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
Eating At the Same Table
19 June – 7 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.
9 – 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