The Way Through The Forest
2nd – 13th November 2021
Punam is inspired by the ever changing and evolving nature of gardens and forests. Her abstract artwork is influenced by the landscapes, forests and gardens of Assam and England. In her first solo exhibition, Punam’s abstract paintings explore the spiritual qualities of forests, inspired by the power of nature and trees to create mindfulness and reduce stress.
The artist spent much of her early life immersed in the forest environment. The cycles of transformation and growth and her memories of the wilderness are reflected in the textures of her work.
For her, forests are a place of mystery as well as discovery, representing resilience, transition and change.
These qualities, rediscovered during lockdown walks through London’s ancient woodland, have been a source of strength, healing and inspiration during the pandemic.
This exhibition shares some of the work created during this period, emanating the meditative and contemplative emotions often felt when dwelling amidst the trees.
Punam works using acrylics, pigments and gouache. She uses canvases as well as wood, bamboo and casement cloth to paint on. The layers and textures in her paintings are influenced by what she saw in the forests as a child and she uses concrete and plaster to create these effects. Her work is colourful, reflecting the vibrancy of nature and of life.
Punam was born in a tea garden in Assam, India, and grew up in the foothills of the Himalayas. She has lived in London since 2000.
Punam gained a Post Graduate Diploma in Social Communications Media from the University of Bombay, Sophia College. She worked for many years in the 1990s as an advertising film director. Punam is a self-taught artist and in recent years, she has used her artistic practice as a way to re-engage with her creative past
This exhibition is dedicated to the memory of her beloved son Jai. A percentage of the proceeds from the show will go to Great Ormond Street Hospital.
An exhibition of work exploring the visible and that which is hidden from sight.
Phoenix Contemporary Textiles
16th November – 27th November 2021
Artists from the South London based group Phoenix are pleased to present work from their latest exhibition, SeenUnseen at the Willesden Gallery. The work of the eleven-strong group of artists explores interpretations as diverse as climate change, biodiversity, graffiti, mindfulness, politics, memory and fantasy.
Bringing together a number of works from various art forms, including textiles, photography, sculpture, painting, mixed media and printmaking, the exhibition showcases the artists’ varied creativity.
Artwork is for sale, unless otherwise stated, with all proceeds going directly to the artists.
|Alison Hird-Beecroft||Lynne Butt|
|Jo Coombes||Maria Walker|
Marie- Ghislaine Beauce
|Kate Davis||Rosaline Darby|
Phoenix Contemporary Textiles brings together artists with established diverse textile-inspired practices and holds exhibitions every two years, with artists employing diverse methods and a variety of media to create large and small scale two-dimensional work, sculptures and installations. Our exhibitions offer a showcase of different perspectives on a common theme. Our monthly meetings allow us to create a continual dialogue about our work.
HANGING BY A THREAD
Carousel Textile Artists
30th November - 11th December 2021
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 theme Hanging by a Thread both exposes and celebrates their concerns about the changing world around them and their individual responses.
The group challenges 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|
Corpus: A Presentation of Bodies
Stanislas (Sławomir) Blatton
14 Dec 2021 - 7 January 2022
Surging through the exhibition space, a corpus of paintings perform corporeality. This selection has been drawn from a much larger body of work in watercolour (over 600), created over a ten-year period, by London-based artist Stanislas Blatton, who has committed to a practice of extraordinary physiological attentiveness. There is nothing tame or genteel about these watercolours. The dribbles, bleeds, stains, puddles, blooms of the medium become equivalents for mottled, pulsating, historiated skin; for breathing, flexing, sagging, emotional flesh. Watercolour becomes both metaphoric and metonymic of body fluids and flows. The gestural movements of the medium register shifting rhythms and exchanges of bodily energies between artist and model.
On one level, this corpus presents tight conceptual and material seriality. All works consist of rich watercolour worked into thick handmade paper, A1 format. All works represent anonymous, naked female models, detached from specific contexts of time and place. None of these works, Studies for a Figure, are distinguished through titles or dates. None of the bodies appear to drive outwards from standing poses but explore myriad extensions from compressed or horizontal positionality, although none are visibly grounded. The repetitive folding and unfolding of bodies come from performances enacted in private space, beyond normative social codes. The re-presentation of the bodies, detached from context, enhances a sense of liminality. Made to float on the white ground of the paper, the gravitational pulls which contoured their forms on the floor of the studio, are now released, furthering corporeal potentiality for bodily becoming.
From a Polish heritage, Blatton has, characteristically, drawn strategies from European Expressionism: the heightened colour, gestural marks, figurative distortions used by early 20th century male artists such as Egon Schiele, Kokoshka and George Grosz. However, his training in the Warsaw Academy of art in the 1960s, early 70s, happened at a time of progressive cultural politics which led to engagement with the critical and subversive practices of performance, conceptual art and counter-cultural politics of feminism. Unlike Schiele’s nudes which are pinned down by incisive lines drawn from a lingering voyeuristic gaze, Blatton’s bodies are fully performative and participatory; unruly, grotesque bodies which palpitate vibrantly; continually morphing between states and identities. In this respect, his work has something in common with the highly speculative figuration of contemporary female artists such as Wangechi Mutu and Ellen Gallagher whose practices have responded to recent posthumanist thinking about identity as hybrid, multiple, nomadic.
Written by Lizzie Perrotte July 2021