Using printmaking as a medium of exploration and process to inform image making, the work in this exhibition investigates how process is linked to the development of the idea. Through observing, collecting and recording the urban and natural, and where they interconnect, they have built their own vocabularies of shapes, marks and textures that relate to their personal observations. They share an engagement with drawing process as a means to an end. Avison and Willberg’s prints interpret the physical differences of printmaking process to focus on the elements that are often overlooked.
Avison’s drawings are informed by looking for and finding similarities across landscapes, large and small, urban and natural. Her drawing practice explores texture, shape and the patterns thrown up by repeated looking. The recent prints come out of many sketchbook drawings, and they also recycle and rework previous images, exploring both the internal catalogue of observation and memory, and new marks that come out of the physical process of making prints to invent new landscapes.
Willberg’s work plays with an assemblage of shapes and grids that have taken inspiration from discarded objects she has observed and recorded from the city streets. Through a range of mediums including intaglio, relief and screen printing these different objects have adopted new characters and are now identified by their shape and interaction with colour, rather than their previous function or use. Sitting together they play with form and textures sometimes recognisable to us but always on our peripheries.
Artist Eugene Macki will be in conversation with Emma Hunter to discuss his current exhibition ‘Among Others’ at the gallery. The discussion will focus on the paradox of dividing and connecting and draw attention to the sculptural qualities. The talk will also explore the interconnections between shape and form. The event aims to stimulate thought and reflection on various complex relationships.
Eugene Macki grew up in Hackney, East London. Macki holds an MA in Fine Art from Chelsea College of Arts and has participated in exhibitions across the United Kingdom. He received a fellowship from Atelier Austmarka in Norway, and was invited to participate in a residency at the Muse Gallery in London.
Emma Hunter currently lives and works in Hackney, London. Hunter is a sculptor as well as a spatial designer and associate lecturer. In 2015 Hunter completed three ambitious large-scale permanent sculptural public artworks in Oldham and Greater Manchester.
This show explores different perspectives on movement and transition by bringing together sculpture in wood by Alexandra Harley and drawings in ink and gesso on board by Alex McIntyre.
Alexandra and Alex met through the artist-led organisation – Free Painters and Sculptors – in 2013 and began to work towards a joint show. Their conversations are grounded in a mutual fascination with movement and transition explored from different perspectives. Alexandra’s sculpture references and capture moments of movement in space whilst Alex’s drawings distill the experience and recollection of journeys withing a landscape.
Dates for your diary:
Taking time out to appreciate and talk about art at a Q and A event for artists at the Stone Space Gallery in Leytonstone, is a great way to spend a Sunday afternoon, Clare Conley discovered.
What makes an artist? How does that represent memories? Why did you frame that work? These were just some of the questions that the audience asked a group of artists on the last day of the Space Between exhibition on 3 December 2015. Artists talked about what had inspired them, how they created the work on display and took part in a debate with the audience and fellow artists.
The Space Between show included a diverse mix of artistic approaches, materials, artistic medium and interpretations received in response to the call out for work that inhabits the space between perceived reality and abstraction. Thirteen artists featured in the exhibition and four were able to take part in the artists’ talk event.
Robert William Jackson is an artist with a “day job” as a furniture maker. He explained how he saved the basis of his exhibit, “Light and Dark” from being thrown away in the workshop where he works. It started as a board with a build up of different layers and textures of black and white paint, sealed with clear laquer over months and months. “To me it was special, I knew it was a piece of art”, explained Robert. And the beauty of art is that it means different things to different people. One member of the audience said it reminded her of an arrow slit window in a castle, while another person was interested in why Robert had decided to frame the work. “It had to be framed to give it that strength”, was Robert’s reply.
The mythology surrounding paradise and what can and can’t be seen in everyday life, were some of the ideas that interested Susan Eyre. She visited places with the Paradise nametag including an industrial centre and an urban street, looking for structures, signs and symbols. These included plastic palm trees in a children’s playground in Paradise Road in Stockwell, which feature in Susan’s artwork, “Blackbird” – a screen print with circles representing the seen and the unseen. “Less than 5% of the universe is actually visible to us. There is a dark matter and dark energy that we can’t see,” she explained.
Maria Kokkenon produced the two pieces displayed, “Body Became a Tree” 6 and 1, for her fine art graduation show in Finland. Maria was fascinated with how differently she and her older sister remembered childhood memories. This led her to think about how memory reflects our identity and how longterm memories are held in our body. Maria has interpreted this visually in two large black and white drawings on fabric representing imaginary trees in the “garden of my mind”. Maria’s pieces generated a lot of debate about how people saw her work and what memories meant to them.
Sam Mattacott, who trained as an animator, explained that he created a series of six artworks from audio files using various digital processes. He chose two pieces for the exhibition. Sam added: “The process was quite experimental and I enjoyed seeing how I could push and play with the images, including different colours, until I felt that it was a completed image. I think of them as ‘action paintings’.” The audience asked if the artwork could be displayed with the sound files (Yes, but it would be white noise) and if they could be projected (Potentially but only with very expensive equipment!).
Championing artistic enquiry and giving a platform to art that provokes thought and debate, are two of the overall aims of The Stone Space and this event was a good demonstration of both. Do go along to join the discussion at any future artists’ talk events if you can.
Join the debate at our next artists’ talk event and subscribe to our mailing list.
Contours & Connections – watch two artists create new work at The Stone Space next weekend
Don’t miss your opportunity to watch artists, Diana Burch and Louise Scillitoe-Brown – currently exhibiting – make new work in the gallery in response to each other’s practice and the space.
Come along to our live artwork weekend on 11 and 12 December.
Are you an artist? Interested in exhibiting at the Stone Space next year?
We welcome exhibition proposals by individual and groups of artists.
It’s hard to keep up with Jeff Cox, his ideas and musings keep on coming. In his East London studio, surrounded by works for his current exhibition – ‘What Now?’ – at The Stone Space, Jeff takes me through some of the influences and inspirations for his coruscating and witty paintings.
Brought up in London in the fifties he always wanted to paint . At the time of leaving grammar school in the sixties art was not considered to be a viable option by either school or family so he studied economics at Southampton University and went on to become a teacher. But he was always painting and drawing, going to exhibitions, and reading books and magazines on art. He has shown his work in several small London galleries and was eventually able to devote himself fully to being an artist in 1999. Initially his work was figurative and he was an admirer of artists Stephen Campbell and R.B. Kitaj. But his ‘big three’ influences have always been Cezanne, Picasso and Klee, but has long admired painters such as Titian, Velazquez and Watteau.
Jeff’s pictures are vibrant and his bold use of colour he says is “emotional and instinctive”. Spanning abstract and figurative his work draws on themes of memory, relationships and introspection. There are often recurring motifs of triangles and of ladders. The works on show have not been produced as a series but complement each other, and the body of work has been curated specifically for The Stone Space. Some of his newer pieces, compared with earlier works, have been completed quite quickly. He has used a different technique with these, layering them up and using stand oil to create a more iridescent surface.
He says that often when he is painting it is important to know when to stop but in the case of ‘Donde’, adding mysteriously “…it could possibly be unfinished!”. He states that his aim is to provoke and engage the viewer. He quotes Anselm Kiefer ‘Art is difficult, it’s not entertainment’ and believes it is for the viewer to decide what it is he is seeing and it is not the artist’s prerogative to dictate but to offer ambiguity. He considers that some contemporary prize-winning artists’ work to be rather shallow: “There has to be more than just a visual pun”. He considers his art to be post-postmodern maintaining that the medium of paint is still crucial amongst other styles and disciplines. Amongst some of the contemporary artists he admires are Anselm Kieffer, Howard Hodgkin and Sean Scully.
Jeff works in his studio several days a week maintaining that for him making art is an intrinsic need –
“After this show I feel freer to move on. Not a new idea-but I wish to move further towards painting as an equivalent to music. And I may come to regret that remark!”.
Jeff will hold a Q&A session on Saturday 26 April at 3.00 pm.
‘What Now?’ finishes on Sunday 27 April. Exceptionally the gallery will be closed Friday 18, Saturday 19 and Sunday 20.
The gallery is pleased to welcome back Jeff Cox after his last solo show ‘What’s Going On?’ in 2012.
The paintings in this show are Jeff’s reflections on life, memories and art. They are the result of recent work but they call upon past work as well as more recent ideas. Jeff has taken this opportunity to test himself in various ways while remaining aware of the range of possibilities in this post postmodern age.
Like many painters he is uneasy with the blanket term “abstract”- he does not consider any of his paintings to be abstract in the purest sense. Some would argue that all painting is abstract: painting is a bunch of forms and colours on a flat surface. All his paintings have a definite content but he is very resistant to explaining them.
The private view is on 3 April from 6.30 to 8.30 pm.
The artist will hold a Q&A session on 26 April at 3.00 pm.
The 2 week installation drawing Eden by artist Carne Griffiths opens in the stone space at 2pm on Thursday 1st March. Come along on Thursday to see the artist drawing in the space using ink and tea to create floral forms. Bring along plants to decorate the gallery and write suggestions for Carne to include in the work. Keep checking back to the Stone Space website to see the exhibition develop.
Here’s a sneak peak of the gallery in preparation.
and another video this time from the preview event for Eden recorded last week at Debut Contemporary – many thanks to Sylvia Krupinska for the interview.
The Stone Space talks to artist Debbie Locke about her fascinating work and what influences and inspires her.
Could you tell us a bit about how/when/where you produce you work?
My work is both studio based and site specific. When I’m working with the drawing machines, I tend to be in the studio, having them either roaming the floor, or attached to the walls. As they are made from Lego, their construction has endless possibilities, and so I spend many hours building and experimenting with designs in an attempt to realise an idea. But when I’m working with GPS (Global Positioning Systems), I work outside the studio, carrying a handset with me, recording my journeys to produce cumulative maps, r for more complex projects, getting volunteers to do that for me.
What was the biggest challenge when making this work?
I think it was getting the balance right between producing an installation that is both engaging and playful, but still progresses my investigations into mis-mapping and so informs new work. Continue reading