Category Archives: This ‘Me’ of Mine Exhibition

Do We Miss the Mark by Expecting too Much from Art?

A few weeks ago, right after we opened at APT Gallery, I met art historian and curator Ben Street at the conclusion of Three Fields, a show he curated at No Format Gallery of works by Emma Cousin, Matthew Luck Galpin, & Charles Olgilvie. We had a lovely discussion about curation, abstraction, and whether there was any truth behind the idea of a ‘centre of art’ in the art world, which Ben discussed with art history PhD candidate Nicole – another American. Ben asked me how This ‘Me’ of Mine was going. I said I was very pleased with the turnout for the opening at APT and I was hopeful for some reviews of the show. Ben commented on how difficult it was to get reviews and as curator it’s really good to have that after doing all that work. I agreed and replied, “it’s not about the attention though, I kind of hope someone says ‘this is crap’ so I can respond and engage the debate. After all this work, I want to discuss it.” My response pleased Ben, which pleased me.

I’ve been granted my wish, not from an art critic, but from a member of ‘the audience’, Jeremy. I use that term because he referred to himself as ‘the audience’, I’ve always felt slightly uncomfortable with that phrase because it is very grand and seems it should be followed by an acknowledgment of the orchestra in the pit. Jeremy and I had a stimulating discussion about the role of the audience in art presentation and how often it is disregarded and dismissed. This topic is significant for me as a curator and new organisational director because it is the very issue I want to address in this work. As an artist, I’ve been concerned with this issue for a long time.

Jeremy wrote this statement in response to seeing This ‘Me’ of Mine in Folkestone:

“These thoughts are in no way a criticism of the artists, their works or the curator. All creativity is an inspired blessing and as such any thoughts here are purely ideas and observations and wandering impressions.

What initially struck me was the scale and scope of the curator’s objectives summarising this ‘Me of Mine’. A fascinating exploration, philosophical bordering on the metaphysical and indeed a subject demanding debate in the round? Indeed, the excitement and challenge generated prompted the immediate question – ‘How far was such a debate explored and extended by the exhibits?’ In short the answer was ‘Not very deeply and not very far’ but this was primarily the fault of the exhibits, but this is a fundamental challenge to art at any level. As an example take Iris’ Stocking. To what extent was perception and interpretation informed by having the delightful back story explained? The answer has to be ‘hugely so’ and this therefore begs the question of the impacts of the piece in its own rights – without the context of the back story. This question of context being a theme of the curator the juxtaposition of ideas here is beautifully complex! And yet the question of how well the works perform in their own right is troubling. I won’t waste time with banal considerations of ‘good’ or ‘bad’ here but a central function of any arts piece should be provocation. Indeed, at an intellectual or aesthetic level the audience should be challenged, enraged, amused, amazed, blown away or any other emotion you would care to mention or intellectualise and yet most pieces failed to achieve this. ‘Why?’ or ‘What’s the point?’are stunningly good questions if the audience  are provoked to explore such simple yet complex questions rather than use them as articles of fleeting criticism.

Related to the question of provocation as function is the question of dexterity of form. If the piece operates on an intellectual level when the audience is provoked to what extent might they enjoy the piece on an emotional level either due to provocation of idea or the form of the piece in its own right. Such a question is difficult but the issue of dexterity must come to the fore. Perhaps the Glass Menagerie is a useful example. Ostensibly a collection of everyday animal trinkets arranged with a minimum of dexterity on an everyday table, how can the audience be expected [to engage] on an emotional level? Sadly this challenge also applied to several other pieces. Such opening up of the artistic process to those not naturally ‘gifted’ is to be thoroughly recommended at an individual level but when placed in front of an audience different criteria are at work. If it looks mundane, sounds, mundane and feels mundane then it probably is mundane!?

And yet I finish by being confounded by my own arguments. Having been prompted to spend an enjoyable hour thinking, reflecting, arguing with myself and ultimately to articulate vague, half formed ideas I have to thank the curator and all the artists involved for a wonderful experience.”

Jeremy Wilson

My first response to Jeremy’s criticism to provocation by the artworks and their failure to do so is – this expectation is a limitation, unrealistic and a function of the ‘society of the spectacle’ as discussed in Guy Debord’s book by the same name, the postmodern world in other words. That is not to suggest however, that artworks should not strive to achieve this, but the desire for artworks to ‘provoke’, I suggest, is the result of a consumerist society. What happens if this expectation is removed and the artworks are viewed on face value – ‘what you see is what you get’, which is related to J.G. Ballard’s quote, ‘you find what you’re looking for’. If this were the expectation rather than provocation Jeremy would feel justified to like or dislike a work and not feel troubled that somehow the work was lacking because it didn’t provoke or that his own intellect was lacking because he ‘didn’t get it’. If this expectation to provoke was removed, artists would also feel less pressure to be shocking or provocative. How much art is made to this aim? And how numb have we become to this measure? I can answer that and I’m sure you can too. Without the expectation to provoke perhaps art would be made to communicate instead, which I suggest is as provocative a stroke as any contrivance to provocation.

An area of art which I find sorely lacking is the reading of art, not only by viewers but by artists as well. The notion that the art work should ‘speak for itself’ is an out-dated modernist approach to viewing art. It was an aim of Abstract Expressionism for viewers to feel a response directly as a result of the artists’ interactions with paint and canvas, a desire to elicit emotion from the viewer. The reading of art must be in tune with the times just as the production of art is tuned into its time. We no longer live in a post-war world. We live in a world of information and hyper-connectivity with media overload as a constant in our lives. I suggest because of this and as a result of this a contextual communication with art is appropriate, necessary and beneficial. However, this is not without risk. There is a fine line between too much information and not enough. Nor is this meant to suggest it is no longer possible or appropriate to have an aesthetic experience with art. I’m suggesting an openness to both the aesthetic experience and the contextual information. Art made to provoke ideas is not going to be in your face, and expectations of grandeur may not be appropriate for all works of art. A flexible approach to viewing art requires a flexible approach to expectation, or in other words, match the expectation to the art. Some of the most stunning works I have ever seen have also been the most quiet and unassuming (Vija Celmins comes to mind). Jeremy’s claim that art works should challenge the audience, enrage them amuse, amaze or blow them away is a hefty demand. I don’t disagree with this, but it is important I think to realise the depth of this expectation. He later mentions a ‘provocation to ideas’ by an artwork. Now that is a more realistic expectation and one which I agree every artist should attain in their work.

He goes on to suggest dexterity in the production of an artwork must ‘come to the fore’, to use his phrase. While I agree fine craftsmanship is important in the production of art, I question the notion that this has to be exhibited through the display of exceptional manual skills, which seems to be what Jeremy is seeking. His criticism of the ordinariness of the table and minimally dexterous arrangement of the animals in Cathy Lomax’s Glass Menagerie, I suggest is part of the sensibility of the work and it’s in this sensibility where the ‘dexterity’ lies. In a post-conceptual world (if that is indeed where we are) sensibilities, observations, linkages, appropriations, constructions and symbolisms all carry weight in being exceptional, not just in the dexterity of manual skill, which could also be called mastery. A mastery of linking observations can be a subtle thing, but its subtlety does not mean it is not masterful. Careful observation of the mundane is likely to produce a work which appears mundane. A failure to recognize the subject of the piece as the mundane, for example, will almost certainly miss the mastery in the observation of the subject. Presumably, when Jeremy uses the word ‘mundane’ he also suggests ‘mediocre’? If this is the case, where in fact does the mediocrity lie? I ask that not in criticism of Jeremy’s intellect which I found to be well above average; his willingness to bother to engage as deeply as he did also indicates a stance well beyond the mean. But the fact remains that perception remains a barrier.  Is the work and/or the presentation a mediocrity if it is perceived as such? Is it a mediocrity and possibly a failure if the depth and layers of meaning have not been recognised? Can this barrier be breached without the risk of being dictatorial? How much information is too much and when is too little a detriment? We can never know because we can never know the mind of another. Do we give up then?

I would defend Cathy’s work by suggesting she displays a mastery of form through the repetitive visual motifs in the film aspect of Glass Menagerie which she overlays onto similar shapes and forms in her table of glass animals. Also the appropriation of the themes in Tennessee Williams play have bearing on the meaning of the piece, adding a conceptual layering which mirrors the layering of light and shadow in her piece. Jeremy and I had an interesting discussion comparing Cathy’s work with Kate Murdoch’s, It’s The Little Things as both pieces use the placement of objects. Jeremy responded positively to Kate’s work appreciating and acknowledging the ‘dexterity’ involved in Kate’s careful arrangement of objects. However, the randomness of Cathy’s objects was a barrier for him. Once I pointed out the repetition of forms i.e. the swan in the film (which he had not recognized as a swan) and the swan figurines, and explained some of the concepts in Williams’ play, which Jeremy wasn’t familiar with; he felt he should consider the piece further – a gain for communication.

I was in Asda and overheard this brief exchange between Jason and his mum:

Mum: “Jason will you stop following me around everywhere.”

Jason: “I have to.”

This remarkable response from a child who implicitly understood the dynamic of his position in relationship to his mum I think holds the key to communication through art as something like this:

In a multiplicity of subjectivity (much like being in Asda or any other mega superstore chain):

From those who don’t question: “Will you stop explaining and demanding.”

Response from those who question: “I have to.”

Jeremy is not wrong to find a lack and he is not lacking because he perceived a lack. The artwork is not mundane because Jeremy found it so, nor is it exalted because its meaning was not perceived; it is what it is and Jeremy is who he is. Hopefully a willingness to question will help us to come together to breach the barriers. I think Jeremy presents the answer to his own questions by writing: “Having been prompted to spend an enjoyable hour thinking, reflecting, arguing with myself and ultimately to articulate vague half formed ideas I have to thank the curator and all the artists involved for a wonderful experience.” That’s all we wanted we wanted to provoke, so I think we succeeded.

Thank you Jeremy, for presenting the views of ‘the audience’, and a round of applause for the orchestra in the pit.

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An Important Thing Happened Last Night or the Left-handed Bricklayer

This 'Me' of Mine at Strange Cargo Photo JBoyer

This ‘Me’ of Mine at Strange cargo Photo: J. Boyer

One of the worst things that can happen during an exhibition opening is for someone drunk to walk through the door and start being disorderly. We had our version of that last night. However, while we were all slightly on edge not knowing what might happen, it turned out to be a very important exchange and I’m glad the left-handed bricklayer walked in.

Our opening – and I use that Americanism on purpose, because these viewing events are not private, the public is invited along with special friends, they are ‘open’ – was very successful with about twenty people there for the Artists in Conversation discussion and about 60 over all. Our guests were interested and engaged with the works and the exhibition as a whole. One lady said, ‘I wish all the artists were here to talk about their work!’ Interestingly, a suggestion for an exhibition which included the artists positioned next to their works, came the next day from a visitor named Jeremy; we had a fascinating discussion on the importance of including the audience in the discourse and presentation of art, but back to the left-handed bricklayer…

When he entered the gallery, he came in with a fluster of apologies for making a racket, interrupting the end of our Artists in Conversation. He then proceeded to interject as he walk noisily around the gallery, at one point actually standing behind Henri who was video-taping and saying ‘Cheese. Cheese. Cheese. Cheese.’ Brigitte Orasinski very politely said we were taping an artists’ conversation and we would be done very soon. We were all on edge.

Our left-handed bricklayer stayed for quite awhile looking at the works and talking to people. He showed me some photographs he’d taken with his mobile phone telling me he was an artist too. He used to do artwork but hadn’t done any in a long time because he’d had troubles but he would like to do some work again because he liked art. I could feel all of us wishing he would go.

In the Pub after we closed for the evening, the first thing we talked about was, ‘did you see that guy!’ I started to release my tension at his being there, but then I checked myself. I realised his being there was important, even if we did feel uncomfortable. He needed the companionship from us and the stimulation from the works. He needed some of the pleasure we all need from art. Hayley found herself liking him but wanting to get away from him in case he would say something to contradict his stories of his own life causing her not to like him any more. I really appreciated Hayley’s honest and human response.

He wrote this in our guest book:
I think the things this town is doing is superb. The friendliness and hospitality of the events and stories of all concern is wonderful I have come through a difficult time and hopefully have come through it and find these art exhibitions humble and very proud to be English in these difficult times of poverty and other situations I hope to succeed at some of the art areas as I have always love Art and always wanted to win at most things I have done hopefully one day people will appreciate my talents and I will go down in folklore in Sunny Folkestone. Yours faithfully and sincerly (name with held by me) Left-handed Bricklayer Born 5/11/61 —

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We’re off to Folkestone!

This 'Me' of Mine at APT Gallery (c)2013 Arnold Borgerth

This ‘Me’ of Mine at APT Gallery Photo: Arnold Borgerth

Our time is up at APT Gallery

– it seems as unreal to me as when we moved in and I was getting used to being in the same space as the works. The time I’ve spent invigilating the show has had a timeless quality; often feeling too short and at times feeling like an age. The length of time had nothing to do with being bored either, I’ve had far too much work to keep up with to be bored. Rather, it was more like feeling suspended between the reality of daily encounters and living with these works in this space.

APT is a generous space, it feels welcoming and comforting just being within the walls of the gallery;I could spend a lot of time here. Liz May, the gallery manager, and the studio artists at APT have been friendly, helpful and generous with their time, taking the time to engage with This ‘Me’ of Mine and taking time to talk with me about the show, the work, and the curation. It has been an absolute pleasure to inhabit APT Gallery for these few short weeks. My thanks to everyone at APT and thanks to Victoria Rance for all the lovely tweets!


We’re off to Folkestone!

Strange Cargo georges house gallery

You are warmly invited to the opening of…

THIS ‘ME’ OF MINE

Glass Menagerie by Cathy Lomax  Photo: Sarah Doyle

Glass Menagerie by Cathy Lomax Photo: Sarah Doyle

12 April to 7 May 2013

PV: 12 April, 6-9pm

‘Artists in Conversation’, 6-7pm night of PV

Georges House Gallery
8 The Old High Street
Folkestone
Kent  CT20 1RL
Exhibition Hours:
Mon to Sat, 10 to 5pm

www.strangecargo.org.uk

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This ‘Me’ of Mine in its final week at APT

Project Update:

This ‘Me’ of Mine is in its final week at APT Gallery with two great events coming up to conclude this leg of the tour.

Photo by J. Pickering

Photo by: J. Pickering

This ‘Me’ of Mine has had a fantastic first week! We’ve received a lovely article by Jack Hutchinson for a-n News, Curating by Twitter; well worth a read. We’ve had a steady flow of visitors to APT Gallery in Deptford with a very enthusiastic response from those viewing the show. Here are some of the kind comments left in our guest book:

“Kate’s work is great and identifiable instantly! Anthony Boswell’s  piece is superb.”

“Great show, lots to think about – loved it all.”

“Lovely show, very moving. Thank You.”

“Really lovely, well curated. Made me think!”

“Exquisite show, particularly the spacing and Cathy Lomax – it will be interesting to see the changes as it travels.”

On Friday, we had a surprise visit by students from Blake College and it was lovely to see them spread evenly throughout the gallery eagerly writing and talking about the work. We enter our final week at APT this week, if you haven’t seen the show yet, be sure to pop in.

The exhibition continues through 31 March.


SLAM! South London Art Map tour in Deptford

Good Friday, March 29th

APT Gallery will be open until 8:30pm

Join us for the South London Last Friday late opening. The gallery will be open from 12 to 8:30 pm. Click the South London Art Map logo to find out who else will be on the tour. This is a free event.

SLAM logo
WWW.SOUTHLODONARTMAP.COM


Tea and Talk

APT PV_ThisMeofMine 7_72dpi_JPickering_adjusted

A final wrap up discussion

Join us Easter Saturday, 30 March at 3:00 for tea and a chat to round out the show before our final day on Sunday the 31st. I’ll have lots to say about working with the space, challenges coming up for the next venue, Strange Cargo|Georges House Gallery in Folkestone and the significance of the changing context for the exhibition.

Looking forward to seeing you at APT!

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Successful Opening at APT

“It always amazes me how much better works of art are as artifacts, not as digital copies. We forget, especially [with] photographs.”

this 'Me' of Mine APT PV image

Photo by: Rosie Hervey

What a wonderful evening! we had a great turn out of around 100 visitors, despite the stomach bug going around. People were open, receptive and incredibly encouraging. Our PV guests were varied and various; I was delighted that Duncan Brannan from Kaleidoscope Gallery, the third venue on our tour was there. We had a chance to put a face to the emails! We saw old friends, friends we only knew in the ether, and new friends whom we’d just met.

“Love the sense of space and the generosity given to each piece…very engaging, questioning. High quality work, interesting curating. Good to be actively drawn in to conversations with the artists.”

This 'Me' of Mine APT PV image

Photo by: Rosie Hervey

Our first ‘Artists in Conversation’ went over really well with about 50 people gathered to listen to what we might have to say about ‘Detail’. It was a casual discussion and our guests joined in, asking us some great questions. The artists who participated, Kate Murdoch, Sandra Crisp and Shireen Qureshi really enjoyed the discussion and the conversational nature of it. Kate said it made her think more closely about her work.

“Absolutely – there is a great deal of freshness in the approach to all the work here that is wonderful to see.”

this 'Me' of Mine APT PV image

Photo by: Jane Boyer

My colleagues and dear friends, Sarah Hervey and Helen Scalway and I announced the formation of our new organisation: Associated Artists Curators and Writers (AACW). This organisation, formed to further independent practice in the arts, has come about through the experience of developing This ‘Me’ of Mine. I made an appeal to everyone that night to help us gather information to develop the organisation further, and people very graciously filled in our questionnaires with great enthusiasm – people were gathered around the counter writing way with great determination!

“I really valued the curator’s presentation and the words of the artists. Gallery spaces can be quite ‘clinical’ and imposing – friendly, stimulating and enjoyable exhibition. Thanks all around.”

It was a great launch, a great twitter day with tweets flying, and our best day so far for views on the blog, surpassing the day the blog was launched over a year ago. Thanks to everyone who came, we look forward to seeing you in Folkestone!

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Artists in Conversation

Be sure to come early to the This ‘Me’ of Mine PVs because the first hour will be, ‘Artists in Conversation’,  a discussion between the This ‘Me’ of Mine artists, Jane Boyer and the audience. Each discussion will be different; a different topic, different artists, different space. Here’s what’s coming up…

It's The Little Things by Kate Murdoch

It’s The Little Things, ©2010 Kate Murdoch, detail view

Artists in Conversation

APT – PV: 14 March (Thursday) conversation to begin 6pm

Subject: ‘Detail’

David Riley

Sandra Crisp

Kate Murdoch

Shireen Qureshi

Strange Cargo – PV: 12 April (Friday) conversation to begin 6pm

Subject: ‘Symbology’

Sarah Hervey

Hayley Harrison

Aly Helyer

Sevenoaks – PV: 16 May (Thursday) conversation to begin 6pm

Subject: ‘Space’

David Minton

Mel Titmuss

Jane Boyer

Ipswich – dates & times to be determined

Subject: ‘Irrationality’

Darren Nixon

Annabel Dover

Cathy Lomax

Join us for this unique opportunity to pick our brains and find out more about what’s behind the work, the artists’ thinking, and the exhibition as a whole. Questions we will discuss for each of these subjects:

–        What significance does the subject have for you as an artist?

–        How does the subject relate to your work in the show?

–        How does the subject relate to your work in general?

–        Is the subject one you work with or against?

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Save the Date: March 14 2013 This ‘Me’ of Mine opens at APT Gallery


You’ll be seeing these invitations in your emailboxes soon…


You are warmly invited to the opening of…

This 'Me' of Mine postcard

14 – 31 March 2013
PV: 14 March, 6-9pm

‘Artists in Conversation’
6-7pm night of PV


APT Gallery logo
APT Gallery
Harold Wharf
6 Creekside Drive
Deptford, London SE8 4SA
www.aptstudios.org

Exhibition Hours:
Wed to Sun, 12 to 5pm


SLAM logo
WWW.SOUTHLONDONARTMAP.COM

South London Art Map Tour
29 March, 12 to 8:30pm

Follow the SLAM link above for more details to join the tour.

 

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David Riley’s Updated TUNC, Aly Helyer in ‘Soul Meat’, Sandra Crisp Wins Eaton Fund Grant, David Minton: Cradling of Loss

Twitter user names: coded and transcribed (c)2013 David Riley

Twitter user names: coded and transcribed, (c)2013 David Riley

David Riley has updated his Twitter piece for This ‘Me’ of Mine. The list of followers has grown so much since he first conceived of the piece, it required some rethinking for presentation. I’m delighted with the new results! David plans to update and grow this work with each venue installation of the tour. So if you haven’t yet followed @codedimages here is the link so you can add your twitter name to the list and become part of this artwork. See the virtual Twitter User Names – Coded


Sinnerman (c)2013 Aly Helyer

Sinnerman, (c)2013 Aly Helyer

Aly Helyer is exhibiting in ‘Soul Meat’ curated by Lee Maelzer, at Lion and Lamb Gallery until Feb 16.

“These painters take a dark look at the body and the mind – a conflict between the intellectual and the spiritual, with the corporeal and all it suggests resulting at times in comically grotesque hybrid mutations….”

“If it’s true there exists a realm, in the relations of soul and body, where cause and effect, determinism and expression still intersect in a web so dense that they actually form only one and the same movement which cannot be dissociated except after the fact…”

Michael Foucault from Madness and Civilization

See more of Aly latest work on her website.


Eaton Fund logoSandra Crisp has been awarded a grant from the Eaton Fund.

“The grant will be used to fund the printing and framing of a large format digital print ‘The Bigger Picture’ for forthcoming UK touring exhibition This ‘Me’ of Mine 2013. This kind assistance is extremely welcome at this point in my career as the costs involved in producing such large works for public exhibition have proved to be extremely challenging in recent times.”

Sandra Crisp

Read Sandra’s ‘Thank You’ to the Eaton Fund.


Pigeon and Line, (c)2011 David Minton

Pigeon and Line, (c)2011 David Minton

David Minton is preparing for a solo exhibition at Trinity Town and Country Foundation Gallery in Tunbridge Wells.

See Cradling of Loss 26 Feb to 9 Mar.

“In David Minton’s drawings and paintings flowers die, birds fall to earth, the work arrives; the making of the images is a cradling of loss. These works are small instances of tension created from the impossibility of description, the incompleteness of experience, the wish for resolution. In the making, the physicality of paint, the elegance of line, offer tactile comfort.”

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This ‘Me’ of Mine Tour Dates

“Each time I visit, I get drawn towards Kate Murdoch’s, ‘It’s The Little Things’. For me this piece defines This ‘Me’ of Mine perfectly. Few of us would dare look in the mirror long enough to see the real ‘me’. We carefully choose what is reflected until we are content with the ‘me of mine’ mask on display. It’s the little things of ‘me’ one tries to discard, little more than blurred objects in peripheral vision, but clearly displayed for others to see. It’s the little things that makes the division between This ‘Me’ of Mine from ‘the me of yours’.”

Comment by Gary Mansfield from the ARTWORKS page

I’m very pleased to announce the tour dates for This ‘Me’ of Mine:

Whilst I Breathe, I Hope (c)2011 Edd Pearman

Whilst I Breathe, I Hope (c)2011 Edd Pearman

APT Gallery
14 – 31 March 2013
PV 14 March, 6 – 9pm
Wed to Sun, 12 to 5pm
SLAM last Friday, 29 March


Strange Cargo|Georges House Gallery
12 April to 7 May 2013
PV 12 April, 6 – 9pm
Mon to Sat, 10 to 5pm


Sevenoaks Kaleidoscope Gallery
10 May to 29 June 2013
PV 16 May, 6 – 8pm
Tue, Wed, Fri, 9 to 6pm
Thur, 9 to 8pm Sat, 9 to 5pm


Art School Gallery
Colchester/Ipswich Museum

Fall of 2013, Dates to be announced
Tue to Sun, 10 to 5pm

See the TOUR DATES page to find out more details and to see area maps.  Watch for information coming soon on artists/curator talks and more interviews coming up. Also read and download the news release on the PRESS RELEASE page. We hope to see you there!

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Venues for This ‘Me’ of Mine Announced!

Fall seven times, stand up eight.  ~Japanese Proverb

The search for venues for This ‘Me’ of Mine has been one of the biggest challenges so far in this project.  The hours spent writing proposals often ended in failed deliveries, delayed deliveries, deliveries made without a breath to spare, rejection after rejection and sometimes a deafening silence from the other end…

Thanks to support from everyone involved in this project, and some good friends on the sidelines, I was able to stand up after each failed attempt and move forward.  My sincere thanks to each and everyone of you for your generous support, encouragement and suggestions!


Without further ado, the venues for This ‘Me’ of Mine are:

A.P.T. Gallery, Deptford

Strange Cargo/Georges House Gallery, Folkestone

Colchester/Ipswich Museum, Ipswich

I am very proud to be working with these venues and my sincere thanks to each one for selecting This ‘Me’ of Mine.  Each venue is engaged in valuable work for their communities and in bring substantial and important art to their constituents.  It is an honour to selected.

Find more details about the venues on the VENUES page.

Exhibition dates have been reserved for Spring of 2013 and will be announced in the new year.

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