'Components' exhibition catalogue by At Number 23

Art Exhibition Catalogue

‘Components’ Exhibiting Artists: Katarina Balunova Syeda Begum Kristy Campbell Skye William Eade Catherine Higham Simon Kloss Rebecca Lisle Leanna Moran Debbie Page Evi Pangestu Gail Seres-Woolfson Cecilia Sjoholm Lana Zaytseva

April 2018 V.23 - The Old Biscuit Factory 100 Clements road, Block F, SE16 4DG

info@artnumber23.uk / www.artnumber23.uk

INDEX 1. Lana Zaytseva 2. Evi Pangestu 3. Catherine Higham 4. Cecilia Sjoholm 5. Katarina Balunova 6. Leanna Moran 7. Syeda Begum 8. Gail Seres-Woolfson 9. Kristy Campbell 10. Simon Kloss 11. Skye William Eade 12. Debbie Page 13. Rebecca Lisle

https://www.facebook.com/lana.zaytseva / zaj-lana@yandex.ru

Lana Zaytseva Lana Zaytseva uses different media in her art-works: photograph, installation, ceramics and other. In her works, Lana relies on the tradition of Moscow conceptualism.

The main focus of Lana’s creative practice is the ways of dematerialization of the artwork and the relation between art and reality.

Lana studies a set of possibilities that define “art objects” , a set of processes which express the inner life of an artist, reflect the insider view of the art world. She tries to show how these processes, which generally occur within the art world and outside of the discursive sphere of general public, code the significance of possibilities that define “art objects” , a set of processes which express the inner life of an artist, reflect the insider view of the art world. She tries to show how these processes, which generally occur within the art world and outside of the discursive sphere of general public, code the significance of what we perceive as art.

‘Yellow phase’, 15x20cm, mobilography, 2017

1

pangestuevi@hotmail.com / www.evipangestu.com

Evi Pangestu Evi Pangestu is a London-based Indonesian visual artist who currently pursuing her MA in Painting at the Royal College of Art. Her recent work primarily observes the function within the relationship of shape and colour. Evi aims to redefine perceptions of optical response by deconstructing the standard structure of conventional form, then rectify it with colour. She treats colour as her control tool to avoid the possible disappearance of tensions, arranging for the production of visual interactions and room for inference.

‘Ultramarine with Neon Sides’ Acrylic on Canvas 30 x 30 cm 2018

2

www.cjhigham.com / catherine@cjhigham.co.uk

Catherine Higham As a practising artist & landscape architect, my work is concerned with the materials and processes of landscape; both natural and fabricated. Current paintings and drawings investigate the interplay between form and non-form; figure and ground; precision and spontaneity; absence and presence.

Methods of working involve deliberate actions (application of marks, tone and poured paint) and serendipity (allowing the materials to follow their own request). Leaving empty, unoccupied space on the canvas or paper offers an opportunity for contemplation; it is the viewers’ task to fill in the gaps, to complete the work.

I aspire to make raw, simple pictures in an age of visual stimulation and information overload.

Catherine Higham is a self-employed artist, landscape architect and guest tutor at the University of Sheffield’s School of Landscape Architecture. She has a degree in Fine Art, an MA in Landscape Architecture and is a Chartered Member of the Landscape Institute.

‘Gone No 2’ 40cm x 40cm Graphite, coloured pencil acrylic & gesso on wood, 2018

3

info@ceciliasjoholm.com / www.ceciliasjoholm.com

Cecilia Sjoholm Originally from Sweden, Cecilia Sjoholm is a London based artist with an academic background in fine art, interior design and architecture. Her formal training as an architect can be traced within her art practice, in which ideas about structure, space and scale are investigated.

Her recent / ongoing work include site-specific internal and external art pieces in Gothenburg, Sweden (Trapphus and Threshold, as SjoholmPhillips). She has taken part in a number of group exhibitions, such as Ferens Open , Ferens Art Gallery (2018), Creekside Open 2017 selected by Alison Wilding at APT Galley (2017), monoChroma at the Crypt Gallery (2016) and What is the point at Mall Galleries (2015) Cecilia Sjoholm continues to expand and refine her practice by taking further courses and workshops, working with a range of media, disciplines and techniques. She recently took part in the London Creative Network artist development programme, run by SPACE.

‘Print (1)’ 2017 Screenprint acrylic 55 x 38 cm

4

katarina.balunova2@gmail.com / www.katarinabalunova.com

Katarina Balunova In my work I deal with the theme of the city - architecture - dwelling, and how the urban structure affects the individuals and society.

The structure of cities of nowadays is subject to a strict geometry and it is in perennial expansion.

We can see the constant changes in the urban form, pattern and structure. The geometric pattern is a typical feature presents in industrial society. Geometry is a key element to understand social and industrial development in the modern landscape. The use of geometric shapes and structures is becoming the testimony of the industrial society marked by an existential crisis.

In my videoprojection Build the House I play with the geometric shape of the square that build and rebuild its form to new architecture.

‘Build the House’, video, (1:32min, in loop)

5

www.leannamoran.com / leannamoran.com@gmail.com

Leanna Moran The circle, a prominent feature throughout Morans work, is a powerful universal symbol of immeasurable meaning. It represents notions of eternal totality, wholeness and infinity but for the artist the meditative act of repeatedly painting the circle has become obsessive, yet therapeutic.

The bedroom is an intimately chaotic space where themes of abandonment are paralleled with childhood memories of an oppressive household environment.

The bedroom as a recognisable structure has now become simplified and modified; questioning space and its various geometrical restrictions. Focussing on basic geometric forms, circles and squares are painted using a limited colour pallet. Fusing both surrealism and suprematism (the art movement founded by Kazimir Malevich) a term referring to abstract art based upon ‘the supremacy of pure artistic feeling’. Moran creates paradoxically simplistic yet highly detailed versions of her childhood bedroom rather than the visual depiction of the objects within the space.

‘ABYSS’, 71x51cm​,​watercolour, pen & acrylic on paper​,​2018

6

www.syedabegumart.com / info@syedabegumart.com

Syeda Begum Syeda Begum’s work is heavily influenced by the urban environment of London. Often very minimal and stripped back, Begum’s works are a response to the city. Drawing on key forms in the architecture or playing with urban colours of street signs, Begum’s works reflect her sense of detachment and disconnection from London.

Begum’s current series of works are based on the idea of remnants or what she describes as ‘what gets left behind’. The works shown here are a response to the Former Newington Library and what Begum calls the ‘abandoned function’ of the space, referring to the empty shelving and ‘wondering where the books went’. The pieces depict an action or movement, like a close up of a brush stroke, cut from a whole painting and amplified. The paintings reflect Begum’s experience of the new ‘old’ buildings and spaces of London, the remnants of an old function.

‘Remnant: The Break’ 2017 Acrylic on panel 12” x 16”

7

gailsereswoolfson@gmail.com / www.gailsereswoolfson.com

Gail Seres-Woolfson Gail Seres-Woolfson’s current work explores the urban landscape and the experience of moving through the city. She is interested in architecture and space, and in the rhythms, juxtapositions and textures of the ever-evolving metropolis. Through a process of layering and abstraction, observation and reimagining, she creates complex environments of illusory depth, colliding planes and dancing lines, alive with uprights, angles and the possibility of encounter.

Gail lives and paints in the heart of London. She has been tipped as an ‘emerging talent’ by the Federation of British Artists and been shortlisted for both the Lynn Painter-Stainers Prize and the inaugural Evening Standard Contemporary Art Prize. Gail graduated last July with a first class diploma in Fine Art from The Art Academy in Borough and continues to paint and teach there.

‘Urban Sunshine’, Acrylic and mixed media on board 244cm x 165cm, 2018

8

kristycamp17@gmail.com / www.axisweb.org/p/kristycamp

Kristy Campbell This practice aims to convey a visual language that demonstrates the fluid ambiguity of meaning, hence of reading; through discourse, design, and changing contexts.

This study of semiotics challenges linguistic traditions, methods of curation, and medium, but more intensively it confronts the connotation forced and attached to particular words.

Deconstruction and Deconstructivism theory fuel this. They intend to tilt, to fragment, and to stylize forming a dysfunctional and seemingly misguided structure, making way for an accessible alternative freedom within language.

‘Non-configurational (1)’, Digital Print, Edition of 20 50x50cm, 2017

9

youtube: Simon Kloss / nastysy@hotmail.com

Simon Kloss As an artist I have tried to use my own life experiences as much as possible in my work, especially in my visual work, drawing on my own experiences as a drug and alcohol counselor; and my personal experience with mental health issues and homelessness. I explore these emotional (and) life states in an abstract and often ‘dark’ sense, using multilayered moving imaging and the aforementioned photographic stills, to create deep, often powerful and honest visual montages. My films range from five to eight minutes typically, with the sound score written and edited in to fit the visual work.

‘Stills’, 2018, video projection (7:23 mins)

10

www.skyewilliameade.com / skyewilliameade@gmail.com

Skye William Eade Skye William Eade is a London based artist. The main area of interest over twenty years has been exploring aesthetics in water. Kinetic formations of light refracting & reflecting on and within water. The artist explores not only painting and drawing but other mediums such as digital and sculptural expression.

The work on show entitled: Canvas Cuboid is a six panelled stretched interlocking canvas cube held together with magnets. The spiritual link of water and the unfolded cube are of course synonymous with the cross. The square is the preferred format for the artists painted canvases also.

The square represents the physical world. The work Canvas Cuboid conceptualises heaven and earth or the spiritual and material.

‘Canvas Cuboid’. Six square 25cm

11

www.debbiepage.co.uk / debbiepage1961@gmail.com

Debbie Page All my work is made by hand. My pots are built using coils and molds – and I use an electric kiln and a garden incinerator dustbin to smoke fire my pots (once they have been glaze fired). I use predominantly white earthenware clay, as well as coiling techniques – often with hemispherical plaster molds to help shape and support the pieces until they are sufficiently dry to be joined and fettled. Occasional, just to mix things up a bit, I will use a porcelain paperclay.

‘Mirror Black ‘Heart’, Ceramic, Approx 30cm

12

www.rebeccalisleart.com / literarywonder@gmail.com

Rebecca Lisle These sculptures have developed from my lifelong study of botany and a love of making things.

The work is inspired by all organic forms, but particularly seed heads and pods, flower design and high magnification transverse sections of stems and roots.

An equally important aspect of my work is the process by which the sculptures are made. This involves cutting, joining and constructing elements by hand. Also responding to the surface, texture and tactile nature of wood, so the sculpture evolves as I work with the components. This procedure becomes an intrinsic part of the model: the finished sculpture isn’t only what it set out to represent, it becomes an object where the sense of what’s been done, of pieces being moved and fixed is what it finally is.

‘Home For Some’, sculpture, 57 x 32 x 18

13

‘Components’

V.23 - The Old Biscuit Factory

100 Clements road, Block F, SE16 4DG