3: Kimbal Quist Bumstead
What is your background? I was born in Lewisham in 1986, and moved to St Albans when I was about 10 years old. I studied Fine Art at the University of Leeds but I did not start painting in any serious way until around 3 years after graduating. I was more focused on performance art and video installation. I’ve always loved painting but I did not really consider it as being practical since it meant needing to be in one place, and at the time I was more focused on hitch-hiking from place to place doing performance art, and making videos about stories that I collected from people that I met along the way. I moved back to London in 2009 and have escaped and been sucked back in on various occasions since then. I did a Masters in Performance and Theatre at Queen Mary University of London, where I developed a one-to-one intimate performance project about drawing from touch. This project led to me using materials-based performative process, and eventually to painting.
Who or what is your inspiration? I am interested in chance encounters, navigating a dialogue between chaos and control. I’m interested in material processes, letting nature or chemistry ‘do its thing’ and watching how traces of things that happen are left behind – like scuff marks on a door, or the residue of a melted ice cream on the pavement. I am inspired by environments – both real and imagined – and how experiences can be captured through abstraction.
What drives you? For me, painting is a way of playing, and my way of communicating; perhaps with the world, perhaps with myself. It is therapeutic, frustrating, pleasurable and compulsive. Making a painting is a process that feels really vital, a way of working something out and a way of letting things go.
Money is no object! Where in the world would you like to explore through your practise? Since I was a child, I have always wanted to go to the Arctic; Greenland, Svalbard, Northern Siberia. I am fascinated by open spaces and would love to do a project about emptiness; involving sound, the materiality of the landscape and a different perspective of time.
Why did you work in the format you do? Differently from my other projects, which are mostly about participation and interaction with people, painting is something I can do on my own. I mostly work with varnish and oil paint on wood. I mix the varnish and the oil together to create translucent layers which interact with each other. I like this technique because it produces these really deep images that you can get sucked into while looking. Each time you look at them you will notice something that you’ve never seen before. The gloss surface means that in different light conditions and from different angles, the relationships between shapes and colours change.
If you could pick another dream format what might it be? Something that requires less space and less stuff! Sometimes I wish that I did not need a physical space to work from so I would be more free to move around, for instance working with only sound or video would be excellent. But then again I would miss the physicality of making things, and also I really love my studio – I feel at home there.
What would you really like with your art? I would really like to get into screen printing and I intend to do a course in the near future. I would also really like to go more multi-media with immersive installations, including performance, sound, painting and video.
Why Studio 73? I found Studio 73 one evening when my girlfriend and I were DJing at the place next door – Supercute. The gallery was closed but I thought it looked like a great place, and I vowed to come for a visit. There’s something really unpretentious about the place that makes you feel easy and nice. I think that’s how going to a gallery should make you feel.
47: Marie Lenclos
What is your background? I was born in Paris in the early 70s. My colour designer dad literally brought colour to my life. He led by example, drawing and painting in his free time throughout my childhood (and, at 82 years old, still does every day). He progressively and consistently made me aware of my surroundings, the light changes on buildings, the beauty of a simple apple and the joy that colour can bring.
Who or what is your inspiration? I’m inspired by the way the light falls on things, creating lines and colours, shades and contrasts. Since becoming a filmmaker in the late 90s and later on as a painter, I walk around with my eyes wide open all the time, ready to catch that ‘moment of seeing’ when a street, railway bridge, set of buildings or a tree hit me with their presence and beauty.
What drives you? What drives me is the realisation that life is to be lived now. Sounds grand and pretentious, but my mum died of cancer a few years back, at 66, which is far too young. Since then I’ve learnt to drive and got back into painting, two life changes quite major for me! Driving gives me more freedom and access to opportunities I wouldn’t have had a few years ago, and painting gives me a reason to be. Quite simply.
Money is no object! Where in the world would you like to explore through your practise? Here. Now. That’s good enough for me.
Why did you work in the format you do? I first did an oil painting at 13 years old, in the garden of a house we rented for a holiday in Brittany. I’ve always enjoyed the physicality of oil paint, the smells, the colour in tubes, the surface of the canvas. As it takes a lifetime to become good at anything, really, there is no time to try something else, so I’m happily stuck with oil paint.
If you could pick another dream format what might it be? In another life, or perhaps in some years to come, I’d like to work in clay perhaps, or wood. But there is no urgency. My plate is pretty full with oil paint.
What would you really like to do with your art? I’d like to be able to continue exploring beauty in the everyday. Luckily it’s an endless subject.
Why Studio 73? When I first arrived in London in 1995 to study graphic design at Camberwell College of Art, I found a house share on Brixton road. I loved that house, and particularly the second-hand furniture shop across the road. We spent hours at the window, where our kitchen table was, watching them take out the furniture and laying it out all over the pavement, have a cup of tea, and then bring it all back into the shop. It was like an absurd theatre play. I never saw them sell anything, but the play would repeat everyday, rain or shine. (It’s a tyre shop now. Less fun).
So, Studio 73 because it’s Brixton, it’s in the thick of it, it’s everyday people (hipsters excluded), and it’s my home since then.
44: Ben Rider
What is your background? At the moment a print room with lots of people working in it, I’m writing this during a quietish period during an evening lesson so behind me is a room of people getting on with their work.
Who is your inspiration? I’m inspired by loads of things not just people, but in terms of just people I’d definitely say my peers and the excellent people I get to share studio spaces with! It’s good to get advice that is honest and constructive, so hearing about what I do that isn’t so great as well as what does work and being around good hardworking people is helpful and encouraging. Also in terms of who; Extinction Rebellion have really inspired me lately too, it’s utterly selfless, for the benefit of everyone, and I’ve met some really passionate and just good people there.
Can you provide an example of an artist or organisation that inspires you? In terms of artists I’d say Richard Hamilton, David Shrigley and Antony Gormley. What really inspires me is beautiful decay, things that are a little rusted and ruined. Things like the Thames riverside when the tide is out, things like an abandoned building with trees growing out of it, things like badly produced bootleg copies of recognisable brands and icons.
Why did you pick the sizes that you have chosen as a format? Because I like them and they are good sizes
Why do you want to have your show at Studio 73? Because Brixton and brixton village is brilliant. It’s a very curious and colourful corner of London I’d like to spend more time around, plus the fact Studio 73 is very flexible and creative and quite fun to work with things like this.
43: Katy Binks
What is your background? I moved to London when I was 21 to study art almost 15 years ago, that’s when I started screenprinting and somehow, I’m still here and still making prints.
Who is your inspiration? It’s more what than who. From a young age I spent a lot of time in Asia so was always surrounded by visual culture that was very different to what I was used to. From traditional forms of Korean architecture where the decoration is highly ornate and colourful to being in the city at night, all the lights, the noises and smells, it all feeds in. I have a fascination with the relationship between art and the urban environment and I’m interested in the spaces between print, object, painting and installation, and the way artworks can operate on all these different levels.
Can you provide an example of an artist or organisation that inspires you? At the minute I’m really fascinated by painting, there is some really great stuff about – Kes Richardson, Phil Ashcroft, Charley Peters, Howard Dyke. I’ve always liked how Katarina Grosse uses space as a canvas.
Why did you pick the sizes that you have chosen as a format? I like to work as big as possible so I’ve been experimenting with different materials, working on paper at large scale just isn’t practical, especially in London, storage is a nightmare so I’ve been trying to work around that issue. I’m also really into posters and billboards but without the commercial content, I was into AdBusters when I was at college. I use half-tone textures and hard graphic shapes which reference the visual landscape of commercial printing and outdoor advertising as well as those dimensions and papers.
What would you really like with your art? To go bigger, I’d love to be doing large scale site specific installations in unexpected places. I love Brutalist architecture and seem to be drawn to working on these kinds of sites, especially those which are close to the end of their life. These spaces come with a history and are quite contentious sites, especially right now, there is something there I am very keen to explore.
41: Amanda Houchen
What is your background? I have been painting for about ten years now, but went back to study Fine Art in 2012 at City and Guilds School for Art.
Who is your inspiration? I am inspired by dramatic imagery of actresses and performers from the 1920s to 40s in particular, anything theatrical; costume, cabaret performers, as well as bold colour and pattern, inspires me!
Can you provide an example of an artist or organisation that inspires you? Favourite artists include, Edward Hopper, Tamara de Lempicka, and German artists such as Max Beckmann and Otto Dix.
Why did you pick the sizes that you have chosen as a format? I paint in a range of sizes, from small to large but have selected smaller works for this particular space.
What would you really like to do with your art? I would like to keep on learning and developing my style – always pushing it further and discovering new possibilities with paint.
Why do you want to have your show at Studio 73? I love Brixton and the village market with the atmosphere and life around it and thought it was the perfect spot to show my art as I live and work locally.
40: Heath Kane
What is your background? I’ve spent the greater part of my life as a designer/Creative Director for large international creative agencies. Art came about much later (or rather more recently) in my life. My approach to art is largely driven by design thinking with a focus on creating simple, iconic and memorable pieces that have the ability to tell stories and are linked to a larger narrative.
Who is your inspiration? Not so much a question of ‘who’ but rather where I get my inspiration from. Most of work has connection to activism and politics. I tend to channel my frustrations in narratives that inspires my work. For example, my first ever piece was ‘Rich Enough to be Batman’. The idea came about when reading the Sunday Times Rich List that is published annually. I’ve always questioned the purpose of this. Is it for everyone to collectively celebrate the success of the richest 100 people worldwide, or simply to rub our noses in the fact about how far behind the rest of us are from having such wealth?
These days, it seems you can’t open a newspaper or turn on a TV without being bombarded by news involving exploitation of wealth. In recent weeks, the headlines have been dominated by the collapse of BHS and how Phillip Green (net worth £3.6Bn) has been accused to ciphering money out before its collapse. And about how Mike Ashley (net worth US$6Bn) has been refusing to pay his staff minimum wage while he goes on spending sprees buying mansion, super yachts and jet planes.
Of course not all billionaires are self-serving – Bill and Melinda Gates (net wealth US$78.5) are well known for their philanthropy and good deeds. Mark Zuckerberg and his wife recently announced they would give the majority of their wealth over the course of their lives to “advancing human potential and promoting equality”.
In a world where wealth has become concentrated into the hands of an ultra rich elite though, the question remains: how rich do you need to be before you become Batman?
Can you provide an example of an artist or organisation that inspires you? I tend not to be ‘inspired’ by others – it defeats the purpose of being original. I’m certainly inspired by any creative who has made a significant leap of creativity, whether they be artists, designers, photographers, writers or architects.
I tend to read quite a lot so that’s definitely a source of inspiration. Reading George Orwell and Douglas Adams at a young age definitely shaped my view of the world.
Why did you pick the sizes that you have chosen as a format? I was procrastinating for a long time about what I should bring, then I decided ‘fuck it, I’ll bring everything!”.
I’m planning to do a retrospective style take over. I did this for two reasons: 1) often when I do shows, they are perfect curated around a particular collection, ultimately I get into conversations with people who come to my shows, having to explain this isn’t the full body of my work 2) my first ever exhibition was in Brixton so it would be nice to reflect on both old and new work in the same hang.
What would you really like to do with your art? I love the idea of accessibility to art. What I don’t like about is it the element of elitism which still exists. Good art should not be scarce to find and too expensive to own. I like producing prints that lots of people can own affordably.
Why do you want to have your show at Studio 73? I like the intimacy of the gallery. It is by far the smallest space I’ve ever exhibited which throws up lots of challenges, but it should be fun. Of course I like the idea of coming back to Brixton.
39: Amy Gardner
What is your background? Broad and varied. Art was always the white unicorn for me… I was on a great trajectory with my art when I left school… but that wasn’t the right time for me. So I left Australia, grew up, did three laps of the world, and carved out an exciting career in event production. It wasn’t until my second daughter was born, that I remembered what I wanted to be when I grew up. So I embarked on a path of artistic revival… signed up to some short courses and was encouraged to go for a longer course studying under Chris Hough, Tony Hull and Brian Hodgson. When I was introduced to Lino print, I scoffed- how high school!! As it turns out it’s super cool and fun- also utterly cathartic. The first print I ever created (a year and a half ago), was a key (unlocking a mega love for print!) and the second print I created was then accepted into the Woolwich Contemporary Print Fair… which was pretty sweet. From there I whirled around South London, printing out of various studios, learnt Etching and Screen Print… and generally throwing a shit ton of energy at it all, I have produced a lot of work in a short space of time, and am Living. My. Best. Life.
Who is your inspiration?Strong, empowered women everywhere and my two young girls… Mothers that have lost themselves in the depths of parenting hell and joy.
Can you provide an example of an artist or organisation that inspires you? Standard answer: Warhol, Matisse, Gerrard Laing, Richard Hamilton, Guerrilla Girls, (many more) and lots of contemporary printmakers you see around the traps… but in all honesty what sparks inspiration is trawling through old archives and vintage mags, one particular edition of Good Housekeeping from 1954 has been the starting point for a lot of my pieces. That and colour, I have a thing with colour, colour colour colour… it happens to me/ at me when I’m least expecting it.
Why did you pick the sizes that you have chosen as a format? It happens organically/ instinctively, I tend to be drawn to creating square images. It also depends on what found image I am working with and what format/ size it lends itself to.
What would you really like to do with your art? To continue to communicate my message of embracing our imperfections and forgetting about this ‘perfect woman’ -she doesn’t exist. To continue to shout about the POWER that is WOMEN SUPPORTING WOMEN, to continue to print inspiring women & empowering images, with the brightest ink possible!!
Why do you want to have your show at Studio 73? Well, I’m local and Brixton Markets is like my second home. I love the buzzzzzz around Studio 73, and couldn’t have been more excited to be a part of the Takeovers!!
38: Jack Blackburn
What is your background? I’m from a Punk Rock background. That means I subscribe to the formula that
energy is much more important than technique or talent. Also it means I never went
near Art School or come to think of it any kind of school.
Can you provide an example of an artist or organisation that inspires you? So many. The art in this show was mostly inspired by Otto Dix, Jose Guuadalupe Posada and Jean Michel Basquiat. I always try to fuck with Picasso and Cubism in general.
What would you really like with your art? I want to fuck with peoples heads to the extent that they’re forced to question their reality.
Why do you want to have your show at Studio 73? Because it’s a shit hot happening place and Studio 54 wasn’t available.
37: Jackson Ferguson
What is your background? I was born in 1968, Canberra, Australia and completed a four year degree at the Australian National University with a Bachelor of Arts in Photography (1987-1990). Here I received first prize in the Australian National Student Prize in photography. Originally trained in traditional photography in colour and black & white in the darkroom, I went on to move into electronic digital photography and video in the mid-nineties until present. Over the past 30 years, I have experimented with photography in many different aspects from doing nude self-portraits out in the landscape, photographing cities from London, Paris, Germany, Italy, Switzerland, Sweden and Syria with architecture and documentary to experimenting with photography with abstraction, collage and appropriation art. I have exhibited in many galleries and institutions, like The Golden Heart, Spitalfields, and the Commonwealth exchange, London and Decima Gallery, Berlin.
Who is your inspiration? My inspiration is through other artist in history which inspires me to appropriate their work in a new way with my art. I am also inspired by the use of my work to express about environmental issues and the psychological subconscious with my life as a visual diary expressing my feelings with art history and future ideals. My new work concentrates on appropriating some of the most distinctive works in art history using them as a canvas to create new forms and express my deepest thoughts.
Can you provide an example of an artist or organisation that inspires you? Mark Rothko, Jackson Pollock, Francis Bacon, Cindy Sherman, Barbara Kruger, Richard Prince, Sherrie Levine and of course Elaine Sturtevant and Marcel Duchamp – a lot of these artists are associated with Appropriation Art and Abstract Expressionism.
Why did you pick the sizes that you have chosen as a format? Because I wanted to use the space of Studio 73 in a dramatic way to its size with the space.
What would you really like to do with your art? To one day be a professional with my art full-time and live off it financially. But most importantly to give something to society and art history about my ideals, concerns and passions with my work using the arts and the humanities.
Why do you want to have your show at Studio 73? Because Studio 73 is such a great location within the Brixton Village and gives the opportunity to expose my art to more people with its wonderful culture and diversity within the community.
“I am inspired to create my own diary of the world and challenge thoughts on copyright from Duchamp to Warhol, to express the freedom of visual expression”
Jackson Ferguson lives and works in London, UK.
36: Vanessa Jean Speckman
What is your background? I grew up sitting on the stairs to the basement in San Francisco watching my Italian Grandfather paint oil paintings on anything and everything. Some of his best paintings are on the backs of recycled cardboard boxes. Being a baby boomer, he made everything and saved anything. My parents’ home was surrounded by mother’s artwork and my father’s DIY ethic – with their nurturing support to us as children to pretend, to play, to explore, to read and to always look up, creating was always in the cards for me.
You can see that a lot of my background comes through my work. Many of my materials originally came from my grandparents’ home after they passed away. It was a way for me to braid these things they kept for so long by breathing new life into it and passing it along to a new home.
Who is your inspiration? My mother. Patti Smith. Nina Simone. The connection you can receive through vulnerability through art.
Can you provide an example of an artist or organisation that inspires you? Safe Gigs For Women Safe gigs for women is an initiative established by regular gig goers with the aim of creating a safer environment for women at gigs. Girls Rock!
It is a worldwide organization that helps create space and share the knowledge and tools with the desire to achieve gender equality in the music industry and to ensure that all girls and women get the chance to make music.
Why did you pick the sizes that you have chosen as a format? To let the words take on new life. For me, sometimes words can become stagnant on a page of a book, or are supposed to sound a certain way through the speakers when you spin a song. When I paint my poems onto large pieces of lace, the lightness and airyness of it is so delicate with air and movement coming through the frail material combined with the juxtaposing of the black and heavy block lettering leaves you with a one-two uppercut to your heartstrings in the softest and sweetest of ways.
For the past 8 years, I have been touring 100-150 days a year as a touring pop up art shop. This limits my size and scope of my work for a lot of the year, as it has to be mobile and easy to load in and out, as the venue and city changes day to day. As well as my studio work can be very repetitive creating my handmade merchandise for tour, so being able to explore larger one of a kind pieces helps me stay interested, inspired and curious.
What would you really like to do with your art? To dismantle the way we interact with conventional art. I’ve never had the attention span for so many of the traditional and stiff ways art has been displayed and made available. It’s always made me feel cold and sterile and disconnected. I couldn’t see myself in it. So I made up my own way of sharing it. It’s raw and unrefined, but it’s real and vulnerable. You can pin it onto your jacket, you can wear it painted on your clothes, or hang it up on your walls. I want my art to be available to all folks from all different walks of life. That connection is where the sweet spot is – and that’s where I want to continuously be moving to with my art.
Why do you want to have your show at Studio 73? My beautiful friend whom I met through Safe Gigs recommends Studio 73 to me when they heard I was looking for an art show in London during my time here. We met last year at The Roundhouse while they were set up with Safe Gigs and I had my pop up art show as part of the Lost Evenings Festival there. The absolute beauty of these human connections manifesting through art and community continuously blow me away and inspire me and I am forever grateful for every opportunity.
35: Michelle Levie
Can you provide an example of an artist or organisation that inspires you? I used to teach back in New York. That was a very inspiring and touching experience. Recently I came across a business called Artocene, they use art therapy to heal.
Why did you pick the sizes that you have chosen as a format? In my exhibition there are various sizes printed. The first are prints done on pineapple paper. This was very special and dear to the series of work as it is handmade paper made in Colombia. It is done by the Fundación San Lorenzo De Barichara. Here 10 women are in charge of the foundation. They use all different types of plants to create this handmade paper. The other images are printed on Aluminium. This is the second time I use this type of printing as it is frameless and seems as the pictures are floating. I want the viewer to be able to get lost in the image and not get distracted by other elements.
What would you really like with your art? I would like to build on the current project I am working on. I started to explore the different lifestyles comprised in Colombia, and the balance (or imbalance) that emerges from them. What is the ultimate way of living? How does our lifestyle affect the world around us? One of my greatest loves is food, which made me look into the landscape. The soil, where all our produce comes from, the different climates; the connection to the environment. This awareness for food and health is a trending topic. We choose diets, decide whether recycling or not, traveling miles or stay in our birthplace, learn about electricity usage or realize that clean water is not a given.
Why do you want to have your show at Studio 73? One of my biggest dreams was to show in the great city of London! I started searching and that is how I came across Studio 73 and seemed to be a match after meeting Adrian. In the buzzing Brixton I thought it was a perfect creative place to exhibit my tropical pictures of Colombia. The space has a lot of window space and large walls which made me see many different curation possibilities.
34: Priscilla Watkins
What is your background? Ex-magazine designer. Mum. Office escapee.
Who is your inspiration? Brockwell Lido – if you consider it to have the attributes of a person. Many do! The first pool painting came from taking pictures of my children in the shallow end of the lido on a disposable underwater camera. Lido light is very special. It falls directly onto the water so it has a special intensity and an endless fascination for me, especially when it interacts with the human figure. It has quite a transcendent quality. A real tonic for the soul! I try to celebrate two things in my paintings, the light and the people. London needs spaces where people can connect.
Light creates feelings. Light and darkness working together. You cannot have one without the other and its combination triggers an emotional response in the brain. Also, the underwater pictures often show a figure from the head down, which for me symbolises the unconscious, that ignored bit of ourselves. It reminds the viewer that they can always be peaceful and themselves, even when it’s noisy up top.
Can you provide an example of an artist or organisation that inspires you? Rembrandt. Edward Hopper. Vermeer. The ones who work with the light. David Hockney. Still questing. Recently Bill Viola. Frank Bowling. Anni Albers. The fierce ones, the passionate enthusiasts, the irascible loners.
Why did you pick the sizes that you have chosen as a format? It depends on the image. Some paintings want to be small. Some scream to be enormous and you have to talk them down from the side of the house and into the studio. I also work in watercolour pencil and mixed media and prints. In oils I can really explore the immense subtlety and prismatic quality of the lido light when it hits flesh. I can paint whole rainbows in a single shoulder! With the mixed media I wanted to find a way of creating this without always referring to a photo so I started experimenting with texture and randomly created folds in cartridge paper. I then draw a figure from my imagination and set it on the painted paper, with its own movement and shadow. The paperpools let me play with humour and character in really exciting ways.
What would you really like to do with your art? Bring joy.
One other rather important question; why do you want to have your show at Studio 73? We’re both Brixton! This way to the beach!
33: Donna Leighton
What is your background? I was born in Harlow where art by Henry Moore and Barbara Hepworth were given prominent position in the Town Centre. I never forgot these sculptures and have come to realise the importance of access to art for all, not in a rarefied area but in an everyday spot.
Who or what is your inspiration? My practice is the act of remembering. I sometimes use a mathematical process I call Breeding squares as a tool for recollection. I am a great admirer of the emotional delicacy of the work of Agnes Martin. I enjoy process and repetition. The mathematical element leads me into areas such as Fibonacci in nature, and replication in sea shells.
Why did you pick the sizes that you have chosen as a format? My work is small when I am evoking intimacy, increasing in size when it is necessary to progress a maths process. I have been exploring the infinity of breeding squares in my studio, but space restrictions have meant I am currently unable to take the breeding squares beyond a 1.9 metre canvas.
What would you really like to do with your art? My dream is to expand and thoroughly demonstrate the beauty of the breeding squares process.
Why do you want to have your show at Studio 73? Studio 73 is a rare platform for emerging artists, generously giving space in a busy central hub, where art can be seen as people go about their everyday shopping and work.
32: Gina DeCagna
What is your background? I grew up in New Jersey, just outside New York City, and I used to live and work in Philadelphia for some years before moving to London a year ago to start working internationally. I had careers in publishing (in editorial for books and magazines) and then arts administration, and I ran a creative group called Symbiosis (2012–2016) that was both a publication and curatorial platform for collaborations between artists and writers. Now I’m doing an MFA degree at Goldsmiths.
Who or what is your inspiration? I pay attention to artists who incorporate text into their work or think through language. I read lots of different writers and poets. I get excited about writers or text-based artists who think about the materiality of printed language and form; this also intersects with linguistic and grammatical concerns around syntax. I love listening to live jazz (especially with sax!) to encourage experimentation and improvisation when I’m composing stuff myself.
I’ve been revisiting work by William Burroughs, Brion Gysin, and some of the other Beats recently, especially with fold-ins and cut-ups. Among more contemporary circles, I’ve been interested in what Erica Baum has been doing with dog-earring book pages and poet Derek Beaulieu has been doing with concrete poetry and experimental novels. Here in London, I enjoy following who’s making stuff with Book Worksand a variety of experimental and independent publishers that descend upon art or indie book fairs. Some treasure troves: Siglio Press, Ugly Duckling Presse, Broken Dimanche Press, and of course UbuWeb.
What would you really like to do with your art? It’s always changing, and I’m working more and more across media and disciplines. Installations have become my jam since installations are inclusive of all the media and disciplines you can work in. Right now, I say I’m making contemporary art influenced by architecture, language and literature, semiotics, and philosophy. I’m constantly collaging; paper and glue are at my service. I’m going to try working more with sound and spoken word next.
Why Studio 73? I thought Studio 73 was the coolest gallery when I discovered it! It’s local to Brixton, but there’s something strongly global about that — ‘glocal’ as some people like to call it — with everyone and all the shops in Brixton Village coming from different pockets of the world. I feel comfortable here, welcomed. And I love creating things that engage the public and show the power of art, especially work that can speak to many kinds of people. It’s been a great starting point for my international, cross-cultural adventure as an artist, with so much vibrancy inside Studio 73 and just outside it.
I’ve been leading ‘Creative Writing through Art’ workshops at Studio 73, and it’s been super fun to meet local Brixton writers and use the artists’ prints in the shop to stimulate new thinking and writing. One writer is coming all the way from Argentina to attend a workshop later in August!
31: Ted Dave
What is your background? I came to photography in my twenties, drifted away, came back. I taught myself web design as the first digital cameras arrived, the visual elements of both suddenly appealed, and I’ve been taking pictures ever since. I learnt composition from going to the cinema and colour from wandering around the Tate. Young, I studied politics and then later cultural studies; in retrospect I was compelled by the need to know why. Photography helps me ponder that.
Who is your inspiration? I’m inspired by Aldous Huxley’s ‘Perennial Philosophy’, the humanist writings of Jack Kornfield, by the essence of the Christian message communicated to us as infant school children, the stillness at the top of the hill. Taking pictures shifts me to a place of attentiveness, at its best I can disappear into the present moment.
Can you provide an example of an artist or organisation that inspires you? Both Mark Rothko and James Turrell each in their own way bring us closer to the divine. I recently saw sculptor David Nash’s Cardiff show. His video work, mapping the evolution of his land based work over forty years was amazing, another facet of the creation we all inhabit.
Why did you pick the sizes that you have chosen as a format? All my images are 24″x16″. I’m asking the viewer to consider the small details the camera captures. A cigarette butt, the crease of an awning, staining on concrete. Printing at two feet wide helps us to see these things, to consider everything as important and in its own way beautiful.
What would you really like to do with your art? In the words of my kid sister ‘you really seem to capture a moment that stirs one’s emotions’. Followed by three heart-eyed emojis. That’d be great.
One other rather important question; Why do you want to have your show at Studio 73? This is easy, Studio 73’s patron is a luv, a pure mensch. Thank you.
30: Jose Gomez
What is your background? I started studying Fine Art in Seville at the Art School. I moved to London in 2000 with the new millennium, I studied Sculpture at the Camberwell College of Arts, obtaining a BA in 2012. Since then, I combine my artistic creativity between sculptures and paintings; my work has been shown in several solo and group exhibitions around London and Spain recently.
Who is your inspiration? This series of paintings, ‘Flamencas’, has been inspired by Spanish painters, such as Goya, Julio Romero de Torres and Velazquez , who have shaped the image of Andalusia women in their creations throughout history. The other paintings from the series ‘Chulas’ have been inspired by the fashion and movie magazines of the ‘50s and ‘60s. The bright colours of David Hockney’s paintings and the Pop Art movement inspired my colour choice for these paintings.
Can you provide an example of an artist or organisation that inspires you? The main organization that inspired and helped me to develop my artistic career was Salome Gallery. I had several temporary exhibitions and a permanent exhibition there with some of my previous paintings at South London and Maudsley NHS Foundation Trust (SLaM). Mary Salome, who used to run the gallery has inspired me positively.
Why did you pick the sizes that you have chosen as a format? I picked those sizes because I think they are the perfect format I was looking for when I started this collection. The large portrait sizes show the ideal splendour of the medium and the works.
What would you really like to do with your art? I would like my art to be seen and admired by all kinds of people with enjoyment and pleasure. I would also like to have great shows around the world and find nice new homes and public spaces for them to live forever.
Why do you want to have your show at Studio 73? I want to show at Studio 73 because it is a fabulous space, a little gem that shines in one of the most colourful and lively locations in London. I love Brixton Village Market because of its diversity of cultures. I like Studio 73 because it gives great opportunities to independent artists, the curator Adrian Flower is a friendly person. I love the concept of the galler and the quality of its projects are excellent.
29: Andy Lester
What is your background? I graduated in Graphic Design and have always worked commercially in the branding industry. Painting and drawing has often been my creative outlet when I need a break from clients.
Who is your inspiration? The oldies like Miro, Matisse and Picasso and even John Lennon’s old drawings.
Can you provide an example of an artist or organisation that inspires you? Geoff Mcfetridge is great, love his stuff. A nice subtle humour floats my boat.
Why did you pick the sizes that you have chosen as a format? Because I think art should be affordable, therefore I’m not going to create really awkward sizes so people have to go and get custom frames made.
What would you really like to do with your art? Help people feel like kids again.
Why do you want to have your show at Studio 73? I’ve spent chunks of my life living in Brixton. I like its rebellious nature of the community. It feels great to be showcasing there.
28: Tilly Aviram
What is your background? I am a graphic designer, experienced at packaging design, having worked in London in large advertising agencies, I have at the same time been working on illustration and collages, I have exhibited in; London, Birmingham, Margate and Cornwall. I moved to Cornwall, where I have been working on a recent set of collages. I use vintage material, cut-up collages and digital inspiration, forms and shapes, to create dream like worlds. Spitalfields market is my favourite place to go!
Who is your inspiration? My inspiration is the vintage world, of Hollywood glamour, I am interested in the technological advances that lie parallel to the portrayal of women in this world, film stars and the old-world glamour, taking this world in to the modern world, gives the viewer a moment of escape.
Can you provide an example of an artist or organisation that inspires you? I love various artists, I especially like Robert Rauschenberg and his methods of using found materials to create 3D artworks. I am also very inspired by Maria Rivans and The Peepshow Collective, a group of illustrators.
Why did you pick the sizes that you have chosen as a format? I have chosen various sizes for the artworks, the photo etchings are slightly smaller than the other works, they take a long time to ink up and create! I have taken to a medium size as I feel most comfortable working within that space.
What would you really like to do with your art? I would like to keep on creating and experimenting, and taking my collages, to become paintings, that’s the next step!
Why do you want to have your show at Studio 73? Brixton is such a hive of activity and different cultures, I think it would be great to see the vintage and retro come to Studio 73 amongst the hustle and bustle. Studio 73, is also very open to having new artists, and I think that’s great as an artist to become part of that.
26: Andrew Gibson
I live in South London. I’ve always liked art and music. Language is open to misinterpretation. Art and music are open to interpretation.
So far I’ve made a living as a psychiatric nursing assistant, an artist, a driver, a musician, an art therapist and a bill-posterer, among other things. Often more than one at a time.
I’ve worked a lot in the dark, and come across light in many forms…I’m a bit obsessed with it. I like the energy of it; how it feels like hope…like truth…like nurture, like goodness, like the beginning of things. I like that time of day when the sun’s light and the city lights co-exist equally. Because co-existence is creativity. Things set each other off…Colours sing, differences resonate, and for twenty minutes everything, and everyone is a jewel. .
Travelling around London in the small hours, I feed off this light. I imagine a spark in things…old street lamps, hospital lights, neon signs…stuff I find discarded around the city. I piece them together and paint on them scenes that they were once part of, so they can glow with memory, place and purpose. Sometimes we can’t see the light inside us, and it’s up to others to value it until we can.
I make these things because they feel too beautiful to stay in my head, to commemorate stuff, and at times to make a point. The globes are a representation of a “globular” approach to people and things, which I believe is closer to the truth than a single linear perspective.
As far as influences are concerned, like most people, they are many and varied; the classics Rembrandt and the Dutch, Whistler and London, Van Gogh and Hopper’s night cafes, Hokusai and japanese woodcuts, as well as advertising posters and formats, Andre Breton and islamic light calligraphy, stencilling and street art.
I live in Tooting now. For most of my life my home was Brixton. It’s great to be able to return to my old haunts and show some of my artwork. I think Studio 73 is perfectly placed to reach into the heart of Brixton. A kind of place between indoor and outdoor. I like “between” things, where things overlap. Like I say, that’s where things happen.
25: Fleur Simon
What is your background? So I grew up in London. I attended two foundation courses; one at Central Saint Martins UAL, and one on scholarship to Paris College of Art. I then completed my Fine Art BA at City & Guilds of London Art School, where I worked in ceramics and painting.
Who is your inspiration? Others artists inspire my work. For example, Ryan Sullivan’s material use and Julian Stair’s concepts. It’s great to take your favourite elements from each and combine them. I liked Wolfgang Tillman’s Freischwimmer series so this inspired me to play with depth and inky imagery.
Can you provide an example of an organisation that inspires you? Marguerite is a great organisation that runs networking events for women in the arts. Seeing what they’re up to gives me motivation.
Why did you pick the sizes that you have chosen as a format? All the scales are relatively small. I did this as I find the pigment is very strong in these works so I wouldn’t want them to be too overwhelming.
One other rather important question; Why do you want to have your show at Studio 73? I think it’s a fantastic space, in a bustling and vibrant location. I have enjoyed the work that has previously been shown, and would be so happy to contribute to it!
24: Scott Bauer
It’s great fun to see the product of a particular period of creativity in one space; I am delighted to show some of my most recent paintings at Studio 73. When I am working in the studio it is sometimes hard to fully understand what I am attempting to achieve with a particular group of paintings. Since I work on a series of canvases in tandem, meaning and relationships emerge slowly.
In my latest paintings I am exploring the relationship between two aspects of my work that have fascinated me for years: linear formalism and naturalism. Namely, how can I reconcile an illusory space that is both a formal system and an evocation of nature? Sometimes the relationship is expressed through a particular chromatic palette in a formal rhythm of lines. Sometimes the relationship is expressed through the literal fading away of a formal system into the surface of the canvas or a highly saturated colour ground. Creating an illusory space where these twin aspects of my work can coexist is what excites me as an artist.
22: Lisa Pettibone
What is your background? I’m originally from California with a background in graphic design and explored art in my time off, initially taking glass making courses. Many years ago I moved to London (to work in design) and eventually got a BA in 3D Design in glass from UCA Farnham in Surrey and began making abstract sculpture (I now live in Surrey). Recently I graduated from Central Saint Martins from the MA Art and Science course where I investigated gravity and how it emerges in art.
How and why did you gravitate toward printmaking? Its graphic qualities are enticing and as a former designer I’m attracted to its crispness and ability to hold colour. At CSM I reconnected with the medium and found it a great vehicle for my photos and desire to explore imagery juxtaposed with shape and colour. Also I was compelled to break out of the 2D space print occupies by pushing it into a 3D space through cutting and bending. This is a way of letting light into the print space. My background as a sculptor comes through here.
Who is your inspiration? Bridget Riley, Rana Begum, Olafor Eliason, Katie Paterson
Can you provide an example of an artist or organisation that inspires you? Lumen Studios London, an artist’s collective working with themes of astronomy and light. I’m exhibiting in their Crypt space at St John’s Church on Bethnal Green in September. They have brought me into contact with some very special artist and provided me with wonderful opportunities.
Why did you pick the sizes that you have chosen as a format? I like working big so don’t often produce small screen print work. When I’m testing an idea, I work smaller to start with then build up. Sometimes there are limitations to size – I found the blend on Undercurrent quite tricky at that size.
What would you really like with your art? I’d like to do an important public 3D commission this year with accompanying screen prints.
One other rather important question; Why do you want to have your show at Studio 73? It was a wonderful opportunity to pull together a body of work from the last two years and focus on exposure for my works on paper such as screen printing.
21: Bayne Blackwaterbluez
What is your background? Born in the south of the UK. Independently studying, learning and creating artwork since early childhood. Inspired from an early age by graffiti writers and American vintage illustrators I began to practice in many different mediums. With countless markers at my disposal I developed a keen interest for black and white illustration incorporating attention to detail and labour intensive techniques. With a keen interest for history, art and music from times gone by my artwork reflects my own take on these subjects.
Who is your inspiration? Chaz Bojorquez, Charles Dana Gibson, Waylon Jennings, Maynard Dixon, Jeremy Fish. Just to name a few, however the list goes on.
Why do you pick the sizes that you work in? No other reason than the fact that each piece and size, worked best for the concept.
What would you really like with your art? I’m still figuring that one out.
Why do you want to have your show at Studio 73? Being a fan of the artists Studio 73 stock/have shown in the past i would be proud to be in such great company.
20: Oli Fowler
What is your background? At 19 I studied fashion and textiles at St Martins only to drop out a year later. I returned to uni at the age of 30 afters years of different jobs. I guess you could say I’m a late starter. I always knew I wanted to be creative but didn’t know how to make the cross over. It was only until I just dived in and accepted I was gonna be scraping the barrel for a while that things started to happen but it didn’t happen overnight.
How and why did you gravitate toward collage? I’ve never been really good at drawing, I don’t have the patience for it – I prefer to flick through ephemera and chop stuff up, lay it side by side then boom, you have an idea. I’m fast by nature and collage works well for me in that way.
Who is your inspiration? I loved the street art scene and artists from around 2007, this is what really got me thinking about making my own work – particularly Adam Neate’s work, I loved the way he churned art out and left it on the streets for people to find. He’s an amazing artist too. Other artists include Clifford Richards, Eduardo Paolozzi, Robert Rauschenberg etc – I mainly just like adverts and music photography from the 70’s and 80’s.
Why do you pick the sizes that you work in? I pick screen print sizes that people can easily frame up, I understand that most people like to get the work up on the wall as soon as they purchase it so I make it easy for them. I mostly work in A1 because it’s more of a challenge for me to print and looks bold and amplified when finished but sometimes I also print in B2 (standard poster size) and occasionally the odd A0!
What would you really like with your art? All I want from my art is enough money to support my craft so I can continue to do what I love doing.
Why do you want to have your show at Studio 73? It’s great to have a show at 73, it’s a prime location and I get to do a show South London, it’s rare that the people down south have a chance to see my work up close and personal.
19: Celia Martin
As an academic specialising in cultural studies, I am fascinated by music, film, art and politics in relation to issues of gender, class, nationhood or identity, which have inspired some of my works. I am also concerned with the passing of time and existential predicaments; for example, how we seek beauty as an anti-dote to decay, the different ways in which we all bear the load of life and the sometimes oppressive feeling of solitude. My faceless silhouettes and anonymous characters capture the universality of these concerns, sometimes with pathos, sometimes with humour.
I was born in Madrid, and as a young person growing up in the 70s/80s I became fascinated with the transformation of ‘the city’ during the transition to democracy after Franco’s dictatorship. To reflect this process, I took up photography and focused on capturing urban scenes of libertarian Barcelona in the late 70s, where I lived for a year, and the wild atmosphere of ‘La movida madrileña’ of the 1980s Madrid (a counter-culture movement that emerged in the aftermath of Spanish transition). In 1985 I moved to London where I continued photographing the spectacle of the ‘foreign city’ with my new ‘Polaroid’. Discovering the work of the Dada collage artist Hannah Hoch opened the door to a new form of expression that really suits my artistic style. Some of my works are imbued with the theoretical concepts that I study and teach.
Why do I want to exhibit Studio 73? My answer is a bit anecdotal and personal,I came to London following David Bowie’s steps, my idol, and by chance I ended up living in Brixton for many years. Brixton market is iconic for me for so many reasons, where to start? and to have the opportunity to show my work in a gallery like Studio 73 in the centre of the market is pure bliss. Muchas gracias.
18: Roman Perona
Perona’s Luminous Numinous explores the concept of the soul in portrait photography as the light radiation of a transpersonal energy. The individuals portrayed in Luminous Numinous don’t belong to a common demographic group or social condition. They are random people from different backgrounds, age segments, nationalities, sexual orientations, beliefs, and political affiliations. This alluring artist is interested in bringing to light the divine nature of human beings.
The production of the images followed a creative process in the form of a liturgy. All participants came to Perona’s London Fields studio individually at sunset wearing a blue garment as a symbol of eternity and divinity. For two hours, every sitter remained with their eyes closed under a single spotlight. The time between takes sometimes was over ten minutes to allow the person photographed to be progressively submerged into a meditative state. The colour-filtered light and the soundscape programmed by Perona were liturgical devices to allow the souls of the sitters to manifest themselves in front of the camera.
16: Eleonora Sher
Studio 73 presents a new solo exhibition by Eleonora Sher showcasing a selection of her most recent work.
Part of a larger ongoing research project around Landscape and Memory her practice explores the common link in human attachment to landscape and how we find identity in landscape and place. Exploring the parallels of the landscape, as the embodied mind and memory, and landscape as a physical place. How ‘landscape is the work of the mind. Its scenery is built up as much from strata of memory as from layers of rock.’ Landscapes are the nucleus of our intangible values that form our very existence, consisting of both individual and collective memories.
Eleanora has developed a unique technique which brings together digital photography and screen printing on yarn. The process starts with choosing the right subject matter – exploring how different compositions, light quality, and other elements affect the overall quality of the image. After this, test prints on paper are run before moving on to thread.
Eleonora Sher is a multidisciplinary artist who works predominantly with photographic and printing processes and large mixed media installations.
With a background in Psychology (BSc) and PGCE in Teaching (UCL) Eleonora returned to complete a masters in Art and Science at Central Saint Martins.
15: Kenny Mutombo
Kenny Mutombo is a 26-year-old artist from Paris, originally from Congo DRC she studied Fine-Art at LaSorbonne and came to London 4 years ago to study Digital Photography at Ravensbourne University London .
She uses photography and fashion to develop and discuss black beauty in attempt to break the mainstream views.
I decided to go in my country Congo for the first time at 24 for my last university project. I was concerned that every time you heard of DRC Congo it was about a killing or an image of death and misery. Even without being there I knew there was more to see. My work always had influences of Fashion and it’s been the guiding thread of my work. My aim with this collection is to show another side of DRC Congo where people are friendly, happy and colourful – a world where Africans are able to do so much with so little.
The collection includes images of Kenny’s family, the Kinshasa arts scene and a group called “The Panthers” part of La Sape movement very present in lots of African countries but mostly in Congo. The movement embodies the elegance in style and manners of colonial predecessor “Dandies”.
14: John Ball
Based in Romford (London, U.K) and working primarily in the South East of the United Kingdom, contemporary artist John Ball creates unsettling images of a dystopian suburban landscape.
John is probably best known for his appearance on the Sky Arts ‘Landscape Artist Of The Year’ television show where he was fortunate enough to place as finalist. ‘John Ball’s work was a like a breath of fresh air on Sky Arts Landscape Artist of the Year in 2017 with its unique sense of mood and use of colour. The melancholic scenes that he constructs are poetic in themselves and full of story, to the point that they demand your attention and hold it very firmly indeed.’ (Kathleen Soriano, curator)
13: Laura Obon
Laura Obon makes abstract collages out of paper. She is interested in the concept of seeing Art as a tool, described in the book written by Alined Botton and John Armstrong Art as Therapy.
Obon grew up in Tenerife and moved to the U.K in 1998. She completed in 2003 a BA in Fine Art at Sheffield Hallam University and moved to London in 2006 to undertake an MA in Fine Art at Central Saint Martins, University of the Arts. Obon is based in London where she works as an Art Teacher and develops her career as an artist.
12: Barrie J Davies
10: In Dialogue
Studio 73 presents “In Dialogue”, a thematic group exhibition in celebration of International Women’s Day curated by Ivana D’Accico.
“In Dialogue” aims to bring a more intimate and introspective vision of feminism, which considers our relationship with ourselves, as an essential element, while projecting our personalities into the world.
Four women artists show different aspects of a process oriented towards awareness of one’s potential and self worth, in order to leave cultural constructs behind and pursue a mindful dialogue that doesn’t confine solely on gender, but takes in consideration daily aspects of a person’s life.
The exhibition runs from the 8th to 17th March.