Special opening with artists present Sun 17 July 1-3 pm
Tours of show with me: Fri 29 July 5-6 pm
|Blue plain pierced by striking red continuum (and a delicate apparition by a friend), 2016|
Assemblage of found objects - Includes: 9 musket bullets, roman ring with embossed lion, abolition token.
ON STUDIO LIFE: I constantly travel between three countries. I hold studios in Portugal and the UK, and would love to be able to establish a studio in Russia. Yet the different visas, the permissions to work, the overall feeling of transgression on another's space — something I have not felt in the EU — makes Moscow the most difficult of my 'homes’.
Alzbeta Jaresova – UK / Czech Republic
The mixing of ideas, talent and cultures is what has kept me and thousands of other artists here. Its diversity and openness spearheads progress in the artistic community.
|Spatial Composition, 2016|
Two traditions of architectural geometry and their psychological impacts feed into Alzbeta
Jaresova’s combinations of plan-like models with figures in drawings and paintings: on the one hand, the blocky pre-fab concrete building of the Soviet era housing in which she grew up, on the other the airy modernism of London’s expanding skyline. In both cases she explores the interface between impersonal and potentially depersonalising structures and the way in which individuals experience themselves within the resulting spaces. You might call the resulting tableaux an exploration of the phenomenology of habitation. The mock-ups combine an implicit critique of utopian thinking in the architectural realm with a parallel window onto social isolation in what Jaresova sees as ‘the aggressive technological era in which we live’. Here the drawn hands act in spaces topologically analogous to the models. Moreover, the precise delineation of bodily elements comes out of a technique which builds in its own constraints: Jaresova sets her drawings up on a very light grid, and limits her gestures, as if in her own equivalent of architectural construction, to horizontal and vertical lines.
|Position XX, 2015|
Since moving here to study in 2011, Peckham has become an important part of my identity as a London-based artist, and I am part of a larger artistic community, which has seen my work develop. I’m in the Bussey Building, originally a Victorian sporting goods factory, which was built to allow for maximum natural light and has a bustling nature which seems ingrown.
Simona Brinkmann – UK / Italy
|Installation view with Bridges Become Doors (2012-2016)|
In London you can meet anyone from anywhere. Everyone brings something unique, and it creates a sort of equal footing in my mind as no one is completely at home. It greatly relativises your own viewpoint as you engage with different perspectives from all over the world.
Leftover geometry, 2013
I like being in London for its unceasing activity and hecticness. The relentless flow of everything coming at you is both nauseating and exhilarating and this is an important subject of my work.
|Conny Freyer making the smoke bomb piece|
|Petite Mort, 2016 - lightbox|
|The Fall II, 2015|