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Published by Ellie Pennick, 2019-05-22 05:35:54





In partnership with


Guts Gallery aims are to provide financial support and
exhibition opportunities for artists less platformed within
today’s contemporary art scene; our desire is to facilitate
space and exposure for BAME artists, female artists, working-
class artists, queer artists, and artists outside of London
(bridging the North/South divide)

The distribution of wealth within the arts operates on
a model which mirrors that of wider social austerity; it
disproportionately benefits people who do not experience
racial oppression, gender or class discriminations. In order
to facilitate the success of struggling artists, individuals
in the art world and institutions who are financially and
creatively influential need to recognise and discuss the lack
of resources available to a large number of artists who are
systematically disadvantaged and unheard.

Through initiating relationships between established and
emerging artists, we can create an inclusive and diverse arts
community, with a dynamic and interesting creative working
environment, to produce new structures that enable emerging
artists to have the exposure they are often denied.


Ellie Pennick is the founder of Guts Gallery. She is a queer,
working-class artist from North Yorkshire. After leaving
university in the Summer of 2017, she was accepted onto
a Sculpture Masters course at the Royal College of Art.
However, due to limited funds, she was unable to study there.

This spurred her on to think about how she could create a
business venture that could benefit other struggling artists
like herself. Many people are scared to speak out about
inequality in the art world, often in fear of their own precarious
positions being compromised. Pennick, through the creation
of Guts Gallery, wanted a gallery that could speak out, a
gallery with the guts to protest.


2 WHO DO into the art frame and alternative persona.
WE SUPPORT? The need to build different personas and
identities in order to become a successful
FEMALE ARTISTS artist is not an idea that should exist. Instead,
we should shape the frame to be more open,
One of the factors that have lead to the welcoming and understanding working-class
formation of the Gallery has been a drive artists and their refreshing opinions
to close the gender pay gap within the art
world. According to a report published ARTISTS OUTSIDE OF LONDON
by the Freelands Foundation, throughout Bridging The North-South Divide
2017 only 28% of artists represented by
major commercial galleries in London were Another way in which Guts intends to diversify
women, a fall from 29% the previous year. the art world is by bridging the gap between
Gender disparity is a problem that thrives in the North and South of the UK. The London
most creative industries, and it is our goal art scene is thriving, with lots of emerging
that women occupy an equal space in the artists getting representation and recognition.
industry and percentages like these see an However, the physical and ideological
increase. Equal representation is just one distance between the North and South can
aspect of gender disparity in the art world, mean that those who are thriving in the North
and equal pay is another. Finding creative and don’t get the chance to be represented in
innovative solutions to as broad a social issue the South, especially within London’s artistic
as equality is something that we hope to circles. Not only is this a great shame, it also
incorporate into the running of the gallery. seems creatively essential that artists whose
work is appreciated and recognised in the
WORKING CLASS ARTISTS North get the funding and opportunities to be
recognised in the South too. Large amounts
It is commonly known that the art world of working class artists establish themselves
has historically been, and continues to be, in the North and then find transferring or
dominated by the privileged elite. The art taking up artistic space elsewhere very
world’s approach to working-class artists difficult to do effectively. Appropriate funding
is one which currently makes achieving would act as a necessary vector to move
success in the field considerably harder than both art and artists across this geographical
it is for people of middle-class or financially divide. In a 2017 article in The Guardian, it
privileged backgrounds. This is a structure was estimated that £700m worth of funding
that Guts Gallery will challenge. Providing a would be needed to completely bridge the
creative platform for those without financial artistic divide between the North and London.
privilege on their side is not only essential to As it stands, the divide negatively impacts
the diversification of the art world, but also is the UK’s cultural and creative progression. To
a crucial part of opening up much-needed even begin to bridge this vast gap is not only
dialogues on social issues and current a step forward with regards to equal funding
working-class problems. distribution but also a step forward with
regards to the increased representation of
Financial support and recognition of working- working-class art and artists in the capital.
class artists are in due order. GQ recently
published an article entitled ‘When will we BAME ARTISTS
give working-class creatives the support they (Black, Asian + Minority Ethnic)
deserve?’ in which the life and artistic career
of Laura Footes is explored. Footes bluntly One of the most common debates with
described how she got to her position in the regards to the art world and its shortcomings
industry by ‘building an identity based on in relation to equal artistic representation is
fakeness’ - creating an image that fits well the absence of BAME artists, especially in

large established gallery spaces. In a 2017 who subsequently remove themselves 3
Art-Net report, it was found that 80% of artists
in NYC’s top galleries were white. from their creative communities. Artists,

Although this figure stands with regards disenfranchised by broken promises and
to New York art galleries, the story is much
the same in London. Social mobility for unfeasible working conditions, opt to leave
BAME artists is something that is being
talked about, but more can be done in or are forced to leave. Support systems
order to give these artists the appropriate
platform to showcase their work and thrive. disintegrate after studies in creative fields are
If large art galleries are failing with regards
to BAME representation with no excuse completed, and creative potential seems to
and the most amount of funding, then it is
essential that smaller independent galleries, come up against an expiry date. Artists now
like Guts, recognise this negative trend of
whiteness within the gallery space, and do face a choice between working full time to
as much as possible to change this fact.
Equal representation and apt social change pay the rent, to cover loans, and to support
can begin on an independent level that will
then, hopefully, be further echoed by larger families, and their creative work seems to
galleries and art establishments.
either be slotted into exhausting schedules,
performed for free or totally abandoned.
Another area of the art industry’s
shortcomings that we would like to focus The uncertainty of a post-Brexit art world only
on, and continue to improve through the adds to the artist’s adversity. According to
gallery, is the representation of queer artists. the Arts Council, arts and culture contribute
On a significantly more positive note, queer about £11.8bn to the UK economy, but the
visibility in art is something that is currently majority of artists earn less than £10,000
being boosted, with a host of queer artistic a year. The potential loss of the creative
talent gaining significant recognition. Europe programme funding could also
However, as with any area of progression, prove detrimental to the industry. While
a further positive incline in visibility is there have not been any immediate changes
necessary. Increased recognition, and and announcements regarding operators’
creating a further safe artistic space for queer access to funding, the money may no longer
artists to experiment and exhibit, is another be available once Britain leaves the Union,
goal of Guts. exacerbating what is already a tight financial
situation and providing a major threat to the


London is currently an expensive place
to live with the high costs of living. Artists
continue to migrate away from London;
popular alternatives include Margate,
Ramsgate, Southend and Nottingham.
Others have gone farther afield, to places
such as Berlin - places that promise lower
rents and less creative prohibition. The
continuing hardships of London living create
hostile working conditions for young people


JENNY Jenny Beard is a contemporary painter, who uses abstract
BEARD imagery to explore the ‘objectness’ and the phenomenal
surface of painting. The work is open-ended and explorative,
Swoon dealing with the paradox of appropriating abstract marks for
Oil paint on stretched canvas abstract paintings. During this mimetic experience, does the
125 x 160cm work become representational?


LIAM Liam Fallon was born in 1995 in Stoke-on-Trent. In 2017, Fallon
FALLON graduated from Manchester School of Art and went on to
win the Lim Ai Fang Prize and the Woon Prize for Painting
Brutus and Sculpture. Since then, he has gone on to exhibit both
Steel, plywood, faux leather nationally and internationally.
8 x 30 x 48cm



DOUGLAS Cantor’s practice is reactive and reflective of his
CANTOR geographical, physical and emotional contexts. His paintings
are an exploration of the self; a pictorial tribute to the trace
You Gotta Break The Horse left by decisions made and an ode to the desire of creating
They Say But They Don’t something beautiful.
Know Nothing
Oil on canvas
230 x 200cm



SOPHIE Sophie Vallance is a painter based in Glasgow, Scotland.
VALLANCE Taking the form of large square canvases, rich with naive,
representational symbolism, her practice is charged with
A Painting to Manifest Money immediacy; the act of making is an urgent search for relief.
Oil on canvas Characterised by quick flurries of activity and long periods
150 x 150cm of looking in between, her decision making process is
2019 meditation like in nature, and actively challenges a need
£3250 to control her surroundings. Painting becomes an exercise
in being present; an antidote to rigidity and restraint, a
@im_na_naina starving of the parasite. In the past year she has exhibited at T293 (Rome), L21 (Mallorca), Union Gallery (London) and
Castiglioni (São Paulo).

8 AMY Amy Holt (b.1994 Essex) is a London/Essex based artist
HOLT forming work predominantly in installation, sculpture & video.
Her practice examines how bodies are augmented and
Grotesques Reflection 1 altered through ever-colliding parameters of the synthesised
leather, resin, metal, mirror, body and contemporary corporeality; frequently with a focus
wood, paint on hybridity, post-human and cross-species forms. She sets
50 x 50 x 10cm out to disrupt pejorative definitions of monstrosity, often
2019 using ‘monstrous feminine’ theories as a means of mirroring
£650 and dissecting a current existence. Amy graduated with
BA Fine Art from Goldsmiths in 2017 and recent exhibitions
GM Sphynx 2 include: Six Sigma, SET, London (2019); Mutters, Victoria
Clear casting resin, wood, Gardens, Glasgow (2018); Locating the Leech, Limbo Limbo,
LED light London (2017).
20 x 15 x 10cm





HANNAH Hannah Tilson is an artist from London who recently
TILSON graduated with a Bachelors in Painting from the Slade
School of Fine Art. Tilson’s work is a colourful range of mix-
Checker Out media, between weaving and painting, where she overloads
Acrylic, hand embroidery, the viewer with information through clashing of patterns and
plastic beads on forms. She is currently exploring the relationship between
aluminium panel hand stitched embroidery and plastic beads; the plastic
130 x 140cm beads acting like pixels, working off each other and blending
2019 the old with the new.



MARY Mary Savva is a Cypriot figurative painter born in Sydney and
SAVVA currently based in London. She is a recent MFA graduate from
The Slade School of Fine Art, UCL. Savva recently completed
Pink Aphrodite With a three-month residency and exhibited at Cheongju art studio
Floating Hands in South Korea. Her recent works explore the ideas of home,
Oil paint on linen culture and identity in relationship to landscape, through
150 x 130cm imagery that derives or links to the place she grew up, and
2018 the place she is currently painting, in trying to combine and
£2000 reappropriate them in a wider context.



BARRY Barry Reigate lives and works in London. He is known for
REIGATE his large colourful, mixed media pop paintings and lately his
more monochromatic airbrush canvases.
Untitled (Duck)
Mixed media on canvas inc. By employing the airbrush and graphic art techniques
collage, airbrush, crayon, he learnt as a graphic designer and illustrator, Reigate
spray paint addresses the act of the painter in both high art and popular
240 x 190cm culture. Through encompassing various methods of graffiti;
2018 reminiscent of the those you would see scratched on the
£15,000 walls of public spaces; Reigate’s practice utilises the act of
drawing, doodling and filling in both the physical space and
@barryreigate mental space of boredom. By utilising drawing as a departure from those moments of boredom into an area of escape,
Reigate plays on the surrealist notion of automatic drawing
as an outlet to do ‘some-thing’ and to be pro-‘active’; with
his monochromatic airbrush works, they slip somewhere
between the digital and the primal act of drawing itself.


VALERIE Valerie Savchits is a multidisciplinary artist, originally from
SAVCHITS Riga, Latvia, and currently based in South London. Since
completing her studies at University of Salford in 2016, her
Endangered Species work has been actively exhibited nationally and internationally.
Raw celestite clusters, acrylic, Savchits is the recipient of Hotel Elephant and Southwark
tiles on board Council Arts & Culture Grant Scheme and was selected as
61 x 61cm one of the three hundred art students to exhibit her work at
2019 Future Late exhibition in Tate Modern in summer 2016.


The Guerrilla Girls are a feminist, activist collective of
Guerrilla Girls Code of Ethics artists; who disguised in gorilla masks; use a cumulation
for Art Museums 1 of facts, humour and outrageous visuals to expose gender
Print and ethnic bias, as well as corruption in politics, art, film,
59.4 x 84.1cm and pop culture. Their anonymity keeps the focus on the
1990 issues, and away from who they really are. They believe
in an intersectional feminism that fights discrimination,
Wealth and Power 2 supporting human rights for all people and all genders.
Print They undermine the idea of a mainstream narrative by
59.4 x 71.6cm revealing the understory, the subtext, the overlooked,
1985 and the downright unfair. They have initiated hundreds of
projects (posters, actions, books, videos, stickers) all over
@guerrillagirls the world, and have organised interventions and exhibitions at museums; blasting them on their own walls for their bad
behaviour and discriminatory practices; including the 2015
Copyright © Guerrilla Girls stealth projection on the façade of the Whitney Museum
about income inequality and the super-rich hijacking
art. Their retrospectives in Bilbao and Madrid, and US
travelling exhibition, Guerrilla Girls: Not Ready To Make
Nice, have attracted thousands, and most recently, they
have produced new street and museum projects at the
Tate Modern and Whitechapel Gallery, London; São Paulo
Museum of Art; Van Gogh Museum, Amsterdam; Museum
of Military History, Dresden; Art Basel, Hong Kong. What’s
next for Guerrilla Girls: More creative complaining! More
interventions! More resistance!

1 15



FLORENCE Florence Sweeney (b. 1991) graduated from The Arts University
SWEENEY of Bournemouth, studying Fine Art (BA hons) in 2014 and
currently lives and works in Tottenham, London. Florence
Collapsed Veil has exhibited widely across the UK and internationally, most
Mild steel, fluorescent light, recenty with Espositivo, Madrid; SWAB Art Fair Barcelona; The
latex, pigment, charcoal, Dot Project London, and a solo show at Lily Brooke Gallery
paper, sand London; with an upcoming solo show at The Gallery London
30 x 162 x 30cm in October. Residencies include Espositivo 7B Madrid and
2019 Shelf London Instagram Residencey.



ANDREW Andrew Hart is a current student at the Royal College of Art,
HART studying MA in Painting, and has formally completed his BA in
Fine art at Chelsea College of Art in 2017.
We Finally Found a World
Wide Resolve (f**k guns) Hart’s practice is Multi-disciplinary, based in Painting, where
Oil on canvas the main focus of his work is the symbiotic relationship
90 x 60cm between sound and painting.
Not for Sale Hart’s practice is an ongoing rhythmic research and play of
improvised and spontaneous generative processes, through
@hartart various mediums: sound, video, performance, found object, image, language, photography, collaboration and installation.

Hart is currently playing with ideas of obsession, social
interaction & activation.

18 POLLY On paper, it may seem that the organic sculptural
MORGAN works of taxidermist Polly Morgan, are the antithesis of
X multidisciplinary artist Robert Cooper, whose digital and
ROBERT performance work lives within the internet, mediated through
COOPER technology. Although Cooper’s interest in the synthetic
and mass-produced, does counterpoint Morgan’s focus in
How To Loop in Python 1 ‘cannibalistic, predatory and unnerving’ Animalia, both artists’
Plaster, fridges, taxidermy aesthetic is grounded in the manipulation of bodies.
boa constrictor
168 x 68 x 64cm Whilst Morgan’s craft sees her skinning and manipulating
2019 the cadavers of animals to create physical sculpture, Cooper
£6,500 + VAT (usually) uses his own body, as transferred through computer
to screen and disseminated through Instagram; which is also
Genetic Drift 2 how the two artists met and began collaborating.
Freezer, polystyrene,
Jesmonite, Corn snake
56 x 50 x 55cm
£3,500 + VAT


1 19



PALLAS Pallas works in sculpture, installation, painting and occasional
CITROEN video. A predominant theme within her practice concerns the
seduction of the surface, the façade and how all surfaces
The Two Backed Beast are transposed into a contemporary visual language. She
Plywood , cotton wadding, plays with ideas of desirability and seduction, often using
steel wire, tape, polyester heavily manufactured materials such as plastics, acrylics,
faux hair fluorescents and stuff from pound shops to replicate things
113 x 56 x 140cm found in or from nature. The use of these types of materials
2018 is specific in questioning ideas around taste, as well as the
£3000 permanence - or otherwise - of the art object. Her desire is
for the work to invoke an emotional charge, relatable to that
@pallascitroen experienced via nature; from rocks, clouds and animals; whilst also gaining its buoyancy in the tension between the real
and the fake or fabricated, and the desirability therein. In this
sense, the work aims for a kind of illusionism via spectacle, all
departing from notions of beauty as well as the vulnerability
and impermanence of nature and the non-human world -
where there is a sense of foreboding and something darker
beyond the rainbow.

Perhaps we are entranced in an almost infantile idea of
nature, and at the same time, a kind of ‘death wish’ fascination
with the stuff of our consumption and entertainment, and
it’s wholesale destruction of the planet, with the unique
combination of factors we find here that make life possible.
How do we truly see the planet from the perspectives of
our conditioned and consuming lifestyles; our seemingly
bottomless supply of guilty pleasures?


LUCY Lucy Neish uses biomorphic forms to produce thick, tactile
NEISH paintings which bring together traces of both remembered
experience and found imagery.
Oil paint, plaster, plywood Her recent paintings stand on carved plywood feet; an
170 x 140cm anthropomorphic touch by which the work appears to step
2019 forward into the space of the viewer. The smooth, waxed
£800 plywood has a flesh-like quality which emphasises the bodily
references in the heavily-applied paint of the canvases
@lucy_neish_art they support. The textures at play are like a siren song; encouraging the viewers the desire to touch; reflecting
our need for human contact to establish a level of physical
intimacy in the relationships we form.


FLORENCE Florence Hutchings is currently in her final year at the Slade
HUTCHINGS School of Fine Art. Her work references the poetry of everyday
objects and interiors, depicting the domestic; anything
Studio View from the toilet, to the clothes rail or just a simple object.
Oil paint, oil bar, Florence’s work stems from drawing, as she feels this adds an
collage on canvas interesting and fresh approach with every new subject matter
150 x 120cm that she depicts. Recent shows have included Kaleidoscope
2019 at The Saatchi Gallery; Paper Works at Beers and Seating
£2000 Arrangement at The Delphian Gallery.



ROBERT Based in London, Robert uses the internet, sculpture,
COOPER performance and video to explore the intricacies of life as
mediated through technology. His work crosses over these
Extra Large mediums intentionally to represent the layers of virtual, digital
Digital print and physical reality that are navigated through in our everyday
50 x 60cm surroundings.
£425 + VAT Robert has studied at Central Saint Martins and Edinburgh
College of Art.


ALFIE Originally from the North of England, Kungu has captured the
KUNGU urban spirit through symbolism of iconic sporting brands. His
contemporary icons depict a readability through naive forms
On The Ball and anonymous characters lacking identity.
Gloss, acrylic, latex,
emulsion on aluminium
123 x 149cm



ZE Ze Aya reimagines negotiations of dominance and fragility
AYA by looking at our interactions across digital and physical
social spaces. Formerly from a sculptural background,
Flicking Jelly Beans, Aya’s practise highlights material language and painting as
In Automobiles objects. Using texture, composition and layering processes,
Acrylic, spray paint, gloss the work depicts a collection of seductive, ambivalent
lacquer on canvas and vulnerable experiences. The movement and gestural
150 x 100cm indentations in the material imply chaos, quietened by the
2018 stillness of the figurative.



TESS Materially rooted in the details of urban and bodily
WILLIAMS landscapes, Williams’ paintings explore the physical
deconstruction and reconfiguration of traditional abstract
Crepuscule II painting. By incorporating the use of collage, textiles and
Oil and acrylic on installation, she allows the tangible and visceral material
sewn canvas details to be the central focus. Canvases are ripped up,
100 x 150cm recomposed, layered, sewn back together, altered completely,
2019 before evolving to become a finished work.
A reflection of her upbringing in central London, the industrial
@tess_williams_studio aesthetic is a continuous draw: rugged surfaces, exposed
@tess__williams staples, gritty greys and black. This is in opposition to the softer, fleshy, bodily palette that is often used, alongside
natural linens, raw canvas, frayed edges and delicate
stitching. This contrast explores the relationship between
the male and female properties of materials, and how when
juxtaposed, they can form a dynamic visual language; also
bringing into question themes of domesticity and gender
stereotypes within painting as a medium.


ALEXI Alexi Marshall (b. 1995) lives and works in London, graduating
MARSHALL from the Slade School of Art in 2018. Her work investigates
sexuality, spirituality and womanhood, using print, drawing,
The Party fabric and embroidery. Among receiving awards, including
Ink on paper, linocut print the Boise Travel Scholarship and Antony Dawson Print
200 x 300cm Prize, Marshall was selected as one of the ‘Bloomberg
2018 New Contemporaries’, exhibiting at Liverpool John Moores
£2500 University and The South London Gallery (2018). Other
group exhibitions include Bridge, Izo Gallery, Moscow (2018);
@aleximjmarshall Figurative Now, Daniel Benjamin Gallery, London (2018);
Young Gods, Charlie Smith, London (2018); and 18/11/1, PMQ,
Hong Kong (2018).

Her debut solo exhibition The Redemption of Delilah is
showing at Public Gallery until 1 June 2019.


RAYVENN Digital Sculptor, Writer & Curator.
D’CLARK D.Clark’s practice explores the digital hybridity of sculpture,
following the affirmation of media. RDS’s work chronicles
UNTITLED the elevated reframing of black anatomy - unencumbered,
Silicone, silicone pigment, in traction - the mediation between three-dimensional
sleek make-up, human hair processes alongside the handmade aesthetic within
16 x 19 x 9cm an extended analysis of ‘Objecthood’; the resulting
Not For Sale objects emerge contextually abstracted from traditional
representational aesthetics - embedded in the everyday,
@rayvenndclark_art collective experience through methods of display. Such ideological positioning shifts the normative function of
figurative practices within this mode of self-referential
questioning, which engenders a self-sustaining (non-) fiction
rooted in authenticity and criticality, that allows audiences to
break free from reference once and for all in a new form of
hybrid realism.

RSD is Junior Editor for Shades of Noir, Head of Creative
(AoCA, Alumni of Colour Association, UAL) and also an
Associate Artist for Fevered Sleep.


MARK Mark Wallinger is one of the UK’s leading contemporary artists.
WALLINGER Having previously been nominated for the Turner Prize in 1995,
he was later awarded the Prize for his installation State Britain
This Way Up in 2007. His work Ecce Homo (1999–2000) was the first piece
Print to occupy the empty plinth in Trafalgar Square. Later it was
76.2 x 50.8cm exhibited at the Venice Biennale in 2001 where Wallinger was
2019 Britain’s representative. Wallinger has held solo exhibitions
Signed, limited edition at the Serpentine Gallery, London, England (1995); Museum
Price on request for Gegenwartskunst, Basel, Switzerland (1999); Palais Des
Beaux-Arts, Brussels, Belgium (1999); Tate Liverpool, Liverpool,
England (2000); Vienna Secession, Vienna, Austria (2000);
Neue Nationalgalerie, Berlin, Germany (2004); Museo de Arte
Carillo Gil, Mexico City, Mexico (2005); Aargauer Kunsthaus,
Aarau, Switzerland (2008); Kunstnernes Hus, Oslo, Norway
(2010); Museum de Pont, Tilburg, Netherlands (2011); BALTIC
Centre for Contemporary Art, Gateshead, England (2012);
Serlachius Museum, Mänttä, Finland (2016); The Fruitmarket
Gallery, Edinburgh, Scotland (2017) and Dundee Contemporary
Arts, Dundee, Scotland (2017). His work is also displayed in the
collections of many leading international museums including
Tate, London, England; MoMA, New York, US; and Centre
Pompidou, Paris, France.


Lucy Gregory (b.1994) is a British artist based in London
Applause Machine 1 and Buckinghamshire. She is a recent graduate of the
Steel, paint, MDF, digital Royal College of Art and The Ruskin School of Art. Working
prints on aluminium in sculpture, photography and drawing, she creates
250 x 230 x 100cm immersive, large-scale, kinetic systems of objects or
2019 environments that play with themes of agency, materiality
£5000 and flatness.

Images Have Legs 2 Lucy has exhibited work at FBA Futures, The Recent
Steel, paint, digital prints Graduates’ Exhibition at the Affordable Art Fair, Seventeen
on aluminium dibond and Arthill Gallery. She received the Gilbert Bayes Trust
330 x 200 x 240cm Grant, The School of Fine Arts and Humanities Art Criticism
2018 Prize and The Gibbs Prize in Fine Art.
Not For Sale

Mouth to Mouth 3
50 x 40 x 25cm
£200 Each




RUBY Think of painting as the thrill of the hunt… Oscillating
DICKSON somewhere between violence and our capacity for love. The
outcome is unknowable.
A Devotion To Coincidence
Oil on Dutch wax block The studio a state of curious chaos; as often happens in the
printed cotton performance of entry and exit. The canvas is the stage. Her
70 x 70cm protagonist – a plastic form engaging in potential conflicts
2019 without acquiescence. A paroxysm of scraping out and
£800 re-painting breeds, an intuitive grasp on line and form; the
paintings begin with dragging, ruminating, mining. It becomes
@tess_williams_studio inevitable; she is worshipping heros and listening to them.
@tess__williams Distilled in time, a figure gazes outward from her canvas.
Think of painting as the thrill of the hunt…


RENE Rene Matić (b. 1997, Peterborough), is an artist currently
MATIĆ studying and working in London. Her work predominantly
explores the intersections of her own experiences as a
Give Us A Minute queer, black, womxn. Using her practice to swim with the
Mixed media immeasurable dimensions of the queer, black, femme
Dimensions variable existence. Matić also uses this as a method for unlearning,
2019 embracing and accepting and a way of exposing, combatting
Not For Sale and questioning the power relations and structures within the
art world and society more widely. She does this through a range of different mediums from film, photography, painting, textiles and sculpture.


SOLA To consider a history of black identities, challenging social
OLULODE exclusivity and individual/collective expression, Nigerian-
British Sola Olulode’s paintings become about social bodies
Bea Bonafini Shape and sites of unity and friendship. In their context, they channel
Shifting (Part V) London nightlife in the present – the artist often taking her
Wool and nylon carpet own photography as a starting point – but the generic “anti-
inlay and pastel space” of the works removes this spatial hook. Instead, “the
178 x 215 cm blues” appears as a metaphor – a stand-in for a state of mind,
2018 energy or harmony. The dreamlike space of the paintings
£6500 disengages the figures from a definitive context – as they
are, the characters of Olulode’s work are fluid and not easily
@solaolulode categorised. The liberated body, therefore, is not tethered to
@vongoetzar rigid formulations of identity that bracket and divide the social
body into discrete members. Instead, spectral notions of
Courtesy of von Goetz, London gender and sexuality underpin how Olulode relates to identity, embracing readings of the works as relating to LGBT (Lesbian
Gay Bi Trans) and QTIBPOC (Queer Trans Intersex Black
People of Colour).

The paintings are representations of joy – it would be too
heavy-handed to say they implement a critique – but their
stripping away of detail and context often lends them a
twisted angle. Dance can be said to be a purely expressive
medium; the movements of the body led by both intuitive
motion and practiced gesture. The body language of dance
is its elemental coding, which is in turn framed by a rhythmic

tonality. A dance stripped of musical context then, becomes 35
nothing but physicality – the body as medium. In Olulode’s
paintings, this is starkly realised through isolating the
motion of her figures. Centralising the black female body,
the silent dance of her paintings projects a confidence and
power that echoes in the work of Sonia Boyce and Lubaina
Himid. The compositions, however, are prone to inverting
themselves; the figures can become placid or out of control,
motionless or violent. The translation of the dance becomes
miscommunicated and the balance of (interpretive) power
shifts dramatically to the eye of the spectator.

I​t is this “see-saw” of expressive/interpretive control rooted
in dance that produces a liminal quality to Olulode’s
paintings, and encourages a reading of them on the terms
of representations of BAME peoples; Olulode constructs
an image that is liberated and powerful. Process remains
integral to her method of priming and drawing. Using indigo
dyes and patterns that are inherited from Nigerian traditions,
the paintings use a wax negative to draw and compose
the canvases, through which the rich blue hues of the dye
become (not simply applied to the fabric, but) integral to
the material. The indigo ground serves as a support for the
figures, and in turn, highlights and capitalises the skin of
Olulode’s dancers. The paintings make us keenly aware of
the body language of the subjects, and engage the social
constructs that are implicated in their compositions, colours,
and performative ambiguity.


ROSA Rosa Luetchford is a painter, born in 1995 and raised in Kent,

Fisherman’s Friend Painting the women in Luetchford’s world is a way of
Oil on canvas her immortalising them, embracing the women she
120 x 140cm crosses paths with, and whom make an imprint on her life.
2019 Luetchford finds painting women a way to celebrate and
£1,500 give permanence to them, challenging the associations of
women as a muse for the source of creative inspiration that
@rosaluetch has been previously linked, associated and connected to serving the ‘greatness of a man’. Her focus upon their bodies
is different; to focus upon the faces, the imitative portrayal of
the face is structured and controlled, in which the use of paint
for the rest of space/body is abstracted and unconstrained.
The paint becomes the creator of the narrative; each portrait
contributing to the collection of women in which she paints.


BILLY Billy Parker,
PARKER Patti Labelle (if you don’t know me by now 1987)
Fire And Rain Means Billie Eilish (wish you were gay)
There’s Hell To Pay Rain or tears
Oil on canvas Lobster in garlic butter
130 x 195cm Hell
2018 Jewish pickles (salt beef beigel)
£1200 Leo Dicaprio
A shooting star (on a boat)
@billymparker A flies death.v


JOE By privatizing the NHS, the government would send out a
HOLBROOK clear message that those who cannot afford, either pay or
perish, or put short “fuck off and die” F.O.A.D.
Fuck Off And Die ⅓
Steel, enamel paint, Holbrook’s piece shows the NHS logo, which has been
paint stripper damaged to reveal the steal base underneath. So it begins
60 x 90cm just like the mere suggestion of privatisation, where a whisper
2018 will soon become a shout, and the damage irreversible, just
£1250 like the rust slowly taking over and spreading across the piece
over the years ahead.


BRYDEN Bryden (b. 1982 Irvine, Scotland) lives and works in London.
Having received no formal Art education, he discovered
Haha 66 the outlet of Contemporary Art through publicly accessible
Brick, pens, plywood, collections.
concrete, neon, flame
retardant putty Vindictive insults are plastered across the walls of Glasgow,
152 x 152cm showcasing the bitter rivalry between Scotland’s most popular
2017 football teams, the “Old Firm”. Both teams have long appealed
Price on request to political, social and religious divisions within Scotland. In
1971, an Old Firm game was held at Ibrox football stadium, at
@brydenart Rangers’ home Stadium. During the last moments of a tied match; as disappointed Rangers supporters filed out; a child fell
amongst the oncoming crowd in an exit stairway. Desperately
trying to avoid standing on the child, a pile up quickly led to the
crushing deaths of 66 fans, with a further 200 injured, including
many children as young as eight. A generation later, in the
summer of 2016, one morning Glasgow awoke to this hateful
scrawl on the same stadiums walls.

We are grateful for the generosity
of our circle of supporters

Ugly Duck
Geraldine Atger
Kariss Young
Monia Al-Haidary
Sadie Coles
Alex Liepman / DROOL
Adrian Burnham Flying Leaps
The Brixton Framers
Luke Griffiths
Mia Maxwell / FEM Zine
Kitty Mckay
Grace Goslin / The Femme Collective
Viola Zichy
Chloe Elizabeth Toone
Adeline Bridgwood
Liz Anderson
Edward Green
Pallas Citroen and Tempe Storm / The Bomb Factory


[email protected]

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