City Lit Blog

'ELEVEN' 'Developing Art Practice' show - 2-5 July 2018

Story added 11th Apr 2018

Crows feathers with agapanthus, Cash Aspeek

 

'ELEVEN’ is an end of year exhibition showcasing the work of students on the Developing Art Practice course.  Meeting on a monthly basis, the group follows an advanced programme, bridging areas between that of a student and a practicing artist. 

Monday 2-Thursday 5 July 2018
Opening times: 10:00-17:00, Private View:  Tuesday 3 July 18:00-20:00
R.K. BURT GALLERY, 57 Union Road, London, SE1 1SG

The exhibition presents works from ongoing investigations by an energetic mix of emerging artists, all of whom are exploring their own line of enquiry ranging from drawing, film, painting, printmaking,  sculpture and installation to aspects of performance. 

Exhibitors

Cash Aspeek, Judy Bentink, Elizabeth Griffith, Tereska Karran, Anno Mitchell, Rebecca Olajide, Helen Pavli, Kim Payton, Dave Shulman, Anna Wieczerzak,  Kim A Wilson

 

"The dynamic on the course is that of encouragement and support, the conversations with the tutors are informative and debating. The tutorials are extremely helpful in consolidating ones practice at that moment as well as progression possibilities. The course has transformed my approach to my work by giving me permission and a motivation to practice. It has helped me see a potential of personal art making. The best thing about City Lit’s is the central location, open creative atmosphere and friendly staff all make for an engaging time."
Cash Aspeek, Developing Art Practice 2017

 

ELEVEN - examples of work

Artist statements

 

Anno Mitchell
I work in mixed media using both fine art practices and craft materials and techniques. This work creates hybrid space between the gallery and the city and between real and imagined histories. The Crowd of ceramic figures escapes the gallery to make surprise encounters in the city creating new, temporary spaces for art. The collage work constructs new biographies and gallery shows from existing gallery publications creating fictitious artist narratives and provenance.

Cash Aspeek
My current practice involves finding objects that interest me, whilst meandering through the city. Many are natural, possibly in the form of pods, seeds or feathers. I am fascinated by their construction, texture, detail and beauty. I re-represent them, possibly deconstructing and combining them with other objects, including 3D hand prints resembling bones or fossilised flesh. The performance within these anarchic forms seem to, when placed near each other, set up a discourse between them.

David Shuleman
What began as a therapeutic pastime of ‘taking a line for a walk’ by drawing obfuscated representations of my surroundings, with varying degrees of arbitrariness, has now become an endeavour to capture the flow of my drawings. I utilise them digitally in a generative 3d art form in addition to a more traditional etched 2d form. To bring about a sense of contiguity I am interested in projecting my work using digital technology. To create new narratives and interpretations I use light and shadow allowing the 2 dimensional and 3 dimensional work to interact.

Helen Pavli
Currently I am building up a body of work based upon implosions of nature. I am also working on the ‘new women’ figure elements exploring perceptions of ‘cover girl’ models from magazines. This leads to an isolated transferral image which I then alter and distort to accentuate the process of fragmentation, luminosity and disintegration.

Judy Bentinck
Observational drawing has always been pivotal to my developing art practice. I have recently explored different mark making through simple mono printing techniques, which I have found both exciting and liberating. I am particularly interested in the human form, its movement, expression, fluidity and dynamics. The opportunities for research and exploration into these areas are boundless.

Kim A. Wilson
Taking inspiration from nature and it's organic forms, here I've sought to explore the textures and patterns through a monochrome setting. The absence of colour invites the mind to hone in on these elements, engaging with the detail which is presented. Movement is created by contrast within the reduced palette and the shadows at play. 

Kim Payton
The Morecambe Bay is an indeterminate place, fluctuating between ‘seascape’ and ‘landscape’ several times each day. It is like a vastly accelerated evolving land. For this project I have overlaid a series of quick drawings of the Bay to try to capture the sense of the rapid changes over a short period of time.

Rebecca Oladije
Taking inspiration from the arts and crafts movement, I combine patterns of drawings of household objects with paint. Using this method to create wallpaper as well as paintings, I blur the boundaries between art and design and, in so doing, explore the relationship between order and freedom.

Tereska Karran
Tereska’s compositions draw on computer games, social media, movies, illustrations or photographs and stories. She has worked in artificial intelligence for many years and her work combines ideas from computer illustration, games design, comic book art and anime. She incorporates painting styles from multiple traditions, providing they suit the mood of the work. She revisits myths and stories with powerful cultural associations. She writes sci fi as well as poetry which reflects on women’s experiences in the 21st century. She combines traditional and modern techniques in her work.