Here We Go Again | 27th Sept


Private View: 27th September, 7-10pm

Opening Daily: 28th Sept – 7th October, 9am-5pm

HERE WE GO AGAIN – The loss of inhibition vs constraint, the organic and the precise, inadvertence and contrivance, frivolous and measured, the ‘one-away’ and the product, taking risks and playing it safe.

4 artists with different practices exhibit in a group show that explores control and loss of control; a common duality in the making of work.

‘The dialectics of intoxication are indeed curious’, reflected Walter Benjamin in 1927. ‘Is not perhaps all ecstasy in one world humiliating sobriety in that complementary to it?’. The figure we cut when offering to buy a round for the whole table can appear cruelly inverted when we muster the courage to check our bank statement the next day. Benjamin was not merely talking about the denial and overcompensation that go with living for the weekend however. He was describing an inescapable experience of modern life, in which we are continually awakening to a new that is always already outmoded and, finally, no different to the old that preceded it.

Here We Go Again considers this idea of intoxication in the context of contemporary artistic practice, in which even the most avant-garde strategies take on predictably familiar contours. Whilst holding out no real possibility of escape from the conditions Benjamin describes, when awakening to its own clichés, conceits and contrivances, and when swooning over them once again, artistic practice might still permit an observance of their very inescapability.

Gregory Williams, 2019

Ashley Loxton

Ashley works with ambiguity and abstraction, to produce both considered and experimental paintings, whilst building on elements of inadvertence to navigate the course of his work. He contrasts found material from books and billboards, with the fluidity of paint; orchestrating a playful imbalance between archive and invention, image and manipulation, and nostalgia.

Group shows include: ‘Inside Playful Minds’, ‘Places, Faces, Things’- Margate and ‘Places, Faces, Things’- Deptford

Daniel Wallis

Wallis’ practice is a playful one of meandering, manipulated poetic incidents. When creating a body of work he typically uses refined systems of construction, never within a restricted or arduous manner but composing mischievous and animated constructions often peculiarly or humorously disrupted. Notions of weight, balance, replication, and implied function help dictate the construction but can then become redundant to its ultimate installation.

Wallis Studied at Chelsea College of Art & The Royal Academy of Arts. Prizes: Patricia Turner Award for Sculpture &The Andres & Nicholas Tooth Award.

Gregory Williams

A reflection on the limits of self-recognition forms the basis of an experimental use of mark-making in Williams’ drawings. Is integrity possible in the face of an encounter with something that may be more you than you could recognize? Can the mark or trace of a disjunct between our images and actions finally be reconciled, or is self-recognition only ever the endless experience of its own limits? In Williams’ practice, mark making becomes just as much a means of reflecting on these questions, as these questions provide a guide for ongoing experimentation.

Gregory is an artist, writer and lecturer, currently studying for an AHRC funded practice based PhD at the University of Manchester, entitled Drawing from Experience: The Surrealist Image in Theory and Practice.

Rebecca Fontaine-Wolf

Fontaine-Wolf is principally known for her figurative paintings in which she reflects on questions around gender and representation. Her paintings focus on the lived experience of inhabiting a woman’s body through a playful exploration of the feminine divine and the taboos which still exist around the subject.

“Working with each individual sitter also involves another level in which, through a combination of conversation, photography, and the play of materials on the canvas, unconscious aspects of ourselves emerge in the work. The encounter between painter and sitter involves making visible otherwise invisible aspects of ourselves, to ourselves through each other. In this way the paintings become both personal and Universal at once. ”

Fontaine-Wolf has exhibited widely in solo and group shows. She received the Chelsea Arts Club Trust Award to complete her MFA at Wimbledon College of art and is Vice President to the Society of Women Artists.

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