SINCLAIR ASHMAN
'Makings'
Saturday 11th November to Sunday 26th November
Three Weekends : from 11.00 am to 6.00 pm
Sinclair Ashman writes:
"Printmaking practice often asks questions of the art form, such as ‘when is a print finished?’ and ‘is a print the only possible outcome?’. For example, I sometimes include post-print embellishments, such as sewing threads into the paper surface, or folding the print into sculptural forms. My largely abstract and textured images are made from plates created from everyday materials such as fabric edgings, acrylic gels and floor tile adhesive.
The plates are often deliberately fragile – surface elements may loosen after a few impressions, altering details in the image and contributing to the creation of truly unique prints. I often include in-print and post-print embellishments, such as chine collé and threads sewn into the surface of the printed paper.
Although I produce some figurative work, the vast majority is abstract, because I am more interested in texture, form and the overall visual power of my imagery than in direct reflections of nature."
DOT YOUNG
‘Ephemeral’
Saturday 2nd December to Sunday 17th December
Three Weekends : from 11.00 am to 6.00 pm
Dot Young is a Scottish artist, based in South East London. Her work considers the global environment and our ephemeral existence within a fragile ecosystem under ever increasing threat.
Through relief sculpting, visual narratives and sculptural interpretation she explores and celebrates the intricacies and complexities of natural life forms and responds to the work of environmental activists such as internationally renowned Kenyan author and founder of the Green Belt Movement, Wangari Maathai (1940-2011).
Most recently, her work aims to reconcile the potential impact of sculptural practices on our environment. She is currently investigating the sculptural qualities and wider environmental context of historically and internationally renowned Japanese heritage washi papers. She considers the relationship and empathy their production has with the natural Japanese landscapes and questions western approaches regarding control over nature.
She has been granted a funded research sabbatical for 2024 from RCSSD, University of London, to further pursue and investigate the enquiry.
Her formal training includes a BA in Fine Art Sculpture and an MA in Creative Media Arts. Her work features in private and public art collections.
Instagram @dotyoung_art
KATHARINE HONEY 06.04.1941 -12.10.2023
Memorial Exhibition of Painting, Batik and Jewellery
Saturday 6th of January to Sunday 21st of January
Three Weekends : from 11.00 am to 6.00 pm
Much loved Blackheath friend and artist Katharine Honey died in October this year after a sudden illness. She was a very close friend to us at White Box and well known to very many people in the area for her grace, cheerful disposition and sensitivity.
More information about this memorial exhibition will be in the next newsletter after her funeral.
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DIANA VELADA and MIA CAVALIERO
‘a certain Slant of light'
Saturday 27th of January to Sunday 11th of February
Three Weekends : from 11.00 am to 6.00 pm
When considering the impact of formative influences, we realised that for each of us, our early years were not spent in the UK; Mia was in India and Diana in Egypt. We both went on to train as fine artists and art psychotherapists. We became friends as tutors on the Goldsmiths MA Art Psychotherapy training. During that period we collaborated on the staff group exhibition - someunconsciousthings - held at the Freud Museum in 2015. The idea of the unconscious is an important aspect in the process of our art-making and in the way in which the viewer may perceive the paintings.
In presenting our work together in the intimacy of this gallery, we hope to enable a conversation between our themes and approaches. While our imagery has different sources - Mia is initially inspired by a sense of being in landscape and Diana’s work begins with a spontaneous reaching for something fundamental within - we feel that the images share a visual quality and language. For both of us the use of colour is central to the paintings - with Diana’s use of lush gouache and Mia’s layered use of textured acrylic paint. We each see our individual pieces as akin to icons, in the sense of their being objects to invite contemplation.
Diana Velada
Mia Cavaliero
