Trees of Remembrance

Trees of Remembrance 

November 28th – December 1st

A collaborative Stag and SVAF exhibition to remember the men of Sevenoaks who gave their lives in the First World War

Artists: Alison Berry, Jo Cockle, Lee Coyne, Irene Hammond, Annette Slim, Gillian Smith, Lisa Whitbread, Mark Willson, The Sevenoaks Branch of The Embroiderers Guild.

Curated by Lisa Whitbread and Alison Berry.

As part of The Stag Sevenoaks Remembers Arts Festival, the Kaleidoscope Gallery will be showing ‘Trees of Remembrance’

Featuring a central installation of trees of remembrance, this exhibition of contemporary, mixed media artwork commemorates the centenary of the First World War. It explores the service conditions, pressures, psyche and sacrifices made by those who served and supported, along with the legacy of the war to end all wars.

INVITATION Come and meet the very friendly and approachable artists – 6-8pm Thursday 29thNovember.

    

BORDER CONTROLS

BORDER CONTROLS

Rosalind Davis and Justin Hibbs

6 – 24November 2018

Special Events

Thursday 8 November 6-8pm. Evening preview and artists talk. Talk starts at 6.25pm. Free to attend.

Thursday 15 November 6-8pm. Articulating your practice. The Art of Writing and Talking about your work. A talk with Rosalind Davis.

 

Over 40 small art lovers from Seal Primary school enjoyed exploring the Gallery.

Saturday 24 November 2.30-4.30pm. Artists in conversation with Sasha Bowles. Talk begins at 3pm Free

Border Controls is an exhibition considered within the shadow of increasingly restricted borders and political controls with regard to migration and the increasing isolationism seen both here in the UK (with Brexit) as well as the wider geographical tensions seen currently in Europe and America. The collaboration between Davis and Hibbs see’s the artists’ consciously inhabiting the thresholds and boundaries between their respective practices in an attempt to open up conversation and discourse around these issues. The personal and political dimensions of art-making and authorship are seen here as a lens through which to consider wider social concerns and questions that address the dynamics of power, autonomy and control.

For their exhibition at Kaleidoscope Gallery, Davis and Hibbs will show the piece ‘Border Controls’– a large scale sculptural installation that brings together different aspects of both artists practice into direct dialogue with one another, creating a single collaborative work. Alongside this the artists will also exhibit a number of individual artworks that extend this conversation. Within the parameters of the gallery neither artists work can be negotiated without experiencing reflections of the other within them. Physical borders cross, overlap, fluctuate and collapse within an installation which transforms, dematerialises and disorients our understanding of space. 

Davis and Hibbs have collaborated informally for years; over shared thematic concerns, overlapping research interests and an ongoing ‘conversation’ around one another’s practices and curatorial projects. Both have independent careers but also are a couple who share a studio, where inevitable questions arise about how and where to set boundaries.

‘Artistic production is nodal, networked, and a perpetually unfinished project, things nudging each other, domino effects transpiring. The real-world analogue of this is that in an artist’s studio, it’s always a transitional moment: the detached artwork as standalone statement is a falsity, a piece of theatre. In reality, one thing leads to another, all kinds of ambient forces shaping what’s made’ (Martin Herbert).

The artists individual practices share common references to the social, political and aesthetic agendas encoded within architectural structures and in different ways renegotiate the visual and ideological legacies of modernism to probe both real and idealised notions of space. They create structures where interpretation and the reading of context is contingent on the audiences’ individual and relational responses.

“Davis’ sculptural interventions have an ability to change composition in a circular narrative portraying how we move through space while adapting to the structures and how we adapt structure to the way we move through space. (1) There is an ongoing negotiation between our perspective of being external to the structure and our bodily experience of interacting with it.

Hibbs’ site-specific installations, sculptures and wall drawings re-map the relationships between architecture, spatial perception and it’s representation across different formats. With a sense of constantly shifting perspectives the work plays off the spatial illusionism of the image with the structural language of three-dimensional construction processes.

(1)Jillian Knipe. Wall Street Journal

Rosalind Davis is an artist, curator and a graduate of The Royal College of Art (2005) and Chelsea College of Art (2003).  As an artist Davis has exhibited nationally and internationally in a wide range of galleries and has had a number of solo shows in London: no format Gallery (2017) the Bruce Castle Museum (2013); John Jones Project Space; Julian Hartnoll Gallery (2009); The Residence Gallery (2007) and The Stephen Lawrence Centre. Selected group exhibitions have been at the Courtauld Institute, no format Gallery, Griffin Gallery, Arthouse1, Bo Lee Gallery, Standpoint Gallery, Transition Gallery; The Roundhouse; Phoenix Brighton; APT Gallery; the Lion and Lamb Gallery; Parameter Space, The ING Discerning Eye; the Lynn Painters Stainers Prize, New Relics at Thameside Gallery curated by Tim Ellis and Kate Terry. Her work is held in a number of private and public collections including Soho House. She is also a member of the Undead Painters. In 2018 Davis has a joint show with Justin Hibbs at Sevenoaks Visual Art Forum Kaleidoscope Gallery and in 2019 a solo show with the Foundry Gallery, London. In 2016 Davis was appointed Curator at Collyer Bristow Gallery; a dynamic gallery in a law firm and her first exhibition there was reviewed as a ‘Cracking Show. Superb Artists. Brilliantly curated’ (Art Top 10 Review) and is now curating her eight show there. Davis had previously co-directed and developed two arts organizations; Zeitgeist Arts Projects (ZAP 2012-15) and Core Gallery (2009-11,) based in South East London. Other co-curatorial projects have been at Standpoint Gallery, Arthouse1, Geddes Gallery and with ZAP at Bond House Gallery (ASC). 

Justin Hibbs(b. 1971, Poole, UK) studied at Central St. Martins, London (1991-94) He has exhibited his work both nationally and internationally and has also curated a series of artist-led exhibitions. Solo shows include Between Before and After at Arroniz Arte in Mexico City (2018), Alias_Re_Covered (2015) at Carroll / Fletcher; PARA/SITE (2013) and Secondary Modern (2010) at Christinger De Mayo gallery, Zurich, Switzerland; Altneuland (2007), Lucy Mackintosh Gallery, Lausanne, Switzerland; Metroparadisiac (2006) and I’ll Wait for you (2005) at the One in the Other Gallery, London. Group exhibitions includeRules of Freedom,Collyer Bristow Gallery,Do Re Mi Fa So La Teat Griffin Gallery,(London, 2018). Shapeshifters, Arthouse1 (London), Abstraction II Arroniz Gallery (Mexico), StrangeLands and Complicity, Collyer Bristow Gallery, Counterfitters, Geddes Gallery (2015/16). London. Catalyst, Angus Hughes Gallery & Husk Gallery/ London (2015) Pencil/Line/Eraser (2014), Carroll / Fletcher, London; Superstructures (2013), Arronitz Arte, Mexico City; Oh My Complex, Kunstverien Stuttgart, Germany; Temples to The Domestic, Clifford Chance, London; Lost Properties, Coleman Projects, London; Polemically Small, Torrence Art Museum, California (all 2012); and Dawnbreakers (2010), Hansard Gallery, Southampton

Web: www.rosalinddavis.co.uk

Instagram: @rosalindnldavis | @justinjhibbs | @sevenoakskaleidoscope

Twitter: @rosalinddavis | @Justinjhibbs | @KaleidoscopGa

 

The British Museum MA Drawing Project: Seven Artists at Sevenoaks

October 24th – November 3rd

 

Contemporary drawings from the MA British Museum project.

Seven artists who met studying MA Drawing at The Centre for Drawing, University of the Arts London. During their MA  they had the opportunity to visit the British Museum Prints and Drawings Archive and to study items from the collection with Isabel Seligman, the Bridget Riley Art Foundation Exhibition Curator.
Through her, they have continued visits, allowing them to explore the collection’s breadth and depth. This is the first exhibition of these new contemporary drawing inspired from this process.

 

 

Invitation

Meet the artists and join them for tea and cake on 3rd November 11 – 2  30pm

Rosalind Barker, Su Bonfanti, Ali Christie, Nic Clarke, Janine Hall, Caroline Holt-Wilson, Ruth Richmond

 

Caroline Holt-Wilson MA

British Museum Ref: William Blake

Thinking through drawing, my practice is concerned with the spatial sense of absence and time. I am curious about what we can’t see, and the space or gaps where this information may be held. Research in the British Museum Study Room led me to consider the death related more sketchy works of William Blake – partially finished works where certain conjecture is necessary to complete the story.

https://carolineholtwilson.wordpress.com

Ruth Richmond MA

British Museum Ref: Alfred L. Copley

I have taken my inspiration from the work of the artist known as L.Alcopley. (1910-1992).

Before becoming an artist this German-American was first a botanical scientist called Alfred Lewin Copley. His interest was in hemorheology and his first drawing I came across in the British Museum was a drawing of blood cells. I began copying the shapes and re arranging in different formats. I was already thinking about the Gestalt theory of something, in this case a drawing, and how separate elements or marks becomes the sum of their parts. Thinking of blood cells I realised I had a secondary interest as I have a genetic condition thrombocythemia whereby my bone marrow makes too many platelets. For the first time I have taken more interest in this condition and started researching and drawing blood cells, red white and platelets and looking at the blood flow. The varying shapes and how they bend and squeeze through the blood vessels and float freeform in the carrying plasma fascinate me. I have aimed, in three steps to show the general cells, the cells in more detail showing the platelets and then lastly showing the random cell ‘dance’ whilst suspended in the plasma as it runs through our blood vessels. All the time finding a playful way to interpret a complicated subject matter.

http://www.ruthrichmond.com

Su Bonfanti MA

British Museum Ref: Hughie O’Donoghue and Keith Coventry

The pieces in this show are part of my continuing exploration of the role of memory in the story we tell ourselves and others about our lives. I planned to use ideas from the work of Keith Coventry – the use of cross-hatching, an interest in council estate layouts and so on – but what influenced me more in the end was a work I explored less but which resonated more: ‘Course of the Diver’, 2005 by Hughie O’Donoghue. This is a collection of 20 unbound pages, using painting, drawing, collage, photo printing and more, to relate the journey of an unnamed soldier in Italy in 1944. O’Donoghue speaks of ‘re-membering’ events from someone else’s life: ‘a creative construction’ ‘an attempt to understand and perhaps unearth some meaning or truth.’ Like him, I strive to give my work ‘archaeological dimension, as though something is being excavated or uncovered’.

https://subonfanti.co.uk

Nic Clarke MA

British Museum Ref: John White, Barbara Hepworth, and Raphael.

My work is centred on investigating where choreology sits in the greater world and whether we can represent the body moving through space and time in visual art. Through animations and stills, I aim to explore the interconnection of movement, choreology and visual art.

https://nic-clarke.com

Janine Hall MA

British Museum Ref: Peter Doig, Vija Celmins and Cornelia Parker

I have, for a while, been following a thread across my work that involves shadows, light and reflections. I look for the abstract in the world around me and enjoy abstracting an image further through different marks and ways of drawing. The days researching, at the British Museum Drawing prints Department, artists such as Peter Doig and his Blotter series, Vija Celmins drawings both of the night sky and of waves plus Cornelia Parker’s wonderful series of Polymer photogravure etchings one of which is of a jug, spilt water and ice cubes has helped me to do this.

https://janinehallart.com

Rosalind Barker MA

British Museum Ref: Albrecht Durer ‘Rhinoceron’ 1515 Drawing and woodcut.

Albrecht Durer  ‘Rhinoceron’ is an instantly recognisable iconic, durable image. Forty five thousand copies were made in his lifetime and the 21stCentury Internet is rife with online booty bearing this woodcut image.

No rhinoceros was available to be seen in early 16thcentury Europe. People had written descriptions from as early as Plinny the Elder (AD 23-79) in ‘Natural History’. Durer had never seen the animal when he made the works in 1515. He worked from descriptions in letters and oral accounts. Studying the drawing reveals its amalgamation of imaginative marks. The final woodcut while incorrect is a chimera of multiple horns and marks ‘like’ reptiles, shells, bone, scales, etc as described to him.

My ‘Rhinoceros Domesticus’ 2018 is composed of rubbed domestic objects. Each selected for their  ‘likeness’ to the original mark making.

Now 500 years later, future Europeans may only ever imagine this increasingly rare and threatened species.

http://www.rosalindbarker.com

Alison Christie MA

Alison Christie (Back)

British Museum Ref: William Hilton 1786-1839, Hans Holbein the Younger

Due to my interest in life drawing one of my works is in response to a drawing by William Hilton. The subject is a reclining semi clad man, drawn in graphite on coloured paper. What interested me most is the use of white on the figure for highlights. I have drawn my model in a similar pose on a grey background trying to use the same type of strokes as the original.

My other work is in response to Hans Holbein the Younger – who drew type in pen and ink. As a graphic designer I am fascinated with type and its use …I have reacted to this with a modern day version using InDesign and Photoshop.

https://www.alisonchristieart.com

The Ash Project

    

                                                                                                          Jane Sandoe ‘Tree Painting’                                       David Nash ‘Ash Dome’

The Ash Project    10th – 20th October

                                                                                                                                                       The Ash Archive opening. Image credit University of Kent.

The Ash Archive’ is a growing collection of objects, artworks, poems and drawings that chart a unique materialist perspective on the history that we share with the ash tree. Curated by Madeleine Hodge and Rose Thompson for The Ash Project.

‘The Ash Archive’ examines the human relationship with the ash tree and woodlands. Reflecting on the uncertain future of the ash tree, the exhibition brings together works by artists, designers and local makers which explore our dynamic and complex relationship with the life and death of the natural world.

‘The Ash Archive’ includes works by Ackroyd & Harvey, Colin Booth, French & Mottershead, Magz Hall, Max Lamb, David Nash, Autumn Richardson & Richard Skelton and Sheaf + Barley and a collection of objects made from ash wood  including some objects from Rob Penn’s book “The Man Who Made Things Out of Trees.”

www.theashproject.org.uk

The Ash Archive is a collaboration between the University of Kent and The Ash Project. The Ash Project is an urgent cultural response to this devastating loss of one of our most important species of tree. 

WOODLAND

Thursday October 11th 6 – 8  Exhibition and artists in conversation.

International artists French and Mottersheadwill be in conversation with Madeleine Hodge,curator of the exhibition. Their work Woodland is described as a ‘love poem to the forest’, will be the basis of the discussion.
Conversation will start at 7.00pm so plenty of time to enjoy the exhibition from 6pm.

French & Mottershead are the UK artist duo Rebecca French and Andrew Mottershead.

Creating multi-artform experiences that are as playful and poetic as they are subversive, French & Mottershead invite participants to think again about who they are, and their ties to place and one another.

More information at Woodland-and-artist-talk-French-MottersheadThe Ash Project

     

CALL ME BITTER

CALL ME BITTER 

26th September – 6th October

Bianca Barandun | Heidi Maribut | Liz Wilson

PV Wednesday 26th 4 – 6pm do drop in and chat to the artists. 

Call me Bitter is a group exhibition by Bianca Barandun, Liz Wilson and Heidi Maribut examining conditions of hierarchy in group behaviour, social and political structures and the mechanics of production. Through various media and concerns the work reflect upon themes of classification and how the relative status of entities echoes through the construction of society.

Liz Wilson will be in the Gallery:

Friday 28th 10am – 4pm

Saturday 29th 10am – 4pm

Tuesday 2nd October 10am – 4pm

Saturday 6th October 11am – 4pm.

www.bianca-barandun.com                www.heidimaribut.com         www.lizwilson.work

 

‘Less discovered landscapes’ Colin Anderson.

‘Less discovered landscapes’

An exhibition of paintings by Colin Anderson

19th – 22nd September

  

Deal Shelter                                                           Teignmouth

A striking collection of paintings of places that are unusual and less discovered – especially those that have a story, or a suggestion of a story about them.

I like to bring out the strangeness of places that may be familiar to us, but look subtly different in a parallel imaginative world – where everyday objects like chimneys or traffic markings can quietly come to life.

Colin will be in the Gallery all day on Friday 21st and Saturday 22nd for discussion and snacks!

www.colin-anderson-art.com

  

‘Material Instincts’  

 22nd August- 15th September

 

Hermione Allsopp | Bridgette Ashton| Rosalind Barker | Helen Bermingham| Emily Glass| Moriam Grillo| Kate Linforth | Nicole Mollett |Florence Mytum | Jeanine Woollard

Material Instincts is a contemporary art exhibition that explores the idea of instinctual creativity, a group of female artists whose work is about the experience of making, who have an interest playing with materials. 2018 marks the centenary of woman’s suffrage; 100 years since the first general election in which women voted in the UK. Inspired by powerful woman activists who strive for equality, we are bringing together a show of both emerging and established female artists from diverse backgrounds working in the UK today.

The exhibition is curated by Nicole Mollett and Rosalind Barker.

Private view and meet the artists Saturday 25th August 3pm – 5 pm

Artist talk Thursday 13th September 6pm – 8pm

www.material-instincts.co.uk

www.a-n.co.uk/news

At the Edge  8th – 18th August

At the Edge  8th – 18th August

In April 2018 Louisa Crispin and Leila Godden escaped to Cape Cornwall.  “At the Edge” is their response to this opportunity.

  

Imagine, six days at the edge of the land with permission to immerse yourself completely in art. No phone, no internet, just the vast Atlantic ocean outside your window.

This is the promise that comes with a residency at Brisons Veor, a studio set up to enable professional artists to spend a focused period of time developing their work. Its purpose is to provide accommodation and workspace to practitioners in need of assistance and who are making a significant contribution in the creative arts sector. Located on the westernmost edge of Cornwall (Cape Cornwall), Brisons Veor provides a dedicated live-work space for self-funded residencies of between one to four weeks.

Tuesday 14th August 11am to 4pm.

Louisa will be in the Gallery working with graphite powder. 

Thursday 9th August 6-8pm  

Louisa and Leila talked about their experiences at the SVAF meeting. The PV and talk was open to non SVAF members.

Saturday 11th August 11am to 4pm

Louisa and Leila were in the Gallery working with graphite powder and acrylic respectively. 

postscript

‘postscript’ 18th July – 4th August 

    

Private View 26th July

A postcript is: an afterthought, a thought occurring after a letter has been written, a note or series of notes appended to a completed letter, article or book, an addition to a finished story, account or statement which gives further information, a programming language….and so much more. It also alludes to the group of postgraduates exhibiting in this show, all  ‘off script’ from any academic restrictions.

One only has to think of all the famous postscripts made by the infamous in letters and books to get the imagination spinning and this is exactly what eleven postgraduate students from West Kent’s University Centre’s FAPD (Fine Art Professional Development) course have executed in this contemporary art exhibition.

Studying their independent practices under the guidance of James Brooks and Sam Herbert each postgraduate student has interpreted the meaning of the word ‘postscript’ into a fine art visual language.

The group, which includes emerging artists, current tutors and ex-tutors of the college, has each taken inspiration from different sources including language; the historical, environmental and natural; news stories; motherhood and feminism; fashion, consumerism and objects of everyday use amongst other original interpretations.

Works on display will include glass-work, printing and collage, textile art, painting, installation work, sculpture and photography.

Exhibiting artists:

Jane Cordery                                       Jenny Dalton

Kit Forrest                                           David Gibson

Rozeen Gladwell                                Sonia Griffin

Frederique Jones                                Sam King

Stephen Pink                                       John Stewart

Maria Turner

   

    

 

 

‘Brushworks’ Sevenoaks Art Club 3rd – 14th July

 

Feverfew Debra Barr-Smith

‘The Piece of Mind Wall’ all paintings £15 in support of West Kent Mind

A Sevenoaks Art Club Member at Work Harvey Mahn
This year Sevenoaks Art Club www.sevenoaksartclub.org will hold its 108th Annual Exhibition. Don’t miss this varied display of accomplished  work by local artists.
The Town Mayor will be there at the Artists’ Reception on Thursday, 5 July from 6pm to 7.45. All are welcome.
Established in 1901 by Miss Elsie Druce, the club continues as a haven for amateur, semi-professional and professional artists. The Town Council has a permanent display of selected paintings from the SAC Annual Exhibition over the last decades in their Council Meeting room