SPONSORED BY DEPTFORD X9 Brookmill Rd, Saint John's, SE8 4HL, London
Curated by Maria Valeria Biondo and Clara Rodorigo.
Artists: Malcolm Bradley, Sophie Cunningham, Anne Mccloy, Georgia Noble, Sara Rainoldi, Uchercie Tang, Ahren Warner, Nana Wolke, Diana Zrnic.
In the windows of Deptford X, ACCESS presents works by nine emerging artists working across sculpture, installation, painting and photography. What brings together nine works realised using different techniques and with totally different intentions is the desire to make art and work together again. Bright colours and bizarre shapes suggest creative chaos reminiscent of distant circumstances.
Due to the health emergency, many exhibition spaces and local businesses have been forced to close temporarily or indefinitely over the past year. Working on the ACCESS project has allowed students from MFA Fine Art and Curating to develop a project together in a collaborative and proactive spirit, in dialogue with Goldsmiths’ host community and the local businesses representing the heart of the Deptford area. Coinciding with the reopening of shops and businesses, we hope that this project will represent a small chance to return to inhabiting public space with a new, renewed awareness and attention to the realities that animate it.
Deptford X, London’s longest–running visual arts festival, was founded in 1998. Based in Deptford, SE, the visual arts charity is well known for its engagement both with artists and the local community within the borough of Lewisham and beyond.
Sophie Cunningham, 28-Day Sculptures, 2021
ACCESS Wednesday April 14 & Tuesday April 20
Curated by Maria Valeria Biondo.
Organised by Georgia Noble.
Access Evening Screening is a one–off event divided in two parts; from two locations between new cross and deptford.
Part I: Experimentation in space20:00—21:00
Taking place at the intersection between Pagnell Street and New Cross Road, SE14 6FD, London
From internet–sourced montages to complex systems of ecologies and distortions of video game footage. This series of works explore themes on intimacy, grief and anxiety within the human and non-human accelerated reality. Online or Offline—What does it mean to “occupy” space?
Works and artists:
Eagle & Hesitant Vehicles, Nicola Arthen; I Want To Give You Devotion, Oliver Crowther; Today a Year Ago (Moments), Alles Past Lavoro; Screensaver 1, Georgia Noble; Supernova, Maddy Plimmer; working conditions, Juliette Pénélope Pépin; Outer sphere of fire, Jean-François Krebs with: Claudia Wikse Barrow, Mario Musella, Amandine George, Christopher McClain; Exercises with Fire II, Olivia du Vergier; In Her Shadow, Maddy Plimmer; Screensaver 2, Georgia Noble; worldwideweb.iNews 00A- so fash, dieinternet.org; The Power of Believing (excerpt from flow), Alles Past Lavoro.
Part II: Trapped on the Outside21:30—22:30
Deptford Station, St Paul’s House, 3 Market Yard, Deptford, SE8 4BX, London
This series of works retell a story of simulation. Often tricked by our own eyes we are penetrated and re-combined in the brain. Working across different processes and intents—from photogrammetry software to edited graphics and visuals—the works confront us with the lenses of a dislocating sense of trespassing.
Works and artists:
Like a Star, Maddy Plimmer; Screensaver 3, Georgia Noble; Salt Ruptures No.3, Nikolai Azariah; Nostalgia 2.0, Gabriele Zemaityte (*as seen on Icarus_Blue on 28th of February, 3D space and navigation — Vytautas Niedvaras); Easter Spit-Roast, Eleni Zervou; Simulation – Episode 1 (Version 3), Max Petts; Screensaver 4, Georgia Noble; A Reason to Celebrate, Maddy Plimmer; FORM FREE THINK OK, Anne McCloy; carpark connection, Molly Haviland; Becoming Moss, Sam Risley; Place for Leaving, Gabriele Zemaityte.
Quartetfor Daniel Benjamin Gallery
Curated by Maria Valeria BIondo
4 Solo Shows, 4 Weeks, 4 Artists
With diverse practices spanning across the UK, Italy, and France these exhibitions give an insight into the unique experiences each artist had in the past year.
... Katia Kesic’s introspective work explores ideas of identity and belonging, taking inspiration from the mundane. For the artist, the ordinary is not always what it seems, and her daily appointments and the conversations she overhears have become invaluable inspirations for her work. Kesic’s artistic practice is meditative and vulnerable. It explores the sexual politics of artistic labour and the fear that comes from being a female artist today, by confronting the status quo through the lenses of care.
Katia Kesic, Blue Water, 2021
The works presented, which are abundantly decorated from head to toe, are a lush, baroque-like tableau that combine still life – skeletal, taxidermied – with the dreamy, petrified gaze of the living.
In this interview, Kesic talks about the yoga mat and the positive impact it has brought to many aspects of her life. This object represents a starting point from where care can develop and orient our lives amid disorder and uncertainty.
Inside Nana Wolke’s studio, Deptford (London)
... Tiny Threat (2021), Too Fast For Love (2021) and Showgirls (2021). The works are instantly striking due to their unique approach to figuration and their use of hunting red light.
The unusually low perspective situates the viewer at the point of view of a domestic animal. The metaphoric and popular connotations, as well as ambivalence of social constructs - domestic against wild - are called into question.
Many questions arise from Wolke’s peculiar settings and subjects. What are we looking at? Is this a sensual promise, or a trap? Who is really the prey here?
Wolke is interested in what is caught in the corner of the eye - what happens when nobody should be watching. She is currently “testing” the thin line between plastic reality - ‘authentic pretension’. Images that get deep-etched into our consciousness, and re-elaborated by our brains. Those generic fictions grasped from (cinematic) screens that get assimilated, shared, and fed to us as memories.
Matete Martini, La Società degli Adulti, 2021
Matete Martini’s work is an ongoing exploration of human and non-human relationships, queerness and its power to rethink identity. As an artistic practice that began as a study of movement within the human realm, it has become increasingly influenced by photographic processes and an obsession for the idea of the work in progress.
This series of paintings and textile works take fungi and other natural elements as a starting point to explore ideas of human transformation and intersectionality. It reminds us of the VII Book of Ovid’s Metamorphoses. In the epic poem, as soon as Medea, daughter of divine descent, arrives in Corinth, we are made aware that the people of the city have transformed from mushrooms into humans. In Pubertà (puberty), human bodies spring from fungi (Metamorphoses, 7.391) and impersonate rituals of initiation into adulthood. Curiosity, sexual tension, consummation, attention seeking and insecurity, invade every work in a parasitic way to the point of sensual pleasure.
Sasha Ferré, Biofilm (pink), 2020.
Ferré’s work appears as a constant infiltration of absolute exteriority into the inside whereby the process or system opens itself up to the outside and that which is not instantly graspable. The outcome seems to be focused on abstraction, but is just permeated by noise whereby “all that is not information, not redundancy, not form and not restraints - is noise, the only possible source of new patterns” (Negarestani, 2008).
The process is one of a complex cyclical nature; ...
Barbara Alegre, Adam, 2019
Sotto Sale Market peresents a series of works on paper by Barbara Alegre, an artist Sotto Sale Projects has been working with since its first exhibition in 2019.
Her artistic practice has always been intertwined with personal pain and moments of isolation that have shaped her life. Throughout the pandemic, Barbara’s experience has sadly been defined by the mourning that comes from the loss of loved ones.
These selections of gouache, watercolour and oil paintings stand for signification and oscillate between image, subject and object. Her interest in Romanticism and contemporary everyday life, embodies a stereotyped sense of love, faith and death. Perceived from the outside rather than as an intimate personal experience, it reinforces certain absurdity and comedy inside a reflective and quiet thinking.
Barbara’s ambivalent body of work is full of intimacy, beauty, and more than a pinch of pain. The use of text is subtle, embossed and almost phantasmagorical, but pleasantly experienced through visual touch. Like an inner bubble of speech or a thought. Like a song stuck to the head that becomes a pop lyric added to an image. A poetic resolution of nostalgia and mainstream culture.
About the artist: Barbara Alegre
Barbara Alegre is a Spanish visual artist currently working and living in Barcelona.She studied a Bachelor of Arts at Chelsea College of Art & Design, UCL, in 2004 and recently a Masters Degree in Painting at Royal College of Art.
Barbara’s work is attentive to ‘life forming questions’ which are probably accompanied with loneliness. Questions on time, memory and expiration, on the search of the origin, ontology, genealogy and identity, or on parenthood and the transmission of values.
Her practice contemplates different materials and approaches depending on the subject matter and the project. Therefore, figuration, conceptualisation, abstraction, text, painting, sculpture, photography are all - possible -resulting outputs.
The work supports the idea of art being a shelter or safe place. Somewhere to return and reflect. Where quietness, intimacy, contemplation and delicacy aim to bring protection and freedom. A motherly act of care and embrace.
Matete Martini, Roses, 2020
Matete, urged on by the wish of re-analysing her relationship with the photographic medium, shares with us a tale made of cavities, explosions, solitude, love scenes and sexual encounters. The subjects of her compositions, herbs and fungi, become the medium of these experiments in photography/photographic experiments.
Merging autobiographical and fictive elements, the results are strong and balanced compositions that appear self-reflective. Yet the use of image manipulation, essential in her artistic process, as well as the choice of keeping the human body present, expose her predilection for third party perspectives. As seen in -Margarita, 2020- the process of layering becomes more and more complex. One lever of layering is present within the photographic and graphic manipulation process. The other - the human figure, and the growth of complexity of the lines - is drawn directly by the artist on the canvas. This process gives birth to a third dimension inhabited by the digital, the analog and the recorded.
Matete’s visceral fascination with herbs and fungi originates from their shapes and their existence within everyday life situations and memories. It is, in fact, within a context of an intimate dinner that some of these works were conceived.
“After a dinner with Margarita”...“I had to photograph them (the natural elements)”, “I had to find a way to incorporate them into my practice”.
This comes as no surprise when considering her previous work. For example, in -Cassandra, 2020- the artist creates an illusion of movement in the canvas through the almost chirurgic process of repetition of the same subject, as well as an analysis of the frames -again- to represent this motion. Yet, beyond the themes, inspirations, connections and technical aspects of her work, Matete is capable of arousing the curiosity of the viewer with her signature strong black lines and use of bold colours.
Folding the Visible
Daniel Benjamin Gallery, London
Jemma Appleby’s works focus on the dialogue between architecture and landscape, coming back to the question of Time. By reflecting on concepts such as repetition and solitude, she finds an innovative method of abstraction.
Grinding charcoal and applying it on paper with bare hands, the artist reveals the technically astonishing, yet minimal, relatable memories on paper. It is possible, especially when coming closer to the works, to admire almost imperceptible imperfections.
This selection of drawings wants to focus on the artist’s relationship with reflection, both as reflecting surface and method of innovation. Starting from Environment #8, Appleby invites us to stand in front of these mirrors, and to project on them our own personal environments and memories. Inspired by Hutong Bubble 218 by MAD Architects, a network of metallic bubbles to be cultivated in Beijing’s historic neighbourhoods, the artist screens in a natural landscape into one of these bubbles. Everything appears distorted, yet extremely static.
A feeling of calmness is resumed in Appleby’s work by the repetition of the same architectural forms. The knowledge and experience within this repetition makes it possible to make an act of abstraction by taking the objects into a pitch black environment. Here, only reflections of lost landscapes remain visible. And now, the only way to remember is by reflecting on the Outside. Time makes “the slightest change result in phenomenological moments which twist the already sublime environment into moments of questioning”. The joy of having to think results in innovation, freedom, and invention.
From the pure reflection within the organic architecture of the Hutong Bubble, we are taken to the swirling movement of the Holon Series and the upward projection of the Jubilee Series.
These two different dynamic movements enable multiple readings of reality and human perception within the same context. They are given an introspective feeling by focusing between the natural world and its reflection on architectural facades.
By distorting, and folding the visible, the invisible is unmasked.
LACUNA - SOTTO SALE PROJECTS
London, 8-11 November 2019
Curated by Maria Valeria Biondo
Interiors by Riccardo Rizzetto
Sotto Sale Projects presents LACUNA, -“I wouldn’t see anything at all, but then I’d see it in joyful fragments”-. A group exhibition featuring the work of Yulia Iosilzon, Matete Martini, Barbara Alegre.
This exhibition opens a dialogue between the three female artists, raising questions of time, identity and memory. Transcending lines between reality and fiction, and revealing the fragility of a society rooted in individualism. Opening a spectrum of new possibilities where - we can do lots of things -.
Diverse mediums - sculpture, painting, sound and video - take us deeper into the layers beneath the superficial and the obvious. Matete Martini’s paintings, saturated with associations to Italian futurism and pittura metafisica carry narratives and criticism towards patriarcal structures.
Meaning is subverted in Iosilzon’s work through persistent duality between text and subtext, clarity and opaqueness. Often painted directly on silk or thin cotton or linen, the artist’s approach is thoughtfully communicated through materials that point to weightlessness and delicacy. Yet these surfaces, which suggest the “looming, conscious fragility” of narrative thread, reconfigure themselves as a ploy to create distance, with the artist likening her choice of medium to a “mosquito net”, at once offering transparency and impenetrability.
Alegre’s work raise questions of memory, parenthood, genealogy, identity, origin, presence-absence, human concerns, universal and standardised social decisions. Humans have always been interested in measuring time in order to understand fate and exert some control over it.
Barbara Alegre, Now Scream 9, 2019
Yulia Iosilzon x Sotto Sale Market
Sotto Sale Market’s first story, a curated selection of ideas and memories in the form of design objects and garments. The aim of Sotto Sale Market is to give visibility and financial support to art practices of emerging artists that have been previously presented by Sotto Sale Projects. Through the sale of smaller works, mementos, relics, drawings, rare fashion pieces and other curiosities, the market wants to replicate a moment in time when a particular artist felt inspired by a certain circumstance. The market is here to share these stories with you.
These limited edition throws are the product of time and isolation.Both the translation of a moment of happiness, and the desire of keeping that beautiful memory close to our hearts.
During the past few months, Yulia has travelled with her mind into her favourite place. Forte dei Marmi, in Italy, represents a lot for her; JOY, family, escape and a second home. The impossibility of leaving London and the desire to transfer these memories into an art-object gave birth to this project.
Made from an ethically-sourced blend of premium cashmere and wool manufactured in a small warehouse in Italy, the throws depict two of the artist’s favourite paintings from her own archive.
10% of the proceeds go to Battersea Dogs and Cats Home, an animal charity established in 1860.
Battersea Dogs and Cats Home is one of the few animal rescued centres that run a non-selective intake policy, meaning that they accept any breed of animal, at any age, including dogs or cats with serious medical problems.