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SUMMARY:Let's talk about you and me - Rebecca Brodskis
DESCRIPTION:Private View: Thursday\, 3rd of November\, 6:30-9 pm(London Bridge). \n \nWide-eyed\, solemn figures stare out at the viewer from brightly coloured backgrounds\, at once bold and spectral\, familiar and strange. While Rebecca Brodskis’ previous paintings were based largely on memories of friends or the lingering images of people she passed on the street\, these latest portraits are drawn entirely from her imagination\, creating a deeper sense of interiority. Let’s talk about you and me; the artist’s fourth solo exhibition with Kristin Hjellegjerde Gallery contemplates how we modify our behaviour to align with social expectations and connect with others while sometimes repressing parts of ourselves. \n \nBrodskis’ portraits result from the slow\, meditative process of oil painting which requires the artist to wait for one layer of paint to dry before she can apply the next. As such\, her compositions are precise and graphical in style. Each line is carefully delineated so that as you approach the canvas\, the figures are abstracted into shapes\, floating within a decontextualised\, surreal space. Within this space\, social and visual hierarchies are stripped away\, and our perspective is refocused on colour and gesture. However\, this latest body of work is unusual in that it shares a warm colour palette of oranges\, reds\, pinks and yellows\, which evokes the idea of an internal\, bodily or even womb-like space. At times\, this space seems to indicate emotional harmony\, while at others\, it highlights a disconnect between the external and internal self. In the painting Henrietta\, for example\, the female figure cuts a somewhat severe silhouette\, gazing blanking into the distance. At the same time\, the space that surrounds her is filled with a vivid shade of red\, perhaps hinting at some suppressed emotion. The large-scale diptych titled Dinner Party depicts a group of people gathered around a table\, though instead of engaging with one another\, they appear almost as if they are self-consciously posing for the viewer. Meanwhile\, the cool lilac-coloured background adds to the sense of detachment.\n \nOther works play with ideas of mirroring and reflection to explore how we form connections. In the paintings Safran and Yacine\, the figures almost melt into their backdrops while also appearing in dialogue with one another: their clothing\, hair\, and eyes reflect the same golden orange hues. The clothing and body language of the figures in Another Conversation is similarly synchronised. Though the figures here share the same canvas\, they remain contained within their own spaces\, separated by a thin border that cuts down the centre of the image with visibly defined ridges. However\, there is still a sense of tenderness: their eyes meet across the gap\, and their arms cross the border to touch at the fingertips.\n \nIn a series of three paintings titled Secret #1\, Secret #2\, and The Revelation\, Brodskis creates a narrative around self-perception. In both Secret #1 and Secret #2\, a veiled figure is seated on a chair\, with her back to us\, gazing into a mirror. In both reflections\, the figure is lifting a finger to their lips\, gesturing at the idea of something hidden or unspoken: in Secret #1\, the figure’s face is\, and their hand is black; in Secret #2\, it’s the opposite. The Revelation depicts the same setting; however\, there is no woman in the chair\, only the reflection in which the woman appears half white\, half black\, as if the different parts of her have combined. ‘It’s as if she’s left the real world and jumped inside herself\,’ Brodskis says\, ‘which is sort of what painting does for me. It’s a kind of therapy or meditation.’\n \n\n\nSimilarly\, the image’s stillness\, the canvas’s smooth surface\, the balance of shapes and the rich colour tones invite a deep state of contemplation. Though each portrait possesses its own emotional resonance and tension\, they form a crowd of faces that we are invited to step into and create our own conversations.
URL:https://eventsforlondon.co.uk/event/lets-talk-about-you-and-me-rebecca-brodskis/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Free Events,Visual Arts
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DTSTART;TZID=Europe/London:20221021T110000
DTEND;TZID=Europe/London:20221128T170000
DTSTAMP:20260603T102647
CREATED:20220410T052040Z
LAST-MODIFIED:20220410T052040Z
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SUMMARY:The Knight Divided with Richard Stone
DESCRIPTION:Fluid\, sculptural forms evoke the wild\, tumultuous movement of the sea or else\, the uncanny stillness of a dense forest\, both creating veil-like surfaces which alternately obscure and reveal the figures caught between. These latest works by Richard Stone reflect on the artist’s spontaneous sculptural process in relation to the physical materiality of clay\, marble and bronze to explore wider perceived dichotomies between artistic conceit and authenticity\, strength and vulnerability\, resistance and surrender. Through deconstructed figures and sensual\, curvaceous shapes\, the knight divided\, the artist’s third solo exhibition with Kristin Hjellegjerde Gallery\, considers art’s ability to not just challenge convention but to also present bold\, new visions for the future. \nFor Stone\, the creative process begins and ends with the material. He works with his hands\, allowing his thoughts and feelings to organically filter through his gestures until a shape or form begins to emerge. The works possess a compelling sense of rawness and intimacy that unsettles the historic monumentality of sculpture and invites the viewer to form a more embodied\, emotional connection to the work. The title of this latest exhibition refers to this process by personifying the notion of conflict. The knight – conventionally a masculine\, heroic figure – is deconstructed in Stone’s work\, appearing in brief glimpses of limbs that are then engulfed by swathes of coloured clay or marble. Still\, we can also understand the tumultuous scenes as visual representations of psychological states or rather\, transformation. \nThe show begins with the statue in the sea\, depicting a figure and horse descending or ascending from the depths. The piece is a continuation of Stone’s recent works in which he wrapped abstracted fabric rendered from clay around the body of found horse statues to subvert ideas of power and masculinity. Still\, here\, both figure and animal have been absorbed back into the material. Whether or not this is perceived as a process of destruction or renewal is left for the viewer to decide. At the same time\, however\, it’s hard not to view the work through the lens of ongoing contemporary debates around the value or purpose of public art. ‘It seems to have become a very binary discussion\, but what’s exciting is that we are now in a transitional space where we can actually talk about what we might want rather than what we do not like\,’ says Stone\, but inevitably\, it is also a space of uncertainty\, especially for a male sculptor. Stone plays with this idea by moving away from the elevated structure of a plinth to present\, instead\, a series of deeply framed tableaux\, which invite the viewer to perceive the work as image or painting as well as an object. The fluid and richly coloured forms appear to warp and dissipate before the eye\, disrupting our ability to ascertain\, and more crucially\, label what we see. \nThe piece entitled the bather\, after Duncan Grant’s 1911 painting Bathing\, plays further with our sense of perception as amorphous watery shapes\, create an impression of an undulating motion. As the surface seems to shift\, the viewer experiences an almost dizzying sensation that both confounds and liberates the gaze. Not all of the works are as abstract\, however. A smaller-scale piece entitled lo! lonely horse\, for example\, comprises a tiny porcelain horse – a found object – set adrift in ceramic waves. ‘I made this work deliberately small to negate the idea of monument and especially the traditional\, inflated masculine monument of the plinth and heroic ideal\, represented by increasingly questionable heroes\,’ comments Stone. ‘The biblical horses of the apocalypse\, traditionally associated with dominant masculinity\, are reduced to one\, the lone horse lost in a sea of unknowing.’ \nSimilarly\, where the knight appears in the works\, it is as a solitary figure\, lost between waves or amongst the intertwined branches of trees. For Stone\, like the ocean\, the forest represents a transitional space rather than a specific geographical location or environment. The trees are abstracted to thick\, muscular forms\, creating a stunning impression of density that contrasts the softer\, curvaceousness of the waves in the water-based works. Stone notes that he ‘wanted to draw on the idea of masculine and feminine energies but without setting them up as oppositional.’ Indeed\, although the works convey distinct atmospheres\, there is a strong visual relationship between the forms that create an impression of wholeness. This is perhaps most clearly expressed in a new bronze work entitled the ancient principle\, which reimagines the traditional sculptural figure of mother and child in the more ambiguous form of a trinity of birds. Once again\, the knight appears in glimpses as a softer\, more fluid presence that has an almost omniscient quality as ‘a universal protector rather than a symbol of archaic masculinity.’ \nIn the exhibition’s closing piece\, Icarus and the sea\, Stone draws on the Greek myth that Icarus flies too close to the sun\, paying no heed to his father’s warnings. As a result\, the wax of his makeshift wings melts\, and he plummets to his death. However\, in Stone’s sculptural retelling\, Icarus\, rather than drowning in the waves\, is reclaimed by the sea (traditionally a female energy)\, relating to the notion of wholeness and circularity while also turning the original narrative on its head by offering an alternative\, more uplifting perspective. \nAmidst the continued tumult and uncertainty of contemporary existence\, the knight divided invites us to seek solace in the creative potential of transitional periods – as a time of renewal and transformation.
URL:https://eventsforlondon.co.uk/event/the-knight-divided-with-richard-stone/2022-10-21/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Events in London,Exhibitions,Pop Up,Sculpture
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DTEND;TZID=Europe/London:20220921T180000
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SUMMARY:The Knight Divided with Richard Stone
DESCRIPTION:Fluid\, sculptural forms evoke the wild\, tumultuous movement of the sea or else\, the uncanny stillness of a dense forest\, both creating veil-like surfaces which alternately obscure and reveal the figures caught between. These latest works by Richard Stone reflect on the artist’s spontaneous sculptural process in relation to the physical materiality of clay\, marble and bronze to explore wider perceived dichotomies between artistic conceit and authenticity\, strength and vulnerability\, resistance and surrender. Through deconstructed figures and sensual\, curvaceous shapes\, the knight divided\, the artist’s third solo exhibition with Kristin Hjellegjerde Gallery\, considers art’s ability to not just challenge convention but to also present bold\, new visions for the future. \nFor Stone\, the creative process begins and ends with the material. He works with his hands\, allowing his thoughts and feelings to organically filter through his gestures until a shape or form begins to emerge. The works possess a compelling sense of rawness and intimacy that unsettles the historic monumentality of sculpture and invites the viewer to form a more embodied\, emotional connection to the work. The title of this latest exhibition refers to this process by personifying the notion of conflict. The knight – conventionally a masculine\, heroic figure – is deconstructed in Stone’s work\, appearing in brief glimpses of limbs that are then engulfed by swathes of coloured clay or marble. Still\, we can also understand the tumultuous scenes as visual representations of psychological states or rather\, transformation. \nThe show begins with the statue in the sea\, depicting a figure and horse descending or ascending from the depths. The piece is a continuation of Stone’s recent works in which he wrapped abstracted fabric rendered from clay around the body of found horse statues to subvert ideas of power and masculinity. Still\, here\, both figure and animal have been absorbed back into the material. Whether or not this is perceived as a process of destruction or renewal is left for the viewer to decide. At the same time\, however\, it’s hard not to view the work through the lens of ongoing contemporary debates around the value or purpose of public art. ‘It seems to have become a very binary discussion\, but what’s exciting is that we are now in a transitional space where we can actually talk about what we might want rather than what we do not like\,’ says Stone\, but inevitably\, it is also a space of uncertainty\, especially for a male sculptor. Stone plays with this idea by moving away from the elevated structure of a plinth to present\, instead\, a series of deeply framed tableaux\, which invite the viewer to perceive the work as image or painting as well as an object. The fluid and richly coloured forms appear to warp and dissipate before the eye\, disrupting our ability to ascertain\, and more crucially\, label what we see. \nThe piece entitled the bather\, after Duncan Grant’s 1911 painting Bathing\, plays further with our sense of perception as amorphous watery shapes\, create an impression of an undulating motion. As the surface seems to shift\, the viewer experiences an almost dizzying sensation that both confounds and liberates the gaze. Not all of the works are as abstract\, however. A smaller-scale piece entitled lo! lonely horse\, for example\, comprises a tiny porcelain horse – a found object – set adrift in ceramic waves. ‘I made this work deliberately small to negate the idea of monument and especially the traditional\, inflated masculine monument of the plinth and heroic ideal\, represented by increasingly questionable heroes\,’ comments Stone. ‘The biblical horses of the apocalypse\, traditionally associated with dominant masculinity\, are reduced to one\, the lone horse lost in a sea of unknowing.’ \nSimilarly\, where the knight appears in the works\, it is as a solitary figure\, lost between waves or amongst the intertwined branches of trees. For Stone\, like the ocean\, the forest represents a transitional space rather than a specific geographical location or environment. The trees are abstracted to thick\, muscular forms\, creating a stunning impression of density that contrasts the softer\, curvaceousness of the waves in the water-based works. Stone notes that he ‘wanted to draw on the idea of masculine and feminine energies but without setting them up as oppositional.’ Indeed\, although the works convey distinct atmospheres\, there is a strong visual relationship between the forms that create an impression of wholeness. This is perhaps most clearly expressed in a new bronze work entitled the ancient principle\, which reimagines the traditional sculptural figure of mother and child in the more ambiguous form of a trinity of birds. Once again\, the knight appears in glimpses as a softer\, more fluid presence that has an almost omniscient quality as ‘a universal protector rather than a symbol of archaic masculinity.’ \nIn the exhibition’s closing piece\, Icarus and the sea\, Stone draws on the Greek myth that Icarus flies too close to the sun\, paying no heed to his father’s warnings. As a result\, the wax of his makeshift wings melts\, and he plummets to his death. However\, in Stone’s sculptural retelling\, Icarus\, rather than drowning in the waves\, is reclaimed by the sea (traditionally a female energy)\, relating to the notion of wholeness and circularity while also turning the original narrative on its head by offering an alternative\, more uplifting perspective. \nAmidst the continued tumult and uncertainty of contemporary existence\, the knight divided invites us to seek solace in the creative potential of transitional periods – as a time of renewal and transformation.
URL:https://eventsforlondon.co.uk/event/the-knight-divided-with-richard-stone-2/2022-09-14/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
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DTSTART;TZID=Europe/London:20220427T110000
DTEND;TZID=Europe/London:20220604T180000
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SUMMARY:Nature Interrupted with Celina Teague
DESCRIPTION:Monstrous hybrid beings appear against acid skies and barren landscapes\, creating surreal\, otherworldly scenes that sit uncomfortably between nightmare and dream. Nature Interrupted\, Celina Teague’s fifth solo show at Kristin Hjellegjerde Gallery\, takes a deep dive into the dark underbelly of our planet’s biosphere\, where human detritus overcome animals and plants. They appear futuristic\, unwholesome\, and alarming. Still\, at the same time\, Teague’s vibrant colour palette commands presence: we are challenged not only to look but to face up to the reality of what we see. \nIn part\, Teague’s artistic practice is an expression of her guilt and responsibility about not only environmental issues but also political and humanitarian crises. She listens to the news and various podcasts as she paints\, allowing the information to filter through onto the canvas so that each composition possesses a raw sense of urgency. ‘I paint instinctively. It always involves risk\, which I find both liberating and frightening. If I painted on a different day or even at a different hour\, the result would be completely different\,’ she says. \nThe work Still I Rise\, for example\, was made when Teague was listening to reports of the conflict in Afghanistan and specifically about the oppression of women. However\, instead of focusing on the bleakness of the situation\, Teague’s perspective is one of hope\, vitality and strength. In the painting\, women dressed in blue burqas appear like flowers blooming at the end of tall lush vines\, the winding\, interconnected stems suggesting a sense of quiet solidarity. Interestingly\, this is the only work in which humanity and nature appear in harmony: the women are supported by the natural world rather than overwhelming it. However\, this relationship becomes skewed in the painting Swallowed. Here\, the women appear huddled together to form the centre of what looks like a pink flower\, but closer inspection reveals that the petals are\, in fact\, severed tongues. In this way\, the work becomes a powerful visual metaphor for how censorship is used as a form of oppression and entrapment. \nAlthough the other works reflect more broadly on the climate crisis\, the notion of mutilation runs throughout the exhibition. In one of the more surreal compositions\, a giant straw pierces through the centre of a flamingo’s body\, which is itself\, assembled from pink\, fleshy human limbs and organs. A mass of breasts and udders replace its feathers while its foot is a claw-like human hand. The strange yellow glow of the sky suggests a sickness or toxicity\, and an egg lies fried on the cracked\, dry ground as if baked in the sun. Like all of Teague’s works\, the bright colour palette is somewhat misleading: we’re unsure whether to laugh or gasp. Is this a horror or a comedy? \nThis deliberate ambiguity creates a strong sense of unease that reflects both the subject matter and Teague’s approach to image-making. ‘My work is sometimes labelled as activist art\, which I find uncomfortable because painting about these issues doesn’t feel like enough\,’ she says. ‘We have all the facts easily accessible to us\, but we still just sit back and watch what’s happening most of the time.’ Teague returns to this notion of ‘armchair activism’ in each of her exhibitions by painting an image of an armchair\, often encompassing elements from the other works to create a sense of unity while also highlighting the irony of her role as an artist. However\, it would be amiss to ignore the power of the image. Teague’s paintings command our gaze and draw our attention to the politics of seeing. Confronted by these strange\, unsettling scenes\, we can deny neither awareness nor responsibility.
URL:https://eventsforlondon.co.uk/event/nature-interrupted-with-celina-teague/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Design,Events in London,Exhibitions,Family Activities,Illustration,Museums,Pop Up,Sculpture,Visual Arts
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DTSTART;TZID=Europe/London:20211112T100000
DTEND;TZID=Europe/London:20211218T180000
DTSTAMP:20260603T102647
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SUMMARY:'Siluetas'\, Joachim Lambrechts - Art Exhibition
DESCRIPTION:12 November – 18 December 2021\nKristin Hjellegjerde Gallery\, 2 Melior Place\, Bermondsey \nPrivate View: Thursday 11 November\, from 6:30 – 9 pm \nA skull smoking a cigarette\, an oversized duck laying an egg\, and a smiling butterfly. These are the eccentric visions of Belgian artist Joachim Lambrechts who plays with composition and form to evoke a sense of childlike joy and spontaneity. While the artist typically employs a vibrant colour palette\, his latest solo exhibition at Kristin Hjellegjerde Gallery\, London\, entitled Siluetas\, presents a bold new series of textural\, monochromatic works\, marking newfound confidence and aesthetic purity. \n \n  \n  \nLambrechts’ practice embraces and celebrates free creative expression. He never plans his compositions\, instead preferring to allow the image to reveal itself through the act of mark-making. Although this new series of black and white paintings express a certain restraint\, the images retain a powerful sense of dynamism which reflects the artist’s spontaneous process. With these works\, he began by pasting pieces of coloured paper onto the canvas to create a sense of texture and depth before applying layers of black paint. Broad brush strokes and lines of white colour were then used to delineate the outlines of objects and animals so that from a distance\, they appear as silhouettes or shadows. At the same time\, closer inspection reveals flashes of colour breaking through the surface where the artist has scratched or scraped away the paint. This creates a palpable tension between mark-making and erasure\, movement and stillness\, artistic abandon and creative control.\nFor this latest body of work\, Lambrechts took inspiration from early cave paintings\, which convey complex narratives and emotions despite their simplistic style. Similarly\, the artist has deliberately restricted his lines to what is only necessary to obtain a particular shape or form. The painting Pantera Negra\, for example\, depicts a black cat (or panther) whose body mainly consists of a large black shape with four vertical lines indicating the outlines of its front legs. As with all artworks\, Lambrechts’ signature graphical style simultaneously clarifies and distorts our understanding of the image. The cat’s shape appears both childlike and surreal\, just as in the painting Pegasus\, we can immediately identify the mythical horse while viewing the creature from a seemingly impossible perspective. All four of its legs appear along the same line\, bent and twisted into unnatural angles. “For me\, painting is not so much wanting to convey a message\, but rather a search for shapes\, lines and colour and seeing what possibilities they offer me\,” explains Lambrechts. At the same time\, this approach invites the viewer to engage more creatively as we are given greater freedom to interpret the compositions. \nWith some of the works\, the artist guides or destabilises our interpretation by incorporating text into the image. The words sometimes act as direct visual labels\, such as Black Eagle or Lions\, while others appear as witty modern-day aphorisms. The painting When the owl wakes up at night to kill\, we sleep\, for example\, depicts an owl seemingly in a kind of trance state\, its eyes filled with white circles and its wings extended while the text forms a literal frame or border around the edge of the canvas. In this way\, Lambrechts questions his role as an image-maker by demonstrating how our understanding of artwork is shaped by the composition itself and its framing and external contexts such as titles\, accompanying text\, and the surroundings in which the work appears. At the same time\, however\, he draws us closer to the image by inviting us to engage more actively and intimately with the artistic process.\nThese complex embedded layers of tension and bold visual contrasts are what make the artworks so compelling. By the very nature of paint\, they are static scenes while simultaneously bursting with raw\, exuberant creativity. \n  \n \n  \nAbout Joachim Lambrechts\nJoachim Lambrechts (born in 1986) is a renowned urban artist from Antwerp\, Belgium. In 2001 he began his studies at an art school in Antwerp. Later he got very involved with the graffiti and street art scene in his home city\, and in 2004 he distanced himself from his academic education and left art school without graduating. In the years that followed\, Joachim spent a lot of time experimenting with various approaches to graffiti and became quickly integrated into the Belgian street art scene. Since 2010\, painting on canvas has been Joachim’s primary focus and creating street art across Europe. \nIn contrast to his murals\, Joachim never makes preliminary studies or sketches when he starts working on a canvas. Yet\, paradoxically\, he feels more accessible within the four walls of his studio\, which is reflected in his paintings. They result from a more spontaneous process\, and as such\, possess a sense of urgency and innocence.
URL:https://eventsforlondon.co.uk/event/siluetas-joachim-lambrechts-art-exhibition/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Classical Studies,Crafts,Digital Arts,Family Activities,Free Events,Photography,Sculpture,Visual Arts
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DTSTART;TZID=Europe/London:20210722T110000
DTEND;TZID=Europe/London:20210828T180000
DTSTAMP:20260603T102647
CREATED:20210709T144613Z
LAST-MODIFIED:20210802T171344Z
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SUMMARY:Taking Space with Sara Berman - Art Exhibition
DESCRIPTION:Gargantuan women appear suspended in soft coloured\, bruising backgrounds\, their bodies twisted in acrobatic movement and dynamic gestures. These are the works of British artist and former\nfashion designer Sara Berman whose practice explores the depth and distortions of materiality in relation to how we view and inhabit the body. She focuses specifically on female experience and is\ndeeply informed by her intimate understanding of fashion and textiles in terms of how we wear\, understand and perceive clothes. \nTaking Space\, Berman’s first solo exhibition with Kristin Hjellegjerde Gallery presents a new collection of gentle and forthright\, whimsical and imposing paintings expressing the complex tensions of womanhood while also gesturing towards a joyous sense of liberated physicality. Each painting begins with the motif of the harlequin.  \nTraditionally\, the harlequin is portrayed as male — a sly but lovable joker\, dressed in a bright diamond-patterned costume. However\, the same character as a woman becomes a trickster whore. While this articulates a familiar double standard\, Berman’s interest lies in how external appearances might impact our perspective of self and others. \nShe begins by stretching the canvas very tightly over the frame before painting the distinctive pattern of the harlequin’s costume as a base layer onto the canvas\, which becomes “a map” or “the soul” of the composition. She then works over the pattern with further layers of paint\, scraping\, wiping and pushing to create a kind of bruised surface through which the outlines of the diamond shapes are illuminated by light. “The colours I choose are generally soft and gentle\,” she says\, “but the making process is very physical\, almost violent. I feel\, increasingly\, as I get older that being a woman is a violent thing.” \nThe shapes of the women are generally based on photographs of friends or self-portraits for which Berman uses furniture and\, more recently\, acrobatic equipment to help her achieve contortion and elevation. Regardless of the original models\, there is a strong likeness between the figures\, as if they are multiple iterations of the same person. “At a certain point\, I realised that I didn’t want to get bound up in the who or the what\,” explains Berman. “Self-portraits are the easiest way for me to not deal with the specifics of identity. They’re simply women in space. By painting them as myself\, it’s a way of avoiding objectification.” Instead\, personality and emotion are conveyed through the figures’ physical gestures in space\, and the textures and shapes of their clothing\, as well as the application of the paint itself. \nWhile the compositions might appear precise and simple from a distance\, closer inspection reveals markings that imply the weaving of threads; subtle imperfections where the colours bleed out of the lines or splashes of paint are flicked across the canvas; and surprising pops of neon colour that suggest a pooling of light or passing shadows. \n“These paintings are about the sensation of being in the body\,” says Berman. “I use clothing intentionally as space which contains the body\, a place for it to exist within a holding space.” The clothing is usually androgynous in style\, based on pieces by known fashion designers and vintage finds. Still\, through the process of painting\, the artist flattens the garments\, removing the folds and seams of the fabric so that it becomes a rigid shape that simultaneously contains and abstracts the body. This is perhaps most obvious in the painting entitled Freefall\, in which the figure is caught moving through the air. While we might recognise and relate to the physical sensation of the movement\, the body itself is obscured by the clothing’s colour and structure\, and the lack of surrounding context creates an almost surreal effect. Similarly\, the women’s hands are often painted out of proportion to appear huge and claw-like\, gripped in tension\, or delicate and oddly small. \nThe fingernails are always painted black\, creating a striking contrast against the pale\, pastel shades and directing our gaze towards a particular gesture. For example\, in the painting\nMoves\, which depicts one woman leaning back against another\, the hands articulate a sense of dynamism – the sensation of pushing and pulling\, while the figures themselves are relatively static. \nThe woman at the front has her hands reaching back in a gesture of intimacy\, while the other woman’s arm stretches across the canvas as if trying to establish some distance or separation.\nThe works in the show range in scale. The smaller works contain the figure in an almost claustrophobic frame\, which is both uncomfortably tight and curiously intimate\, while the large-scale\npaintings have a powerful impact on the process of making and the viewer’s bodily relation to the image. Berman was required to use ladders and large brushes to do these larger works\,\nrendering limbs and faces much bigger than her own. “I want them to feel as imposing as they felt to me\,” she says. “These paintings are very much about claiming presence as a person\, as a woman. \nThere’s a slight arrogance to them which I like because taking space is an act of necessary selfishness.” At the same time\, the gentle colour palette and playful approach to composition\nconvey a palpable sense of humour and joy. As Berman’s women boldly tumble across the canvas\, asserting their strength and physicality\, we are invited to experience a heightened awareness of how we move through and occupy the world we live in.
URL:https://eventsforlondon.co.uk/event/taking-space-with-sara-berman-art-exhibition/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Family Activities,Free Events,Visual Arts
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DTSTART;TZID=Europe/London:20210616T183000
DTEND;TZID=Europe/London:20210717T180000
DTSTAMP:20260603T102647
CREATED:20210602T135619Z
LAST-MODIFIED:20210602T140705Z
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SUMMARY:"The Desperate Journey II"\, Tewodros Hagos
DESCRIPTION:Kristin Hjellegjerde Gallery is pleased to present the solo show ‘The Desperate Journey II’ by Tewodros Hagos. \nExhausted faces\, framed by bright orange life jackets\, gaze out at the viewer\, their eyes filled with emotion. At the same time\, other figures are huddled together in groups\, their bodies wrapped in shimmering golden blankets as they watch distant boats on stormy seas. These poignant paintings are a continuation of Ethiopian artist Tewodros Hagos’series The Desperate Journey\, aiming to raise awareness of the global migrant crisis and address the dehumanising effect of journalistic imagery and footage. For his solo exhibition entitled The Desperate Journey II at Kristin Hjellegjerde Gallery\, London Bridge\, Hagos presents exquisite new works that elevate the tragedy of the situation and the emotional experience of each of his subjects. \nThe series initially began to respond to the artist’s increasing realisation of the ineffectiveness of news stories and imagery to convey lived experience or complex truths. While many media feed images may provoke an immediate emotional response\, they are often deliberately sensationalised to shock the viewer. Over time\, the bombardment of such imagery risks normalisation of what ‘remains one of the worst humanitarian crises of our time.’ ‘People don’t realise that the migrant crisis is ongoing. The media focus switches from one direction to another. Currently\, it’s on coronavirus\, while here in Ethiopia and Africa more generally\, millions of people continue to be displaced as a result of conflict\,’ says Hagos. Through the classical\, static medium of painting\, the artist invites a slower\, deeper kind of contemplation that counters the fast-paced consumption of digital media. \nSignificantly\, the works\, especially the close-up portraits\, convey a sense of strength and tragedy\, loss and grief. The painting entitled Journey (40)\, for example\, depicts a young boy staring directly at the viewer. Instead of pleading\, his expression is solemn and dignified. In many works\, Hagos also transforms the foil blanket\, which is traditionally used in emergencies to keep people warm\, into a thing of beauty. It is gold and silver surface is luminous in the darkness. \nAt the same time\, the stark contrast of light and dark creates an unsettling atmosphere and almost surreal effect. This is perhaps most notable in the work entitled Journey (42)\, in which a man appears enrobed in a golden blanket\, his presence huge and looming against the inky blue background of the sky and ocean. The composition recalls traditional portrait paintings and the portrayal of grandeur. Still\, instead of a lavish\, homely domestic setting\, the vast\, empty sky conveys an aching sense of isolation and loneliness mirrored in the man’s expression and watery\, red eyes. In this way\, Hagos creates a more complex\, layered narrative that demands a deeper level of engagement while questioning which individuals and events are traditionally recorded by history. \nAmongst the most devastating paintings take a wider perspective\, focusing on the perilous sea journey that hundreds of migrants make every day in search of better living conditions. In one work\, a dangerously overcrowded boat floats towards the front of the canvas\, while in the background\, a second boat is enveloped in flames\, smoke billowing into the sky in huge plumes. Another painting depicts life jackets floating emptily on the waves\, once again underlining the potentially fatal risk that such a journey presents. As with all of the works in the series\, the paintings possess a haunting sense of stillness that reflects the historical impact of the crisis and appeals to our shared sense of humanity.
URL:https://eventsforlondon.co.uk/event/the-desperate-journey-ii-tewodros-hagos/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Events in London,Exhibitions,Free Events,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20210401T110000
DTEND;TZID=Europe/London:20210508T180000
DTSTAMP:20260603T102647
CREATED:20210319T164930Z
LAST-MODIFIED:20210319T164932Z
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SUMMARY:Eclipse of the Scrolls with Gerald Chukwuma
DESCRIPTION:Through a frenzy of colours and symbols that are chiselled\, burnt and painted onto panels of wood\, Nigerian artist Gerald Chukwuma creates striking visual language that weaves together ancient symbols\, contemporary and historic references. These are the artists ‘scrolls’ that document the untold stories of Igbo culture and modern Nigeria in resistance to one-sided media narratives that are wilfully manipulated by authority figures. Chukuma’s latest exhibition Eclipse of the Scrolls at Kristin Hjellegjerde Gallery’s London Bridge space questions the extent to which we are controlled by the information that we are or aren’t consuming. At a turbulent time in not only Nigerian history but also internationally\, the artist’s dynamic sculptural surfaces underline the vital importance of free\, creative expression as a form of resistance to everyday indoctrination. \nThis latest body of work brings together a number of Chukwuma’s concerns in relation to how media shapes our knowledge of not only history\, but the present moment. Whilst the manipulation of media by dominating powers is not a new issue\, recent national and global crises have provided fresh opportunities to direct public opinion. ‘If you watch the news in Nigeria\, you only see footage of people dying of coronavirus in America or the UK\, but why are Nigerians not dying? Can we say that we have immunity or the cure?’ says the artist. ‘It’s not about cutting off information\, it’s about masking the truth.’ In a sub-series of smaller-scale works entitled Untold Stories\, Chukwuma reimagines the covers of tabloid newspapers with symbols and headlines stitched onto the background whilst haunting black figures hang down from the centre\, their facial features assembled from mechanical cogs\, wheels and padlocks. This collage style is characteristic of the artist’s work\, but the hybrid figures – half-man\, half-machine – are especially powerful here as a reflection on how the information we are fed or denied impacts our cultural identities and wider sense of self. \nFor many years\, Chukwuma’s practice has been deeply informed and inspired by the Uli art traditions of the Igbo people from southeastern Nigeria. However\, through his research\, the artist has discovered that Igbo culture has not been sufficiently documented\, and as such\, knowledge of their heritage is at risk of disappearing from contemporary consciousness. ‘A lack of data is a big problem in Africa\,’ he says. ‘I am creating works that I hope can become a form of documentation.’ The Uli patterns and symbols were traditionally painted directly onto the skin or as murals on the walls of a house\, which faded in the sunshine or washed away with the rain\, but in Chukwuma’s artworks they are made permanent through various artistic processes and embedded within a multitude of references. \nThe artist incorporates materials that are sourced locally in Lagos and are typically regarded as everyday detritus\, such as bottle corks and recycled soft drinks and beer cans. These are flattered and nailed onto the wooden panels\, adding a new tactile dimension and contributing to the distinct colour palette as well as relating to contemporary discourse around waste and the environment. His aesthetic and colour palette\, however\, are influenced by his encounters with and studies of international art history such as Gustav Klimt’s gold detailing\, Van Gogh’s complex use of colour and Picasso’s stylistic diversity. All of these experiences and observations manifest artistically as highly-textured surfaces and complex visual narratives that not only transcend time and geographical boundaries\, but also materiality. \nThe incorporation of multiple voices and narratives is essential to Chukwuma’s artistic intentions\, and also serves as a form of resistance to what he calls ‘the colonial implications of text’ and the prescribed role of the artist in Africa. ‘African societies thrived on oral traditions handed down from generation to generation\, and these traditions\, often sacrosanct as they were\, could not withstand the cultural disruptions that were to be her colonial experience\,’ he explains. ‘There are social implications to this impasse; one is the habitual place of the African creative in the global scheme of things. There is an unwritten place to which he seems to have been confined\, and hardly permitted to operate beyond its stations. Often this social stratification is non-constitutional and does not have the backing of legal tenets in the actual sense\, but rather works as a psychological cul-de-sac\, a route with a finite and close ended destination\, never to be surmounted.’ \nIn an attempt to break free from such constraints\, Chukuma embraces his ‘primordial instinct’ by working directly onto the wooden panels without making any preliminary sketches. ‘When it comes to my work\, I tend to be open minded and very fluid\,’ he says. ‘Perhaps my affinity with the Uli symbolism is with its fluidity and tactical use of space.’ This creative urgency and dynamism is perhaps most strongly felt in the heavily etched surface of the artwork entitled EFURU’S COMB. On a first glance\, the writhing tangle of lines and colours is almost overwhelming\, but gradually\, the symbolism and imagery begins to reveal itself\, offering a multitude of narrative possibilities that actively invite creative engagement and cultural exchange. \nMelding together a bold mix of colours\, artistic techniques\, historic references\, narratives and imagery\, each artwork possesses an astounding sense of vitality and depth that celebrates creative expression and experimentation whilst also drawing our attention to how storytelling has been\, and still is used as a tool of indoctrination. In this way\, Eclipse of the Scrolls reminds us of how essential art is in challenging the status quo by making the untold stories of individuals\, communities and nations visible to global audiences.
URL:https://eventsforlondon.co.uk/event/eclipse-of-the-scrolls-with-gerald-chukwuma/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Free Events,Sculpture,Visual Arts
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DTSTART;TZID=Europe/London:20210126T110000
DTEND;TZID=Europe/London:20210327T180000
DTSTAMP:20260603T102647
CREATED:20210128T045327Z
LAST-MODIFIED:20210203T072714Z
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SUMMARY:Tonight the Air is Warm
DESCRIPTION:Tonight the Air is Warm brings together a collection of vibrant and diverse photography\, print and video works by eight established\, mid-career and emerging artists from Southeast Asia. Curated by Tolla Duke Sloane\, the show will occupy both the main and speakeasy space at Kristin Hjellegjerde’s London Bridge gallery\, providing audiences the opportunity to fully immerse themselves in the region’s artistic landscape. From the tropical gothic to the surrealism of dreams and folklore\, and the reimagining of historical narratives\, the artists’ reflect on universal issues relating to identity and belonging\, whilst also providing heightened and imaginative insights into the cultural specifics of their geographical locations. \n\n\n\nDue to the cramped urban spaces of the Southeast Asian cities\, photography and other digital mediums are central to the region’s contemporary art scene\, allowing artists to transcend their physical boundaries. Thai artist and social activist Manit Sriwanichpoom is widely recognised as one of the original pioneers of a more conceptual\, socio-geographical approach to photography and is best known for his striking Pink Man series (1997-2018) from which two works will be shown in this exhibition. The selected photographs feature the cartoon-esque character – who is embodied by Thai poet Sompong Thawee – posed within the set of a so-called ‘opera’. Dressed in his signature fluorescent pink suit with a matching shopping trolley\, the character’s presence is both humorous and jarring\, mutely referencing the absurdity of consumer culture. \n\n\n\nSimilarly\, Malaysian artist Yee I-Lann’s primarily photomedia-based art practice draws on the visual language of magic realism and mythology to speculate on issues of culture\, power and the resonance of historical narratives in collective consciousness. Her large-scale photo-collage artwork Like the Banana Tree at the Gate conjures up the folkloric figure of the Pontianak (the ghostly spirit of a vengeful woman who was said to live in a banana tree)\, who is embodied by several well known artists and activists within a contemporary studio setting. I-Lann uses humour as a satirical tool to both charm the viewer and once again\, expose the absurdity of traditional perspectives in the context of the modern world. \n\n\n\nSarah Choo Jing’s practice also employs theatrical techniques\, often designing controlled spaces that used to incite spontaneous interaction. For her video installation Tonight\, the air is warm (after which the exhibition is titled)\, she invited the residents of a social housing complex in Singapore to gather in the playground area at night where she left varying props for them to interact with under stage lighting. ‘The essential nature of the activity is imprecise and occurs across space and time\,’ commented the artist. ‘A perpetually open project\, the piece takes place in the inter-spaces between interpretation and negotiation\, performance and chance.’ By contrast\, a video work entitled Where do the fishes go? by Vietnamese artist Jo Ngo\, made in April 2020 when Ho Chi Minh City was in lockdown\, transports viewers into a hallucinogenic vision of fish and whales swimming through scenes of a city emptied of human interaction. Accompanied by an otherworldly soundtrack\, the video has a calming and poetic quality\, but at the same time it is impossible to ignore environmental connotations of the natural world reclaiming man-made\, urban spaces. \n\n\n\nBaliense artist Budi Agung Kuswara engages with historical narratives and archival imagery to create intricately detailed large-scale works that occupy the hazy\, liminal space between dream and reality. For this exhibition\, Kuswara presents a series of cyanotypes\, which are created by assembling objects and materials onto light-sensitive photographic paper and exposing the composition to the sun. The artist then paints colour onto the blue printed image\, imbuing a touch of opulence to his characters and also completing the physical connection between the body and sun. This sense of connectivity is central to Kuswara’s practice – and specifically his fascination with mystical science – through which the imagery of the past is revived in the present. \n\n\n\nFilipino artist Nicole Coson’s print-making practice also meditates on the residues of time. She sees her depictions of verdant tropical landscapes as ‘architectural interventions…piercing walls with flourishing green windows’ that transport the viewer not only into a new geographical location\, but also into a psychological space\, reflecting on the power of imagery to awaken the memory and imagination. A similarly palimpsestic approach is central to Genevieve Chua’s image-making process. The Singaporean artist typically begins by photographing wild\, natural landscapes in black and white\, before painting onto the print\, using colour to focus our gaze on a specific aspect or detail which might otherwise be overlooked. Also based in Singapore\, Robert Zhao Renhui’s cerebral practice is preoccupied with the natural world and human intervention. In an ongoing series\, he inserts a piece of human detritus into the jungle and then sets up a camera trap to record nature’s interactions. The resulting images are typically dark and closely-cropped with an intimate\, voyeuristic quality that places the viewer in an almost uncomfortable position as an outsider looking in. \n\n\n\nA collection of visually arresting artworks by Wawi Navarroza\, come from the Filipino artist’s 2019 series entitled Self-Portraits & The Tropical Gothic. Navarroza creates formally staged scenes for the camera\, deliberately controlling the lighting techniques and scenography to flatten the final image and fuse together disparate elements. In this way\, the artist defines the Tropical Gothic as a process of syncretism that reflects on the incongruities of Filipino culture as a blend of East and Western influences\, and also\, on the performance and construction of self more generally. \n\n\n\nPresented together\, this collection of bold\, visually arresting artworks offers a vivid form of escapism that not only transports audiences into the landscapes and stories of Southeast Asia\, but also fosters a deeper understanding of\, and appreciation for the region’s diverse\, flourishing creativity.
URL:https://eventsforlondon.co.uk/event/tonight-the-air-is-warm/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Entertainment,Exhibitions,Family Activities,Free Events,Society,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20210115T110000
DTEND;TZID=Europe/London:20210220T180000
DTSTAMP:20260603T102647
CREATED:20201218T102241Z
LAST-MODIFIED:20201218T102241Z
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SUMMARY:Solo Show "Arrêt Sur Image" by Rebecca Brodskis
DESCRIPTION:Thousands of faces flicker in and out of our field of vision as we move through the world\, but some imprint themselves vividly into our minds as we imagine and ascribe stories onto the interactions that we witness. For her upcoming solo show Arrêt sur image at Kristin Hjellegjerde Gallery\, London Bridge\, Paris-based artist Rebecca Brodskis presents a series of arresting portraits that suspend time through both their making and their surreal composition. Amidst the rush and blur of contemporary life\, these works appear hauntingly still and precise\, allowing the viewer to enjoy a slower\, deeper kind of contemplation. \nHaving grown up in a family of filmmakers\, Brodskis cites cinema and particularly\, the aesthetics of the twenties and thirties as a major influence on the evolution of her painting style. As such\, there is a distinct elegance to her paintings whilst her characters often appear to have stepped out of another era with neat bob haircuts\, block coloured clothing and sharply-defined silhouettes\, posed with their heads tilted\, hands on hip. And yet\, despite the initial familiarity of the image\, Brodskis’ scenes are difficult to locate within the ‘real’ world; the glossy\, smooth backgrounds are suggestive of a neutralised\, graphical space whilst the characters’ gaze is uniformly blank and unseeing. The work entitled Theodor\, Jacob and I\, for example\, depicts three characters overlapping against an ochre background. Whilst their faces are shadowed and defined\, there is spectral quality to their ashen skin tone as if they are fading from existence. \nThis evocation of mystery once again relates to cinema\, and storytelling more generally\, in which observation and the imagination collide to distort the natural order of things. ‘I like the idea that when you stop on a frame of the film\, suddenly\, that frame takes on the importance\,’ she says. For Brodskis\, painting has a similar effect\, but whilst film reflects the movement of the eye\, her portraits allow the image to unfold at a rhythm that opposes fast-paced consumption\, and redirects perception. The slow\, physical process of oil painting is visible in the precise lines and the considered choice of colours that add a sense of poetic balance to the composition. \nAmongst the most intriguing of the portraits are those inspired by people with the skin pigment condition vitiligo. The artist recalls a particular week in Paris\, when she kept passing people with vitiligo whom she ‘found so beautiful I had to paint them.’ In the resulting works – Theora and Above the difference – Brodskis has played with the background colours and skin tones to heighten the surrealism of the image whilst the choice of her subject reflects on the past and recent history of portraiture which typically prioritises conventional notions of beauty. \nMany of Brodskis’ paintings reflect on the relationship between different generations\, and in this series\, there are several striking depictions of parenthood. Each of the paintings La paternite #1 and La paternite #2\, for example\, depicts a father holding onto the heel of his child who is curved over his head. As is typical of Brodskis’ work\, the pose is purposefully playful and performative\, and whilst the image is\, in many ways\, detached from reality\, the physical closeness of father and child implies a sense of tenderness. In a similar way\, hand gestures are also revealing of a deeper\, emotional narrative in many of the paintings\, imbuing the characters with a layer of subjectivity. In the painting entitled En attendant l’orage\, for example\, the mother’s hand grips the edge of the pale orange wall; the child on her shoulders balances one hand on the mother’s head while the other reaches for something beyond the canvas\, in the distance. \nIn this way\, the portraits\, seemingly disconnected from their context\, invite us to invent our own narratives much like we might imagine the lives of people we observe from a seat in a cafe or on a bus. Arrêt sur image is not only a collection of cinematic freeze frames\, but also and perhaps more significantly\, a series of beginnings.
URL:https://eventsforlondon.co.uk/event/solo-show-arret-sur-image-by-rebecca-brodskis/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Free Events,Illustration,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20201225T110000
DTEND;TZID=Europe/London:20210227T180000
DTSTAMP:20260603T102647
CREATED:20201030T101812Z
LAST-MODIFIED:20201212T050026Z
UID:30056224-1608894000-1614448800@eventsforlondon.co.uk
SUMMARY:Gathering by Nengi Omuku – Art Exhibition in London
DESCRIPTION:Gathering by Nengi Omuku – Art Exhibition in London\n\n\n\nA group of people sit with their backs to the viewer while in the distance a crowd of spectral figures form a wall of bodies that blends into the beige background. This haunting\, textural painting\, The Sit Down by Nengi Omuku\, depicts a non-violent protest\, which was originally inspired by three separate instances of injustice in the artist’s home country of Nigeria\, but the work gains new significance in the light of the tragic events currently unfolding in Lagos as peaceful protesters continue to be met with brutality. Omuku’s latest body of work marks a shift in the artist’s focus from the individual to the collective body and communal existence. Painted onto panels of a traditional Nigerian fabric known as Sanyan\, the artworks negotiate the complexities of identity and belonging in relation to gender\, race and cultural heritage. The artist’s solo show entitled Gathering at Kristin Hjellegjerde Gallery’s London Bridge space brings together a collection of highly atmospheric and emotive scenes filled with urgency and longing. \n\n\n\nThe majority of Omuku’s latest artworks were inspired by local events in Lagos and the corresponding imagery circulated by the press. The powerful imagery of The Sit Down\, for example\, came in response to scenes of mass unemployment that ensued following the government ban on motorcycles and tricycles (the local form of public transport); the devastating collapse of a school building near the artist’s studio that buried young children and for which no-one was held accountable; and the billions of Naira (Nigerian currency) that were allegedly dispensed by the government during the pandemic\, but which never made it to the people who needed it most. However\, the charged\, traumatic and affecting scenes that comprise this body of work appear now as the uncanny foreshadowings of the current protests against a corrupt branch of the Nigerian police force known as SARS\, which was established in 1992 to combat armed robbery but instead became the perpetrator of widespread illegal activities. Most recently\, the group captured and killed a Nigerian civilian leading to a series of high-profile peaceful protests in the central commercial district of Lagos. On Tuesday 20th October\, a member of the government instructed the electricity at a major protest site to be turned off and announced a state wide curfew\, but many of the protesters remained in solidarity to their cause. News footage shows these people sitting peacefully\, waving the Nigerian flag and singing the national anthem. The Nigerian military were called in and opened fire at the site\, injuring and killing civilians. \n\n\n\nThe exhibition’s title piece Gathering echoes the scenes of real people carrying and mourning the bodies of those that they have lost whilst also drawing our attention to the multiple connotations of the word itself\, the different ways in which we come together as well as the potential power and danger. Though a few portraits are included in the exhibition\, the majority of the artworks specifically depict the act of ‘gathering’ or coming together as a collective\, but nevertheless\, a strong sense of absence pervades. Indeed\, many of the paintings were created in lockdown\, a period in which the artist was largely cut off from human interaction. As with all of her compositions\, she built her scenes from a digital collage of her source imagery\, specifically looking for photographs of groups of people in Nigeria and exploring new ways of coming together during the pandemic. Though the idea of a collective is suggestive of unity\, strength and belonging\, Omuku’s moody skies and faceless figures also imbue the works with a sense of fragility and transience. In one of the most striking paintings entitled Technicolour Protest\, for example\, a man stands at the forefront\, his arm raised and fist clenched in a moment of desperation\, paint pouring from his limbs\, whilst once again\, the crowd stands passively watching the action unfold. This tension between movement and stillness\, sound and silence\, unity and disparity creates an extraordinary atmosphere of unease that permeates this whole body of work. \n\n\n\nAdding another layer of physicality to the artworks\, Omuku paints on a Nigerian fabric known as Sanyan. Traditionally\, Sanyan was made from wild silk\, obtained from the cocoons of moths and spun into a thick\, rough fibre before being woven together to make fabric for traditional attire. Sanyan was typically worn by wealthy individuals in precolonial western Nigeria\, and often owners would sign the fabric as its ownership was a symbol of prestige. Although production of this silk cloth has fallen into decline\, the fabric is still woven in certain circles using industrial cotton as a substitute. Omuku sources her material from vintage markets in an attempt to reclaim the historical significance of the cloth as well as a lost sense of pride in craftsmanship. To create her canvases\, she stitches several strips together\, resulting in a unique\, textured surface dotted with tiny holes and imbued with a strong sense of place that relates specifically to cultural heritage and identity\, which are key themes in her practice. The painting entitled Remorse\, Stolen Knickers\, for example\, reflects on a Nigerian tradition in which the older women in a community would protest naked on the streets at times of extreme chaos or disaster. In the foreground of the artwork the two men are drawn from a real life newspaper photograph of police detaining men who had stolen women’s underwear\, but the artist has deliberately replaced the police presence with women who are peacefully seeking their own justice by using the powerful symbolism of their bodies. \n\n\n\nThis also links to Omuku’s perception of the body ‘as a site or an event centre’ that is constantly changing in response to individual and collective experiences. ‘I’ve always thought about different ways to talk about the body as multilayered as opposed to the singularity of what you see. I think about how you paint a mental space in response to what is happening within and around the body\,’ explained the artist. As a result\, Omuku deliberately obscures the faces of her figures to avoid singularity\, instead seeking to create a sense of relatability that appeals to our shared physicality and more specifically in these most recent works\, to the body of the collective. In earlier paintings\, the artist employed colour as a way of further abstracting her figurative forms\, suggesting a more fluid and fluctuating relationship between the body\, emotion and space. Whilst this sense of fluidity remains visible in the swirling movement of the brush strokes across her figures’ limbs\, these latest works move away from neutralised emotional spaces to politicised bodies and scenes that are culturally and socially specific. The new\, darker tones of her figures and backgrounds first developed in response to the natural\, rich brown colour of Sanyan\, were also influenced by the photographs of Lagos which showed black bodies in her local environment. However\, the works also resonate on a global level\, bringing issues of race and brutality more explicitly to the forefront. \n\n\n\nGathering is at once a powerful expression of the troubling present moment and a poignant longing for a time when we will gather not in sadness or distress\, but in happiness and celebration; a time when we are able to communicate not through violence\, but peacefully\, through our innate\, shared humanity.
URL:https://eventsforlondon.co.uk/event/nengi-omuku-art-exhibition-in-london/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Family Activities,Free Events,Museums,Sculpture,Visual Arts
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DTSTART;TZID=Europe/London:20201225T110000
DTEND;TZID=Europe/London:20210130T180000
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SUMMARY:“The Tingle That You Feel On Your Tongue” by Peter Spanjer
DESCRIPTION:‘It’s not the bars on the windows that make me safe.’ \n\n\n\nThe camera holds focus on a monstrous looking\, thorned flower as a looped soundtrack evokes the mood of an old-fashioned Hollywood film\, and then\, abruptly\, the screen goes black; we’re dropped into an echoing void or perhaps a kind of porthole that brings us hovering over the glimmering surface of water. This is the opening of Make Me Safe\, one of two new films created by Nigerian artist Peter Spanjer for his debut solo show entitled The Tingle That You Feel on Your Tongue at Kristin Hjellegjerde Gallery’s London Bridge space. Though distinct in mood\, both videos present emotionally-charged immersive experiences that explore identity\, resistance\, vulnerability and sensuality through the layering of sound\, text and image. Both works were created in response to the resurgence of the Black Lives Movement and whilst they each stand alone\, together they present as a powerful and poignant dialogue that negotiates juxtaposing expressions of self. \n\n\n\nSpanjer’s intuitive creative process is one of collage in which he gradually layers sound\, image and text to build a rich sense of depth. He typically begins with the sounds\, either creating them himself or stitching together fragments from other sources. The soundscape for Make Me Safe\, for example\, was created entirely by the artist during lockdown as ‘a form of therapy’ in response to the chaos of the global pandemic and racial protests; the only exception is the resounding voice of a preacher which Spanjer took from the recording of a Church sermon. The preacher’s words connect with the idea of resistance\, one Spanjer’s central themes\, particularly in relation to resisting stereotypes of masculinity which are used to define and effectively constrain black male identity. Whilst this is by no means a new issue\, it is increasingly urgent in the light of continued police brutality and the necessary reimagining of the black body. ‘When it came to adding the visual element of how I was feeling at the time\, an emotion that really stuck with me was the feeling of witnessing the re-circulation of images of George Floyd’s killing and other black bodies which\, to me\, perpetuated this static connotations we make to the black body which is either pain or extreme physical/emotional strength or trauma\,’ says Spanjer. \n\n\n\nIn direct contrast to these conventional representations of masculinity\, many of Spanjer’s visuals express vulnerability\, ephemerality and inconsistency. In Make Me Safe\, for example\, images of flowers appear in juxtaposition with the sound\, presenting a pervading sense of beauty\, sensuality and fragility that probes at masculine ideals and also alludes to the idea of self-care that underpins the second video entitled Every Piece of You. This second work was inspired by the artist’s discovery of meditation and ASMR specifically dedicated to black women. ‘These videos really stuck with me not just because they were targeted at the most vulnerable demographic which is the black woman but also because of the reassurance I felt as a black man and reassurance I wanted to provide in a space of anyone viewing the film\,’ explains Spanjer. \n\n\n\nThe video moves between fast\, strobing collages of images and moments of stillness whilst the repetitive\, beating soundtrack is hypnotic and at times\, unnerving as distorted\, disembodied voices reverberate in echoing layers. ‘Every Piece of You feels like an exploration of different sounds and language that muddy the distinction between what they mean\, what they could mean or what they don’t mean\,’ says Spanjer. In this way\, the work offers another form of resistance in which the assemblage of all its parts deliberately challenges the viewer’s perception and avoids any kind of narrative cohesion. The evocation of a sensory\, or felt experience also more closely represents the incongruities and flow of thought in which random associations come together to create internalised\, personal significance for each individual. ‘It was important to me to create an open narrative piece that guides the viewer but also keeps a space open for each person to explore the work themselves\,’ says the artist. \n\n\n\nThe exhibition’s title also makes reference to the sensory aspect of both works. For Spanjer\, a tingle ‘is a feeling that cannot be replicated or even necessarily explained’ and like any sensation\, it has the power to trigger memories and transport us psychologically to a specific moment in time. Both videos possess a vivid urgency that speaks to the current racial crisis\, but also to universal issues around expression\, anxiety\, and self. How can we break free from the perceptions that constrain us?\, Spanjer seems to be asking. How can we embrace more fluid ways of understanding ourselves and others? ‘To me\, these films will always be affiliated to this current moment\, but will hopefully still be fruitful for years to come in conversations around reimagining connotations to the black body\,’ he says. Viewed together the videos present their own dialogue through a compelling exploration of a more liberated and fluid existence. The Tingle That You Feel on Your Tongue underlines the power of art to express the inexpressible\, and to inspire and enact change.
URL:https://eventsforlondon.co.uk/event/the-tingle-that-you-feel-on-your-tongue-by-peter-spanjer/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Free Events,Visual Arts
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20200926T110000
DTEND;TZID=Europe/London:20201101T180000
DTSTAMP:20260603T102647
CREATED:20200923T052812Z
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SUMMARY:Into Yonderland
DESCRIPTION:Dream-like\, colourful figures appear in theatrical and absurd scenes\, caught in an uneasy balance between the familiar and the strange\, the comedic and the uncanny. Often painted in a vibrant\, fairground colour palette\, the works invite the viewer into a world of illusion in which the more macabre aspects are revealed as the scene unfolds before the gaze.  \nFor his first solo exhibition at Kristin Hjellegjerde London\, British artist Lee Simmonds presents Into Yonderland\, a playground of painting where each canvas offers a gateway into a new realm of possibility in terms of colour\, content and character.
URL:https://eventsforlondon.co.uk/event/into-yonderland/2020-09-26/
LOCATION:2 Melior Pl\, Bermondsey\, London SE1 3SZ\, Kristin Hjellegjerde Gallery\, 2 Melior Pl\, Bermondsey\, London\, SE1 3SZ
CATEGORIES:Arts,Design,Events in London,Exhibitions,Free Events,Visual Arts
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