South East London Journal - Issue No.12

SOUTH EAST LONDON JOURNAL No.12 No.11 THE ART SCHOOL ISSUE T H E M U SIC I S SU E 1

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WELCOME NOTE Welcome to Journal No.12 – The Art School Issue We hope you enjoy this Journal as an introduction into the area’s art schools and some of the people who occupy them.

However, there could never be enough pages to fully explore the subject matter, so we implore you to head to the graduate shows come summer!

For this issue’s photo story, we worked with final year students Lovisa Ranta and Alan Kilbane to showcase the lively studios of our Editor and Creative Director Jessica’s alma mater, Camberwell College of Arts (shout out to Duncan Wooldridge for helping get this organised!) We also have a three-page design takeover from Peckham-based studio work-form, alongside individual interviews with students and alumni from Goldsmiths College in New Cross, the London College of Communication in Elephant & Castle, and City & Guilds Art School in Kennington.

We feel lucky to be based in an area with such a strong presence of influential artists, galleries and art schools. The positive effects of a thriving art scene can have a great impact on the whole community; both economically and because – more importantly – arts and culture promote empathy, the examination and communication of what it is to be human, in ways that words cannot always fully capture.

We hope you enjoy this issue as much as we enjoyed making it!

SELJ x

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SOUTH EAST LONDON JOURNAL A free local culture journal Issue No.12 — The Art School Issue E D I T O R + C R E AT I V E D I R E C T O R jessica@selondonjournal.co.uk DESIGN polly@selondonjournal.co.uk SUB-EDITOR Fleur Treglown ADVERTISING advertising@selondonjournal.co.uk COVER PHOTOGRAPH Freddie Payne INSIDE COVERS Lovisa Ranta + Alan Kilbane info@selondonjournal.co.uk www.selondonjournal.co.uk @selondonjournal Whilst every effort has been made to ensure accuracy, South East London Journal does not accept liability for any errors or omissions within this issue.

Reprinting of any article or original images from South East London Journal without express permission of the Editor is expressly forbidden. © South East London Journal 2018

BOTTLED COCKTAILS SPECIALIST BOTTLE BAR AND SHOP, 2 CATFORD BROADWAY, LONDON, SE6 4SP

RED POST HILL/NEXT TO JAGS SPORTS CLUB COPPERBEECHCAFE.COM OPEN MONDAY-TUESDAY 4-9PM, WEDNESDAY-THURSDAY 6.30-8.30AM & 4-9PM, FRIDAY 6.30-8.30AM & 4-7PM, SATURDAY & SUNDAY 7AM-7PM AND ALL DAY DURING SCHOOL HOLIDAYS

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_CONTENTS food edit

_p.8

c a f e s w i t h g a l l e r i e s _p.12 culture calendar

_p.18

aldo caprini (lcc)

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photostory: camberwell college of art

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_lovisa ranta _alan kilbane _phoebe ackers _amanda jenkins r i c h a r d d o d w e l l ( g o l d s m i t h s ) _p.38 work-form (camberwell)

_p.42

amanda mostrรถm (city & guilds)

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s a r a h j e n k i n s ( g o l d s m i t h s ) _p.48 r e b e c c a w o r t h ( l c c ) _p.51 mixtape

_p.53

adult learning lewisham inside a home

_p.54

_p.58

family what's on

_p.76

o r i g a m i h e a r t b y d u l w i c h p i c t u r e g a l l e r y _p.78

ADV ERT

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_FOOD EDIT

8, LAR DE MAIA — L O C U LT O , S E 1 3 .

E S P R E S S O O L D FA S H I O N E D — B O T T L E B A R A N D S H O P, S E 6 AND THE LARDER DELI, SE13.

P U M P S T R E E T C H O C O L AT E — THE LARDER DELI, SE13.

NEGRONI, M YAT T ’ S F I E L D S C O C K TA I L S — T H E H I L L B A K E R Y, S E 5 .

NEGRONI, M YAT T ’ S F I E L D S C O C K TA I L S , T H E H I L L B A K E R Y, S E 5 .

LAGER, THE ORIGINAL SMALL BEER CO. — HOP BURNS & BLACK, SE22.

AURUM, THE CHILLI ALCHEMIST — HOP BURNS & BLACK, SE22.

EXTRA VIRGIN OLIVE OIL, MURAGLA — THE LARDER DELI, SE13.

R A S P B E R RY A N D H I B I S C U S F L O W E R J A M — THE LARDER DELI, SE13.

e st . 2 0 1 5

CATFORD

Selling fruits and vegetables, bread, cheese, local beer, cured meat, dairy, store cupboard groceries, wine and more.

Also offering gift vouchers & selection boxes for christmas. @ jonesofbrockley jonesofbrockley. com

354 BROCKLEY ROAD, LONDON, SE4 2BY

Organic Fruit + Veg • Neals Yard Cheese • Cured Meats Craft Beer • Italian Wine • Store Cupboard • Sourdough Cakes + Pastries • Local Lunch options • Coffee + Tea + Build-your-own Christmas Hamper!

Good Food is a community focussed wholefoods grocery store and deli stocking organic, local and seasonal foods. We are a social enterprise crowdfunded by over 350 local residents and businesses.

www.goodfood.org.uk • @goodfoodcatford 7 Sandhurst Market, London, SE6 1DL

D O O _F

T I D E

S E T NO

8, LAR DE MAIA — L OCULTO, SE13.

A rich and fruity Spanish rosado produced by Lar de Maia using Organic grapes. Pair with tomato based dishes.

ESPRESSO OLD FASHIONED — BOTTLE BAR AND SHOP, SE6 AND THE LARDER DELI, SE13.

Handmade in Catford this Espresso Old Fashioned is an enticing blend of dark rum, bourbon, tequila, bitters and espresso (from the Espress Yourself van). Serve on the rocks.

LAGER, THE ORIGINAL SMALL BEER CO — HOP BURNS & BLACK, SE22.

A refreshing lager sustainably brewed in South Bermondsey - while it has less alcohol then a standard beer it is just as flavourful as its higher-strength counterparts, and works well alongside Thai food.

AURUM, THE CHILLI ALCHEMIST — HOP BURNS & BLACK, SE22.

A golden hot sauce made with an intoxicating blend of Amarillo, chilli, spiced rum, lime and mango. Works well paired with white fish.

PUMP STREET CHOCOLATE — THE LARDER DELI, SE13.

Taken from Pump Street Bakery's chocolate and coffee series, this bar uses a combination of two single-estate beans from Raja Batak in North Sumatra roasted in London by Monmouth Coffee.

EXTRA VIRGIN OLIVE OIL, MURAGLA — THE LARDER DELI, SE13.

This is the combination of two great Apulian traditions – making olive oil and creating decorated pots. A intense fruity superior quality cold pressed extra virgin olive oil in a handpaint rainbow striped terracotta bottle.

NEGRONI, MYATT’S FIELDS COCKTAILS — THE HILL BAKERY, SE5.

Handmade in Camberwell then aged for at least six weeks, it makes for a perfect aperitif just pour over ice and stir until freezing, then add a slice of orange and enjoy!

RASPBERRY AND HIBISCUS FLOWER JAM — THE LARDER DELI, SE13.

Sweet summery Raspberries are cooked with dried hibiscus flowers creating a floral yet sharp jam perfect for breakfast. Made with natural, unrefined sugars and no commercial pectins.

BUSTER MANTIS

CAFÉS WITH GALLERIES + GALLERIES WITH CAFÉS

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S O U T H L O N D O N G A L L E RY

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ST DAVID'S CAFÉ, SE23 As well as serving some of the best coffee in London, the staff at St David's also tend to be artists too – which is probably why they have some great art on the walls. Past exhibitions include Joe Gamble and Kirsten Houser, both of whom we have been lucky to have as past issue illustrators!

S T D AV I D ' S

BUSTER MANTIS SE8 While one half of Buster Mantis is a bar and restaurant, the other half is a neutral, constantly-evolving space for local creatives to temporarily customise and make their own. From pop-ups to musical performances, exhibitions, screenings, and the all-too-occasional dancefloor after a few drinks, there is something happening on a regular basis in there.

SOUTH LONDON GALLERY, SE5 Having been free and open to the public for more than 125 years, the South London Gallery has a worldclass reputation for its contemporary art exhibitions, live art and events. As well as a fantastic bookshop, the gallery hosts The Habit which is great for locally roasted coffee and freshly baked cakes, as well as an evening menu which uses fresh, simple and seasonal ingredients.

CANVAS & CREAM, SE23 A family-run business since 2012, Canvas & Cream established itself as a café, gallery and art studios.

The philosophy is to be inclusive and encourage creativity and expression through art, food and living well.

THE HABIT AT THE SOUTH LONDON GALLERY 67 PECKHAM RD SE5 8UH

NOW OPEN FOR DINNER WED-SAT 6PM -11PM BOOKINS: INFO@THEHABITLONDON.CO.UK WWW.THEHABITLONDON.CO.UK

THE HILL STATION CAFÉ, SE14 Located on Kitto Road at the top of Telegraph Hill, The Hill Station houses a community-run café, shop and exhibition space, and has become a venue for social change and creativity. The exhibitions at The Hill Station are curated by the Arts and Events Group Bold Vision which organises site-specific works which make a direct connection with either the space, the audience or the area.

THE RAGGED CANTEEN, SE11 Located behind the wall in the historic Lambeth Ragged School and part of the emerging Vauxhall cultural quarter, The Ragged Canteen is the vegetarian café adjoining Beaconsfield Gallery.

Offering vegan and gluten-free lunch and brunch options, they also serve Monmouth coffee and home-baked cakes.

THE RAGGED CANTEEN

C A N VA S & C R E A M

DULWICH PICTURE GALLERY CAFÉ, SE21 A visit to the Gallery is not complete without taking a pause to enjoy some of the wide range of food and drink on offer in the contemporary café overlooking the Gallery's gardens and architecture.

From a quick coffee using Union Roasted beans, a light lunch or afternoon tea, there's something to cater for all tastes.

MARKETING STRATEGY FOR GROWING BUSINESSES CONSIDERED SIMPLICITY laura@maydewconsulting.com www.maydewconsulting.com

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SOUTH EAST LONDON JOURNAL

RY E WA X PR ES EN T S: A N I N T E R N AT I O N A L W O M E N ’ S D AY PA R T Y 09 MARCH

To launch their brand new in-house night Il Telefono, Rye Wax have put together a brilliant line-up. As they say, ‘ it’s International Women’s Day every damn day’, so they’re celebrating it the day after with a host of international non-male DJs. RY E WA X , S E15

G A L L E R Y L AT E S : C O L O U R

C U L T U R E

16 M A R C H

Take a trip through the shades and hues of this intriguing subject as Dulwich Picture Gallery explores one of society’s greatest fascinations. Through artist interventions, workshops, experiments and talks, examine your relationship with colour and uncover the surprising stories behind the pigments in the Gallery.

D U L W I C H P I C T U R E G A L L E R Y, S E 2 2

F U N Z I N G TA L K S : QUANTUM PHYSICS FOR BEGINNERS 09 APRIL

Held in a carefully selected range of intimate spaces, Funzing Talks pull together an impressive array of leading entrepreneurs, intellectuals, bright thinkers and incredible individuals to inspire your evenings and expand your mind.

In this talk, Michael Brooks PhD will explain the origins and oddities of quantum physics, and why scientists now believe there is far, far more to this world than meets the eye.

A M E R S H A M A R M S , S E 14

D I S TA N T S K Y : N I C K C A V E & T H E B A D SEEDS LIVE IN COPENHAGEN 12 A P R I L

Goldsmiths College and Curzon Cinemas have come together in partnership, creating a state of the art auditorium that opened in January. The perfect place to catch the extraordinary live concert from Nick Cave & The Bad Seeds, recorded at Copenhagen’s Royal Arena in October 2017.

CURZON GOLDSMITHS, SE4

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SOUTH EAST LONDON JOURNAL

COWPUNCHER: H O L LY B L A K E Y X M I C A L E V I 13 A P R I L

South East London-based composer Mica Levi and East London-based choreographer Holly Blakey toy with the structure, sounds and vistas of the Western movie genre. They create a scorched and sandy playground re-defined by dance and music.

SOUTHBAN K CENTRE, SE1

0 2 M A R C H – 14 A P R I L

For his second solo show at Bosse & Baum, Luke Burton will present a new body of work that explores his ongoing interest in how symbolism operates across decorative visual culture, and how the psychological concept of ambivalence plays out across aesthetic and political spheres.

B O S S E & B AU M , S E15

GRANDMA PRESENTS: WOOM 19 A P R I L

Grandma presents the vocal collective Woom's first headline show at Brixton's Windmill. Support comes from the brooding atmospheric electric soul noir of LL Burns, the hazy vocals and distorted ambience of Honey Stretton, and West London's faeriey THE WINDMILL, SW2

N T H N AT U R E

16 M A R C H — 21 A P R I L Assembly Point presents a new body of work by Lilah Fowler that enacts the tensions and translations between the many layers of what we now conceive of as 'natural', a potentially infinite ‘nth nature’ that encompasses deserts, data centres, energy farms and designated areas of wilderness.

A S S E M B LY P O I N T , S E 1 5

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C A L E N D A R

LUKE BURTON: BECOMING SWEET NEW ST YLES

ALDO CAPRINI

— M FA G r a p h i c M e d i a D e s i g n , L C C ( g r a d . 2 0 1 6 )

At what age did you first notice or become interested in design?

From very young I've been attracted by what's visual. I've always been struck by the first impression we receive of things – on the surface, if you like. Growing up I became more interested in every facet of the design practice, in its language and grammar. I decided to study it – I quit my first job as graphic designer for an agency in my hometown Verona to move to Milan

to get a BA in Communication Design – and that I think was the moment I became more conscious about my practice.

In addition to this, I'm very modest in the drawing, and that's the big gap between an artist and a designer. Sometimes I felt that the quote

by Vico Magistretti "...il bel disegno tradotto nella concretezza dell'oggetto non conta nulla. Contano solo le idee..." / "...the beautiful drawing translated into the concreteness of the object does not

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count for anything. Only ideas do count..." would describe perfectly my path, from the surface to the ideas.

and interpret the present political situation using design strategies and research. One of the many theoretical approaches I have encountered during my MA at LCC is taking into consideration the political value of the work.

Being critical is being political. To the extent of graphic design, and everything in the social environment, being part of an ideology is innate; that means that every act within this context is political. In taking sides regarding this position the

You describe yourself as "interested in developing visual narratives about complex and political issues" - can you tell us more about this?

My MA final project critiques the rhetorical approach to politics, and it aims to develop a visual narrative in order to stimulate, comment

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designer is completely free, as the project is addressing the public.

Even if the forensic activity I've developed within Damned Green is not enough to advocate an objective political design practice, it still represents to me a good opportunity to increase the responsibility and the authority of the designer. The Green Book narration is an applicable example of what the field can offer; in terms of construction, de–construction, and analysis of political imagery, it broadens the notion of theory towards “the visible”, tightening the gap between theory, critique, and practice.

What project have you worked on that you are most proud of?

I am proud of every project that reaches a sort of independence out of my control. Many young designers – including myself – today confuse their identity with the identity of the work and vice-versa. To me it is really important to mark this border. A Line Which Forms a Volume is a good example of this.

What are you currently working on?

A the moment I am working for a graphic design company based in London. In my spare time, I am carrying forward the Damned Green project.

The key inquiry of the research is to establish the original network behind the production and diffusion of The Green Book, the ideological frame of former Libyan dictator Muammar Gaddafi. On the SE side, I am still working within the MA GMD team at LCC (Paul Bailey, Katie Evans, Gabriela Matuszyk and Carlos Romo-Melgar) to the next issue of ALWFAV. Who are your biggest influences?

Enzo Mari. Italian and political.

What can you tell us about the MA Graphic Media Design course at LCC? The course is a critical arena. During the year (45 week course) you have the chance to test ideas, materials and yourself. The course is rooted in the logic of critical thinking through critical making, and to me has offered, since the first day,

both a practical (related to my practice) and personal growth. The heritage of the school is immense – LCC roots date back to 1894 – and the environment is exciting. You have the chance to work with students from all over the world... this means exchange. The involvement within the MA GMD studio is maximum and if you take a look to 'With a Shift Simultaneous Realities Collide' you see an example of the course's potential.

Where are your favourite places in South East London?

Burgess Park, Peckhamplex and the White Cube gallery, to name but a few. I've been living in SE1 since last September and the whole area offers always something stimulating to do and see! _ ALDOCAPRINI.IT

CAMBERWELL COLLEGE OF ART — Studios of BA Drawing, BA Fine Art Photography, BA Painting, BA Sculpture Photographed by Lovisa Ranta and Alan Kilbane in digital and analogue (Final Year BA Fine Art Photography Students)

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_ALAN KILBANE (BA Fine Art Photography)

_PHOEBE ACKERS (BA Sculpture)

Why did you choose to study at Camberwell College of Arts?

I chose to study at Camberwell because the course offered an interesting approach to photography, as it is combined with fine art.

This interested me as I wanted to explore and discover new ways of creating an image.

Can you tell us a bit about your practice?

I’m currently exploring the personification of object and art by using traditional and conventional techniques to gather an understanding between modern-day society and the feelings we all encounter on a day to day basis. I have a growing interest in textiles and paintings which allows me to explore this in a number of different ways, by looking at both the physical and mental aspects of the subject.

Can you tell us a bit about your practice?

I use walking as a means of creating an image. I use the streets mainly to find my images; I have an impulsive process when taking photos, and I find that it’s more interesting not to plan and just let things unfold as I'm going. I use memory and colour to create my narrative. A big part of my work is based around making pictures to create books. This platform really helps my work to make sense, as I'm interested in creating a narrative with multiple pictures. Outside of uni I do quite a lot of backstage work at London Fashion Week. I also collaborate with a few magazines; I do lots of fashion shoots too, styling and stuff.

What is the best thing about being an art student at Camberwell?

The best thing about Camberwell is the tutors.

What do you have planned post-graduation?

After graduation I want to curate shows with different artists and make photo books...

What are your favourite South East London places, galleries and hangouts?

I enjoy the idea of travelling and seeing new places – as long as I have my camera, I don’t really mind where I am. Favourite gallery? That's hard... I guess it depends on the show! I pretty much chill in Brixton or Croydon were I live. _ @ALANKILBANE

How do you find the studio culture at Camberwell?

I think the studio culture is the most special thing about Camberwell. Whether you’re struggling for inspiration or wanting to learn new techniques, it’s such a friendly and energetic environment, and there’s always somebody there to enhance your learning experience – whether tutors or other pupils. There is no real competition between us, as we all push each other to achieve our own visions through our work.

What’s the best thing about being an art student at Camberwell?

Definitely the feeling of being part of a family – everyone supports each other and is very enthusiastic about their practice. It has also introduced me to a large variety of disciplines, as we’re encouraged not to limit ourselves to certain materials. The options are endless!

What do you have planned post-graduation?

I would like to take my studies further and study a masters degree in fine art, however I’m still undecided in what my plans will be long term.

What are your favourite South East London places, galleries and hangouts?

Anywhere in Peckham and Camberwell! It’s a great place for people who enjoy art, culture and more! Galleries like Copeland and South London gallery (which is just next door to Camberwell) are great! _ @PHOEBEACKERSART

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_ L O V I S A R A N TA (BA Fine Art Photography) Why did you choose to study at Camberwell College of Arts?

I had lived and worked in London for a couple of years after moving here from Stockholm and started to think about studying again. Photography has always been my biggest interest but I never really thought I’d study it, especially not in a fine arts context. But as I couldn’t think of any alternative courses, I started researching degrees in photography in London and found the course at Camberwell sounded the most interesting.

I wanted to make sure it was not a strictly practical course, but one that put a lot of emphasis on finding a context for your interest and placing it in relation to ideas, theories and history. I was also already living in the area, so that was a plus.

Can you tell me about your practice?

My practice is within analogue photography and printmaking. I find it as interesting and exciting to develop and print in the darkrooms as I do taking the actual photographs. I am very much interested in representation with a focus on feminist theory and the relation between value, gender and language.

How do you find the studio culture at Camberwell?

I use the studio very much like an office. I normally get in around the same time every day and think of it very much like going to work. I love the fact that I have somewhere to go at Camberwell which is not just a lecture hall but a space which is mine and where I don’t necessarily have to make work in the sense of creating images, but can sit and read, research, write and think. Also, when I to go home, I try and disconnect myself from what I’m working with – not unlike leaving a workplace. And it’s great to sit with other students and have a shared space where you can work alongside each other, but also just hang out in a shared creative environment and have many long coffee breaks together.

Best thing about being an art student at Camberwell?

Without a doubt the best thing is the people

I’ve met, both staff and students. And how, by studying for an arts degree, I’ve been able to really give myself the time to experiment and think about what I’m interested in, and how I would like to explore and express that.

What do you have planned post-graduation?

My immediate plan is to continue to work for my current workplace, which is doing product photography and other bits and bobs for a company called The Vintage Showroom.

Eventually, I would like to study for a masters, but more towards art and cultural criticism, maybe in Germany where education is free as I don’t want to make my loan any bigger. What I’ve realised during these three years is that my interest lies more towards contextual studies rather than making visual work myself, so that is what I would like to dedicate my time to more in the future.

What are your favourite South East London places, galleries and hangouts?

I’m not someone who goes out much, so my recommendations won’t be anything undiscovered or exciting! If I do go out for food it’s normally for breakfast, so maybe Peckham Refreshment Rooms if you’re feeling fancy or the Crossway café on Evelina Road for a fried English breakfast. It’s been my favourite place ever since I lived around the corner a few years ago. It does surprisingly good veggie sausages!

Yada’s Kurdish restaurant is my favourite place for dinner, and Arcadia Missa Gallery always works with and shows very interesting artists. _ L O V I S A R A N TA . C O M

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SPEC. simple modern websites www.specwebdesign.co.uk

_AMANDA JENKINS (Associate Dean) What is your role at Camberwell College of Arts?

I am the Associate Dean of College which means that I co-ordinate the work of the various teams at Camberwell to ensure that together we can provide the best possible student experience in terms of the curricula, resources, providing support and services to students, and by ensuring we maintain a great programme of extra-curricula opportunities and links to our local community and external partners.

How do you think the college’s dramatic rebuild will benefit current and future students as well as the community around it?

Internally, the most obvious benefits for current and future students include an improved social space in the form of a wonderful new canteen, and also a fantastic new lecture theatre, a new student support centre, and new studios and 3D workshops. We’ve tried to future-proof studios and resource centres by anticipating new technologies and ways of working.

The new building is also more accessible than it was before, not just for students and visitors with particular needs but also to the local community. Our mission statement at Camberwell is to be ‘A world leading art and design college creating positive social impact’ and we strive to place social engagement at the heart of much of our work, driving forward positive social change through art and design Can you tell us a bit more about Camberwell Space?

Camberwell Space is our new, improved public gallery; it exemplifies how the new building will allow us to be more welcoming to visitors. We work in collaboration with professional artists, designers and curators to initiate and present a programme of internationally significant exhibitions. The exhibitions are developed in response to the curriculum taught at the college and aim to provide an insight into new ideas, histories and future debates emerging in art, design and craft practices.

The first exhibition, A History of Drawing, took place at the beginning of the spring term and was incredibly well-received by a wide audience.

Lots of visitors were members of the local

community who told us they had never felt able to cross the threshold in the past. The upcoming exhibition, Facets of a Community, is of work by artist Faisal Abdu'Allah and explores what it means to be part of a community. Our students have been involved in developing this exhibition, as have local school children and the Golden Oldies project in Walworth.

There seems to be a palpable sense of momentum within, and spotlight on, South East London’s art scene. How do you think Camberwell College of Arts interacts with this?

We are very excited by this and would like to think we have contributed to its formation, as many of our alumni stay on to live and work locally after graduation. We already have some good working relationships with our immediate neighbours at the South London Gallery as well as other local cultural groups. The college is involved in lots of interesting conversations at the moment about opportunities to consolidate the momentum you mention, but for the time being I can only say: watch this space!

Where are your favourite places in South East London?

I live in one of the more green and leafy bits of Crystal Palace, where it’s easy to forget you’re in London. I love my journey to work – I travel by motor scooter, and the view of London laid out before me from the top of Gipsy Hill always lifts my spirits, as does the view from Frank's Bar in Peckham on a summer's evening after work. I’m also a committed all-year swimmer at Brockwell Lido – the poolside sauna and the table where the regulars sit for coffee and cake after their swim are definitely among my favourite spots. _ ARTS.AC.UK/CAMBERWELL

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RICHARD DODWELL — M FA i n F i n e A r t a t G o l d s m i t h s C o l l e g e ( 2 0 1 7 - 2 0 1 9 ) Why did you choose to study at Goldsmiths College?

Its reputation as a place of critical inquiry and radicalism. I was very impressed by their recent MFA degree show and several of their alumni are among my heroes.

Your background is in English and literary theory.

What led you to study fine art, and how have you found that transition/parallel?

Whether through dyslexia or boredom I think it came to a point where words could no longer articulate what I wanted them to. Visual art had long been an interest of mine, but only in the last few years did I decide to experiment with it. The transition was a little scary at first, particularly when I started to officially refer to myself as an ‘artist’ when asked about my occupation — but really I don’t think I was ever not an artist, I just didn’t have the language to know that I was.

Can you talk a bit about your practice?

I make a lot of work from found material, usually sculptural installations and often incorporating these items into other forms like painting and performance. I suppose the environment I’m in affects me a lot. At the moment my studio is by the tidal creek in Deptford, which feeds into the Thames. I think that proximity to water is significant. I’m very interested in the innocence of certain materials, and of the body, in rela-

tion to the environment. In my performances I often position myself in inhospitable or desolate landscapes in order to show the body for what it is, vulnerable and in need of love. I suppose that care and love is a major part of it all. I like to try and make things that challenge hardness: both in attitude and form.

Not here. A Queer Anthology of Loneliness was a fantastic debut publication from your not-for-profit Pilot Press. Can you tell us a bit more about the project? What was the catalyst to start it?

Being lonely! But also an event to celebrate the re-publication of David Wojnarowicz’s Close to the Knives, at which I read the final few pages. “Smell the flowers while you can”.

Those words stuck with me. I’m lonely, so what do I do about it? I was lucky to have had such a brilliant response to the callout, and then to the journey it’s had since. I run Pilot Press in parallel to my practice – I see the communality and celebration of queerness as central to both.

And the upcoming second edition, 'Over there: A queer anthology of joy'?

Joy! Oh my God – it’s so hard. To try and feel joy in such awful, awful times. My intention with it was to see if it was possible to get people to respond honestly, as in the first issue, to something that might be difficult to try and pin down.

Joy was something I felt like celebrating, or moving towards. As an act of defiance I suppose.

SOUTH EAST LONDON JOURNAL

GREENWICH PENINSULA SUNDAY MAY 20TH, FREE ENTRY

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SOUTH EAST LONDON JOURNAL

I do think caring for yourself and other people is a radical gesture, particularly in a world where the poor and marginalised are so often left to rot.

Do you think putting together Not here had an impact on your art practice?

Yes, they both inform each other. I like bringing lots of different voices together into one. I suppose that’s what I’m doing with my use of found fragments in my other work. All these lives gone, leaving these tiny traces. I too would like to leave something before I go. I hope my art practice celebrates decay and the fleetingness of life, and allows for it. I don’t believe in the idea of making work that has to last at least 100 years, as a rule – I suppose that’s why I’m at Goldsmiths and not the RA! Any other plans with Pilot Press this year?

Just the new anthology for now. I hope to keep the press open to possibility! I’m also publishing a lookbook for an upcoming fashion collaboration with another Goldsmiths graduate, Urara Tsuchiya, which is happening as part of Glasgow International in April, following some of the principles of my use of found objects and her skills as a ceramicist. Watch this space!

What are your favourite South East London places?

I love the creek at Deptford. I can only imagine its history and what lies beneath its muddy floor, under the shopping trolleys and laughing gas canisters. I also love the gardens of Dulwich Park in summer and the Aladdin’s Cave antiques shop by St John’s station. There’s a lot left to discover. _ RICHDODWELL.COM PILOTPRESS.TUMBLR.COM BOOK IMAGES COURTESY OF TENDER BOOKS

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work-form is a Peckham-based graphic design studio run by Camberwell College of Arts alumni Charlie Abbott, Jake Hopwood and Alex Hough, producing graphic identities, books, exhibition design and websites for cultural institutions, charities, artists and small businesses. Local clients include City and Guilds of London Art School, Flat Time House, Jones of Brockley, Neals Yard Dairy and Lewisham Arthouse. Alongside their practice, the team teaches graphic design at Camberwell College of Arts.

What was your experience of Camberwell College of Arts as a student, and how do you think it informs work-form’s practice?

We studied BA Graphic Design together at Camberwell between 2009 and 2012, and soon found that we shared the same interests and ambitions. This pushed us to start working together during our second year – the course was very self-directed, and our tutors encouraged collaboration. By our final year, we were working almost solely on projects together.

Can you tell us a bit about how work-form came about?

Alex and Jake graduated a year before Charlie; they both started working for Camberwell Press, which had recently been re-established as an organisation for publishing and events.

It was during this time that we started to talk

more seriously about our future plans.

Without much of an idea about how to run a graphic design studio but with a lot of enthusiasm, we formally launched work-form at the start of 2013. In 2015 we moved to our current studio at Assembly Point in Peckham.

What was the first job work-form took on?

Our first official job as a design studio was a bit of a failure! Through a series of contacts we found ourselves meeting with the British Council to design a series of posters for an exhibition and programme of events to take place in Morocco. We were given a weekend to come up with the final designs. Although the British Council team was happy with the results, unfortunately their clients in Morocco were looking for something very different to what we had produced. Disappointing, but we learnt a lot!

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What is work-form currently working on?

We’re working on some exciting projects, including a new issue of the journal Noit with Flat Time House on Bellenden Road, that’s due to launch in New York in May. A series of letterpress posters commissioned for a book of essays on orchestras; a new website for the artists Dunhill and O’Brien; the graphic identity of an upcoming event for charity Freedom from Torture, and the exhibition identity and graphics for an artists’ film by friend and fellow Assembly Point studioholder Ruaidhri Ryan. As well as this we’re continuing our ongoing development of the visual identity of City and Guilds of London Art School in Kennington, with the launch of new promotional material and the design of their degree show identity this summer.

There seems to be a network of designers and illustrators, many of whom came out of Camberwell around the same time – who are your go-to collaborators?

We’re fortunate to have been able to continue to work on projects with many of the interesting and talented people that we met while at college, and we regularly commission work from illustrators such as Grace Helmer, Kirsten Houser, Peter Rhodes and Alice Tye. In 2014 we co-authored and published Original Risographies, in collaboration with our friends Alice Lindsay and Peter Willis of visual arts publisher Studio Operative. We also often rely on Joe Townshend of Housework Press in Sydenham for Risograph printing.

Last year Joe invited us to take part in his exhibition Ideal Science at Newlyn Art Gallery and Exchange, Cornwall.

In a satisfying joining of the educational circle, work-form also teach at Camberwell College of Arts. Can you tell us a bit about that?

We started teaching regularly at roughly the same time that we started work-form.

Teaching has always been an integral part of how we explore, research and talk about our ideas. Our initial motivation to try teaching was based on a desire to share what we had learnt with students, and so many of our early projects were rooted in specific skills and approaches that we felt would be useful.

As time has gone on, we have been lucky enough to work with lots of students from a range of courses. Today we hold a number of different positions across the BA Graphic Design course, the FDA graphic design course and the Foundation Diploma course at Camberwell. Our teaching, like our practice, is collaborative. Working with students in an art school environment provides a constant source of inspiration.

What are your favourite South East London places?

In no particular order: Crystal Palace Park, for the dinosaurs; The Angel, Bermondsey, for an after-work drink and views of the river; anywhere that stocks pastries from The Little Bread Pedlar, Bermondsey; The Crypt at St Giles Church for the Jazz Club; Palace Superbowl at Elephant & Castle for a unique experience; and Filishack, Peckham Square, for an excellent burrito and great service.

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AMANDA MOSTRӦM —BA (Hons) Fine Art Sculpture, City and Guilds of London Art School (grad. 2016)

Why did you choose to study at City & Guilds of London Art School?

City & Guilds of London Art School is a tiny school, with around 250 students in total. This has many perks for someone like me who doesn’t feel comfortable in big institutions. Compared to other art schools in London you are given a load of space. I think it’s super important to demand this as a student, as studio space factors into the fees you are paying for the duration of your studies. The tutor teams are great and the fluidity of departments allows for a much broader learning and influence experience.

Can you tell us about your practice?

My work generally tries to be read as a tool for play or function of some sort. I play with the use and values of both experiences and materials.

I enjoy making things that you can touch and I

always try to work with – and beyond – an often static gallery space, to create encounters and encourage mischief. I enjoy collaboration and addressing issues of authorship to challenge hierarchical norms.

Your work uses a “visual language of domestic objects, play and the profane”. Can you tell us more about this?

In my current show at Castor Projects in Deptford – Doing it in the park, doing it after dark – I’ve tiled the back wall and built a seat within it. I want there to be a clear reference to a public space, and to encourage the same kind of familiarity in how people react to, move around and use such public spaces. This way, the gallery space can function not just as a quiet, contemplative space, but as an active, messy and action-filled space. There are two swings in

the show, one made of bronze. I’ve been working with bronze for many years now, and I try to bring out a more functional and active use of this precious material. I want people to sit on the swing and to value its use rather than to contemplate it as a static art object.

Which City & Guilds alumni are you most inspired by?

A fellow south London artist and tutor at City & Guilds Art School, Frances Richardson; she recently had a booth at the London Art Fair and is currently making a new body of work for her solo show at Mark Tanner later this year. She’s someone I keep my eye on.

What are you currently working on?

I’m still working on my solo show at Castor Projects. The show opened in February and will be on until 17 March. I’ve had a collaborative

approach to the whole show, which means there are activities going on beyond the work that I’ve put in the space, for example with South East London-based artist Leila Ziu, who will be performing and making work within the show. I’m also working with my collaborator Martha Williams on an Audre Lorde event series with Auto Italia through their A/WA program.

What are your favourite South East London places?

My favorite spot must be the Colombian fish Friday at El Rancho De Lalo in Brixton Village.

Other contenders would be John Purcell Paper for fine paper perving, Atlantic Bakery for the best red pea soup and also superb jerk, Crystal Palace dinosaur park, the mixed meze at Falafel and Shawarma in Camberwell. I’m real. _ AMANDAMOSTROM.COM

SARAH JENKINS

Why did you choose to study at Goldsmiths College?

To be honest, I didn’t know much about Goldsmiths when I applied. I did my foundation at Central St Martins and just wanted to stay in London, so I applied to the same four or five art schools as everyone. It was the interview that convinced me – I remember feeling really excited about the conversation around my work and leaving thinking, this is where I want to be.

Another big selling point was the visual cultures department, I chose the joint honours in Fine Art and History of Art and the history of art modules were really great.

Can you tell us about your practice?

My work is storytelling with objects, props. I play with pre-existing forms and everyday objects to

discuss notions of value, waste and consumption. I like to use simple materials, particularly playful ones to question social structures, imagining futures, undermining objects and processes. My work is led by experimentation, testing the limits of materials and finding the tension between what I want them to do and what they want to do. A large part of it is allowing accidents to happen, incorporating failure. When I started working with jelly I had a really specific idea of what I wanted to get out of it. I spent months wrestling with it and couldn’t get the recipe right. It would always collapse. So I compromised and decided to use it in a different way. Then a couple of days before the degree show, I left an offcut of jelly overnight and it solidified exactly like I’d initially wanted, sort of like a cast of draped material. It was a complete

SOUTH EAST LONDON JOURNAL

SARAH JENKINS —BA Fine Art + History of Art, Goldsmiths (grad. 2016) fluke which then became Hung Out To Dry (2016).

way gestures.

Your work juxtaposes materials such as metal and plaster with edible materials such as gelatine and Hartley's Raspberry Jelly – can you tell us more about this?

I started using food for its smell; I did a lot of work with toothpaste and sweets. Smell can be disarming in a gallery setting, it forces connections outside of any academic or art-specific realm. I like that everyone has this initial visceral reaction to the work before they start thinking. It grew from there. I enjoy the process of working with food because it’s unpredictable – it breaks and rots and looks different every time. It can also be kind of torturous at times. I like combining this unpredictability with more solid objects; combining carefully crafted objects with throwa-

What are you currently working on?

I’m working on a few different things. I’ve been experimenting with video a lot recently and I just finished editing footage of a wax TV sculpture melting, which I’m quite happy with. And I’m in the process of casting a new sculpture which is a replica of a tool used to contain chemical spills.

The next step there is to experiment with spilling and containing different materials which should be fun.

What are your favourite South East London places?

Lewisham Shopping Centre is my happy place and the Marquis of Granby for pints. _ SARAHJENKINS.ORG

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REBECCA WORTH — M FA G r a p h i c M e d i a D e s i g n , L C C ( g r a d . 2 0 1 6 )

At what age did you first notice or become interested in design?

I was a really focused and independent kid. Born busy. Perhaps the earliest interest that could genuinely be considered ‘designerly’ was around the age of ten. A relative renovated and built homes, and on the occasions when we would visit I would play around the shelled structure. It made me aware of the planning and construction of space. Back at their own home I would use offcuts of wood and other materials to physically design my own plans, which were sometimes also translated to paper.

What are you currently working on?

My MA final project was a proposition for a design studio and ongoing research enquiry titled Common Practice. Its philosophy takes the context of accelerated culture as its starting point and explores how a graphic design practice might pursue values of the commons, rather than being shaped by the politics of the market.

This will manifest through its fields of interest, research methods, processes and organisational structure.

What project have you worked on that you are most proud of?

A recent project that I designed is a publication examining the condition of social housing in London today – an issue that is both urgent and under-represented. Walking Between Streets in the Sky focuses on five East London estates that

have been in the past, or are currently, threatened by predatory redevelopment, including the Boundary Estate, Ashington House, Ocean Estate, Balfron Tower and Robin Hood Gardens. The publication consists of five transcribed and edited conversations that each unfolded while walking between two of these estates, completing a loop.

What can you tell us about the MA Graphic Media Design course at LCC? The MAGMD course at LCC positions graphic design as a critical tool. With that foundation, the research can take any form – among the graduating class of 2018 fields or issues explored included architectural publishing, Middle Eastern politics, socio-legal model-making and gene editing. The course is fundamentally outward looking, and during my study I had the opportunity to engage in a number of extracurricular design-related activities.

Where are your favourite places in South East London?

One of the best things about London is its overabundance of parks, and most days I’ll wander to at least one of the three closest to me in Hither Green. A good lazy Sunday involves a cycle across Blackheath and into Greenwich Park while the sun is setting. _ YOUWOULDLOVETHIS.COM COMMONPRACTICE.INFO

Although it often feels like we’re all running at a million miles an hour in London, The Honor Oak Wellness Rooms is a space that provides moments of calm in the chaos. We have curated a program of workshops and day retreats which focus on using forms of creative living as therapy for mind, body and soul.

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We believe that living well, especially through yoga and meditation helps quieten our busy minds, enabling us to express more creatively. We started running creative living workshops last year with that in mind. With our yoga and floristry workshop, everyone loved the opportunity to be creative alongside their yoga practice, noticing that approaching something artistic after easefully opening their bodies and stilling their minds allowed their creativity to really flow. This year we have more exciting events planned, we’ve partnered with Nauteas for a yoga and tea-blending workshop and expect to be physically and creatively nurtured by our day-long retreat later on in the year. These amazing workshops run alongside our annual events of yoga for running, for cyclists and improvers, as well as various core building Pilates workshops. Visit our website for the full list of events.

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CAMBERWELL — #1 DADS TUESDAY AFTERNOON — A HOUSE IN THE TREES [GOLDSMITHS] GOLDSMITH

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BENDING BACK — ART SCHOOL GIRLFRIEND IF THE CAR BESIDE YOU MOVES — JAMES BLAKE [GOLDSMITHS] WHO'S THAT GIRL? — ROSIE LOWE [GOLDSMITHS] THIS MODERN LOVE — BLOC PART Y [GOLDSMITHS] THE ART SCHOOL KIDS — SLOW HOLLOWS COFFEE AND T V — BLUR [GOLDSMITHS] — SYD BARRET T TERRRAPIN

[CAMBERWELL COLLEGE OF ART ] MEDS — PLACEBO [GOLDSMITHS] ART SCHOOL — THE JAM DYING ON THE VINE (LIVE) — JOHN CALE [GOLDSMITHS] WHAT KIND OF MAN — FLORENCE & THE MACHINE

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If you’re thinking about taking a course and need some inspiration, Adult Learning Lewisham (ALL) has a variety of courses to suit all lifestyles and interests so learning something new doesn’t need to be a big commitment.

A group of like-minded learners who regularly attend screen printing and etching courses at ALL formed the Quaggy Printmakers, with the help and support of tutor and local artist Sarah Gursoy-Heuser. The group regularly exhibit and sell their work, and members have taken part in both the Sydenham Arts and Catford Arts Trails.

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Christine Tredway – Printmaker I have been screen printing at Granville Park with Adult Learning Lewisham for over five years now. Initially I was looking for a creative outlet and was new to the process. The tutor, Sarah Gursoy-Heuser is a print artist in her own right.

She is very welcoming and guides you through the different techniques. I found the process very absorbing and quickly became addicted! I now continue to work on my own projects at the studio workshops and exhibit my prints with the Quaggy Printmakers. I have also undertaken various commissions.

Mark Barnard – Silk screen printmaking course attendee Following 30 years working for a local authority, retirement gave me the chance to express my creativity through silk screen printing. I have been attending courses at the Granville Park Centre in Lewisham for over a year now and it has exceeded my expectations. With the encouragement of the course tutors and my classmates I have learned to produce prints I am proud of.

Find out more about the Quaggy Printmakers and view their work: www.quaggyprintmakers.com Adult Learning Lewisham offers a range of printmaking courses for all levels of ability, covering traditional and experimental techniques For a full list of courses and online enrolment visit www.lewisham.gov.uk/adultlearning Centres are located in Brockley, central Lewisham and Grove Park, within reach of Forest Hill, Honor Oak Park, Lewisham and Grove Park stations.

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SOUTH EAST LONDON JOURNAL

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INSIDE AN SE16 HOME

Jamie Song, Lester Li and Vince DeKime live in a beautiful bright, plant filled space next to Canada Water. The three friends also happen to be business partners in online vintage art and objects business, The Bureau of Interior Affairs.

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How long have you all lived in your home?

Jamie and I [Vincent] moved in October of 2013 and Lester joined us in August of 2015.

Was each space designed in its entirety, or have they evolved over time with everyone’s influence?

Our spaces have definitely evolved over time. Jamie does all of the plant design and maintenance. Our rooms are constantly evolving with the rotation of our vintage stock. We are still having work done and are turning our downstairs bar area, which gets little use, into a business showroom as we increase our stock of mid-century furnishings.

How do you balance the need for practicality with aesthetic choices?

We are very lucky to live in a large space, therefore we’re not often presented with having to choose between practicality and aesthetics.

It’s a rare luxury in London and we feel very fortunate to have such room.

Are there compromises to make sure the flat suits everyone’s tastes?

When we go on buying trips for our company, we are choosing our art, objects and furniture

SOUTH EAST LONDON JOURNAL

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SOUTH EAST LONDON JOURNAL

together. It’s amazing how much we agree on our choices and this translates into harmony at home in terms of the items with which we surround ourselves.

Does running a business together affect which art and objects are on display in the flat?

Virtually everything in our home is for sale! Our art adorns the walls, our 1950s French ceramics rest on our shelves and tables and our furniture fills our rooms. We are simply temporary custodians for BIA’s objects and, essentially, this allows us to live in a constantly-changing gallery.

Can you tell us about your collections and whether you play around with composition and different configurations?

When we sell a work of art or an object we necessarily have to fill the void left by the sale.

Although we absolutely love each piece that we have, we also feel delighted when a client loves it enough to buy it as well. Our artworks are mostly vintage French and Italian by named artists, but not necessarily well-known internationally. We buy pieces that we love that are mostly from the 1950s and 1960s and which have a special quality imbued in them by the artists themselves.

Our website shows what varied tastes we have and that is why we appeal to a very wide audience internationally.

The spaces feel timeless in their design due to the mixture of vintage pieces and of course all of the plants, which creates a great contrast — can you talk a bit about that?

Jamie is an indoor plant expert with a following on Instagram of over 60,000 plant lovers (IG: @Jamies_Jungle). He considers each plant to be nature’s work of art, because each has evolved over millions full

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of years to attain its unique perfection. Sometimes that means Jamie’s plant hoarding competes with our business!

Last year we had to sell his three-meter tall fiddle-leaf fig tree in order to reclaim space for living and art.

How long has it taken to establish such a brilliant collection of plants?

Jamie has always had plants, but he started collecting a lot more after moving into this place over four years ago. The huge skylight provides a greenhouse-like environment which enables the growth of his Jamie’s Jungle.

How do you keep all of your plants thriving? What are your top tips!?

An ordinary but healthy plant will bring infinitely more pleasure than a trendy but struggling plant.

Keep the type of plants suitable for the conditions of your home. If a plant naturally lives under

SOUTH EAST LONDON JOURNAL

SOUTH EAST LONDON JOURNAL

sun in Mexico, it won’t be happy in a windowless bathroom in London. Don’t force it.

Do you all feel part of a community where you live?

Canada Water is just starting to come into its own. For now, we still lack the kind of commercial activities which bring communities together.

We’re seeing improvements slowly but surely, and in a few years SE16 will be a top neighbourhood in London.

What are your favourite SE places?

We enjoy Canada Water and Plough Way Cafés in our neighborhood very much. Jamie loves the plant shop Forest in Deptford and we’re all following the upcoming art scene there too.

Also, we take time out on busy days to run over to Mama Pho Vietnamese restaurant for a quick and delicious lunch. _ BIALONDON.COM 1 S T- O P T I O N . C O . U K

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PUTTING GIRLS FIRST Open events 2018 School in Action Morning 8 March Year 5 Taster Days 21 and 23 June

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SOUTH EAST LONDON JOURNAL

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_ W H A T ’ S

SENSACIONAL

TODDLER TIME: CLOUDBABIES

UNDER 10’S FEMINIST CORNER

CONTINUING

06 MARCH

CONTINUING

Bring your toddler along to a sound and light show in which they are the participants. Watch as your child puts on a white suit and becomes part of a digital world of ladybirds, shapes, squiggles and squarks that won’t keep still, no matter how hard you try to catch them!

Toddler Time is exclusively for pre-school children and their parents or carers. Join East Dulwich Picturehouse in March for some fun with the fantastic Cloudbabies. Featuring episodes Fly Away Home, The Right Colour to Be and Superdonk.

Feminism isn’t just for grownups and teenagers. If you think girls should have the same opportunities in life as boys, we’ve got the perfect session for you.In an interactive workshop with other young feminists, you can explore what being a girl means and get tips on how to start a campaign from your bedroom.

UNICORN THEATRE, SE1

EAST DULWICH PICTUREHOUSE, SE22

ROYAL FESTIVAL HALL, SE1

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_ O N

BIG FAMILY PRESS WITH OOMK

EARLY INTRODUCTIONS - DAVID MILNE

FAMILY DAY: THE GREAT OUTDOORS!

T I L 11 M A R C H

13 A P R I L

15 A P R I L

The First Floor Galleries are transformed into an archive and community printing press from 28 February – 11 March 2018.

Through a range of critical and creative activities, children and adults are encouraged to use a risograph printing press and other DIY publishing tools available in the space to share their knowledge, experiences and stories, contributing to an archive which will evolve over the course of the exhibition.

A relaxed, family-friendly early view of David Milne: Modern Painting with an art-making activity for you to enjoy. Buggies, roaming toddlers and excited squeals encouraged!

A family festival celebrating the great outdoors with cabin-building, drawing and mindfulness workshops.

Take part in Patterns in Nature workshops with Wild Life Drawing. Learn how to survive in nature with Miscellaneous Adventures. Listen to stories about adventures in the wilderness, or take a moment to relax in mindfulness workshops.

DULWICH PICTURE GALLERY, SE21

DULWICH PICTURE GALLERY, SE21

SOUTH LONDON GALLERY, SE5

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ORIGAMI HEARTS B Y D U LW I C H P I C T U R E G A L L E RY

SOUTH EAST LONDON JOURNAL

These colourful origami hearts make great decorations, and they’re really easy to make too! If you enjoy making these hearts, come along to D u l w i c h P i c t u r e G a l l e r y ’s d r o p - i n w o r k s h o p s , A r t S u n d a y s , a n d m a k e something special to take home with you every week! d u l w i c h p i c t u r e g a l l e r y.o r g .u k

You will need a square of paper in a bright colour (if you don’t have origami paper you can cut an A4 piece down to size)

Fold your piece of paper diagonally across each way so that you have a clear cross shape on your paper.

Fold the top point of your paper downwards to meet the centre of the cross shape.

Bring the lowest point of the paper up to meet the middle of the top folded edge.

Fold the left half of your shape up, so that the lower edge rests along the crease down the centre.

Press the bottom and centre lines down firmly.

Repeat the previous two steps with the right half of your paper – now you’ve got your heart shape!

Turn your piece of paper over and fold down the two top tips and two side tips.

Flip your paper back over – now it’s the perfect heart shape!

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