and will be tailored to children and parent, after school and elderly groups respectively.
Emma Barnie is a visual artist working in illustration, installation and film. Her interests lie in heritage, culture and socio-politics presented with a playful twist. Born and raised by the mysterious Loch Ness she is now digging deep into the murky depths of SE and NW London. Currently she is focusing on exploring and depicting the city based on archives fused with imagination to create surreal illustrated cityscapes.
She has worked on site specific arts projects through commissions in Sutton, Greenwich and Southwark. Recent projects have provided playful twists on literary references to historic locals (Greenwich Heritage Arts) and creating and producing a permanent mural to commemorate local residents H G Wells (Sutton Council) and one of Charles Dickens (New Cross). Emma has directed and produced short documentary films which have been screened at Edinburgh International Film Festival and won awards at Open City Docs Fest. She has also created audio visual installations for the children’s areas of Boomtown and Shambala festivals.
Find Emma Barnie's work on Instagram @barnieemma
Agnieszka Handzel and Paweł Kordaczka
27 November – 15 December
The artistic tandem of two people, Agnieszka Handzel and Paweł Kordaczka, had its beginnings in their love of painting.They share their roots too, since they both were born in the borderlands of southeastern Poland. That’s where they went to school and that’s where they first experienced art at Fine Art Lycée. They say, that they learnt to ‘breathe art’ there.
Further art education was completed at the Art Institute, part of the Silesian University both finish-ing with MA, in 2001. In the same year, they were both recipients of the German Paderborn Volksbank Young European Artists Award. They moved to London and found their place in Willesden Green, not far from the Library. As members of APA (the Association of Polish Artists in Great Britain) and ‘Page 6’ small artists’ group, they exhibit regularly in Europe and the UK.
Paweł Kordaczka (1974) doesn’t like to talk about his inspirations, or explain his art: he thinks that paintings should ‘talk’ to the viewer in their own language, allowing for personal interpretation. A large part of his works bear no titles, they are ‘Untitled’. In his words: “Maybe despite of that, or maybe because of that, after few moments of contemplation, the viewer starts to have his own, sub-conscious associations, personal and different to everybody else”.
The geometric compositions of his canvases draw you inside. Oscillating on the border of abstrac-tion, they invite you in, until you give them your own title, or write your own, personal story con-jured up by the image you see. At the same time, the abstract soul of the paintings is clearly visible through the shapes, the flat colour surfaces, the transparent glazes, to satisfy even the most discern-ing lover of abstraction.
Agnieszka Handzel (1976) says she paints with emotions while the paintbrush is only a tool. Some-times the tool is accidental; a rusty nail, a shell found on the beach, an old dried up twig. Her paint-ings are lyrical but bold, sad and humorous at the same time. They are flirting with the viewer, sometimes hiding a deeper erotic meaning behind the mask of the innocent comical faces of her elongated figures. She loves poetry, the poetry of everyday reality, but rejects the convenances and masks we hide behind, and instead asks the viewer to laugh with her at the naked truth of life.
In her paintings the viewer is often confronted with a figure of a woman caught with a certain ges-ture, a smile, or a glance. Sometimes there is a prop: an old bath tub, chair, or a cat. Sometimes an-other figure comes into the picture, mostly a man often naked, comically serious and a story is born. There is a narrative that gets under our skin when we look at her paintings, as we recognise our-selves in them, the situations, and the silent dialogues that occur between a man and a woman, the erotic ambiguities, the unsaid, the imagined, the never-happened.
06 – 17 November
Private view: 08 November 5 – 8PM
Maryam Mirzaei’s innovative approach to the traditional Persian art of miniature painting is a reflection of her personal journey as an artist. Although she started her formal education in textile design and fashion, her journey then took a different direction when she became interested in classical and contemporary miniature painting, which proved to be the focus her art.
Maryam’s studies in Persian carpet design enabled her to incorporate many of the techniques and motifs into her later painting practice. She then started her professional career as a designer at a major corporation, while teaching art on a part-time basis.
In 2001, Maryam was invited to join The Art Centre, a well-known centre of excellence in the arts in Iran, as an apprentice. This is the usual way artists that are trained in the traditional art of miniature painting in Iran. Whilst at the centre, Maryam came into contact with many other artists who influenced her style and practice over the coming years. In 2004, Maryam received the Diploma of Honour, a prize given to young artists as recognition of their innovative work, and in 2005 won two further competitions in Persian and Islamic art (painting). In 2005 Maryam had her first solo exhibition in Iran, immediately followed by exhibitions in Kyrgyzstan, Turkmenistan and Pakistan.
In 2007 Maryam came to study in London, in order to develop a wider perspective on art and to benefit from the variety of art and artists practising here. She studied Fine Art at Kensington and Chelsea College, then joined The Prince’s school of Traditional Art as a master student, and is currently studying an MA in Islamic Studies, which led her to explore many issues and styles in contemporary fine art practice, traditional arts, and theory.
Alongside her research and studies in the arts, Maryam ran various painting workshops and held several exhibitions in London, Durham and Leicester.
Maryam’s artistic journey has taken her from the worlds of textile and carpet design to miniature and contemporary painting, resulting in a unique artistic style and identity, which is best described as a contemporised traditional art.
Jhanas: Visions of The Mind
23 October – 03 November
In Buddhism, Dhyāna or Jhāna is a series of cultivated states of mind, which lead to a "state of perfect equanimity and awareness." The act of making art often creates a trance state within the artist. The work becomes an output for thoughts that were born in higher state of mind, therefore reaching deeper into the human soul. This exhibition is a collection of works by Maciej Jedrzejewski, created in this manner. Short films documenting such live painting session, will be shown amongst paintings both on canvas and cloth.
Maciej Jedrzejewski was born in 1993 in a small quiet town called Chelmza, located North West of Poland. He graduated with a degree in BA (Hons) Graphic and Digital Design at The University of Greenwich in 2015. He moved to England with his family in 2005, when he was just 11 years old. The family lived in the heart of Peckham which was the first point of contact for the artist with African culture and Hip-Hop culture. This combination of spirituality and rebelliousness is an endless source of inspiration for the artist. As he continues to walk on the path of life, he uses his art as a diary for a later contemplation upon the events within his life. This results in work that finds its roots in Surrealism and Abstraction. The works are created in a semi-automated fashion, a huge part of what is spilled out onto the canvas and depends on where his subconscious will lead him. Therefore, the work is discovered during the process of its creation. Greatly inspired by Buddhism and lucid dreams the artist hopes to achieve the sense of escape and arrival. The fuel for his passion is the belief that art (especially painting) can once again awaken divine emotions within an individual. In 2017 Maciej has joined APA (The Association of Polish Artists in Great Britain Est.1957) He is an active member of the association. So far he has exhibited in POSK Gallery, La Galleria Pall Mall, Ben Uri Gallery & Museum, Space Gallery, Dark Sugars Cocoa House, Ben Oakley Gallery, Ladywell Gallery, Stephen Lawrence Gallery, The Take Courage Gallery, Uthink PDP and The Polish Hearth Club.
CARPET PAGES I
02 October – 13 October
Private View 04 October | 6-9pm
Presented by artist and curator Vaishali Prazmari
Mahrukh Bashir | Jethro Buck | Israa Zahra Butt |Elisabeth Deane | Lisa DeLong | Shaheen Kasmani | Amber Khokhar | Vaishali Prazmari | Shorsh Saleh
Carpet Pages I is the first in a series of group shows presented by artist and curator Vaishali Prazmari featuring a variety of artists involved with the Book Arts, both Islamic and European, and their dazzling title or opening chapter pages which were called Carpet Pages. These exquisitely detailed and highly ornamented and illuminated surfaces were covered in arabesques and geometric patterns and often included the use of gold and jewel-like, precious pigments. They were a showcase for the Book Arts and a demonstration of the artist's mastery. The talented artists in this inaugural exhibition are all adepts in their craft and their exciting and beautiful work - ranging from paintings to textiles, geometry to figuration and traditional to contemporary art - is testimony to their manifold skills. As book pages are sequential, so future shows will build on this important first chapter. The curator's love of carpets also reflects the wider goal of this show sequence which is to bring together diverse artists with similar interests into a whole; to unite disparate elements into a unified pattern, which is one of the goals of rug-making itself. Carpets are visual feasts for the eye and this first iteration in the Carpet Pages cycle promises the same.
Mahrukh Bashir is an international artist who is known for her delicate, intricate paintings with hand-ground gold. She offers workshops from her studio in Wimbledon and is a tutor at the Prince’s Foundation School of Traditional Arts.
Jethro Buck is an artist that applies traditional principles and techniques (mostly Indian miniature ones) to explore and celebrate nature and Beauty.
Israa Zahra Butt is dedicated to the revival of historical crafts from the Islamic world and has been inspired by Islamic pattern, geometry and the beauty of nature. She specialises in traditional textiles; natural dyeing, painting and embroidery.
Elisabeth Deane is a painter making contemporary art with a traditional twist. The abstract, geometric nature of her work represents both the simple and the universal, the micro and the macro and the interplay of these dichotomies.
Lisa DeLong’s work explores the dynamic interplay between chaos and cosmos, light and colour within the harmony of a geometric matrix.
Shaheen Kasmani is a visual artist, educator and curator. She specialises in Islamic Art, and her work focuses on reclaiming narratives using traditional patterns and motifs, and mixing them with conventional and contemporary contexts.
Amber Khokhar’s Entwined is inspired by the Cypress Tree motif, popular in the arts of the Islamic world. Prints from this series have been shown at Queen’s Museum of Art, New York, USA; The Princes School of Traditional Art, London and VM Gallery, Karachi, Pakistan.
Vaishali Prazmari is fascinated by the age-old collisions and overlaps between the ancient and modern, east and west, macro and micro. In her practice she makes connections between seemingly disparate methods and materials via their natural sympathies.
Shorsh Saleh employs the traditional techniques of miniature painting in a contemporary context. His works are inspired by the symbolic motifs in traditional carpets and kilims. He uses natural pigments, gold leaf and handmade paper.
For all enquiries please contact: firstname.lastname@example.org
14 September – 29 September
‘Before Winter’ is a manifestation of Olga Karlovac’s book of the same title. The exhibition features monochromatic abstract images in Karlovac’s inimitable expressionist style, portraying a mood, a story, a memory...an enchanting dream world!
‘Before Winter’ signifies Karlovac’s rising emergence in abstract and street photography. A professional intent and attitude towards announcing her remarkable and captivating images, to an eager, passionate and growing audience and heralds a new and sensational talent from Zagreb, Croatia.
Karlovac’s unique style of urban photography features reflections and distortions. With many images taken through windows, often on rainy days or in motion, preferring to use hand movement with slow shutter speeds, leading to her subjects appearing as detached shapes that verge on abstract expressionism.
Karlovac’s photographs have been exhibited across Europe and featured in numerous magazines, including Eye Photo Magazine. Karlovac has published two books the most recent of which ‘Before Winter’ - was reviewed by former ‘Time’ correspondent and author William Thatcher Dowell, who described it as “a significant achievement”. As well as being on sale at the bookstore in Portugal’s most-visited modern art museum, Museu de Coleção Berardo in Lisbon, it has also been sold online to countries as diverse as USA, UK, Germany, Australia, Thailand and Japan.
For the opportunity to own the mystique of Olga Karlovac’s photography with a signed 164 page book and a limited edition signed print please contact email@example.com
For a further insight, please visit Karlovac’s website.
No More Home - Work!
29 August - 11 September
No More Home - Work provides a space to reflect on the experiences of South Asian families in Britain, the forces shaping the South Asian family structure and the struggles facing women and young girls.
This collection is made up of 18 artworks. Some of these are paintings as displayed in this exhibition and the other seven are available to see as prints. Drawing on events such as the Rana Plaza disaster in Bangladesh, the attacks in the name of ‘love-jihad’ in Muzzafarnagar, India and the Apna Haq (Our Rights) protest to save their series in London, Sarbjit Johal’s oil paintings draw on photos and experiences of individual and collective struggle.
The paintings question the hierarchies of the family. They highlight how racism and patriarchy shape the structure of the South Asian family to serve the national economy and what it means for women and girls. As well as representing some of the experiences of living as an Asian Woman in Britain, Sarbjit’s paintings raise questions about the way South Asian Communities are seen. They inspire us to dream of new ways of producing and reproducing ourselves.
Sarbjit Johal is a self-taught artist. All the paintings, text and the ideas for this exhibition have been developed and produced with the help and guidance from her family, friends and members of South Asia Solidarity Group and Freedom Without Fear Platform.
Sarbjit Johal was born in Uttar Pradesh, India 1961. As well as being an artist she has been involved in the Burnsall Strikers Support Group between 1992 -1993, and more recently in the Justice for Jennifer Dalquez campaign. She has also campaigned against Human Rights abuses in South Asia.
Find out more about other projects on the Mirrors and Mountains blog
06 August – 26 August
Private view: 08 August 6 - 9pm
A series of works by a group of young and emerging artists, curators and writers of colour.
“Colour” is a noun. Colour is a property of the object or the subject. Colour produces varying sensations on the eye. Colour has the ability to be loved and be detested. Colour is subjective. Be it the abstract word of colour or the antonym of colour, these artists explore the varying definitions of colour and its many identities.
Many of the artists featured here at Willesden Gallery have been politicised by the current socio-political topics of migration, gender and race. They, as artists, address the question, “what does the idea of ‘colour’ mean to you and your work?”
As these artists are people of colour, they are the ideal candidates to address the current state of affairs. They are the generation to whom all these debates within political offices in the UK, the United States and worldwide will have the greatest impact on. In order for us to progress as a society, these are the people whose perspectives we must seek. “Coloured” perspectives.
The various artistic practices being debuted in this show display vividness in subject matter, drawing together the vibrancy of lived experiences through sculpture, painting, film and installation.
Sabrina Mumtaz Hasan, Glo Orpilla, Michael Taiwo, Sophia Abassy, Ashton Attz, Akari Yasuda,
Chi Bagtas, Rayvenn Shaleigha D’Clark, Carianne Annan, Shannon Bono and Queenie Djan
Curated by: Carianne Annan
Freshly Made in the Street
11 July – 04 August
In the exhibition I attempt to emphasize both physical and psychological experience I have had in London, showcasing my work experience as an immigrant manual worker at Pret A Manger, United Kingdom's food retail sandwich shop.
From 2016, as a way at still being part of the system but not being bound to it, I started to draw my day on the way home every day after work. Through the daily process, which repeated itself day in, day out, I aim to find minor differences and meaning in life. From the perspectives of urban workers, the symbolic identities of the global city is disappearing, and the character of the city turns into an anonymous passage to and from work. There is no room to experience and enjoy sightseeing spots in London. I try to articulate the subtle changes of everyday scenery in London and disclose the city worker's repetitive daily routine.
Through 250 drawings and video*/sound, the viewer gets a glimpse of everyday changes that I encounter while living and working in London. I intend to reveal the identity of a modern urban citizen as an artist and an immigrant female worker.
J Roh was born in Seoul, South Korea in 1976. She graduated from Hong Ik University with B.F.A and M.F.A, South Korea, and also graduated from Chelsea college of Art with MA in 2011. She is currently a PhD candidate in the Fine Art department at Reading University, UK.
Eating At the Same Table
19 June – 07 July
Rochelle White, Hamed Maiye, Nwaka Okparaeke, Gabriel Choto, Zeinab Saleh, Kobby Adi, Georgina Johnson, Ebun Sodipo, Lilian Nejatpour and Nadeem Din-Gabisi
Eating At the Same Table is a new collective of emerging artists, curators and writers of colour. Made up of students and alumni of British art institutions including: Slade, Central Saint Martins, Camberwell, UCA and Goldsmiths. EAST have come together with Willesden Gallery at The Library at Willesden Green to deliver an exhibition documenting current works, works in progress and thought processes from 9 of EAST’s artists. This exhibition is a collaborative effort from EAST adopting various disciplines to explore intertwining themes and propose new realities.
Many of these works hone in on archival and deliberate approaches to cultural identity as 1st, 2nd and 3rd generation African, Caribbean and Middle-Eastern immigrants. Sharing common space with Brent Culture Service’s most recent exhibition celebrating 70 years since the Empire Windrush docked in the UK, featured artists have explored the complex intersections of blackness, cultural identity, gender, memory and digitalism. This exhibition is a manifestation of our collective lived experiences, discussions and thought processes through employed languages, highlighting colonial legacies and questioning ideas of consumption and spirituality.
Founded in September 2017 by Bold Tendencies’ Director of Education, Sasha Morgan and multidisciplinary artist Rochelle White, Eating At the Same Table has been dedicated offer the grass roots support & guidance young creatives need as they navigate an art world that can often seem all too intimidating to the uninitiated.
Educational as well as celebratory, join us for our Late with EAST on Friday 22 June 6-9pm and our reading and discussion group on 26 June 5-8pm.
For more information on EAST’s work visit the Bold Tendencies website
by Nicholas Cheeseman
June 06 - 16 June 2018
‘… they are convenient labels used to describe how things function in relation to each other and the universe. They are used to explain the continuous process of natural change … they represent a way of thinking. In this system of thought all things are seen as parts of a whole. No entity can ever be isolated from its relationship to other entities; no thing can exist in and of itself.’ Kaptchuk, T. J. (1983). The web that has no weaver
Nicholas Cheeseman likes to record and intervene in the natural process of change. He is interested in the tension created between contrasts, and balance when they shift from one to another. At its most simplistic his practice observes the relationship between man and nature, but this extends to growth and decay, soft and hard, constructive and deconstructive, internal and external, black and white and numerous other pairs of complementary opposites.
Nicholas uses drawing and embroidery to depict a singular moment of change, and sculpture to replicate the transition. Through a simple technique of pointillism, using a 0.5mm pen, he fastidiously records lines, forms and structures using different densities of dots to create tones. These works are carefully planned from photographs he takes and edits. His embroidery exchanges dots for stitches and are accentuated by the addition of colour. The sculptural works result from a more spontaneous act responding to the feel and look of the wood, its age and its grain. There is no plan or sketch for the work prior to carving. Thoughts and ideas are generated through exploring the potential of the material.
The techniques used to create the works are embedded in a language of repetition and obsession. At times they border on meditative, yet the initial stages of carving are very destructive and stitching extremely frenetic. Thus the complementary opposites that are the focus for the work are also reflected in the manner in which the work is made. This notion is infused throughout the work, evidenced in the outcomes that cannot be disentangled from their means of production.
Throughout the work there is a fascination with the aesthetic of the incomplete, the imperfect and the impermanent. Factors that usually result in objects being discarded or identified as detritus are deliberately used to challenge the notion of value. By juxtaposing materials and processes and forcing them to interact the aim is to question how value is assigned to the objects, materials and labour involved in their production.
The work is an extension of his interest in eastern philosophical practices. The Japanese aesthetic of Wabi Sabi which celebrates the beauty of things modest and humble and Chinese Yin Yang theory of complementary opposites create much of the context for the work.
Nicholas graduated from Staffordshire University in 2001 with BA (Hons) in Fine Art. In 2012 he completed an MA in Fine Art at Chelsea College of Arts UAL. In 2016 he was Artist-in-Residence at the Muse Gallery. He was Grand Winner 2017 of the East Arts Award Competition and is travelling to Japan for a Residency in 2019. He exhibits regularly in London and in the UK, Internationally and has commissioned works installed in America, Australia and India.
Therapy & Sauce
May 22 - 02 Jun 2018
A visual endeavour and curation of the past and present narratives of self-awareness, heritage and perseverance. Therapy & Sauce explores feelings of nostalgia, memories and contemporary themes of identity. The series of works displayed are inspired by colonial experiences of British-Jamaican individuals. Some of the exhibits from the collection are inspired by the sculptural work of Ronald ‘Midonz’ Moody. The use of primary source Blue Mahoe wood cultivated from Jamaican soil enhances the concept of heritage.
Kaye-Anne Smith, aka R3times, as she is creatively known, graduated at Middlesex University with a BA (Hons) Fine art in 2017. She works in a variety of media such as painting, sculpture, and printing and uses a variety of material including cloth, paper, wood and wool/gold based prints.
Her collective work portrays a visual rhapsody, which is executed in a contemporary and abstract style aiming to represent cultural identity. It is the very renaissance of the Jamaican diaspora that is preserved in her pragmatic use of patterns, symbolism and portraiture. R3times’s work is to champion the past and present people that migrated from the island of Jamaica.
“Colour creates mood, texture intrigues & portrait identifies”, R3times.
09 – 19 May
Private View: Thursday 10 May 6-9pm
Stormcloud by Benjamin West draws its inspiration from an essay by John Ruskin, which describes the effects of early industrialisation on weather patterns.
In this exhibition the artist, BenjaminWest, presents a body of graphic and collage work influenced by nature and ecological issues.
These works were created by compiling a variety of resources, which are fragmented, lost, or unwanted from West’s surrounding environment. Following the principles of natural observational science, he passionately collects old books, photographs, pressed flowers and plants.
Discarded botanical and mechanical forms are combined with natural artefacts to examine the human impact upon the natural environment. Genetic modification, pollution, and urbanisation define the works in this exhibition.
Benjamin West is a multi-disciplinary artist using nature as his main inspiration. Through the mediums of collage, photography, sound, film, and scanography, his practice examines our ever-changing relationship with nature, and investigates the consequences of human activity upon our surroundings.
Creating pieces which are cut and arranged by hand is integral to his practice. He employs digital techniques only for archiving and reproduction. Whilst his work possesses a playfulness, this belies West’s intention to communicate a serious environmental and political statement.
Benjamin was born in Alton, Hampshire in 1974. He graduated from London College of Communication in 1996 with Ba (Hons) in Graphic and Media Design. In 2003 he went on to complete a Postgraduate Diploma in Photography at Falmouth Art College. He has since been involved in many creative projects using a variety of mediums in the UK and around the world.
He currently lives and works in London