Paintings & Collages 3-26 June 2016
Still life is a recurring theme in Andrea’s work. Bowls and vases stand quietly alone. The objects are calm and serene, complex patterns and textures reveal simple forms.
Her new work is inspired by the ceramic collection at the V&A and ‘Paintings and Collages’ focuses on the tactile, hand-made ceramics, often made for domestic use. She is attracted to these objects because they are ephemeral and functional. She likes to find beauty in the ordinary. Andrea can be inspired by a vase of flowers on a friend’s table, a patterned quilt in a magazine, objects from her own house or garden. She collects shells and pebbles from day trips and holidays for reference. She records visual memories in sketch books, with notes to remind her of colours and sensations.
Andrea’s paintings are a journey. She can work on several pieces at a time. She excavates through layers of paint to reveal the ‘old’ paintings, and to recover textures underneath. Adding paint can provide structure and boundaries on the surface. The collage element is a new feature in her work. She has always composed paintings by collaging paper ‘designs’ onto her studio wall and using collage captures the spontaneity and immediacy of her creative process.
Andrea graduated from Cambridge College of Arts and Technology, with a BA Honours Degree. She studied at Oxford University and she was a Primary School teacher for a number of years before devoting her life to painting. Andrea lives and works in London. Her paintings are exhibited in galleries across London and the UK. In 2014 a still life painting of hers was selected for the National Open Art Exhibition at Somerset House. Her work is held in private collections throughout the UK and abroad.
For more information and to contact Andrea directly visit her website andreahumphries.com
3 minutes to midnight at the Place of Welcome
6-30 May 2016
Belfast-born multi-disciplinary artist Steven Quinn, brings together some of his thought-provoking and witty paintings and collages on the recurring theme of domesticising nuclear, political and intergalactic conflicts.
The show's title refers to the time the 'Doomsday' clock expects the world to end (3 mins to midnight) and Walthamstow (or Wilcumestou in the Domesday Book, in 1086) which translates from old English as Place of Welcome.
'3 minutes to midnight' includes some of Quinn's surreal and dystopian collages, Star Wars Family Portraits and (with a nod to Walthamstow hero William Morris) his terrorist wallpaper.
To see more of his work and to order prints visit his website stevenquinnartist.com
2 April-2 May 2016
Unusual and unexpected film posters from around the world. Original beautifully designed promotional posters from countries such as Poland, Czech Republic, Japan, USA, Belgium, Germany and the UK, with their own unique interpretation of often well-known movies.
FRANCESCA BRAY: Beneath the Surface
5-27 March 2016
Presented on vintage NHS x-ray lightboxes Bray illuminates those things out of plain sight. Drawing on scientific
imaging techniques, referencing the use of light and colour, whether natural or artificial. Her work investigates forms
found in nature from microscopic crystal formations and the structure of cancer cells to the shapes of underwater
organisms or the fractal patterns of rivers.
The delicate materials and intricate methods employed in Bray’s lightboxes continue in her works on paper - stitched
compositions involving watercolour and gold leaf. All her work asks the viewer to examine and revere these forms, as
they would specimens in a lab or museum, at once beautiful and frightening.
TRANSFORMED 6-28 February 2016
The rural and urban landscape of Waltham Forest
undergoing change as seen through vintage photography.
Positive and negative changes. Marshes transformed by flood water, roads transformed by construction and houses transformed by WWII bombs. Exhibition in collaboration with the Vestry House Museum's photography archive.
GOD'S OWN JUNKYARD 4 Dec 2015-10 Jan 2016
Walthamstow's heavenly neon collection God's Own Junkyard create a Christmas window, a tribute in bulbs and neon to their founder and guiding light the artist Chris Bracey who died in Nov 2014
World-famous neon heaven God’s Own Junkyard are dedicating a glowing installation of neon signs and artworks at the Walthamstow Village Window Gallery to the memory of local neon artist Chris Bracey, who died last year.
When invited by the gallery to create a display in its former hardware store windows overlooking the village square Linda Bracey, Chris’s widow, jumped at the chance. “Chris was born in Walthamstow and he recalled this very shop as his earliest memory of a colourful window display, and loved this special time of the year because it was his birthday on Christmas day and everyone was happy.” So it’s doubly poignant and fitting that his family will share with the community an entrancing selection of Chris’s pieces in neon and bulbs to shine the light he loved into the heart of the village he grew up in.”
“Chris recalled this very shop as his earliest memory of a colourful window display”
Chris followed his father Dick into the neon business in the mid-70s, starting with a creation for the Pink Pussycat Club in Soho. He was soon making iconic pieces for four Batman films, Eyes Wide Shut, Charlie and the Chocolate Factory as well as for clients Agent Provocateur and Selfridges. His family are carrying the neon sign creating baton into the future, ensuring that Chris’s light that will never go out.
He set-up the Junkyard in Walthamstow to house his growing collection of neon artworks, salvaged signs, props and sculptures including a Doctor Who Tardis and over-sized glitter balls. It appears regularly as a backdrop in music videos and photoshoots, often gracing the pages of fashion, culture and travel magazines.
The Junkyard proper is open to the public on Fridays, Saturdays and Sundays for FREE and is just a short walk from the Window Gallery, whose temporary display will be a wonderful taster for the amazing neon delights that await you there. For more info www.godsownjunkyard.co.uk
CAIN CASER 7-29 Nov 2015
Caser's paintings have been conceived as 'hypnagogic portraits’. Occupying the gap between figuration and abstraction they exploit the tendency to see faces where none exist and may be interpreted by an individual's own unique visual hierarchy.
Cain Caser started painting in 2010 and showing his work in late 2011. "As a kid growing up I was obsessed with graffiti” he says. "I lived near the end of the Metropolitan line so everything that was going on in London was delivered straight to my doorstep. The people, style, mystery and adventure of it completely fascinated me. By twelve years of age I had started writing graffiti and at sixteen it was dominating my life".
Shortly afterwards like many others around that time he got side-tracked by rave culture which proceeded to provide an altogether different form of distraction.
This current body of work represents a reflection and distillation of both periods. "The visual shock of seeing a newly pieced train on my way in to school filtered through the peculiarly lucid experience of my late teens".
“The motivations of my younger self, ego and excitement, are the same cues that I paint by today." Graffuturism.com
Selected shows include - Scream, Rook & Raven, Rove, Pure Evil, Roberta Moore Contemporary, High Roller Society, Ace Hotel, 201 Portobello, Old Shoreditch Station, John Lewis Oxford Street, West London Art Factory, Village Underground, Prescription Art. Art fairs in London, Europe, Hong Kong, USA. 1AM gallery San Francisco. Work included in John Lewis & Reebok corporate collections. Three other solo shows between 2012 and 2015 - Gallery 94 London, Market House Kingston, Fountain Gallery Hampton Court.
MAKING WAVES 10 Oct-1 Nov 2015
Personifying potential energy 'waves' is a great metaphor for this exciting new venture. Our debut presents a mixed media show of artwork inspired by or reminiscent of crashing waves, gentle ripples or the tranquility of light glinting on the surface of the water.
Artists include Tony Blackmore, Paul Debois, Sharon Drew, Paul Greenleaf, Magnus Irvin, Mark McClure, Johanna Melvin, Janet Mitchell and Neil Morley
Tony Blackmore produces paper sculpture through a process of drawing and folding that creates 3-D reliefs with regimented precision. His work plays with light as it passes over the surface of his artwork, giving movement to static forms to create waves and illusions that strike a sense of bewilderment in the viewer with regards to their execution.
Exhibited widely in London, Hong Kong, Tokyo where he was awarded Tokyo Wondersite Residency Award. tonyblackmore.co.uk
Photographer Paul Debois’ Costa de la Luz pinhole series evolved from a desire to capture the beauty and energy of the Atlantic coastline in the Spanish Cadiz region near Cape Trafalgar, but in a different style to his normal work. Having spent many years working digitally, producing incredibly sharp and precise images, Paul wanted to produce something much softer in appearance and less technical in approach. Inspired by the early pigment/platinum prints of Edward Steichen, he used a pinhole camera to revisit the most basic form of photography. It calls for more reliance on instinct and creative vision than technology to produce the final image.
Working with a pinhole camera can be difficult as there is no viewfinder, which means the photographs are more spontaneous and almost uncomposed. The often necessary long exposures mean that images feature more movement and reflect the passage of time more vividly. This back to basics approach demands a completely different way of working. And these qualities suited the style of photographs he wanted to produce.
The resulting colour landscape images have a beautiful ethereal appearance, but are also dark and sombre at the same time. The lack of a lens means there is a softness which resembles some 19th century work, but the images are from a very much contemporary viewpoint.
A frequent motif in Johanna Melvin’s work is the seascape, as graphic cut-outs, prints and paintings, drawn from ephemeral details found in early 19th century engravings depicting dramatic narratives in the lives of early American settlers. She is showing two pieces from her Seascape series. Johanna is a London-based artist she has exhibited widely, including Flowers Gallery, Royal College of Art, Contemporary Art Society: Art Futures and she has been selected for the Royal Academy of Art Summer Exhibition three times since 2003.
Sharon regularly visits the West Cornish landscape around St Ives which is renowned for its extraordinary light and colour. This is a major influence and her work follows a long tradition of British colour abstraction inspired by the land, sea and sky of the location. Themes of light, space, colour and pattern run through the work and evolve out of process. Translucent and opaque layers are overlaid with rapid, repetitive, gestural applications of paint, giving rhythm and pace. Much of the process is ‘in-the-moment’, fluctuating between accident and control. Her aim she says “is to create an immersive quality, the sense of inhabiting a landscape”.
Sharon Drew has been based in Walthamstow for over 25 years and completed her MA Fine Art at Byam Shaw at Central Saint Martins School of Art in 2003, where she is now a mentor to Fine Art BA students. Her work is currently showing in Gordon Ramsay’s restaurant London House and she was recently shortlisted for the Griffin Gallery Open Liquitex Prize. Sharon’s work was selected for the 2014 Royal Academy Summer Exhibition and in 2013 for a two-person show – Rhythm, Balance, Flow - at T5 Gallery, Terminal 5, Heathrow Airport.
Sharon’s paintings have shown in Paris and London alongside artists such as Mali Morris RA, Jeff Dellow and Clyde Hopkins and she has also shown paintings in AAF Singapore. Her work was selected by Richard Wilson RA for the River exhibition at University of East London. Sharon has had London solo shows and her work is in private collections throughout the UK.
Paul Greenleaf’s photography and music is permeated by connections between people and place. Prosaic subjects such as urban landscapes, domestic housing and seaside towns are viewed through an imperfect nostalgic prism. Featuring semi-fictional narratives or re-contextualised found photographs, his work examines opposing social attitudes of optimism and pessimism applied to perceptions of the past, present and future.
His photograph of Hollow ponds is taken from his ‘HERE TODAY’ series, evoking nostalgic scenes but containing contemporary details. Each image contains a collection of small moments suspended and combined into a single scene, creating a hyperreal landscape with an everyday narrative. The work references the visual language of mid-twentieth century picture postcards to reinterpret the modern urban landscape and asks the question, where are we today?
His work reflects an interest in institutions such as the sea side, music halls, pub culture, street furniture, ectoplasm and fish. Working in a wide variety of media including film, printmaking, cardboard sculpture, live performance and cake. He also works as a scenic artist for theatre, film, television and radio. He’s made life-size, automated, cardboard replicas of dead friends and animals and produced a range of edible chocolate anuses or bespoke bronze anus rings.
“Occasionally I have no idea what my work is about until it has been hanging around for a while” he says. “If I’m lucky it may mature into something useful. I allow random ideas to come together then try and direct them towards something that I think is interesting and funny. Drawing and printmaking remain central to my interests although I now prefer the excitement of live performance and moving images to the disciplines of studio work. I do silly things seriously.”
Born in the Midlands Mark trained as a graphic designer, he has straddled the worlds of both fine art and visual design for a number of years, creating murals, artworks and bespoke design in his geometric, graphic style.
Inspired by the landscape, the fragmented geometric compositions reference the lines, shapes and structures around us - blending both fine art and design functionality. The works are sensory & physical snapshots of the urban landscapes we have shaped and built up around us. Often using found materials, mainly wood and metal, the works give hints of a past narrative, revealing the layering and history of our environment.
With a background in interactive design as well as art Mark is also looking to introduce a level of viewer participation. This further represents our own environment whilst also adding the possibility of functionality - exploring our perceptions of value and luxury versus function and utility.
Mark was commissioned to produce a vast 210m long hoarding by LLDC & Moniker Projects for the Queen Elizabeth Olympic Park, London. The pieces were created from wood reclaimed from the Olympic Park and the surrounding area.
The recent paintings are abstract watercolours with collage on paper. They are about finding a balance of colour and tone reflecting such events as the weather, time of day, atmosphere and the seasons. Over time the media Janet has used have varied from beach plastic, to paper ephemera or oil pastel and involved looking at recycling, and the ubiquitous urge to collect.
The water-colour paintings incorporate some paper collage with basic notation marks to covey the idea of messages, counting, recording or mapping.
A Fine Art graduate Janet taught art, painting and printmaking in schools and colleges in London for many years. For two and a half years she lived in the USA studying at the School of the Museum of Fine Arts in Boston, Massachusetts and this experience influenced her work, moving it away from realism into abstraction.
She has been exhibiting since 1994, including Royal Watercolour Society Open in 2014, and Royal West of England Academy Open in the autumn of 2015.
Born in Leeds, Neil has a degree in Fine Art and a Masters Degree in painting at the Royal College of Art 2001. In 2009/10 he completed the Berwick Gymnasium Artist Fellowship and in 2006/7 he was involved with an Arts Council England placement working with a scientist on the interdisciplinary aspects of art and science.
The main areas of research are travel, tourism, colonialism, post-colonialism and the politics of representation. These seemingly disparate elements are combined to provoke discourses surrounding fiction and reality. His practice employs readymade fabrics, creating tensions between background and foreground. The African series of paintings (two of which appear in the Making Waves show) create parallels with nineteenth century colonialism and twenty-first century tourism and holiday souvenirs as well as highlighting the importance and significance of colonial artefacts within the historical development of modern art.