My Studio (43) is located at the ground floor of the ASC Studios building, right next to the main entrance of the studios, it has red shutters and opened on the outside. Other artists from ASC will open their spaces to the public as well as the students from Turps Art School. The Bainbridge Printing Studio will be also open to visit. That makes a lot to see in one place.. 

 

What you will see …

An artist at work, ideas in development, my small paintings on wood (book paintings) as well as drawings displayed on the wall, also numerous objects and models. The experimental aspect of my collateral work is crucial in the development of my practice. It includes artworks made in different material, mood and mode of action. They are the sketch diagram made in two lines, the ‘book painting’, the storyboard and 3D models. They do not belong to ‘intimate’ work, they have their own scale and aesthetic that sets them as an autonomous art object.


 

 

 

 

The Line of Flight

1 December – 7 January 2018

The exhibition coincides with the opening of RED DOOR, a new Project Space based in private Mews House in South Kensington.

Private view: December 1st, 2017, 6 – 9 p.m.
Guest list only please contact: info@reddoorspace.com

The new non-profit Red Door Project Space opens on the 1st of December in South Kensington. It is designed to be a meeting point for different cultural disciplines and is dedicated to supporting the creation of new contemporary practice through an ensuing  programme of exhibitions, commissions, events and artist development.

 

Personal Statement

I am honoured to be part of the first exhibition at RED DOOR space. I have been happy in developing connected ideas with the curator Olga Pogasova, another migrant in this city, and to move my work forwards in a close and supportive atmosphere. In thinking about an exhibition for the new space RED DOOR, we started by considering my work Flight of The Storks, which related in a poetic or a metaphorical sense to the exhibition’s theme of migration, and then thought of turning my Charrette into a moving assemblage, like an act of invasion, moving from my studio to the new space. We then brought in James Tabbush, who had previously collaborated with me on the work Audience, which shows an act of migration from a very different perspective. All of my work is related to building structures within an arena of reverie.

In ‘Flight of the Storks’ the two trapezoid surfaces meet and separate, one becoming the other, repeating but becoming different – because time passes. It happens the same way for the arrow/ bird/ plane shapes. There are two different diagrams interplaying here, one concerns a territorial encosure, the other a desire of migration. As with real migrations, elements disappear and reappear, slightly transformed by the journey. The making of the work challenges the issue of the limits of the surface as well as confirming to me the importance of ‘ acting as if for real’: to create a migration rather than to illustrate it.

‘Let’s Go Charrette’ is an installation which adapts to the space. It is composed of a wooden structure on wheels as well as numerous objects, all coming from the artist’s studio. The word ‘Charrette’, now used in France as a byword for an architectural deadline, was also a real object, a wheeled wooden cart, which would carry away diagrams and section plans of the architects along physical routes in the 19th century. In my studio this structure has many different functions: it is a storage unit, a bench, sometimes a support to make work in the position of the architect.

The experience of leaving is somehow sad but to enter in a new territory is exciting. My experience of moving places, from Paris to London, and more recently from a large family house to a smaller flat have comforted my idea of a migration that is built upon a desire of assemblage, of things and thoughts, de- constructing and re-constructing, creating space to move and to breath. It is a positive concept, a natural one, also subject to tension as we do not all share the same desire, and at the same time. That is the experience I have tried to recreate in entering through the Red Door; I came pushing my Charrette into the space and started organically to display my small paintings, objects, art materials, TV screen. I thought that the Charrette would make a perfect bench for the visitors. From what I see objects can take on different functions, and there are also many different ways to create sympathy between them, sympathy of colour, of shape, of function, there are also the ‘loose fit’ connections that come to my mind that I cannot really explain. The Charrette represents the minimum space and surface on which I could live and move; the bench, the bed of the homeless, or the studio of the vagabond.

 

 

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Previously in 2017

 

 

OUTSIDE/OUT
ASC Gallery and Local shops, Walworth Area, London SE17
2-13 November 2017

The exhibition took place in four locations in the Walworth area. Inside the ASC art gallery, personal objects belonging to people living and working in Walworth were exhibited along with their stories. Outside, artworks by artists from the ASC studios were displayed in the local pub, library and Susan Coin Laundrette.
This exhibition has been developed by six curators from Central Saint Martins art school. The gesture of swapping contents of the studio into local sites and local stories into the gallery investigates the relationship between the ASC studio-gallery and the local area.

I live in the area of Walworth and the wooden stool from my father was displayed among the other treasures from the locals in the ASC Gallery.

My work was INSIDE, OUT in Susan Coin Laundrette on East Street, and very much part of Life..

 

 

The Blurring of Art and Life, personal statement. 

I believe in the blurring of Art and Life.  Art is everywhere and accessible to everyone, taking form in the artist’s studio and ending up as ‘culture’ in a gallery, a museum, a church, a house – it is visible on the walls of the city, in the drawings of a child. Each of us has an idea of what art is and what it does. It certainly adds a lot to my life.

 The experimental aspect of my work is crucial in the development of my art practice. It includes paintings and objects made in different materials, with different moods and modes of action. This is not only ‘personal’ work, they have their own scale and aesthetic that sets them as autonomous art objects.

The earrings in the vitrine made of acrylic paint, are they earrings or sculptures? They are both. The blue robe covered by layers of paint, is it a trophy from the artist or a robe made by a designer, do you think it is ugly, dirty or beautiful? Would you hang it on your wall, or wear it?

 I believe that it’s necessary for people to create associations and groupings, freely , secretly or with purpose, just like the Bowerbird creates arrangements of coloured objects outside its nest.

 I choose to exhibit my artworks in the Launderette because the place is very lively, colourful, and full of interesting things: it is a place where you want to stay, a small world in itself. That’s why my little works of art feel so welcome in the space – some are easy to identify as paintings hung on a wall, the other ones are hidden-  included, absorbed. As a result the Launderette has been transformed into something that is new.

I believe in the blurring of art and life, each giving to the other, generously. 

 

 

 

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Previously at the ASC Gallery

31º Celsius: 4 – 23 August
ASC Gallery, the Chaplin Centre, Thurlow St, SE17 2DG
See on the map 

Cite Radieuse, acrylic and oil, pencil, drawing transfer on linen, hinges, 105 x 125 cm, 2016