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Fault Line

Art in the Age of Anxiety Curated by Sarah Elson


G. ROLAND BIERMANN Snow + Concrete IV, 2007 Archival Inkjet Prints Diasec on Aluminium Di-Bond, Polyptych 75x75cm

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LOUISA CHAMBERS Watching You, Watching Me, 2009 Oil on canvas, 60x50cm 02


Fault Line

Art in the Age of Anxiety Curated by Sarah Elson 20th June - 18th July 2009 G.Roland Biermann, Louisa Chambers, Gordon Cheung, Silke Dettmers, Julie Fagan Dave Farnham,Corinne Felgate, Paul Good, Catherine Hughes, Becky Hunt, Mark Maxwell, Clare Mitten, Erin Newell, Mark Selby, Suzana Tamamović, Gabriel Tejada, Laura White, Janey Xuereb the

nunnery 181 Bow Road, London E3 2SJ

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GORDON CHEUNG Hunter, 2006-2009 (re-worked) Stock listings Ink, Acrylic Gel and Spray on canvas, 200x250cm

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Fault Line

Art in the Age of Anxiety Artists are sensitive to change and are valuable bellwethers of cultural trends. It’s often said that they work out their neuroses through their creative work, and certainly these eighteen artists seem to take as a starting point their own uncertainty and concern about the state of our world and where it may be headed. Settling on subjects that are critiques of transformation or shifts perceived in everything from the local landscape to global politics, the artists invite us to question as well. This isn’t to suggest that the work is deliberately political, but that their awareness of numerous ominous changes informs the work and is revealed in varied and fascinating ways. Military warfare, cultural warfare, economic recession, global warming, and physical dislocation are among an array of crises that this group of Bow Arts Trust artists, when challenged, speak of as being of grave concern to them. In the works selected, we can identify and then connect to very personal expressions of disquiet: autobiographical, humorous, elegiac, and, in some instances, downright dismaying. In perhaps the most tangible expressions of this discomfort, homes and houses feature prominently in the exhibition, but, tellingly, they are makeshift, temporary, and sometimes completely uninhabitable. It’s strikingly pertinent that Bow itself sits in the swathe of East London that’s being transformed in preparation for the summer Olympics of 2012. In fact, the

artists here are acutely aware that regeneration brings unpredictable, and possibly detrimental, changes to the physical and social fabric of their environs. In Silke Dettmer’s shanty town “dollhouse” construction made of found wood, including plyboard hoarding from an Olympic building site, human figures have been eliminated, although we get the impression that things have been caringly prepared for them. Miniature beds stand in rows, mismatched chairs are lined up, music lies open on the tiny upright piano, all as though waiting for a huge influx of the displaced. Similarly, in Gabriel Tejada’s “Palace,” the beautifully painted and colourful scene of discarded domestic items such as bowls, old furniture, Old Master paintings and washing machines is abandoned. This is no refuge, though. This could be the final scene of “The Course of Empire,” the ultimate demise of a household inhabited by people who have too much and value too little. Julie Fagan’s computer based painting of a house is at once crisp and clean in presentation, but purposely flawed and wholly untenable: it has no doors and sits precariously on one leg. Catherine Hughes’ “Site,” too, appears curiously abandoned and is given a nostalgic quality with a pink dusk sky that seems at odds with the very mundane scene of construction site rubble and cheap cheerless housing. The lack of human presence in all these domestic situations suggests anxiety, loss or dysfunction. In other works, the human element is very much present, but introduced in similarly unnerving ways. By anthropomorphizing inanimate objects, for example, Louisa Chambers’ painting of a haphazard pile of colourful blocks gives very direct expression to the artist’s uneasy awareness of the growing role of surveillance in London. The work is uncomfortable not only because each cube has an eye on us, but also

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because the distorted three dimensionality of each one makes the whole pile unsustainable. In Corinne Felgate’s surrealistic “Hairbrushes,” the incorporation of her own auburn hair plays on the words and function of a hairbrush and also serves as both the bristles of the brush and the stroke of paint. Another artist, Erin Newell, coincidentally used her own hair in the creation of a long scroll that in its very format suggests a narrative. Again, there’s discomfort in the realization that real hair was shed. In fact, Newell described the familiar experience of losing hair as an event that caused her to reflect on the passage and marking of time, an insight that makes the rolled-up imprint of her tangled hair a memento mori. Indeed, unease about one’s well being and future is a powerful generator of creativity. In several artists’ works, this anxious concern takes on a broader scope that has some moral muscle behind it. Cultural values are questioned in current events and situations as varied as the war in Iraq, the celebration of John Milton’s 400th anniversary, and contemporary consumerism. In each case, one can detect a lament for something that is lacking, a gap between, for example, war and the representation of it, as David Farnham explores in his photos of familiar toy soldiers who appear to have actually participated in warfare. Staged to show the physical evidence of battle with explosive debris on the soldiers’ bodies and at their feet, and dramatically lighted, the work brings focus to the minutiae of war that is normally lost on those of us who consume it only through newspapers or TV. A gap is also revealed between history and the recording of it in Suzana Tamamović’s poetic installation, “History Withdrawn.” In this evocative work, a flock of origami birds rises from a pile of discarded books, bringing to mind political and historical associations, from phoenixes

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and ashes to book burning. The specific circumstances that led Tamamovic to create the piece give it a more particular meaning. These are books on Yugoslavian history that have been deemed no longer necessary, officially stamped with the word “withdrawn,” and removed from the library in London where the artist worked part time. In this sense, she memorializes a connection with history that’s been relegated to the trash heap. Gordon Cheung questions our lack of connection with nature in a chilling painting of a holiday game hunter with his bounty. Unnatural psychedelic colours and the camera-ready pose of the shooter with the trophy head of a deer highlight the artificiality of this situation where the conquest of nature is completely delusional. Mark Maxwell’s “Broken English,” a pile of disconnected text from Paradise Lost, is a critique of dogmatic thinking in 21st century cultural warfare. Commissioned to mark Milton’s birthday, the work addresses how the nuances and ambiguity of good and evil, as exemplified in the original epic poem, collapse under the weight of fundamentalism. Even Roland Biermann’s enigmatic sparse photographs of snow in an underground parking lot contend with the issue of absence and loss. There’s an elegiac quality to the photos that rests in the curious presence and subsequent disappearance of snow. With the creativity and confidence to express in their space and under their own control, artists are able to present alternatives to the uncertain and fearful world we live in. With her growing collection of handmade modular units that have taken over a corner of the gallery, Clare Mitten’s installation addresses the comical pathos inherent in any utopian construct. The humour rests in the futile attempt to make precise and standardized units by hand out of fragile, fiddly


SILKE DETTMERS All Aboard [Detail], 2008-09 Reclaimed wood & perspex, modelmaking materials, miniature lighting, 217xl74x85cm

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JULIE FAGAN Baba Yaga’s House on a Chicken Leg, 2007 Acrylic & gesso on canvas, 75x80cm

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materials. However, it’s in the imperfections and mishaps that Mitten discovers both pleasure and innovation, an instructive insight into how we as global citizens and individuals can adapt to perceived crises and changes. Paul Good also manipulated everyday materials for his diminutive but curiously compelling sculpture made of blu tack. Here the artist invokes Arte Povera, his theoretical forebear, in the use of inexpensive, readily available materials. There’s a certain freedom and optimism in the fluidly-worked piece that also bring to mind the ideals of the ‘60s movement. Mark Selby has a different objective in his use of the DIY construction materials found in “Vanity Basin.” Selby employs the aesthetic of the well-intentioned garden shed hobbyist, working as if under the delusion that he’s constructing an inspired invention. Instead, it is a solidly well made, but, in the end, irrelevant and useless object. With this irony and self-deprecating humour, Selby confronts the demon that lurks in most artists’ mind at some stage in their careers: why make non-functional things like art anyway? We must not overlook how much humour plays a role in this selection, doing double duty as both a mask over and defence against anxiety, as it does in life. It comes in many varieties, from the dark humour of Laura White’s sculptural creatures made of rubbish, to the whimsical nonsense of Becky Hunt’s paintings of cartoon-like fantasies, to the storybook illustrations of Janey Xuereb. White’s “Pickthank,” a hunched figure composed of a discarded golf bag and wadded up bits of paper is comical, but it is also tragic. There is something uncontrolled and threatening in the accretions of refuse that have burdened and disfigured him, a condition hauntingly similar to that of our own environment. Meanwhile, the cartoonish creatures in Hunt’s paint-

ing “Life is a War with the trolls in the vaults of the heart and brain” speak to the shrugged shoulders attitude: the world is a series of uncontrollable events anyway, so roll with it. Here, completely unrelated items - chairs, contraptions, plants and imaginary animals – are connected the way only a fantastic and fictional world can accommodate. Xuereb’s disturbing anecdotal drawings of a fictional character named Janey who encounters dismemberment and an octopus in the most unlikely circumstances employ a dark humour that only barely veils a primal childhood fear. The process of selecting the works for this year’s Summer Exhibition has been an exhilarating and fascinating one. I found myself guided by something like intuition that in both their form and content, these works have a common thread. As it turns out, I think that common thread has to do with the way each artist is able to access and express the anxiety or discomfort that we as viewers are also familiar with in 2009. I’m aware that the large majority of the art I’ve chosen is figurative, and that abstract or purely conceptual work has little role here. This is probably reflective of my own curiosity about viewpoints that are rooted in lived personal experience and thought processes. So, although it is a very subjective selection in many ways, I believe that there’s such a large component of human interest in this show that most visitors will find something that touches them.

Sarah Elson May 2009

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DAVE FARNHAM Untitled The Unknown Soldier 001, 2009 Lambda print on aluminium sub frame, Edition-x3 2xAPS, 100x80cm

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CORINNE FELGATE Hairbrush 2009 Wood, metal, paint, human hair, 3”x26” & 1 1/2”x15”

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PAUL GOOD Untitled (reworked), 2009 Blutack, Variable dimensions

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CATHERINE HUGHES Site, 2008 Oil on board, 30x40cm

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BECKY HUNT Life is a war with the trolls in the vaults of the heart and brain, 2009 Oil on Canvas, 155x180cm

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MARK MAXWELL Broken English, 2009 Laser cut card, Variable dimensions

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CLARE MITTEN Bitmap, 2009 Mixed Media Installation, Dimensions Variable

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ERIN NEWELL Let Fall, 2009 Screenprint of human hair and pen on 60ft of paper, 26x26x50cm (Scroll)

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MARK SELBY Vanity Basin, 2009 Plywood, Steel, Mirrors and Bucket, 185x150x150cm

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SUZANA TAMAMOVIĆ History, Withdrawn, 2007 Withdrawn library books, paper origami birds, 300x300x350cm approx.

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GABRIEL TEJADA Palace, 2009 Oil on Linen, 170x190cm

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LAURA WHITE Pickthank, 2008 Mixed media. Includes golf bag, rope and constructed printed images. 85x110x70cm

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JANEY XUEREB More Janey Stories 2, 2007 Mixed Media 10.3x14.7cm

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G. Roland Biermann Lives and works in London. Studied at New York University Selected Exhibitions “Fight Aids Monaco” (G), Le Meridien, Monte Carlo, 2008; “snow+concrete” (S), University of Glasgow, Glasgow, 2008; “Unnatural Histories” (G), Nunnery Gallery, London, 2008; ‘Postcards from the Edge’ (G), James Cohan Gallery, New York, 2007;’Multiclomplexificationalities’ (G), Nunnery Gallery, London, 2007;’Apparitions’(S), University of Stirling, Stirling, 2006; ‘Panorama’ (w. B. Wolff), Galerie Villa Ruh, Zingst, 2006;’Rencontres Internationales de la Photographie’ (G), Ateliers SNCF, Arles, 2006; ‘Apparitions’ (S), Linhof-Galerie, Munich, 2005; ‘Descubrimientos’ (G), Photoespana 2005, Madrid, 2005; ‘Apparitions’ (S), Johnneskirche, Duesseldorf, 2005; ‘Apparitions’ (S), St. Mary Bow Church, London, 2005; ‘Fototage Moenchengladbach’ (G), Moenchengladbach, 2004; ‘Das kleine Format’(G), Kuenstlerverein Malkasten, Duesseldorf, 2003; ‘8. Rohkunstbau’ (G), Berlin-Brandenburg, 2001; ‘Dimension 4’ (S), kjubh e.V., Cologne, 2001. Louisa Chambers Lives and works in London. Studied at Royal College of Art, London, MA Painting, 2005-2007; Surrey Institute of Art and Design, Farnham, Surrey, BA (Hons) Fine Art (first class honours), 2002-2005 Selected Exhibitions Skyscrapers under the Sea, Madame Lilles, London 2009; Drawings with Dolphins, Crimes Town Gallery, London, 2009; John Moores 25 Contemporary Painting Prize, Walker Art Gallery, Liverpool, 2008-2009; Secrets, RCA, London, 2008; ‘00 Nature, Contemporary Art Projects, London, 2008; East End Arts Show, Shoreditch Town Hall, London, 2007; My Penguin, 39, London, 2007; Matches and Petrol, A and D Gallery, London, 2006. Gordon Cheung Born 1975 – Lives and works in London Studied at Royal College of Art 1999-2001 Selected exhibitions “Gordon Cheung (solo)”, Arizona State University Museum, Arizona, USA, 2010; “The Four Horsemen of the Apocalype (solo)”, New Art Gallery Walsall, UK, 2009; “The Promised Land (solo)”, Jack Shainman Gallery, New York USA, 2009; “Volta NYC (solo)”, Solo presentation with Unosunove Gallery and Galerie Adler, 2009; “TECHNOPHOBIA (solo)”, Harris Museum, Preston UK, 2008; “Wilderness of Mirrors (solo)”, Galerie Adler, Frankfurt, Germany, 2008; “Death by a Thousand Cuts (solo)”, Chinese Arts Centre, Manchester, 2008; “The Fall of the Rebel Angels (solo)”, Alan Cristea Gallery, London, 2008; “God is on Our Side (solo)”, Unosunove Gallery, Rome Italy, 2007; “Laing Art Solo Award and Commission: Gordon Cheung - Paradise Lost (solo)”, Laing Art Gallery, UK, 2007; “The 1000 Yard Stare (solo)”, Aspex Gallery, Portsmouth UK, 2007;“Projections”, Carré d’art – Musée d’art contemporain de Nîmes, France 2009; “JERWOOD CONTEMPORARY PAINTERS”, Jerwood Space, Union Street, London - touring UK, 2008 Silke Dettmers Born in 1952. Lives and works in London. Studied at Staatl. Hochschule fuer Bildende Kuenste, Braunschweig, West Germany; St. Martin’s School of Art, London; Royal College of Art, London. Selected Exhibitions “Concrete Dreams”, APT Gallery, Deptford, London, 2008; “Art Projects”, London Artfair, 2008; “Gallery Artists”, Modern British Artists, London, 2007; “The Wrong End of the Telescope”, Three Colts Gallery, Bethnal Green, London, 2006; “Outdoor Habitats”, Museum of Domestic Design& Architecture (MoDA), London 2004; “Through the City”, The Nunnery, Bow, London, 2004; “Connections”, James Hockey Gallery, Farnham, 2003; “Walk the Plank”, The Ship, Bethnal Green, London, 1998. Julie Fagan Lives and works in London. Studied at University of Greenwich 2001 – 2002; Goldsmiths College 1997 – 2000; City of Liverpool Community College 1996 – 1997. Selected exhibitions “Overview”, Elysium Gallery, Swansea, 2009; “The Women’s Art Show”, Fairfields, Hampshire, 2009; “The Big Day”, Fieldwork @ Arch 635, London, 2008; “Breathe”, East Gallery, London, 2008; “Fowle Hall Features I”, Fowle Hall Features, Kent, 2007; “39 Xmas Tree”, 39 Project Space, London, 2004; “The Occupier”, The Pumphouse Gallery, London and The Gallery, Stratford-upon-Avon, 2000 – 2001; “Studio B”, Goldsmiths College, London, 2000. Dave Farnham Born 1979. Lives and works in London Studied at Middlesex University, London 2002-2003; Buckinghamshire Chilterns University College,19982002 Selected Exhibitions. ‘Visions in the Nunnery’,The Nunnery Gallery,London, 2009;’Future Shock’, Octagon Centre, Buckinghamshire, 2009; ‘Lumen Evolution Festival’, Leeds, 2009; St Joseph’s Hospice Art Auction ‘Half the Story’, Christchurch, Spitalfields, London, 2008; ‘London Art Fair’, Business Design Centre, Islington, London, 2008; ‘Dulce et Decorum est’, solo show, Seven Seven Gallery, East London, 2008; ’Peer Esteem’, Five Years, Regent Studios, East London, 2007; ‘Action!’, The Projection 24

Gallery @ v22 Ashwin Street, Dalston, London, 2007; ‘(Deviant)’ Art Festival, Konsthallen, Trollhattan, Sweden, 2007; ‘Projektar’, Seven Seven Gallery, East London, 2007; ‘You’ll Never Know: Drawing and Random Interference’, Hayward Gallery, 2006; ‘Liverpool Biennal’, The Projection Gallery, 2006; ‘No-ship’, curator, Seven Seven Gallery, East London, 2006; ‘Video Under Volcano’ Magmart, online exhibition, Naples, Italy, 2006; ‘Halbes Haus’, Three Colts Gallery, East London, 2004; ‘XS’, F A Projects, Bear Gardens, London, 2004; Corinne Felgate Lives and Works in London Studied at University of the Arts 2007-2008, University College London 2002 – 2005 Selected Exhibitions 'Just Act Natural' (solo) Balfron Tower, London E14, 2009; 'Short Fall' Hand and Heart Gallery (group) Nottingham 2009; 'Salon 08' (group) VINE Space London, 2008; 'Arts Monday' (group) The Arts Club, London, 2008; 'Bang for your Buck' (group), The Sassoon Gallery, London, 2008; 'Approaches to What', The Nunnery, London, 2008; 'Only on Mondays' (solo), The ICA London, 2007. Paul Good Born in 1984. Lives and works in London Studied at London Metropolitan University, 2005-2008, Harlow College, 2004-2005. Epping Forest College, 2001-2003. Selected exhibitions Unwanted sights and sounds, et cetera gallery, Hackney, 2009. Anon, Whitechapel , London, 2009. The Red Painting, Gallery 52a, Regent Studios, London, 2008. Twelve steps down, Shoreditch Town Hall, London, 2008. Projector, SevenSeven, Broadway Market, 2007.Projector two, V22 Ashwin street, The Basement Gallery. 2007. Catherine Hughes Born 1977. Lives and works in London Studied at Wimbledon School of Art 1996 – 1999 Selected exhibitions ‘Renovations’, Oak Gallery, London, 2009. ‘To be Looked at (from the Other Side of the Glass) with One Eye, Close to, for Almost an Hour’, August Art, London, 2008. ‘Open End’, 205a Morning Lane, London, 2007. ‘Untold’, The Sassoon Gallery, London, 2007. ‘On Garbage II’, August Art Gallery, London, 2007. ‘On Garbage’, August Art Gallery, 2006. ‘Watercolour 08’, Mall Galleries, London, 2006. ‘Nonagon’, The Tram Depot Gallery, London, 2006. ‘The Everyday Catalogue’, The European Information Office, London, 2006 Becky Hunt Born 1979. Lives and works in London Studied at Chelsea College of Art (Foundation) 1998-1999; Central Saint Martin’s College of Art and Design (BA Hons – 1st class) 1999 – 2002 Selected exhibitions: “Breaking New” Five Hundred Dollars, London, May-June 2009; “London Art Fair 2009,” representing the John Mayer Gallery, London, January 2009; “Surface 08,” Surface Gallery, Nottingham, 2008; “Cube 08,” Cube Gallery, Manchester, 2008; “Unnatural Histories,” The Nunnery Gallery, London, 2008; “Open West Midlands 08,” Wolverhampton Art Gallery, Wolverhampton, 2008; “Pages”, Museum of Instillation, London, 2008; Residency at Gallery Yujiro, London, 2007; Centre of Attentions Art Prize, London, 2003; Island Film & Video Festival, Prenelle Gallery, London, 2002; Huntings Art Prize, Royal College, London, 2001; “Strangeways”, Byamshaw College, London, 2000; “957 miles, 1550km (part 2)” Central Saint Martin’s, London, 2000; “A Strain of Blue”, E-Loft, London, 2000; “Upstarts” ACME Fine Arts, London, 2000; “957 miles, 1550 km (part 1)” Lelub Pod Reka, Krakow Poland, June 2000. Mark Maxwell Lives and works in London. Studied at Suffolk College 1984 - 1986 Selected exhibitions ’’Hilo de la Memoria’’- Museo de Pedro Gilabert- Spain-Solo Show 2009, ‘’Paradise Lost’’ - St.Giles Church, London - Solo Show 2008, ‘’Positive Negative +-’’ St Bartholomew the Great , London - Solo Show 2007,SW1 Gallery - London 2007, Urban Elements- Arts Depot - London – Solo Show 2006, Firbob & Peacock Gallery Cheshire – Solo Show 2006, Malaga Expo – Malaga Spain, Manchester Art Show – Artsquare - GMEX Manchester 2006, Group show - Gallery 93 – London - 2005, Group Show – The Media Centre -London 2005, Seven Seven Gallery – London 2004, Urban Interiors – B D C – London 2004, Urban Interiors - Commonwealth Institute – London 2003, ‘’Element ‘’ - Video Showcase - Lux Cinema – London 1998, Clare Mitten Born in 1972. Lives and works in London. Studied at the Royal College of Art 2004 - 2006; University of Gloucestershire, 1998 - 2001; University of Sussex 1990-1994. Selected exhibitions “Breaking New”, Five Hundred Dollars Gallery, London, 2009; ‘What Goes Up Must Come Down’, Madame Lillies, London, 2008; ‘Kaleidoscope’, Blyth Gallery, London, 2007; ‘Eye Chamber’, 10 x 10 Projects, HOUSE Gallery, London, 2007; ‘Arcade’, Portman Estate, London, 2006; ‘World Cup’, 39


Gallery, London, 2006; ‘Generation’, Royal College of Art, London, 2006; ‘The Drawing Room’, Royal West of England Academy, Bristol, 2006; ‘head room’, Blyth Gallery, London, 2005. Erin Newell Born USA 1978. Lives and works in London Currently studying at the Royal College of Art until 2010; Camberwell College of Arts 2005-2008 Selected exhibitions “Personally Political – Contemporary Sensation: Drawing”, Arthouse Tachele, Berlin, DE, 2009; ”space ______ reverie”, Cafe Gallery, London, 2009; “Oslo Screen Festival”, Cinematheque, Oslo, Norway, 2008; “Gilchrist Fisher Award 2008”, Rebecca Hossack Gallery, London, 2008; “The London Group Open 2007” Menier Gallery, London; “Peace Camp”, Brick Lane Gallery, London 2006; Mark Selby Born 1981. Lives and works in London. Studied at Wimbledon College of Art 2007-2008; Nottingham Trent School of Art and Design 20002003. Selected exhibitions “Affluenza”, Clerkenwell, London, 2009; “University of the Arts London/Clifford Chance Sculpture Award”, Canary Wharf, London, 2009; “Short Fall”, Hand and Heart Gallery, Nottingham, 2009; “Bang For Your Buck”, The Sassoon Gallery, London, 2008; “I Like The End Again”, Surface Gallery, Nottingham, 2008; “Demolition”, Site Gallery, Liverpool, 2007 (curated by Mercy magazine). Suzana Tamamović Born in 1971. Lives and works in London. Studied at Chelsea College of Art and Design, University of Arts, 1996-2000 (MA and BA); Kingsway College, 1995-1996 Selected exhibitions “Affluenza”, Clarkenwell, London, 2009; “Leave to Remain”, Museum of Immigration and Diversity, London, 2009 (previously at Central Space ACAVA and BBC London); “History, Withdrawn”, BSAD Gallery, Bath, 2008; “Visual Dislocation (Dislokacija pogleda)”, Museum of Contemporary Art, Banja Luka, Bosnia and Herzegovina, 2007; “R State of Art”, Celebrating Sanctuary Festival, South Bank, London, 2007; “Drift Away”, Lunar House, Croydon, 2006; “Knotworks”, Blue Elephant Theatre Gallery, London, 2006; “Insomnia”, Barge House, London, 2005; “Waiting Rooms”, touring GP surgeries, North London, 2005; “Moving on”, The Light Gallery, London, 2004; “In Between”, Red Cross Refugee Unit, London, 2004; “A Sense of Place”, British Council, Cardiff, 2003. Gabriel Tejada Born in 1974. Lives and works in London. Studied at The Royal College of Art, London, MA Painting 2004 – 2006; Byam Shaw School of Art, London, Post Graduate Diploma 2001 – 2002; Pontificia Universidad Catolica del Peru, Lima BA Fine Art 1992 – 1997. Selected Exhibitions Tail Devourer, Bash Studios, London 2009; Unnatural Histories, The Nunnery, Bow Arts Trust 2008; Jerwood Contemporary Painters 2007, Jerwood exhibition space, London 2007, Bay Arts, Cardiff 2007, The Lowry, Salford Quays 2007; Arcade, different locations in the vicinity of Marble Arch, London 2006; Zenith, Nomoregrey Gallery, London 2006; Generation, Final Show Royal College of Art, London 2006; Tertulia, University of the Arts, London 2005; Laura White Born 1968. Lives and works in London. Studied at Goldsmiths College 2002 – 2004 and Nottingham Trent University 1995-95 Selected Exhibitions Solo Shows: If I had a monkey I wouldn’t need a TV. Carter Presents, London, 2009 and Castlefield Gallery, Manchester, 2008/9; Powwow. Gallery-33, Berlin. 2007; Into the Cold Light. Transition Gallery, London, 2006; Laura White: New Work. Firstsite Gallery, Colchester, Essex, 2006. Group Shows: STUFF. Presented by V22, London: The Wharf Road Project 200; Unnatural Histories. Nunnery Gallery, London, 2008; The Famous, the Infamous & the Really Quite Good. Decima Gallery, London, 2008; Play. Bearspace@The Cello Factory. Curated by Julia Alvarez, 2007; Intervention. Fieldgate Gallery, London, 2007; Multicomplexificationalities. Nunnery Gallery, London. Curated by Roy Exley, 2007; Eau Savage Part 2, Fieldgate Gallery, London, 2007; Beauty and the Beast. Fieldgate Gallery, London, 2006; Kamikaze Blossom, Fieldgate Gallery, London, 2006. Janey Xuereb Born in 1982, Lives and works in London. Studied at the University of Newcastle upon Tyne, BA (Hons) Fine Art and History of Art - 2002-2006, RMIT University, Melbourne, BA Drawing Interpretation, Computer Studies, History of Art -2005 Selected Exhibitions *Imagine if there was a crocodile as big as Milan, Off the Kerb Gallery, Melbourne, Australia, 2008; Work featured in Art Almanac, The Australian Gallery Guide, May 2008; Once upon a time, off the Kerb Gallery, Melbourne, Australia, 2008; Alluring Order, Saltburn Artists Projects Gallery, Saltburn, 2007; Piece featured in Talk of the Town, Monthly Magazine, Edition 70, April 2007; Helios IV, The Biscuit Factory, Newcastle, 2006; Degree Show, Hatton Gallery, Newcastle, 2006; The Human Zoo, Cravens Art Prize, Northumbria Gallery, Northumbria University, Newcastle, 2006; *Janey Xuereb, The Long Gallery, Newcastle, 2006; Think of a Space, Musa Fine Art Show, St Mary’s Church, Gateshead Visitor Centre, 2004; Think of a Space in the Sky, Musa Fine Art, The Sky Bar, Newcastle, 2004; Fusion, The Sky Bar, Newcastle, 2004; Identity, Award Category, The London Institute Gallery, 2002.

Bow Arts Trust Bow Arts Trust was established as an educational arts charity in 1995 by Marcel Baettig with the kind support of Marc Schimmel. The Trust is situated by the historic St Mary Atta le Bow Church, in the heart of the East End of London where we offer a community of over 100 artists, affordable, secure and creative workspace. The Trust also manages one of the countries most exciting education projects. This London wide program has gained a national reputation for working with and improving the lives and attainment of, thousands of young people from poor and disadvantaged backgrounds. We also are proud to run our own popular contemporary exhibition space called the Nunnery Gallery. The gallery supports local, national as well as international exhibitions within its annual program of events. It is also available for events, functions and meetings. This year the Trust is expanding again - we have embarked on a new exciting social enterprise scheme in partnership with Poplar HARCA this scheme will provide many young poor artists with the opportunity to afford a live work space and support local projects in the community. Later this year we will be announcing the exciting opening of 10 new creative work spaces purpose built for artists in partnership with East Thames and situated at the gateway to the Olympic approach! Acknowledgements: Published to accompany the exhibition 'Fault Line: Art in the Age of Anxiety' at the Nunnery Gallery from 20th June to 18th July 2009. With special thanks to Sarah Elson. Additional thanks to: The Trustees of the Bow Arts Trust. The Staff of the Bow Arts Trust. The Artists of the Bow Arts Trust.

Catalogue Design: Jeremy Clarke Printed by SPLitho. © The Bow Arts Trust and contributors 2009. All rights reserved.

Bow Arts Trust & thenunnery 183 Bow Road London E3 2SJ

+44 [0] 20 7538 1719 +44 [0] 5601 255 669 jclarke@bowarts.com www.bowarts.org Bow Arts Trust is a registered Charity # 1046958 25


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Fault Line 2009