ART.NUMBER 23 PRESENTS
STIMULUS A N I N T E R D I S C I P L I N A RY A R T E X H I B I T I O N T H E M U N I C I PA L A R T G A L L E RY O F P I R A E U S AT H E N S , G R E E C E 26TH JUNE – 30 JUNE
ART.NUMBER23 STIMULUS 26th JUN-30TH JUN
The aim of this exhibition is to present some of the various incentives that motivate artists to produce a work of art. These could be, amongst others, filtering and analysing the information we receive; cultural influences and background; building relationships and observing our social environment; what we find aesthetically pleasing; past experiences, traumas; and many more. This resultant selection of artworks is also reflecting on what leads artists to create a type of language, through their concepts and techniques, in order to express their perspectives, their feelings, and their position on subjects of their interest. In addition to the above, it would be interesting to observe how sometimes artists can be triggered by the same or similar impulses, but interpret them in different ways, or choose diverse approaches to portray them.
Previou Ge
us art exhibition ‘Stimulus’ held in Berlin, ermany, curated by Art.Number23. (2017)
ABOUT Art Number 23 is a London-based organisation that is curating shows inside the U.K. and overseas. The aim is to encourage and support artists from all over the world to participate in art exhibitions and help them promote their work. Art Number 23 was founded in 2016, by the artist Constantine Anjulatos, and is being supported by several artists with a common mission: to create a global network of artists, curators, galleries and art enthusiasts and organise art-related events where the participants can socialise, practise their skills, share their knowledge and exchange ideas. Previous projects of Art Number 23 include exhibitions in NYC and Philadelphia (USA), Moscow (Russia) and Athens (Greece). If you are a group of artists or an individual, or if you own or know a space where we can set an exhibition, then please do not hesitate to contact us. We will be happy to listen to your proposal.
municipal art gallery 29 Filonos St Athens, Greece
Phone: +30 210 4101402
It is housed in the newly renovated post office of Piraeus, an elegant neoclassical building of the early 20th century. It started operating in 1957, initially as part of the Municipal Library and since 1985 as an independent department. Its rich collection includes 837 works of famous modern Greek painters and many younger artists. The Municipal Gallery also owns a collection of 80 sculptures of George Kastriotis, the collection of 156 works of the folk artist Stamatis Lazarou and the donation of personal belongings of the famous Greek actor Manos Katrakis. The gallery hosts periodic art exhibitions, lectures and other cultural events.
Image sourc
ced: www.destinationpiraeus.com (2017)
WE ARE HERE
A-Z CONTENTS
08 - 09 - ALEX HARDING 10 - 11 - AMANDA LWIN 12 - 13 - AMY OLIVER 14 - 15 - ANDY WILD 16 - 17 - ASHLEY GREAVES 18 - 19 - BARBARA MOURA 20 - 21 - CAMPBELL MCCONNELL 22 - 23 - CARALI MCCALL 24 - 25 - CATHERINE MCLAUGHLIN 26 - 27 - EMILY BLACKMORE
28 - 29 - GEMMA LAND 30 - 31 - GREGORY HAYMAN 32 - 33 - HAZEL DIXON 34 - 35 - JAVIER MARTEN HERRERO 36 - 37 - JO BROWN 38 - 39 - JOAN AINLEY 40 - 41 - JOSEPH GODDARD 42 - 43 - JUDITH WARING 44 - 45 - JULIE EDWARDS 46 - 47 - KAROL KOCHANOWSKI
68 - 69 - MELISSA CAMPBELL 70 - 71 - MICHELLE CLARKE 72 - 73 - MYFANWY WILLIAMS 74 - 75 - RAVINDER SURAH 76 - 77 - RONALD GONZALEZ 78 - 79 - SILA GUVEN 80 - 81 - VERITY NEWMAN 82 - 83 - VITO PARTELI 84 - 85 - WILLIAM GROB
48 - 49 - KAROLINA BOCHENEK 50 - 51 - KATH DURKIN 52 - 53 - KATRINA STAMATOPOULOS 54 - 55 - KIM WAN 56 - 57 - LISA TRAXLER 58 - 59 - LOIS WALLACE 60 - 61 - LOU GILMORE 62 - 63 - LUCINDA BURGESS 64 - 65 - MAGGY MILNER 66 - 67 - MAX SIR
“Flatness is the topography of choice”
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Take this objects; there is a conflation between painting and image. The tactility, the materiality of linen, is there a material more weighed down by clumsy associations? The transposing of these things from the actual space via the camera phone is synthetic, but relatable. Made physical, in this appropriated form they act an approximation. Flatness is the topography of choice, levelling all these images, to the same plane. Screen like, they are a representations of ‘knowns’ freely associative, ambiguous but also indexical. Further confusing dimensionality they sit behind, in the frame, or obscured by their very support they rest on. Slippery but identifiable, we can relate It back to all those other moments. Information is taken in at breakneck speed, but it is always contained within the same plane of focus. We are spending many thousands of hours capturing, adsorbing, poring over images, investing inane thought or shunting observation to more disinterested/ interesting peripheries. In our daily lives there has developed a culture of retinal over washing, impatience. A new total aesthetic experience. Among the digital, there is mechanized instinct so the physicality or surface materiality of images are confused and confusing: we must apply our own emotions, assert rationalities and navigate momentums. Make connections. Personal cosmology, or seemingly arbitrary? Incongruous combinations demand fresh attention.
Image Titles: # 1 – Draw nine m Year: 2017 Dimensions: 21 x Media: Silkscreen
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Alex Harding
men inward
27 Cm n print on linen
Draw nine men inward
“I look for the alchemy of transformation - when the base materials of which cities are made transmute into nostalgia, mythology, and desire.”
A mixed-media artist and creative producer, Amanda Lwin initially studied Architecture at the University of Cambridge before shifting to a contemporary art output. The themes of cities and landscapes continue to feature strongly in Amanda’s work, which brings buildings from their physical location towards their political, psychological and cultural contexts. She has recently been shortlisted for the Open Young Contemporary Artist Award 2017. The artwork included in this exhibition is part of The Skyscraper Index, a series of 12 perforated metal sculptures. The series is based on the theory that an era’s tallest building is erected on the eve of a financial crisis. Recalling Paolozzi’s machine sculptures, the perforated metal alludes to electronic hardware, but also a heritage of esotericism and mystic religion - creating objects that are both familiar and strange, everyday and incomprehensible. “We sometimes think of cities and towers representing the triumph of rationality – the product of many sophisticated systems, like planning, financing, designing and building. But with the Skyscraper Index the masks slips. Decisions are suddenly not as hard-headed as you imagine. In this series, skyscrapers become a metaphor for risky speculation, this quasi-religious faith in a bubble economy.”
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Singer Building 1908 Year: 2017 Dimensions: w10 x h Media: Zinc coated s (edition of 30)
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Amanda Lwin
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h40 x d10 teel
SINGER BUILDING 1908 / PANIC OF 1907
“I have a particular interest in issues surrounding mental health, women's rights and identity, and social and political conditions, and tend to theme my work around these topics.”
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I have a particular interest in issues surrounding mental health, women’s rights and identity, and social and political conditions, and tend to theme my work around these topics. My intention is to create pieces that express vulnerability and instability but which also suggest the (oftensubconscious) core strength within, in an attempt to capture the fragility of self. In terms of the materials I use for 3D work, I have an affinity with aluminium but with all materials I take an experimental approach and enjoy responding in unconventional ways and pushing their (and my) boundaries. I have always loved photography and more recently have been using my iPhone to create and digitally edit photo art and this is something I’m very keen to progress. My intentio n with these pieces is to keep the image simple and draw the viewer in; for the subject matter to be almost secondary and conversely more intense. My work and style is ever evolving and I am on a constant learning curve. I am absolutely delighted to have been recently accepted as a WITP artist (April 2017), particularly as I didn’t start my creative journey until 2014 when I was 43 and, aside from a part - time one year Certificate in Sculpture with The Art Academy , London during 2014/15, I am predominantly self - taught. I am drawn to and inspired by the subjective work and language of artists such as Schiele, Dumas and Emin, as well as a myriad of well known/currently lesser known artists - many of whom I’ve been lucky enough to connect with via social media.
Works: # 1 – A Product of I # 2 – Life, Death an # 3 – Sore Throat Year: 2017 Dimensions: #1 - #2 - 4x4 in #3 - 6x6 in Media: #1 - #3 - Print of m #2 - The Print and P #3 - Print of manne
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Amy Oliver
Insomnis d Everything Inbetween
mannequin with digital edit Print of my fingerprint and ink equin with digital edit
UNTITLED SERIES
“Currently my work is centred on journeys; I find that the journeys, both past and present, are the stimulus for my work. this complex mix of biography and art”
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Andy’s work is a reflection of his emotional landscape and as memories surface or events affect him he tries to capture those memories and events in paint. He has a very physical approach to painting. His technique involves using brushes, palette knife, cloths and pouring paint but he also paints with his fingers and the palms of his hands to physically press himself into the work as emotions and events have pressed into him. His work has been exhibited internationally and published in several books.
# 1 – A Major Journey # 2 – Straight to the Place Dimensions - 42 cm x 42 cm Medium - acrylic on canvas
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aNDY wILD
Straight to the Place
“Painting becomes the conduit by which I can unravel this complex mix of biography and art�
I find that the act of painting generates more painting in the sense that it extrudes the subject matter that has lingered longest in my mind and then questions its validity as to whether it should be considered any further. Painting becomes the conduit by which I can unravel this complex mix of biography and art. The way in which I allow the free movement of paint over the surface of the canvas is in itself a challenge. Paint, deliberate, remove, paint, deliberate, recognise. Anything and everything is possible; chance and calculation collide. This is the jerk off moment; an unexpected reality presented before me that resonates with my subconscious like nothing else.
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Emergence Year: 2017 Dimensions: 67 cm x 15 cm Media:Ink and graphite on paper
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Ashley GreaveS
Emergence
“My illustration's themes usually revolve around feminism, sexuality, world problems or emotional struggles, often personalized in the form of self-portraits.”
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Through my drawings I actively try to portray two “spectrums”; the flaws and the fails, as I like to call it. The ‘flaws’ belong to the individual core of being human, and often mean emotional or behavioral flaws that we all have, so I think I try as much as possible to create drawings that are not judgemental when it comes to these subjects. On the other hand, I try to make drawings that represent ‘fails’, as a more universal or collective of things and circumstances that happen around us, and therefore much more political and judgemental, such as when we talk about human rights, lgbtq, racism, feminism and so on. we should feel responsible as artists, more than ever, to not just produce ‘shiny objects’ but to try and denunciate and provoke, to be political, and most of all humanitarian and never scared. We should take space and be unapologetic for it.
Image Titles: # 1 – DutchDame and Year: 2017 Dimensions: A3 Media: Oil on Cardboar
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Barbara Moura
Her Ropes
rd and Digital Drawing
Dutchdame and Her Ropes
“Factual and fictitious narratives are employed to make the audience consider how much they should trust and rely on what they are told. The work can be considered a deception, a very subtle interconnection of past and present information.”
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Campbell Mcconnell lives and works in London. Mcconnell works within mixed media, sound, video, spoken word, screen printing and performance. The Questioning of consumerism and the relationship between art and entertainment is often important in performance works. Humour is sometimes used as a tool in order to foil the more serious underlying undertones with in the art. Language, communication and absurdity are themes that run throughout most works. The aim for the work is not to create a lie within the art, or a false vision, but to use many different truths to create a new, combined truth. The truths within the work can be experienced and explored in many different ways depending on the audience’s knowledge of the content in the work. By bringing two or more separate sets of information or objects together I am able to create a new situation that would not have existed without the assemblage of those materials. My understanding of these materials dictates whether or not the different substances work together. Sometimes compositions of information are supported by content I receive from various internet sources.
Image Titles: #1 - ‘They hit me really hard’ Year: 2016 Dimensions: 21.0 x 15.0 cm Media: paper text ink
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Campbell McConnell
They hit me really hard
“Interested in the use of physical energy and the meaning of experience for transformational change: in recent works, I consider 'running as drawing' and test the boundaries of what it means to be a female/artist and athlete. “
Bounded by the latex band the aim was to run from the bollard to the edge of the frame of the camera – extending outside the image when the stretch of the material allows. My aim as the performer to the camera (in this public space) was to achieve the maximum resistance in each sprint; stretching and exhausting the material until it broke. The material’s elastic quality restrained both the rate of speed and the effort of running: not knowing exactly the extent of the latex band’s elasticity and its limited durability (it could break at any time) produced a vulnerability that challenged my drive to run. Interested in the use of physical energy and the meaning of experience for transformational change: in recent works, I consider ‘running as drawing’ and test the boundaries of what it means to be a female/artist and athlete. This video is made to create a work that resolves a desire to be physical but also conjure a sense of humour and emancipation.
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Works : Work no. 4 (Running/Restraint) Back H London. Year: 2013 Length: 8 minutes 12 seconds
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Carali McCall
ill, Farringdon
WORK NO. 4 (RUNNING/RESTRAINT)
“I retrace the memories of others physically and recreate their experiences. Within that moment, I am intimately connected to a stranger, an unknown. I allow myself to drift and write in reaction to this, out of which emerges video works which blur storytelling, narrative and memory together.”
This particular body of work is concerned with the invisible psychological landscape of memory which exists in the minds of all of us who have lived or passed through the streets of Belfast. Catherine interested in ideas of storytelling and language. The effect which a particular landscape and the cultural heritage we exist within can literally become a moulding force which we are unable to escape. The passage of life we experience in our own individual spheres often cross over those of others around us in fantastically meaningful ways, without us ever being aware of our place in their narrative. Catherine has been working on a new body of work which considers the memories of others as sacred relics, of moments in time which have been absorbed into the streets around us, creating a network of thought which exudes its own power over our psyche as we physically travel across sites which are of emotional significance to those around us. Catherine has created a short google forms survey which gathers anonymous responses that explore how people form connections and bonds to the places in which they live.The questions elicit short but intimate answers such as ‘Do you have a strong memory of a particular place in Belfast that you would like to share?’ or ‘Can you describe a place in and around Belfast where you have ever felt afraid or threatened? Why did you feel this way?’. Catherine recreates some of these memories shared by anonymous strangers online, retracing their steps and writing concrete poetry works as a reaction to their impressions and stories. These ideas and impressions are layered over video footage made at the location of the original memory and allow her to attempt to exist as another in brief interludes. This body of work simultaneously investigates the act of storytelling and the embroidering of an event while playing homage to the event itself, transforming it from the simple experience of an individual into a shared experience by both artist, audience and the anonymous original contributor. The language work reflects the voice of an individual, with the collection of works forming a cacophony of voices and intimate narratives amidst the landscape of Belfast.
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Image Titles: # Alone not Lonely Media: Video - MP4
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Catherine McLaughlin
Alone not Lonely
“My practice is characterized by vibrant colors, mixed paint and drawing media, and a celebration of diversity.”
an artist, Emily Blackmore explores why people do what they do, visually representing the complexities of the human condition in mixed media and sculpture. Her practice is characterized by vibrant colors, mixed paint and drawing media, and a celebration of diversity. Her continuous line series attempts to highlight the paradox of our shared humanity and our unrepeatable singularity. We all have basic needs; however, the way we experience life, the choices we make, and our individual personalities make us unique. The series began with abstract mixed media painting and progressed to include continuous line portraits, 3D relief paintings, and wire sculpture. Scraps I & II were created in response to a highly-structured residency project. Emily found that the more she restricted herself based on what had become a highly-structured project, the more she internally rebelled. This diptych, outside her typical practice, represents complete freedom of artistic expression born out of liberation from self-restraint.
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Image Titles: # Scraps 1 Year: 2017 Dimensions: 86.5cm x 34cm Media: Mixed Media on paper
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Emily Blackmore
Scraps I & Scraps II
“Hybridity, finding new approaches from the relics, modern technologies and theories. “This world is a comedy to those that think, a tragedy to those that feel,” Horace Walpole
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Gemma Land works in a multi-discilpinary way between art - design and old - new technologies. She works with analogue photography and digital processes in post production and textile printing. Her printworks series also have two forms one as a photographic print and also as a printed textile piece that can function as a fashion garment or wall hanging. These series of works are heavily influenced by the Arts and Crafts movement and William Morris. Her aesthetic lies between the romantic, the gothic, and the psychedelic composing beautiful and sometimes unsettling imagery. Constructing fractals from architecture and landscapes to create impossible structures and hallucinogenic patterns. Strawberry Hill House Printworks was created within an architecturally and culturally important building featuring the details within the house and the facade. The former home of Horace Walpole, an MP, Art collector and one of the first Gothic Novelists. It was one of the first Gothic revival residences and has influenced the design of residential architecture. It was also the inspiration for Walpole’s Gothic novel; The Castle of Otranto that later inspired writers such as Mary Shelley and Edger Allen Poe.
Image Titles: # 1 – Strawberry Hill Ceiling Year: 2011 Dimensions: 55.88cm x 55.88cm Media: Photographic Print Mounted an
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Gemma Land
d Framed.
Strawberry Hill House
“The migrant crisis has prompted artists to ask us to think about our shared humanity. This video explores the significance of clicking on online images.”
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Hayman’s practice is underpinned by extensive research and he produces a range of ‘epistemic objects’ or ‘research artworks’. In other words, he makes artworks to investigate the subject of his study, linking practical outcomes in a virtuous circle. This video artwork is a response to the migrant crisis and the death of the threeyear-old Syrian boy Alan Kurdi. It takes as its starting point an artwork, as is usual with my work, and explores synergies between the artwork and events. The artwork I chose is Goya’s Dog, or El Perro or Perro Semihundido. It is one of Goya’s so-called ‘Black Paintings’. It is an intensely moving painting where the dog is given almost human like expression in the way it looks up tragically pleading for help. I usually spend a huge amount of time researching each artwork, and this one is no exception. But, whereas the research usually results in an artwork, in this case the research is the artwork.
Image Titles: # 1 – DOG Year: 2017 Media: Video artwork.
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Gregory Hayman
DOG
“The art represents the struggle of the working class people living in the UK which is why it works well on the theme of dark, grunge and rusted steel for this particular work of art.�
Currently working with rust as a method of addressing problems in the local community. In this case the steel industry in Redcar, which has now closed down and rendered many people unemployed and poverty stricken. I aimed to explore the issue by creating art that represents what the industry means to people and also what it is today so did this by using steel plates with rusted images of the industrial plants and collapsed habitations of Teesside. The art represents the struggle of the working class people living in the UK which is why it works well on the theme of dark, grunge and rusted steel for this particular work of art.
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Image Titles: #1 - Workman’s Hand Year: 2016 Dimensions: 5.8 x 8.3 in Media: screen print
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Hazel Dixon
Workman's hand
“much of our mind is dwelling in the delightful or unknown routes of the nature of our memories and the mysteries of our desires or uncertainties. Moreover, for someone like me, being born and living in Costa Rica, the routes of nature are part not only of my mind but also of my life, colouring my spirit, my emotions and my paintings.”
My visual system is a synthesis of my perception of nature, life and the world. That world of the tangible and at the same time ephemeral diversity of the forests of Costa Rica that prevails in my plastic proposal that I translate in sensual forms and metaphors. My gestural and lyric abstract language is as broad as the wind when it blows on the trees, in that constant becoming and getting rid of life. In my process, the morphologies I portray on the canvas are routes to the freedom of the cosmos and its multidimensional spaces and time, full of colour and mysteries to be deciphered. The colours of nature, the topography of natural territories, the fractal-ness of rivers, roads and vegetation in front of the movement of light and water, are my stimulus.
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Image Titles: # 1 – ROUTE OF NATURE Year: 2017 Dimensions: 20 X 25cm Media: wire, found objects
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Javier Marten
ROUTE OF NATURE
“My work is inspired by colour, the natural world,the materials to hand, a need to create an expressive space.”
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After studying at Bretton Hall University of Leeds and a career in teaching Jo Brown’s comparatively late start with Art began with landscape painting. She felt compelled to explore abstraction for the freedom of expression it offered. Years later there is still often a feeling of landscape in her work, influenced by her surroundings in the South Pennines with its dramatic undulations, big skies and lots of weather. She compare this with the gentler landscape and climate of the Kentish Weald where she grew up. Her inspiration may emanate from Nature and landscape (increasingly elements of urban landscape). Ultimately her interest is in the painterly space, the material properties of paint and its tangible elements - line, plane, gesture, spatial configuration, process and surface, layering and juxtaposition. Paint can convey emotional life. The way this slippery stuff drips, pours, spreads, pools, thickens, thins, slides fascinates Jo. Texture too is important to her in her work,: a material property of paint that is the work of the hand and cannot be experienced via a screen. As with the Abstract Expressionists the medium of her painting is colour (which is light) and space. As Robert Motherwell put it: painting is ...the mind realizing itself in colour and space. Confronted with the blank canvas or board or paper, Jo Brown uses mostly oil or acrylics, but sometimes also spray paint, powdered pigment with glue, collage, oil bar. The exciting and demanding work, she feels, is to create a personal space , one that others might enter and enjoy and respond to in their own way. A work of art is a world in itself, reflecting senses and emotions of the artist’s world. Hans Hoffman
Westering Year: 2017 Media: Oil on canvas Dimensions: 30 cm x 30 cm
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Jo Brown
WESTERING
“a book sealed inside the form records the creation of this object. GUACCA is a reliquary of related creative and destructive processes reflecting the history of its own making.”
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GUACCA was conceived as a work that would both question and safeguard its own secret inner life, suggesting reflection on the significance of being. Focussing on the nature of faith, it seeks to affirm its own reality. It was made for ‘The First Publication’, distributed nationally and internationally to museums, galleries and individual collectors and curators in an edition of 200 by RGAP (Research Group for Artist’s Publications). The piece has to do with the manner in which a book can become a memory, and the way in which ashes or reliquaries and their contents are things on which one can focus attention as remnants of the past. Porcelain form fired to 1210-1240°C (oxidising) Each form containing a single copy of the book GUACCA (33mm x 23.6mm) COVER Title set in Times 14 point, output to laser printer on 80gsm copy paper Laminated using Mumro Diamond Laminator, laminating sleeve 160 micron / colour clear Ring bound with 1.55 nichrome wire CONTENTS Eighteen pages, each with an image of the porcelain form, photocopied using Canon B/W copier Copy scanned by Epson scanner processed through Photoshop 3, output to laser printer on both sides of 80gsm copy paper GUACCA has been widely exhibited nationally and internationally including Kerameikon, International Postmodern Ceramics Festival, Varazdin, Croatia and is held in both private and public collections including the British Art Library V&A, London and the Bibliothèque Nationale de France, Paris.
Image Titles: # 1 – GUACCA Year: 1996 - ongoing Dimensions: 5cm x 11c Media: porcelain, nichr paper
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cm x 6cm rome kiln wire, card, printed
Joan Ainley
GUACCA
“In his latest photographic series Goddard abandons structural forms and urban environments to explore the emotional and psychological state which he associates the global city space. The work features writhing tormented figures devoid of the context; lost, alienated, brutalised and contorted in agony. The Ghosts of Nithstang do not offer reason or explanation, it is purely an evocation of emotion.”
Joseph Goddard is an artist who is ordinarily concerned with architecture, it’s inherent ideology, formal aesthetics, and the effects it has upon it inhabitants. He explores these themes in sculpture, photography, and painting in order to broaden and investigate related ideas. Emotional states and psychological experiences are the underpinnings of his Ghosts of Nithstang series, a project that draws on the artist’s personal fears and anxieties of modern life in the urban environment. The work removes the subjects of all context, suspending them in isolation, a blunt and vacuous backdrop which heightens a bruising use of colours. This stark contrast offers a heightened sense of emotion; an undeniably raw and wretched sensation frozen for the audience, held unflinchingly to confront and challenge the viewers’ attention.
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Image Titles: # 1 – Ghosts of Nithstang 1 Year: 2017 Dimensions: 30 x 46 cm Media: Photographic Print
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Joseph Goddard
Ghosts of Nithstang
“the stimulus is unearthing forgotten, discarded and casually overlooked histories of the materiality of time and place. The response is to distill the fragility of materiality in time and place”
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This work is space-specific. It is a corner-based piece, tensioned by threads, suspended by nails off the opposing walls which form a triangular space. Architecture and environment give the work a context. This piece is small in scale and has a strong fragility: the work generates its own presence by its paratactical placement and through un-mediated interaction with environmental conditions, mainly air-flow. ‘Merrythought’ is a synonym for ‘wishbone’. The work exploits viewers’ knowledge of a little moment of brutality, and dangles invitingly before them, offering the possibility of a forecast of their own future. The sense of scale comes from its placement. The bone hangs cobweb-like attached to a recess rarely looked upon by viewers. But the work is not made of a generated and excreted material, rather it is an internal structure, transposed and exposed - a relic, an archaeological ‘find’. The dried, bleached bone was painted, mixing colour to exaggerate and overplay the visceral. Optimum tautness for the piece requires some negotiation: an equilibrium about to boil over into that moment immediately before the sound of a ‘snap’… Anatomically the furcula is important for helping birds to breathe during passages of flight. A viewer might be able to blow their breath on it and give it ‘life’; air currents circulating in the space might cause it to stir. The ‘Merrythought’ divines its own ‘luck’.
Image Titles: # 1 – Merrythought Year: 2015 Dimensions: 30 x 10 x 20 cm Media: furcula, linen, nail
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Judith Waring
Merrythought
“The work is about mental processing of change, analyse, filing and the creation of mental space.”
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My work is about being in the world. Ideas are worked into poetic linear structures using wire, fabric and found objects. The work is powerful, emotional and intriguing. The oftendifficult process of making the work is as important to me as the finished piece. I am interested in exploring themes of change, the transience of time, moments on a collective journey. Image Titles: # 1 – Restore Year: 2016 Dimensions: 16cm x 16.5cm x 20cm Media: wire, found objects
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Julie Edwards
Restore
“The paralysis of analysis” title was taken from Haruki Murakami's book, the artist see it as another name for anxiety attacks he suffers from”
Karol Kochanowski (b.1986), Polish artist lives and works in Manchester, UK. He graduated in 2013 from BA Fine Art at Manchester Metropolitan University, winner of Ken Billany Prize 2013. Karol’s abstract oil paintings been exhibiting internationally including New York, London, Raleigh (North Carolina), Berlin and Manchester. His work is abstract and non-representational in style. Light floating forms hang within an open space, punctuated and anchored by graphic, semi-geometric elements. These are poetic depictions of emotional landscapes in which chaos, logic and self-destruction co-habit, in clashing and discordant harmony which describes the fragile and painful yet curiously beautiful way in which a damaged mind makes sense of the world. Kochanowski approaches his painting in an instinctively haphazard way. It is always an intrepid journey without a map and arrival at my final destination is always something of a surprise. In a sense, the genesis, gestation and gentle nurturing of the process interests him more than the end product. “The paralysis of analysis” title was taken from Haruki Murakami’s book, the artist see it as another name for anxiety attacks he suffers from.
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Works : The paralysis o Year: 2017 Dimensions: 21 x 15 c Medium: Oil on Canvas
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Karol Kochanowski
of analysis
cm s Textured Paper
The paralysis of analysis
“she graduated from The Jan Kochanowski University of Humanities And Sciences in Kielce where she received an MA Degree in Fine Arts Karolina is creating and presenting us a map of an imaginary place.�
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Karolina graduated in 2012 from AGH University of Science and Technology in Cracow, where she did her postgraduate studies on Computer Graphics. In 2011 she graduated from The Jan Kochanowski University of Humanities And Sciences in Kielce where she received an MA Degree in Fine Arts. Karolina has worked both in the UK and Poland as a Graphic Designer and Picture Framer, and she currently works as a freelance painter. As part of this exhibition, Karolina is creating and presenting us a map of an imaginary place.
The Map Year: 2017 Dimensions: 20 cm x 20 cm Media: Acrylic on canvass
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Karolina Bochenek
The Map
“The two dimensional surface can be a theatre on which elements appear.”
The two dimensional surface can be a theatre on which elements appear. Sometimes a blank space is difficult to react to and so I used the method of cutting intricate but random shapes out of paper. The paper was then tossed onto card. This action created enough stimuli for me to continue cutting shapes and ordering the placement of shapes. This is how ‘The Hunter” began to appear through collage. Some shapes suggested vegetation and a forest of sorts formed. A spear shaped piece of paper was placed horizontally which broke up the composition and lead me to visualising the hunter.
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Image Titles: # 1 – The Hunter Year: 2014 Dimensions: 21cm x 29.5cm Media: Oil collage on card
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Kath Durkin
The HunteR
“Among crustaceans, the crab is known as the “sleeper”, the image of eternal sleep, is the most mysterious, the most deceiXul, the shiYiest. It hides under rocks and its mobile eyes watch for prey with a cruel malice. It walks sideways. It combines every fault. There are men who resemble it.”
Katrina is a photo ar0st based in London. Her interests are located amongst the hazy borders of what is considered true and make- believe, and how we misperceive through photographic imagery. She has a par0cular interest in exploring our rela0ons to water environments and sea creatures we both iden0fy, and may not know. The images presented for this exhibi0on explore the familiar in ar0ficially presen0ng the natural. Can we always dis0nguish what we see?
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Image Titles: # 1 – Ostreidae 1 Year: 2017 Dimensions: 36 x 29 Media: c-type hand p
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9cm print (framed)
KatriNA Stamatopoulos
Ostreidae 1
“Wan's artworks are all painterly - whether it's the obsessive exploration in his series of self-portraits,or the 'decorated' dollar bills contributing to large-scale major installations.”
Kim Wan (b.1970) is a British artist of Malay-Chinese and English heritage. Kim Wan’s artworks are all painterly – whether it’s the obsessive exploration in his series of selfportraits, or the ‘decorated’ dollar bills contributing to largescale major installations. Surprisingly graffiti has been a strong thread throughout his art career. In the UK he has worked with museums and institutions such as the National Portrait Gallery, TATE Modern, the Institute of Contemporary Art and the National Gallery. International exhibitions include shows in New York, Miami, Philadelphia, Athens, Berlin, Siena, Beijing, Moscow and at the Louvre, Paris.
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Works : #1 Untitled portrait - 1 #2 Untitled portrait - 2 Dimensions: 20 cm x 20 c Media: Oil on Canvas
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Kim Wan
cm
Untitled Portraits
“OBSERVATION POST 1 is from my recent body of work reacting to a former WWII radar bunker. After its service, from 1941 until it became nonoperational in 1947, the site was left to deteriorate and became derelict. This assemblage creates an encrypted communication between open landscape and an intimate architectural space. Lightly interlocking and carefully constructed,this fragmented composition slots together, each piece interacting with its neighbour. The cut edges of the paper function as lines in space interplaying with the mark making on the surface. ”
Taking direct response to my environment creates my vocabulary - my work is the experienced, felt and intuited world, a connection with my own immediate surroundings and way of life. My practice is an a constant state of flux, transformation and development. At present wall and floor based relief works - carved and geometric sculptural paintings that work with the dynamics of dissected surfaces to activate the space. The works transfer between abstract paintings and sculptural objects. Creating a sense of movement and directional energy concerned with boundaries functioning as lines that interplay with the surface of the various shaped segments. These reduced forms evoke associations with construction, assemblage and components.The gesture is in the shape and form of the assembled pieces. Working with two and three dimensional elements - the painting is the activity on the surface, the construction is excavating that through space and the ‘sculptural paintings’ the reinvented and re-assembled outcome. One informing the other, a relay of collaboration. Adapting my aesthetics to the dictates of architecture - collaborating with an architect at present on the site of a World War II Radar Bunker on the south of the Isle of Wight, UK. “This work is a logical extension of the way of thinking that Traxler refined in her previous career as a fashion editor and costume designer. She has an instinctive grasp of patterns: not just in the sense of a configuration of shapes in a picture or design, but also in the way a three-dimensional object such as a garment can be cut, formed and shaped out of jointed flat materials. Some contexts for her work that I would suggest are the constructions of Peter Lanyon and Frank Stella’s convoluted wall pieces.” (Jonathan Parsons, artist, author, lecturer).
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Image Titles: # 1 – OBSERVATION POST 1 Year: 2017 Dimensions: height 28 x width 40 x de Media: acrylic & graphite on Fabriano p
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Lisa Traxler
epth 40 cm paper on board
OBSERVATION POST 1
“Through the unsettling nature of light, these paintings explore solitude, displacement and vulnerability.”
Drawn to places that are inspired by the sublime, the epic and the overwhelming my work is concerned with depicting presence and absence, movement and stillness. These psychological landscapes explore what is ‘beyond us’ and how we can interpret the indeterminate through painting. I hope to depict narratives that are charged with significance and emotionally resonate with the viewer. The paintings are derived from photographs taken in the landscape. While there is a strong photographic element, the paintings are not depictions of the photographs, but evolve through the process of painting to create a narrative that is beautiful but at the same time unsettling.
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Image Titles: # 1 – Perfect day Year: 2015 Dimensions: 28 x 22 cm Media: Oil on copper
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Lois Wallace
Perfect day
“Being inspired by the things around me, my feelings, and people that I love and then to use that inspiration to create something is truly a privilege.”
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As an artist it would be fair to say that my work takes over my life, yet I wouldn’t have it any other way. Intrigued and inspired by my surroundings my work is at times random, and emotional. Bursting with colour and boldness its sculptural and poetic form can take on many a diverse range. From abstract to functional, non-functional to concrete, no form is set in stone and I love dabbling in anything from designing and making jewellery to painting and creative writing. Already a published poet and established designer maker with previous sales, I continue to enjoy the days and nights in the studio surrounded by scraps of metal, odds and ends of fabric and heavy, slightly imposing tools and machinery. My best friend is my blow torch and following closely behind is my sketch book. I tend to play and then document, a process that works well for me.
Works : # 1 - Echoes + # 2 - Head f@#k Year: 2017 Dimensions: #1 - 20 x 30 + #2 - 30 x 40 Medium: Mixed media and acrylic
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Lou GilmoreGeorge
Echoes
“I emphasize transience: the constantly changing nature of materials and the constantly changing nature of the viewer's direct experience.”
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I emphasize transience: the constantly changing nature of materials and the constantly changing nature of the viewer’s direct experience. I choose materials that are capable of dramatic visual transformation: wood, steel, paper, liquid and glass. By putting these materials through the same process repeatedly, I highlight the infinite variety, unpredictability and lack of control that are so characteristic of the natural world. The use of repetition serves to underline the truth that there is no repetition in fact. By incorporating natural processes such as rusting, burning or reflecting, there is an implication that change is inevitable and cannot be avoided. The requirement, for example, that mild steel be repeatedly polished in order to maintain a reflective surface accentuates the fact that nothing ever stays the same, regardless of any desire to hold it still. Through the use of a minimalist aesthetic, the greater simplicity, geometry and uncomplicated display of materials allows the viewer to more easily appreciate change and difference at a subtle level.
Image Titles: # 1 – Inside out Year: 2016 Dimensions: 35 x 35 x 10cm Media: Mild Steel
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Lucinda Burgess
Inside out
“This is minimalist still-life for an age of hypnotic 24-hour TV news and live blogs from war zones.”
As a photography working within contemporary art practice I have been constantly preoccupied with use of symbolism to denote meaning. In recent work I have investigated traditional notions of still life, blurring the boundaries between ‘transient sculptures’ and ’installation’ by placing ready made objects in an institutional interior space. The angle of view is controlled by the camera lens, culminating with a photographic end point. Blue is a response to the flood of imagery, news reporting and political jargon which, for the last few years, we have consumed from the comfort zones of our homes. Every day we observe tragic, shocking events. From the side lines we witness devastating horror and atrocities. This work is not an overt or angry antiwar protest. It’s more a lament. It springs from deep sadness and a sense of helplessness. The objects in the images are chosen to stir the imagination and memories of the viewer. There are clues that suggest death and waste and loss and suffering. Although the colours are vivid, the message is dark, enigmatic, and like poetry, requires the audience to read between the lines
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Image Titles: # 1 – Loss - From the series BLUE Year: 2006 Dimensions: 31.8 cm x x 47cm Media:Archival Photographic Print Mou
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Maggy MIlner
unted
Loss
“I paint what it's my reality, what I see, and what I see is not realism”
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Max Sir is an international award winning artist, originally from Chile and currently based in New York City. Award winning painter, writer, theatre director, actor and photographer, this multifaceted artist has exhibited and trade his artwork in competitive international markets like Russia, England and the US. He is the recipient of ten National First Prize Awards for Painting and First Prize and honorary recognition of the National Painters Association in his native Chile. His solo exhibition “ The Voices of Sor Juana Ines de la Cruz”, was a historical record of visitors and sales this past 2016 at the IDB Gallery in Washington, DC. His writing also has international recognition; his theatre piece “ The Book of Complaints” was awarded at the international program Cimientos for new avant-garde theatre, by IATI Theatre in New York City. His latest theatre piece ALICIA , had it’s world premiere and first season this past February in Teatro Espressivo, the most important private theatre in Central America (Costa Rica). Alicia was conceived, directed, cowritten and designed by Max Sir and it is the first stage of a larger project, PROYECTO ALICIA, consisting of this theatre piece, a series of paintings and the creation and publication of a collection of Art Books. Recently, as an actor, Max played the lead role in the internationally awarded play “Lo que Kurt Cobain se llevó”, for the Hispanic Theatre Festival in New York City. Max is a Licentiate in Fine Arts and Professor of Fine Arts from the University of Playa Ancha (Universidad de Playa Ancha de Ciencias de la Educación, Chile); he holds a diploma in Cultural and Arts Management and complimentary studies in Architecture from the University of Valparaiso (Chile); he holds a Bachelor’s degree in Acting from the Catholic University of Chile (Pontificia Universidad Católica de Chile). Max is currently living and working in the city of Berlin.
Works : Alicia Year: 2017 Dimensions: various Medium: Mixed media on p
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MAX SIR
panel canvas
ALICIA
“I use found photographs as a starting point to investigate both the stories they may contain, and the function of the object itself; in terms of identity, evidence and truth.”
Your organisation looks really interesting, it’s so nice when artists are encouraged and supported. I’d love to take part in one of your exhibitions. Here are my details: I work with printmaking and photography, using archives to explore ideas of love, loss, and female identity. Playing detective, I use found photographs as a starting point to investigate both the stories they may contain, and the function of the object itself; in terms of identity, evidence and truth. This work has been made as a result of investigating my family history. Vanishing Point and Spurensicherung are re-workings of an early photograph of my greatgrannie. In the 1930’s she was taken to an asylum, suffering from post-natal depression. It was thought that she died there, but 60 years later, we discovered she was alive, recovered, and still living at the asylum. There are no photographs of her during those lost years. The work explores both the value we place on family photographs to provide us with feelings of connection and identity, and the myths that are constructed and accepted within the family’s narrative.
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Works: # 1 – Vanishing Point +# 2 – Spur Year: 2017 Dimensions: #1 - 18 x 27.5cm + #2 - 25x27.5c Media: #1 - Screen-print on Somerset 300
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Melissa Campbell
ensicherung
cm
0g + #2 - Photo-etching on Fabriano 300g
SPURENSICHERUNG AND VANISHING POINT
“I don't know when it started and I can't see that it will end, when life's good I love the sunshine when it's not the dark's my friend.”
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As an artist my practice has always been a reflection and narrative of my own journey. I’ve used interdisciplinary materials over the past 20 years but I’m primarily a sculptor who has now returned to using plaster, straw and casting found objects. I have also used video, layered text and paint to create work and to help translate my thoughts into visual work. As an artist I’m inspired by life, conversations, relationships, memories and often the written document. I believe my childhood greatly influenced my practice as an artist and continues to fuel my current work. I’ve recently collaborated with a musician exploring the impact on an audience when using a combination of music and sculpture. I’m currently making work again with music that also includes the use of scent. I’m interested in making honest work that can connect emotionally with an audience. I make art in response to all aspects of my own life. “All Bottled Up” is a piece related to her Father’s recent death, it’s taken from a cast of the nail polish he was wearing when he was found. He had suffered from undiagnosed bipolar most of his life and wrote poetry throughout.
All Bottled Up Year: 2017 Dimensions: 8 cm x 3 cm Media: Sculpture, Plaster
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Michelle ClarkeStables
m and Gold Leaf
All Bottled Up
“my abstract art, rather than depicting exact representation, is an emotional response which explores the themes of human experiences, physical landscape and Political events.�
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Many months of my childhood were spent at sea, travelling back and forth to Africa, circumnavigating the continent on Union Castle liners. I have always been fascinated by the sea. My paintings reflect the many factors that have influenced my work, including travel, archaeology, ancient monuments, changes in society and a love of nature and landscape. The interaction between the physical landscape and mankind, which has taken place since the earliest civilisations began, is explored as a journey in my work. People, places and politics are all linked to each other and their passages can be traced through history. My paintings explore inner landscapes: they begin when I respond to fragments of my own photographs and then I allow the ideas to develop intuitively into abstract images. The stimulus for this present work is the plight of migrants struggling to escape strife in their home countries for a better life in Europe, attempting to cross the seas in very dangerous conditions. The images make reference to orange life jackets, the dark seas and threatening borders. Dislocated people are at the mercy of politicians; the individuals have little or no control over their fate. Social media are also playing their part in the way these predicaments evolve. The exodus is gathering pace and one wonders what the future will hold. What role does the onlooker play? No-one is exempt from responsibility. The ripple of sea change will affect us all.
Image Titles: # 1 – Sea Change I Year: 2017 Dimensions: 26cm x 26cm Media: Acrylic on watercolour paper
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Myfanwy Williams
Sea Change I
“Photography is capturing the absence of images, unlocking the receptive paths to memory. My inspiration comes from memories fractured and forgotten.”
Abstraction is deception, it lures us in translating our own visual senses into something which perhaps is untrue or none existent, it plays with our perceptions and can trigger tranquillity, calmness, fear or any other amalgamation of feelings. After The Ending was created by dropping black and red inks into a container full of water, the container was mounted with speakers that are projecting sound from the 2005 Sky News London bombings news coverage, these sounds were sampled from YouTube. Once the sounds are played the inks are dropped into the water creating unique patterns, these patterns are the indexical trace of sound which imitate the waveforms played from the speakers, the force of the inks dropped from a distance into the water enables a spread of colour which protrudes through the waves, distorting the waveforms natural rhythms with its own organic presence. This work represents the tension of atrocity using colour to emulate blood which projects the notions of life and death, in contrast darker colours signify the unknown and ending. The first image titled ‘Birth’ is shot in still water with no soundwaves representing calmness, the second image titled ‘London Bombings’ is shot with soundwaves projected through water, a symbol of chaos, distress and atrocity. Using abstraction and beauty I ask the viewer to study the surface of the images, to feel perplexed by them and question the relationships between them. Ultimately it is the process of the calm and manic that prevails, something which is only stressed via the waveform.
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Image Titles: # 1 – Birth. # 2 – London Bombings. Year: 2016 Dimensions: 60.96cm x 50.8cm Media: Photographic Print Mounted.
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RAVINDER SURAH
AFTER THE ENDING
“Improbable archetypical beings explore an estranged desolate world where reremembered things from my past evoke memories and symbolic associations of loss”
Ronald Gonzalez/Professor of Art | Sculpture/ Department of Art & Design Binghamton University | Binghamton The sculpture of Ronald Gonzalez can be characterized as having a highly personal and mysterious allure. Working over the last four decades Gonzalez’ enigmatic sculptures have functioned as autobiographical metaphors of dread. His obsessive production of angst-ridden figures, mediated through his distinct use of materials has created an oeuvre of sculpture marked with psychological and spiritual trauma. His recent work has focused on a series of black figures made from schematic steel armatures, assembled together with a wide assortment of objects, antiques and collectibles that are laden with time and place. The work is then further eroded with metal filings, burned wax, glue and black soot creating a dramatic tonal range that both obscure and reveal anthropomorphic objects that suggest the internal workings of their re-animated surrogate heads. Gonzalez’s figures represent an animistic mode of thought appearing as charred fetishistic mementos that posses a visceral quality imbued with primal energy and ruin with apocalyptic overtones. His archaic breeds of figures are confrontational, austere and hermetic, standing on the border between human and doomed phantom. Gonzalez’s improbable archetypical beings explore an estranged desolate world where reremembered things from his past evoke memories and symbolic associations of loss, transformation and psychic pain.
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Small Black Figure St Year: 2017 Dimensions: 13” x 3” Media: Manipulated f filings, glue, and soo
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Ronald Gonzalez
tudy:
� square found objects, wax, wire, metal ot over welded steel
SMALL BLACK FIGURE STUDY
“Painting is a process of experimenting and doing research about history and science. Science, History and Arts are inseparable branches.”
The artwork takes a critical view of social, political and cultural issues. Interests in cross-cultural interactions as well as in Popular Science and progress on material experimentations take important part of creating. While The use of a variety of materials and processes in each project my methodology is consistent. The subject matter of each body of work determines the materials and the forms of the work. Each project often consists of multiple works, often in a range of different history, grouped around specific themes and meanings. During research and production new areas of interest arise and lead to the next body of work. This work is creating a bridge between science and art. Therefore artwork show astronomical discoveries and Hubble with Hubble Telescope’s images a study Nebula’s as a form of Art. The material on the surface is linen ropes that signifies the Earth. This work represent the Modern Art as surface materiality theories. These substances - materials from nature for creating a connection space to the Earth. Communicate with painting and material on canvas. Using materials such as, linen ropes and soil meanings are connecting between Earth and Sky.
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Image Titles: # 1 – Helix Nebula Year: 2016 Dimensions: 70 x 50cm Media: Painting
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Sila Guven
Helix Nebula
“My Architecture Series reflects a comfortable “sense of place”, a hazy familiarity about to be shaken by an unforeseen set of events that changed my life forever.”
My expressive, abstract paintings and mixed media constructions reflect three broad themes: transient journeys, fading memories and personal habitats/environments. I find working in layers of colour, pattern and texture almost meditative, but as I originally trained as a sculptor, I often find myself leaning towards architectural forms, shapes, structures, materials and textures. I am also an avid collector of old tools, domestic vessels and unusual, curious objects, which occasionally find their way into my work. Through my landscape pieces, I try to express the ever-changing evolution, movement and energy of the surrounding environment: fleeting moments frozen in time - hard to capture. Nothing stays still for long.
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Image Titles: # 1 – Architecture with Green Year: 2016 Dimensions: 20cm x 20cm Media: Acrylic on canvas, framed and m reclaimed wood
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mounted on
Verity Newman
Architecture with Green
“In this artwork, Vito reflected the concept of Stimulus by the representation of a woman in a abstract environment, where she is under differents paths and waiting for the next move.”
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Vito’s work is all about colour and illusion. His style has developed as a result of his life experiences which are reflected in the subtleties of the pieces he create. He is fascinated by how different materials can work together to constantly attract and mislead our perception. He start with something both accidental and familiar, a few colors, a few shapes or smears. These initial colors and shapes start a process of discovering unintended proximities and relationships; a process of finding logic and meaning in the unique situation that emerges and creating enjoyment from the complexity of the art unravelling.
Works : Waiting for anxiety Year: 2017 Dimensions: 24 x 30 cm Medium: Oil and spry paint o
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Vito Parteli
over
WAITING FOR ANXIETY
“the digital age is a state of dishonesty. We constantly lie to the surrounding world, choose the best parts of life to show and manipulate pictures to enhance our own egos. We've all been conditioned into the ideal. In every newspaper, on every screen we are presented with this image of perfection but that is the human condition. It is deep rooted down to the essence of our existence; find the perfect mate and reproduce. ”
My work combines photography and painting. Colour is key to my pieces, just as El Greco felt that it is the most important element of any work, and the most difficult for any artist to achieve. I try to utilize colour to set the right cord and balance to structure the narrative. This is frequently juxtaposed by black and white photography. The compositions are symmetrically balanced using shadow, perspective and colour combined harmoniously. I have a satirical view of society and the environment, which is influenced by Pop Art elements, as well as current popular culture and related issues. Having graduated from Falmouth University in 2014 with a degree in Fine Art Photography, I set up studio in Devon to focus on painting, knowing I had missed out on the company of painters and the space to practice. After ten months of isolation I moved to New York where I began photographing in the street, satirical images which I then sketched over; many themes arose from this first view of New York, through my research into philosophy and my environmental conscience, arising from an extreme rural upbringing, and global issues. This was the beginning of the series loosely titled ‘Masks’. Although the series began as street photography, I felt limited by the medium and the lack of honesty in the illusion of photography. So I started to sketch and show physically what I was seeing, which could not be shown through a lens. This was the beginning of an obsession, the critical moment where I decided to play with the real and the surreal. Leaving elements of the photograph (the real) and letting my imagination play with the rest (the surreal). This has continued to develop over the past year aided by having found an economic way to enlarge images and a paint pigment compatible. The Photo and painting have become one. Pure paintings and life drawing has lifted from the narrative of this series to find complete freedom of expression.
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Image Titles: Self Reflection on Str Year: 2017 Dimensions:10cm X 1 Media: Photographic Mounted and Framed.
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William Grob
ress
15cm Print hand painted .
Self Reflection on Stress
ART.NUMBER23 News and updates!
NEXT EXHIBITION Stimulus is a touring exhibition hosted by Art. Number23 and will be held at The Menier Gallery, London from the 1st until the 5th of August we hope to see you there, here is a little about the venue. The Menier Gallery offers a dramatic space to view and exhibit works of contemporary art and design. The gallery is situated within the historic Menier Chocolate Factory, minutes from London Bridge, Borough Market and Tate Modern. The gallery is located at the heart of one of London’s artistic hubs, and attracts many visitors, including art lovers, theatregoers, local residents and tourists.
Lower gro
ound floor Menier Gallery, London. Image sourced from Menier Gallery Website.
RESIDENCIES The studio is located in London Bridge, less than a minute walk from London Bridge station and the Shard, and close to the White Cube Gallery and Tate Modern. We offer a space of 4 m x 3,40 m with three big windows that provide plenty of natural light, a beautiful view and all the necessary utilities. Artists of all mediums are welcome to apply. After the end of each residency, we will select some of the artworks created by the artists, to take them with us and exhibit them as part of our international shows. How to apply: Please send us the completed Artist Residency application form, you can find this on our website. Along with the application form you should attach a sample of your work and your CV, please do not forget to quote ‘Artists Residency’ in the subject field of your email when sending your application. Please note that viewings of the space can be arranged by appointment only! For more information, please do not hesitate to contact us at: info@artnumber23.uk
A-Z contact details
Name: Alex Harding Email: hello@alexanderharding.co.uk Website: www.alexanderharding.co.uk Name: Amanda Lwin Email: hello@placesandthings.org.uk Website: www.placesandthings.org.uk Name: Amy Oliver Email: amyoliver1970@gmail.com Website: www.fragilityofself.co.uk
Name: Andy Wild Email: andywild29@hotmail.com Website: www.andywildart.co.uk Name: Ashley Greaves Email: artlust10@gmail.com Website: www.ashleygreaves.co.uk Name: Barbara Moura Instagram: www.instagram.com/b_moura Website: www.godandthedevil.tumblr.com
Name: Emily Blackmore Email: sirimiriartistry@gmail.com Twitter: www.twitter.com/sirimiriart Website: www.sirimiriartistry.com Name: Gemma Land Email: gemma.land@hotmail.co.uk Instragram: www.instagram.com/gemma_michelle_land Website: cargocollective.com/gemmaland Name: Gregory Hayman Email: gregorishous@hotmail.com Vimeo: www.vimeo.com/gregoryhaymanartist Website: www.axisweb.org/p/gregoryhayman Name: Campbell McConnell Email: campbell.mcconnell@live.co.uk Instagram: www.instagram.com/campbell123_89 Website: www.campbellmcconnell.wixsite.com/-art Name: Carali McCall Email: caralimccall@gmail.com Website: www.caralimccall.com Name: Catherine McLaughlin Email: catherinemcl1@hotmail.com Instagram: www.instagram.com/catherine.mclaughlin.1 Website: www.catherinemcl1.weebly.com
A-Z contact details
Name: Hazel Dixon Email: hazel_dixon@ymail.com Facebook: www.facebook.com/SeaBeastUK Website: www.seabeastofthenorth.co.uk Name: Javier Marten Herrero Email: javier.marten.arte@gmail.com Twitter: www.twitter.com/JMHSP Website: www.javiermarten.art Name: Jo Brown Email: jobrownarts@hotmail.com Twitter www.twitter.com/jobrownarts Website: www.jobrownarts.co.uk
Name: Joan Ainley Email: j.ainley@w3z.co.uk Website: www.axisweb.org/p/joanainley Name: Joseph Goddard Email: josephgoddardartist@outlook.com Twitter: www.twitter.com/josephgoddarda1 Website: www.josephgoddardartist.com Name: Judith Waring Email: info@judithwaring.com Website: www.judithwaring.com
Name: Kath Durkin Email: kathdurkin@yahoo.co.uk Website: www.kathdurkin.com Name: Katrina Stamatopoulos Email: katrinastamo@gmail.com Website: www.katrinastamatopoulos.net Name: Kim Wan Website: www.kimwanart.com
Name: Julie Edwards Email: julie@juliedwards.co.uk Twitter: www.twitter.com/ArtJulied Website: www.juliedwards.co.uk Name: Karol Kochanowski Twitter: www.twitter.com/kpkochanowski Website: www.karol-kochanowski.com Name: Karolina Bochenek Email: kabochenek14@gmail.com
Name: Lucinda Burgess Email: lucinda@lucindaburgess.com Website: www.lucindaburgess.com
A-Z contact details
Name: Maggy Milner Email: mm@maggymilner.com Website: www.maggymilner.com Name: Max Sir Email: maxsirart@gmail.com Instagram: www.instagram.com/max_sir_art Website: www.maxsirart.com
Name:Lisa Traxler Email: lisa@lisatraxler.com Instagram: www.instagram.com/lisa.traxler Website: www.lisatraxler.com Name: Lois Wallace Email: Lois.wallace@icloud.com Twitter: www.twitter.com/wallace_lois Website: www.loiswallace.co.uk Name: Lou Gilmore-George Email: hello@lougilmoregeorgeartist.com Instagram: www.instagram.com/Lougilmoregeorge_art Website: www.lougilmoregeorgeartist.com
Name: Ravinder Surah Email: rndgphoto@gmail.com Twitter: www.twitter.com/rndgphotography Website: www.rndgphotography.com Name: Ronald Gonzalez Email: rsculpture@yahoo.com Website: www.ronaldgonzalezstudio.com Name: Sila Guven Email: guvensila@gmail.com Twitter: www.twitter.com/silaguvenkoc Website: www.silaguven.com Name: Melissa Campbell Email: info@melissacampbellfineart.com Website: www.melissacampbellfineart.com Name: Michelle Clarke-Stables Email: michelleclarkestables@yahoo.co.uk Instagram: www.instagram.com/mc_stables Website: www.mcstables.co.uk Name: Myfanwy Williams Email: myfanwy.williams@talk21.com Website: www.myfanwywilliams.com
A-Z contact details
Name: Verity Newman Email: verityjane1974@gmail.com Instagram: www.instagram/verityjanenewman Website: www.veritynewman.blogspot.co.uk Name: Vito Parteli Email: vito.parteli@gmail.com Instagram: www.instagram.com/vitoparteli Website: www.vitoparteli.com Name:William Grob Email: williamgrob@gmail.com Website: www.williamgrob.com
Organizer contact
E-Exhibition Guide Designers Gemma Land and Ravinder Surah Email: gemma.land@hotmail.co.uk Instragram: www.instagram.com/gemma_michelle_land Website: cargocollective.com/gemmaland
details
Art.number23 Email: info@artnumber23.uk Instagram:www.instagram.com/artnumber23 Website: www.artnumber23.uk Municipal Art Gallery Address: 29 Filonos St Athens, Greece Email: pinakothiki@pireasnet.gr Phone: +30 210 4101402
or contact Email: rndgphoto@gmail.com Twitter: www.twitter.com/rndgphotography Website: www.rndgphotography.com
This is an E-Exhibition Guide created to save the trees, this guide is hyperlinked to artist pages, click a name and go to their websites and don’t forget save our trees! www.woodlandtrust.org.uk
© All Images Are Copyright of Exhibiting Artists, 2017. © All Images Sourced Copyright of Businesses and Galleries, 2017. © Design Copyright of Gemma Land and Ravinder Surah, 2017.