As it says on its website, The Florence Trust provides a dynamic mentoring programme and studio residency in London for twelve international artists each year. Each residency programme lasts for 12 months and is a real lifeline for artists to develop their practice in London.
I went along to the summer exhibition private view in the atmospheric decommissioned church tucked away in Aberdeen Park, which also houses the studios. Not all the artists are represented here as it was too dark for some of my photos. Visit the website for information and click on the artist’s links to learn more about their work and concerns.
The Chilean artist Francisca Prieto is someone whose work I have followed for several years now, having first spotted her along with her impressive storage cabinet at Cockpit Arts during an open studio visit.
Photo from Uppercase Magazine
She works with metal as well as paper, bending and folding her materials from 2 dimensions to 3. It isn’t just the aesthetics, strong as they are, that appeal to me: the ritualistic and repeated activity is meditative; her aim to record and reinterpret something redundant and unwanted into something desirable, to breathe new life into paper, moves me.
All photos (unless otherwise indicated) are from her website as I couldn’t find any decent ones from my own archives.
I hadn’t come across Block Universe, London’s leading international performance art festival, before but, after hearing about it through word of mouth, attended a couple of events – see photos below and links for more info.
“You would almost expect to find it warm”, by Laura Wilson, took place at the British Museum in connection with the current Rodin and the art of Ancient Greece exhibition. Rodin modelled in clay before carving in marble hence the use of dough which shares many qualities with clay. Watching these performers moving slowly amongst the visitors over a period of time was quite meditative.
“Allusion to a body no longer present” by Tyler Eash and Sara Rodrigues , one of the satellite events, was held at St Giles Cripplegate with a script derived from interviews with members of the Swiss Church congregation on the significance of self, search for meaning, and remembrance after death. Some statements were very poignant with the evocative imagery well suited to such a venue.
The inaugural exhibition in the new Gabrielle Jungels-Winkler Galleries at the Royal Academy is LANDSCAPE, one of the three concurrent London exhibitions by Tacita Dean. I wasn’t quite sure what to expect but was really impressed by the scale and sensitivity of the work shown. Zooming in and out is an essential part of the experience (I use those terms deliberately).
Here’s a view through to The Montafon Letter, a huge chalk drawing on blackboard of a mountain (there’s a bit more to it than just that). Majesty, one of a series of works on paper from 2016
Cloud drawings, also from 2016, in front of her collection of round stones.I really liked the contrast of jade reflected in the glass frame of this massive print Quarantania.Her film Antigone is also on show – I wasn’t able to see all of it so will complete the experience on my next visit.