Archives for posts with tag: Oasis

I have been getting up close to mud and matter and thinking about the makeup of the environment around us.

It’s hard to look at a cup say and imagine the structure of its atoms. To think about the solid and then the squishy and how it all works.

From thinking about the origins of things, like the first plants and forests. Evolution and yet how all matter existed from the beginning and it’s just a huge process of recycling.

Deptford creek

Deptford creek

A great place for a new perspective on your surroundings is the Deptford Creekside Centre where you can join a low tide walk.

Low Tide Walk

Low Tide Walk

Equipped with thigh length waders and a long stick you are led down to the creek and given lots of insight into the history and wildlife of the creek.

Deptford Creek Crab

Deptford Creek Crab

It is stunningly beautiful and feels a real privilege to enter this world below the horizon.

Deptford Creek

Deptford Creek

The river has carved intricate sculptures into the wooden posts along the banks.

Deptford Creek

Deptford Creek

The look posts look totemic and hung with vibrant algae quite primordial.

Deptford Creek

Deptford Creek

The creek bed is thick with mud and slime creating wonderful patterns as the water recedes.

Deptford Creek

Deptford Creek

There is the possibility of finding treasure swept along and revealed after each tide but you must ask if you want to take anything away. They have quite a collection of finds they like to add to at the discovery centre.

Deptford Creek

Deptford Creek

On a previous trip artist Lizzie Cannon had been lucky to find a wonderful rusty object which she has since embroidered with threads and beads to continue the growth of the rust giving the object a new organic dimension

Lizzie Cannon - Corrosion

Lizzie Cannon – Corrosion

A Matter of Substance exhibition and salon curated by Caroline Lambard and Elizabeth Murton at APT Gallery encouraged their audience to look beyond the surface of the material to the very structure of the crystals, atoms and particles that form them.

1307 A Matter of Substance

Catherine Jacobs beautiful photographs show tensions of surface sometimes broken by an indeterminate object that works as a disruption to the surface and our perceptions of what we are looking at.

Catherine Jacobs Uncertainties

Catherine Jacobs Uncertainties

Elizabeth Murton’s scroll flows out across the floor in symbiosis with the marks upon it like a cascade of data presenting itself as a record of the inks journey.

Elizabeth Murton

Elizabeth Murton

Cool work for a hot day.

Phillip Hall-Patch

Phillip Hall-Patch / Caroline Lambard

There were salt crystals that sparkled like snow in magnified form like Icelandic landscapes and in salt block form eroded by a constant drip of water.

Phillip Hall-Patch Salt LIcks

Phillip Hall-Patch Salt LIcks

Caroline Lambard’s ethereal sculptures help to imagine 3D form from all perspectives through their delicate drawing in thread to delineate a space.

Caroline Lambard

Caroline Lambard

I have started on a new piece of work, the idea of an oasis, an escape, a view through to another place so it has been interesting to think about form and space.

A solid outer that hides a world inside.

1307 Oasis collagraph 1

It starts with the construction of a collagraph which I am slowly building up from cut card and carborundum.

1307 Oasis collagraph 2

Once made the idea will be to rip a section out to reveal an internal space.


One of those precious autumn days of mist and damp when the sun still has a bit of warmth was spent in Camley Park before the close of Wild New Territories.

Camley Park is small, overgrown and on the canal which lends an even greater air of dankness to its earthy decay on such a day. The bright plastic coated artworks contrast strongly in the undergrowth. Outside video screens and large format prints are placed amongst the trees. The artwork explores the interplay between the urban and the wild, some of the work using a sledgehammer approach and others making beautiful and enigmatic interventions.

A favourite was ‘Howe Street meets Camley Park’ video by Kathy Kenny and Ron den Daas

Video footage of passers by is set against an urban background that morphs from reality into a painted depiction of a landscape, from fact to fiction.

Like suddenly entering a dream, stepping back in time or forward into the future, the same place in another time. Very beautifully done it was mesmerizing.

Also I was keen to see if the bull skull Gordon Cheung had installed in a bee hive had in fact been turned into a skull shaped honeycomb.

Not quite but there was lots of honeycomb around and it gave a whole new aura to a bee hive.

The last in the Odds Against Tomorrow series of exhibitions opened at Bearspace  and I went along for the private view.

Exhibit D draws together work with a dark side. I found David Lupton’s abattoir series of drawings the most disturbing.

 Detail from Abattoir 3 by David Lupton

It brings back memories of the abattoir in my childhood village that we would visit peering in through the bars to see the whites of the cattle’s eyes as they waited their turn, but it is mainly the character in the drawing.

He has a clown like face with eyes that touch something even deeper in my memory that is uncanny and unsettling.

Lupton says he is exploring horrors of reality and the innate violence of man through his work.

It is an uneasy relationship between us and our meat. Distanced from the horrors of the abattoir, the raw flesh and such evidence of death it’s almost like a parallel reality going on somewhere else.

Another pause for thought about the horrors of violence was the satire ‘The White House Murder Case’ by Jules Feiffer. When it comes down to survival, mortal or political what are we prepared to do? Where are our sensibilities?

This tension between physical and emtional disconnection and facing up to violent realities were also something that came across listening to Andrew Salgado talk about his paintings in the show The Misanthrope at Beers Lambert.

Salgado set himself the tricky task of building a show around the premise of the misanthrope – someone who hates people – and took the gay serial killer Jeffrey Dahmer as a starting point to consider his emotional response in painting such a reprehensible figure. The outcome has been an arresting set of paintings bursting with emotion built up with thick gestural blocks, drips and splashes of paint.

It was also interesting to see how his painting has evolved since the first Surface show at The Crypt in 2011.

So my thoughts have been directed around facing up to those darker sensibilities of violence which emanate from something close to nature but also to the new relationships that evolve within our urban environment.

I was delighted to hear the founder of The Roundabout Appreciation Society talk on radio 4 about his love of the roundabout which he described as ‘an Oasis in a sea of asphalt’.

In my directory of folders sits one called Roundabout with lots of images like this

all waiting to be incorporated into a series of work called Oasis. I should maybe get in touch with the association – he said they lacked women members.

In the meantime I have finished the second Graft piece looking at ideas of transplanting, cutting and inserting something appealing onto a base or unappealing substrate.

A hybrid plant in a hybrid landscape. The rhododendron image is revealed by cutting into the background image with a soldering iron incising the polyester to reveal layers underneath.

I was interested to read in the local paper that the rhododendron ponticum a non-native variety introduced by the Victorians to the Isabella Plantation in Richmond Park is being removed as it is causing a risk of disease.

And so the landscape changes.