exhibitions
International Original Print Exhibition 2024
an exhibition by Royal Society of Painter-Printmakers,
7-17 November 2024
Bankside Gallery, London
International Original Print Exhibition is an open submission exhibition established by the Royal Society of Painter-Printmakers which celebrates the best in all types of contemporary printmaking.
This year's exhibition was selected by:
GILL SAUNDERS, Honorary Senior Research Fellow (and formerly Senior Curator of Prints), Victoria & Albert Museum;
JOHANNA LOVE, Artist and MA Printmaking Leader, Camberwell College of Art; S
AM MCKECHNIE, Artist, Doll-Maker and Writer; DAVID FERRY, Artist and RE President;
and MICHELLE GRIFFITHS, Artist and RE Vice President.
From The Ground Up
an exhibition by Critical Edge Collective, 10-19 October 2024
Lewisham Arthouse
Critical Edge Collective's exhibition at Lewisham Arthouse investigates diminishing trust in information, urging the re-evaluation of established knowledge systems. By working collaboratively, the Collective challenges individualism in art markets; prioritising trust, inquiry, and collaboration, while remaining critical and playful amidst post-truth polarisation.
In response to the building’s history of being a library, and with Critical Edge Collective’s interest in making new archives and exploring different ways of creating and interrogating knowledge, the artists have collaboratively created a metaphorical ‘library’: each artist has created a new work in response to another Collective member’s research ‘box’. We invite you to look for connections between these ‘boxes’ and another artist’s response to them.
In our ‘research annexe’ the artists explore influences on their own work as a way of making the processes we engage in more transparent. In addition, the Collective have invited guest artists to make and show their own ‘box of influences’ on their art.
(Un)Visible
an exhibition by FOLD Art Collective, 27-30 September 2024
Safehouse 1
This exhibition explores ideas of the unseen and the hidden. The works are preoccupied with overlooked objects, individuals, stories and systems, and unnoticed moments in everyday life.
FOLD Art Collective is a group of twelve women artists who have developed their art practices later in life, following other careers and responsibilities.
The independent work that the collective produces crosses many disciplines including: sculpture, painting, drawing, printmaking, textiles, film, and installation; and the artists’ interests are wide-ranging. The artists in the collective are united by a shared sensitivity to materials, time and space; and by the depth of other experiences that each artist brings to her practice. Established in 2021, the collective meets in person monthly to critique and encourage work in progress; and uses whatsapp as a collaborative forum to inspire, rage, laugh, cheer and galvanise.
FOLD Art Collective exists to generously give support, space and voice to the work of mid-life women artists who are often invisible in contemporary culture.
and you would have to believe it
an exhibition by Critical Edge Collective, 28-30 June 2024
Copeland Gallery, Peckham
Critical Edge Collective, a London based artist collective interested in the role of art within political and social issues introduced this show at Copeland Gallery, Peckham. The collective explores knowledge and power, particularly how systems of information colour our perceptions of the world around us. This exhibition questions: ‘What evidence do we use to test whether the information we receive is reliable?’, ‘What sources of knowledge do we trust?’, and ‘Whose interest do information systems serve?’.
and you would have to believe it is an invitation to the audience to engage with the questions raised above and enter into discussion with the artists about their work.
The show features 24 emerging artists exploring a wide range of media including drawing, painting, sculpture, computational arts, and printmaking: Sofia Alrich Veytia, Nele Bergmans, Jess Brauner, Matty Emery, Helen Grant, Jane Hughes, Nimmi Hutnik, Caroline Ip, Chrysa Kanari, Kate Kelly, Alexandra Kim, S. R. Latham, Belinda Moren, Georgina Odell, Iliana Ortega-Alcazar, Te Palandiian, Chanin Polpanumas, Nasus Y Ram, Rhi Stanton, Joy Stokes, Eleanor Street, Carmen Van Huisstede, Tong Wu, Jeremy Wyatt.
RBSA Summer Show 2024
Royal Birmingham Society of Artists 13 June - 21 July 2024
Following in an RBSA tradition that dates back to 1814, the RBSA Summer Show is an open call exhibition that welcomes submissions from artists working in any media. However, unlike that first exhibition which was only open to artists from within a 30-mile radius of the city, today the RBSA receives entries from artists based all around the world.
Artists are given the opportunity to showcase their work in Birmingham’s foremost contemporary art gallery and, for those exhibiting at the RBSA Gallery for the first time, it can signify the beginning of their journey with one of the oldest art societies in the country.
The RBSA Summer Show takes place over all three floors of the Gallery, making it our largest open call exhibition of the year. With almost 250 artworks on display, the Summer Show is a celebration of a wide variety of media and techniques showcasing work by artists of enormous talent.
This year’s exhibition was selected by:
Simon Conolly RBSA
Ed Isaacs RBSA
John Scott Martin PPRBSA
Joan Sharma RBSA
Selection of work was based on quality and interest.
What We Bring to the Table
an exhibition by Critical Edge Collective, 21-25 March 2024
Safehouse 1, Peckham
Critical Edge Collective presented their new work in an exhibition, ‘What We Bring to the Table’ at Safehouse 1 on Copeland Road, Peckham, featuring the work of nine recent MA Graduates from the College of Fine Art at Camberwell.
Through a blend of performance, sculpture, painting, print and film the exhibition draws attention to and explores alternative ways of looking at class tension, the corporal body, paradox and power. Each artist brings a unique visual voice to the show but as a collective, they have a shared commitment to question how art can enable and enact social and political change. Taking as a starting point Appadurai et al’s 2021 quote.
… is aesthetic, artistic, or political radicality in art still possible under the neoliberal condition? Can, or should, artistic practice constitutes a significant site of resistance? Conversely, is the contemporary art world a paradigmatic case of, and even a model for, neoliberal capitalism?
Recognising the power of the group show format, this new collective finds its home and connectivity in the ‘Safehouse’, an abandoned skeleton of a former Victorian terraced house. Responding to the remnants of this former domestic structure with its social symbols of place, the collective transforms and subverts the physical space in its investigation into the relationships between inequalities, power and ephemerality.
'What We Bring to the Table' is an invitation for the audience to engage with the questions raised above and enter into discussion with the artists about their work.
Layers of Being
An exhibition by art collective Second Shift, 9-11 December 2023
Safehouse 2, Peckham
The Second Shift Art Collective is a group of women artists who have developed their art practice later in life, following other careers. The independent work the collective produces crosses many disciplines including: sculpture, painting, drawing, printmaking, photography and installation; and the artists’ interests are wide-ranging. What holds the Collective together is a shared sensitivity to materials, time and space; to the depth of other experiences that each artist brings to her practice; and to the relational contexts in which work is created.
The Collective meets in person monthly to critique and encourage one another’s work in progress, and uses whatsapp as a collaborative forum to inspire, rage, laugh, cheer and galvanise. The Second Shift Collective has this agenda at its heart: to generously give support, space and voice to the work of mid-life women artists who are often invisible in contemporary culture.
Layers of Being is the inaugural show of the Second Shift Art Collective. The works of the 9 artists involved, weave together stories, memories, secrets, objects, time and identities. The show includes paintings, textiles, sculpture, video and printmaking, exhibited in the forgotten space of a derelict Victorian terraced house in Peckham; the works engage with this eroded domestic space.
Making Conversation: Fine Art Research Festival,
16-19 November 2023
A celebration of practice-led research, which included workshops, talks, publications, artist’s books and essays.
My contributions to the research festival focused on the research I had been pursuing, exploring memory and loss in the context of the landscape; how we seek to understand, navigate and contain complicated and unruly emotions; and the steps we take to attempt to preserve memories for ourselves and future generations.
My artist’s book On Memory is a physical reflection ofthe ideas I had been exploring throughout the MA, which are summarised in this essay of the same name.
I also participated in a podcast with classmate Joy Stokes, where we reflected on our collaborative relationship and outcomes.
Convergence
'Convergence' was an exhibition of work by women artists from across the Camberwell MA Fine Art pathways, which I co-curated with fellow student Carmen Van Huisstede. The participating artists were from a wide array of backgrounds and artistic practices and were all MA Fine Art students at Camberwell. The core concept of the exhibition was to juxtapose the perspectives and cultural influences that each artist brings and to celebrate the connections and friendships that evolved over the past year.
My works were porcelain tiles that I had coated with photo-emulsion and developed images using negatives from some of the many photographs my father took - making these pieces was an exercise in remembrance and catharsis.
I also showed two collaborative work with Joy Stokes: Dialectics of the Skin which considers the paradox of the skin’s fragility in the context of lymphoedema – needing regular heavy moisturisation with thick, greasy creams to prevent cracking and tearing – with its function as barrier between the body and world; and Fluid Dynamics, which juxtaposes an image of bubbling, lively crystal clear alpine streams with the gestures and movements of Joy’s legs where the lymphatic fluid collects and distends.
