Both Turpin’s and Pickstock’s work reference the light, colours and forms that appear in the landscape. Their work is not illustrative or representational but takes its starting point from the natural world.
In recent years, Turpin has been exploring the notion of shelter in landscape. There are structures hidden in forests, and there are others that have almost become part of the landscape with trees bursting from inside them. In other works we see nothing built or man-made but rather shelter suggested by an area of light emerging through a tangle of branches. Turpin uses these familiar natural forms to try and find a harmonious resolution between colour and form.
Pickstock’s paintings appear to be landscapes; there is a horizon and there is sky. There are often bands of colour that suggest early morning or even later in the day as the sun goes down. Often there are flashes of colour that look slightly out of place and that might be comets or shooting stars or even debris as the titles often suggest. Size is difficult to gauge, there’s no scale as such. The luminous strokes falling down from the sky might be gigantic and will surely destroy whatever is on the ground. While the paintings are beautiful, there is a sense of malevolence and anxiety just below the surface.
Private view: Sunday 5 November, 12:00 – 14:00
ADRIFT investigates the call of our primeval instinct by bringing together many disciplines: spontaneous architecture, sculpture, drawing, photography, environmental sociology and sustainability.
The installation queries the reactive nature of human beings in response to natural events in a non-life-threatening scenario where art (rather than survival) becomes a basic instinct.
The exhibition “narrates” a story of how an exceptional flood of the river Ombrone on the coast of Maremma (Southern Tuscany, Italy) in August 2015 inspired the locals to make three dimensional structures along 12 kilometres of coastline by using the timbers transported by the flood and discharged into the sea.
The material collected, sketched and photographed during that summer is what Paolo is displaying in the exhibition. His photographs record the process of building, the output of this activity and the demolition process. For this project Paolo found his inspiration in the black and white photographic work of German photographers Bernd and Hilla Becher.
Paolo Boccacci is an Italian artist based in London – http://www.paoloboccacci.co.uk
Soundscape: Panta Rei – Passing Through Basic by Emanuela Martignetti
Artist’s talk Sunday 8th October 2017 2 – 3pm
‘Unfinished Street Magic’ features a body of works Anna Jung Seo made 2016-17 in Turps Studio. These paintings focus on the glimpsed, intimate moments between people whom the artist comes across in her daily life, especially around in a street market near her studio in south London. As a Korean artist in London, ‘dislocation’ has been her main interest along with psychological and emotional distance within people and geographical and physical distance between places and people.
Anna’s paintings developed out of an interest in the intimate moments of people, which unveil the different layers of human relationships.
“As a restless storyteller, I am fascinated by the way in which emotions and vulnerability of life can be dramatised into intimate or even awkward moments” Anna says.
This body of works is based upon the short memory following quick observations – sometimes repetitive – through daily encounters. Intrigued by scenes around herself, the artist conveys the vulnerability of these individuals by capturing the intense moments within small-scale paintings. In her practice, immediacy and uncontrolled moments prevail rather than planned process or detachment. On top of these stories, the layering of her narrative embeds and leads one narrative to another from the viewers’ perspective. These small moments are, though ephemeral, strong enough to show the fragmented truth of life.
Anna is a Korean born artist based in London. ‘Unfinished Street Magic’ is her first solo show after completing Turps Painters Studio Programme 2015/17. The artist participated into numerous shows in U.K and France – Florence Trust Summer show with ‘1000 faces from the Korean War’; Sluice Art Fair; collaboration with dancers from LCDS. Although her painting career evolved clearly from her fine art study in City &Guilds of London Art School (2008-2011), her previous study in French Literature(1983- 1999) has richly nourished her visual practice.
Alleland: ‘Alle’ generally translates into ‘all-‘ and ‘everyone’ but also into: ’empty’, ‘used-up-‘ or ‘ burnt out-‘. ‘Land’ translates into ‘country’ or ‘land’. Boris Born’s paintings are abstraction, relating to both nature and the use of materials. He incorporates “found materials” along with the use of various types of paint.
This series was created after a winter of depression and a trip to the sea side (Suffolk), where Born was fascinated by the contrasts between the various browns and blacks of rotten plants, the differently coloured brown rock and sand layered cliffs, the greys of the sand, the low-hanging dark grey sky, the thick clouds, the troubled sea and the atmosphere this scenario created.
Born returned to his London studio with a pile of sketches and worked with a variety of materials: emulsion, varnish, pigments, pastels, India ink, pencils using small roof tiles or small pieces of timber boards as a basis. The result are rather intense, gloomy and expressive paintings. They are abstract but in the widest sense ‘landscapy’– depicting a second nature or different planet.
In the series Pictures from Alleland Born continues to work with the topic but slightly changes the range of materials. He uses small canvases and cutouts from papers, wallpapers and newspapers as basis and a wide variety of pigments, varnish, acrylic, asphalt, pastels and pencils. The paintings appear like negative prints of an abstract and irritating world.
Alleland is where the end is over and another end has begun, where everything falls, where nothing can be understood, where there is no landscape and no life anymore or something that can be understood as such. In Alleland, all perspective is flat, spatiality is evaporated. Materiality is negative, reduced to ‘trappings’. Alleland is burnt out, burnt down, dried up, hard and grim. Scratched, bruised, torn, muddy, chipped and decayed. Alleland is a prophecy.
Born is a German born artist based in London. He started his artistic career in the beginning of the 1980s in Hanover, Germany, where he worked as an assistant and practitioner in an art studio. After graduating from the Free University of West Berlin, where he completed an MA in Philosophy and German Literature, he focused on his art. He co-founded the artist group Der Riss “the Rip” and exhibited in many group and solo shows across the UK and Germany. He has also travelled and shown in Russia; both Moscow and St Petersburg. From 2005 – 2010 he was artist in residence at Bishopsgate Institute (London), with two solo shows and a five year continuous exhibition in the concert hall.
Infoworks is a new body of site specific work by Joanna Penso looking at public access to information. She is particularly interested in the Stone Space for both its non-for-profit structure, and the curatorial format of artist-collective-as-curator. Once you remove the hierarchical issue of money, what curatorial considerations are taken into account? Set in the gallery directly beneath the public Library in Leytonstone, this installation gives us an insight into what life might be like without freedoms such as freedom of press, freedom to protest and freedom of speech.
Joanna Penso is an installation artist working across mediums of sound, light, film and text. Her work is predominantly concerned with how we interact with each other within different contexts, and how art work can reveal [the state of] our human nature. Throughout her practice, Joanna assumes the roles of curator, artist and exhibition organiser. By focusing on the use of elements such as colour, light and sound, she creates atmospheres that immerse the viewer in a hyper reality.
Private view: Thursday 1 June from 18:00-20:30
Artist talk: Saturday 24 June at 14:00
In December 2016, the Stone Space invited artists interested in being paired with another artist to come forward and work on creating a joint exhibition. The intention was that the two artists selected for the exhibition would enter into a dialogue or work together in response to each other’s work in advance of the exhibition and the results of this process would be documented or exhibited in some way.
Counterpoint is a collaboration between Ivy Panesar and Philipa Day, two local artists unknown to each other before this exhibition, utilises contrast of colour to create contradictory and varied emotional reactions. Both artists favour abstracts and rely heavily on colour and movement, but there are notable discrepancies in their work and method which create a magical disharmony.
Ivy Panesar is a contemporary London-based Australian painter inspired by street art and abstract expressionism. By her own admission, she can be brutal with a paintbrush, but the result is always intriguing, and sometimes chaotic, with pastel candy-coloured hues fighting for recognition against engaging brights.
Philipa Day is a painter from East London and has exhibited her work across London and in Copenhagen. This work captures the reactions of mixed oil paint and white spirit on acetate. For the viewers of Counterpoint, Philipa hopes each person will keep in mind a quote from one of her own artistic inspirations, Georgia O’Keeffe: “I paint because colour is a significant language to me“.
Strategic Plan by Spanish artist Juan Carlos Meana is an installation that is part of a broader work which deals with identity tensions between the individual and society. Juan’s installation fills the gallery with rulers and set-squares tells us that the space is reduced to numbers and measurements which, in an obsessive, hoarding manner, ends up depriving the subjects and their private identities. By ‘occupying’ the gallery and preventing the public from being able to physically enter into the installation, the artist wishes to emphasise the occupation of a space that cannot be inhabited and where the subject has been expelled.
Juan studied Fine Art at the University of the Basque Country.He continued studying in Paris (ENSBA) with C. Boltanski. He is currently lecturing in Fine Art at the University of Vigo (Spain). Over the years he has had around twenty solo exhibitions and many collective ones, in cities like Bilbao, Vigo, Vitoria, Barcelona, Madrid, Berlín, Amsterdam, Paris and Lisbon. This is the first time he has shown his work in the UK. Alongside his artistic work he has developed a body of reflective texts about artistic creation.
More information on Juan’s work is available on his website: juancarlosmeana.es
The private view for his show will be on Thursday 6 April, 6.30 to 8.30pm