We have only just been told that the gallery needs to close from 1 to 24 November 2014 due to works in the library building to remove asbestos. As a result the two CreativeBloc shows scheduled for November have been postponed.
Mark Halliley’s show will stay open until 30 October. Opening hours are as follows:
…with one new show and two events:
CreativeBloc show no.3 – ‘CreativeBloc presents Mark Halliley’ – is opening on Thursday 16 October.
“I put my trust in the materials that confront me because they put me in touch with the unknown” (Robert Rauschenberg)
The private view for Mark’s show is on 16 October, from 6.30 to 8.30pm
Meeting on Sunday 19 October (11.00 to 12.00 noon, at Montmatre Cafe, corner of Harrington Road and Church Lane E11)
We have more information from the council about how the library refurbishment will affect the Stone Space. All Stone Space volunteers and supporters are welcome to come to the organisers’ meeting to discuss how we will work in the near future.
“Each square represents a pixel of my mind; each pixel has been extracted from my journals; each journal contains a majority of the ideas I have not been able to pursue; each idea I share with you.”
During this residency, Devyani will be mute. She would like the gallery visitors and passersby to decide and work out what she is doing,
This autumn, the Stone Space gallery has teamed up with CreativeBloc and will host a series of exhibitions by CreativeBloc members. These shows will be curated by Sadie Jane Smedhurst under the banner ‘CreativeBloc presents…’
CreativeBloc is a collective of local artists founded by Elliott Ashton and Sadie Jane Smedhurst. Its mission is “to bring together creative folk across a multitude of disciplines to tame the elusive inspiration and together use her force to inspire and create, accessible art for all”. Earlier this year they organised a very successful group show Hibernacula, in association with Transport for London at their abandoned premises Mind The Gap at Leystonstone underground station. They also used the same premises during the Leytonstone Arts Trail.
The first CreativeBloc show in the ‘CreativeBloc presents…’ series is by Sarah Lowe and runs from 18 September to 2 October 2014.
Sarah is a local artist who has lived in the fringes of the East End for the last 20 years. She loves both the suburban and more edgy urban mix that comes from living on the outskirts of a city like London and much of her work has become a reflection of these contrasts. She has sold work both locally and internationally and over the last 10 years has taken on commissions for large abstract canvasses. This is her first solo show in Leytonstone.
The private view is on Thursday 25 September from 6.30 to 8.30pm.
This is the 6th exhibition in the highly successful series of art exhibitions features work inspired by the Star Wars universe.
The work on display will be an eclectic and wide reaching mix of 2D drawings, paintings, prints together with 3D sculptures and creations which range from photoreal to abstract. Artists involved, include Carne Griffiths, Jim Vision, Maria Slovakova, Sarah Carpenter, Pauli Bates, Charlotte Cooper, dARTh, Benign Samuel and Jeff Cox. The show will also include four other venues to enable live ‘mural’ spraying, a series of talks, theatre performance, talks and due to popular request…a Star Wars themed ‘pub quiz’ in the Luna Lounge on Saturday 6th September.
Originally created by Elliott Ashton to honour his childhood inspiration, Stuart Freeborn (creator of Chewbacca, Yoda, and a whole world of Star Wars characters) who was born in Leytonstone.
This show is mainly composed of a series of pairs of black and white drawings. The main emphasis of the exhibition is to convey a spectrum of emotions through the facial expressions and eyes of the subjects. They display emotions and feelings, ranging from excitement and happiness to sadness, hunger and exhaustion. The themes are personal to Raj, drawing on his knowledge of different cultures, his Sikh background and ultimately how he sees the world.
Raj is a local artist who has lived in Leyton his entire life. His medium of choice is graphite and charcoal pencils. He describes his art as being ‘realistic’ at the moment, but his ultimate goal is to be a ‘hyperrealist’ artist.
The private view is on Thursday 14 August from 6:30 to 8:30pm.
We are delighted to be hosting Karen Logan, Lucy Williams and Gillian Swan during the Leytonstone Arts Trail.
Karen Logan and Lucy Williams: Over and under
Karen Logan and Lucy Williams both use time consuming methods, working by hand to stitch and knit exploring issues such as belonging, absence and place. They decided to use the Leytonstone Arts Trail to begin a conversation between selected works.
Karen Logan – Close knit is an ongoing project exploring family history, textile process and landscape. Karen has worked in gallery/community education for many years, this includes work for Creative Partnerships, Tate Britain and The Whitechapel Art Gallery. Currently part of the creative practitioner team at The Hepworth Wakefield, she works alongside families, schools and young people considering, exploring and creating visual art.
Lucy Williams -Worn jackets explores how clothes can metaphorically take on the emotional as well as physical shape of those who wear them. Lucy is inspired by stories and folklore, drawing on symbols and motifs connected with concepts of self, other, reflection and shadow. Lucy has worked in children’s charities and galleries on education programmes for a number of years.
Gillian Swan: The future is brightly coloured
Gillian’s work explores real inhabited environments and seeks to examine the relationships people have with their surroundings. She is interested in the physical remnants successive occupiers leave on buildings and how they form a subtle, yet candid, record of the complex and varied interactions people have had with those buildings.
Gillian will be showing several small pieces from her new series of work titled ‘The future is brightly coloured’ as well as a large relief sculpture which she will be inviting visitors to paint over during the first four days of the exhibition (3 – 6 July).
This series of work is based on buildings not far from the gallery on Leytonstone High Road and is inspired by the action being taken to sanitise and remodel shop fronts and buildings in the area. The first piece of the series was recently shortlisted for The John Ruskin Prize 2014, and is currently on display at the Millennium Gallery as part of an exhibition of shortlisted entries titled ‘Recording Britain Now’ that is partnering the V&A exhibition, ‘Recording Britain’.
Interview by Kate Delamere
Your work has been described as literally ‘out of this world’, even ‘alienesque’. Do you draw inspiration from the cosmos and does your imagination play a part in your work?
No. When I paint, I try to repress my imagination, I fade it out, push it away, because I work in a process and for that imagination is a distraction. However, I’ve always been fascinated by the cosmos and the science related to it. I believe that what’s written in science fiction doesn’t match the reality of what might really be out there. My guess is that no-one will ever imagine what it could be like – maybe our senses are not even able to experience it.
How would you describe your creative process?
Painting is for me playing like a child – a solipsistic game – in the sense of being alone with oneself. Sometimes the game or play is simple, like playing in a sandpit. Sometimes it is complex, like a board game. It is not passive, mechanical or automatic. There is no experience on which the game is based.
You’ve been described as having a ‘free style’. Can you elaborate on that?
‘Free style’ means that when I’m working I’m completely free – there are no constraints, rules or restrictions. I may start off painting but it could turn into a sculpture. There’s only me and the laws of the paint and materials, but even those I experience anew time and again, through experiments in my working processes. I work in series. This way I don’t get stuck with one work and always move on to the next one. Later, with a certain distance when I go over the series again, it’s easier to destroy and analyse. Destruction can mean creation, discarding can mean renewal.
Over the years your palette’s evolved to become brighter with more distinct lines. How do you choose the mediums and tools for each individual piece?
A series is often dominated by similar materials, therefore the paintings belong together, for example; rice paper, jute, plaster, soil, ink. There’s no rule that a series must remain focussed on them. In my studio I often rediscover materials by stumbling upon them again.
What is the most unusual medium or tool you’ve used for a piece of art and why?
So many! In the past I’ve used oil paint, alkyd paint, acrylic, oil pastels, pastels, pigments, charcoals, graphite, fabrics, papers, wires, carrots, sand, shells, branches, cinder, glues, enamel, tea, coffee, marble dust, glass, ropes, string, wool, chestnuts, stones, sheet metal, tin cans, grogram, Chinese rice paper, soil, moss, roots, bark, leaves, iron filings, felt, concrete, honey, flour, salt.
I use them because a painting is never only colour, it’s also structure, texture and materiality. The colour is sometimes not important even though my palettes have become brighter.
As a German artist living in London, you were founder of the artist group ‘The Rip’ that exhibited work across the UK, Germany and Russia. Tell me more about the group and its origins?
The Rip was founded in 1987 in what was then West-Berlin. It was a group of painters, sculptures, musicians and writers and had around 10 members. Some of the artists did paintings together, others sculptures and a punk band called ‘der Riss’ was founded. As emerging artists we helped each other organise shows, readings and concerts in small galleries, derelict houses, former STASI-buildings and warehouses. We had connections to artists in St. Petersburg and Moscow in Russia. It led to us showing our work there during the summer of 1991 and the band played in Leningrad. After Berlin became the capital of the reunified Germany, lots of members moved away from the city, so the group split up.