WhiteNoise_Projects is excited to be taking over One Paved Court Gallery, Richmond
from 3rd May - 28th July and 3rd - 15th September.
WHITE NOISE PROJECTS
MAY – SEPT 2024
A Series of Exhibitions curated by Hanna ten Doornkaat and Buffy Kimm
Particle Zoo: 1 – 31 May
A residency and exhibition by Sandra Beccarelli.
Both gallery and studio will be open to visitors enabling them to see how a multitude of ideas can co-exist and inform the “finished” pieces. Sketches, half painted canvases, sewn metal grids, written notes and symbols are some of the elements which will be visible within Sandra’s Zoo.
Meditations and Repetitions: 4 – 16 June
A joint exhibition by Buffy Kimm & Doris Ernst
Contemporary paintings, mixed media and paper works that express the meditative and repetitive method of their creation.
Possible Impossibilities: 18 – 30 June
A collaborative exhibition of mixed media artist Hanna ten Doornkaat and Dutch photographer Shiba Huizer.
While their artistic styles diverge significantly, their collaboration illustrates the aphorism ‘opposites attract’. The exhibition echoes Aristotle’s belief in the probability of impossibilities by emphasising the allure and by embracing the concept of likely impossibilities over improbable possibilities.
Chromatic Journey: 18 – 30 June
A solo exhibition by Jennifer Talbot
Taking inspiration from the history of art, from the energy and intuitive process of action painting to the pictorial depth and resistance to boundaries of baroque painting, Jennifer also recruits colour, from the pastel tones of mannerist paintings to the fluorescent manmade pigments of contemporary art.
Recollect: 2 – 14 July
Solo exhibitions by Anna Bingham & Annamarie Dzendrowskyj
A dialogue between contemporary ceramics and paintings, ethereal visions of the world around us.
Seascapes 16 – 28 July
A solo exhibition by Liz Gilbert
Ephemeral works, abstracted perceptions of the sea, on different papers in different mediums, print and oil paint, photographs and film.
Traces: 2 – 8 September
Solo exhibitions by Loraine Monk and Rachel Pearcey
Woodcuts by Loraine Monk that send a social and political message. Stitched and woven textiles by Rachel Pearcey
Spectrum: 10 – 15 September
An epilogue in collaboration with Artist Support Pledge founder, Matthew Burrows and other invited artists including Paul Furneaux, Tom Cartmill, Kate Boucher, amongst others.
Particle Zoo is a term coined to describe the myriad of subatomic particles that exist and those still waiting to be discovered within the known universe. These particles form the building blocks of the universe, existing as independent and unique entities with specific characteristics performing their individual function, yet existing within a structure that forms the wondrous universe that we inhabit. Without this multitude of subatomic particles, neither the universe nor our beautiful blue planet would exist in the way it does today.
“I feel that “Particle Zoo” sums up the artist’s practice in the studio; a myriad thoughts and ideas can pass through the creative mind, some which come to fruition and some which exist only as a memory waiting to be found another time. The artist’s studio could be compared to the scientist’s lab delving into unknown territories to pursue an intangible truth. One Paved Court will become my “Particle Zoo” throughout the residency. Upstairs will be my working studio and downstairs complete and incomplete works will hang on the walls, with a weekly change of display as things develop and progress.” Sandra Beccarelli
Recent works are inspired by growth and change, an exploration of the blooming and wilting of flowers – the beauty of the ephemeral, the power and obstinacy of Nature to survive. Making and drawing are at the centre of Anna’s practice; the ceramic vessels grow from sketches by hand building. Slabs and coils of clay are coloured by painting liquid clay onto the surface mixed with oxides from the earth.
In his book ‘Ceramics’ Philip Rawson said, “Each pot represents a primal interweaving of matter, human action and symbol.”The chance and alchemical nature of the firing process influences Anna – this matter, clay symbolizes fragility and strength.
Hanna ten Doornkaat
Ten Doornkaat’s work is an ongoing investigation of the meaning and concept of painting versus drawing. Her works on wood panels are defined by a complex process of repetitive mark making and erasure, of revealing and concealing. Layers bear witness to the tension between silent contemplation and the cacophony of modern life, the spaces between as noteworthy as the lines themselves.
Initially trained in sculpture, ten Doornkaat not only questions the purity of abstracted lines and shapes, but also challenges the boundaries between two and three dimensions. More recently she put down pencils and pens to experiment with a different medium, thread and needle to draw lines with. The general idea of the line remains at the centre of it and the questioning of what constitutes a drawing. Often initiated by a fleeting glimpse, overheard phrase or fragmented memory, an idea may be concealed until ten Doornkaat adds a final layer when naming her works. Whether paying homage to conceptual artists whose theories have influenced her practice, offering a pragmatic description of a drawing’s formal characteristics, or providing a glimpse into her state of mind, words not only inspire the work but complete the artist’s contemporary palimpsests.
Annamarie Dzendrowskyj seeks to examine the indeterminate nature of ‘ways of seeing’ and ‘ways of being’, that ambiguous ‘grey area’ between presence and absence, exploring fleeting moments of a world in constant flux. Moments in time she sees as suggesting a space, rather than defining a space, one that exists between what is seen and unseen, a zone of indiscernibility, reflecting state of our global uncertainty.
Indiscernible zones and spaces have been at the heart of Dzendrowskyj’s life experiences which act as a catalyst for her work, bringing her empirical experience of life underwater to the surface. What is seen underwater is affected by interference – movement, light, weather conditions and in this sense, nothing appears clearly defined. This is reflected in her work which presents an amorphous zone where the visual functions as a metaphor for both narrative and conceptual form – a threshold between description and subtle dissolution.
Drawing on the historical traditions of the genre of landscape painting Dzendrowskyj derives inspiration from the Nocturnes of James McNeill Whistler. The Nocturnes present an atmospheric obscurity of ’variations of infinite delicacy in dusky, diffused and vaporous tints that belong to neither night or day’ 1. This is a key concept for Dzendrowskyj, who presents an interpretation, not a reproduction of what is seen, whilst still retaining recognisable elements of imagery. Employing a process of creation and erasure, concealing and revealing, she allows for empirical perception, remembrance and imagination to merge to evoke a kind of netherworld that conflates time, place vision, and memory. Exploring the tension between figuration and abstraction, inviting the viewer to challenge their perception of time, place and space.
1. Stewart, John. Turner Whistler Monet, Tate Publishing 2005 pg 142
Doris Ernst is a German born artist currently based in London. Her work is influenced by living and working in many major cities around the world as an artist, but also in the field of international law, humanitarian assistance and cultural exchange.
The different cultures and experiences are reflected in her thoughts about her abstract works as well as the theme of chaos and order. Doris loves to work with spatulas instead of brushes. Applying paint in this manner always includes an element of randomness and surprise which again is a similarity to life where perfection can hardly ever be achieved or planned. The apparent order of the stripes and the grids in her works is however not regular. Overlaying layers show the multitude of different influences we face in our life. Doris` art is very personal and intuitive. It is her form of expression and search for a dialogue in a world that is hard to understand and gets more confusing every day.
Liz J Gilbert
Water: Oceans, seas and pools have always been part of Liz’s life.
“My work explores my passion and fascination with water, seas and oceans and how it references /reflects my life. It has become a metaphor of expression for a woman changing as time passes: as a child on the beach, a mother on the beach, a single parent, single, and as a distance sea swimmer …taking me to remote and distant oceans.”
(Liz has one last ocean to experience: The Arctic in 2025, where she will swim 3- 5 kilometres per day for 5 days.)
In her creative process, Shiba takes a hands-on approach to craft a unique visual narrative. Constructing her own backdrop sets in her studio, she stages her models in carefully curated environments and handmade or pre-loved outfits. Flowers play a crucial role in her work. Every detail matters, and she personalizes handmade fashion props and creates hairpieces to complement her portraits. This styling adds a personalized touch, ensuring that each photograph becomes a distinct story, uniquely tailored to the emotions and personalities of those in front of the lens. The portraits aren’t just pictures; they’re glimpses into different times lines and emotional landscapes.
Buffy Kimm aims to inspire the viewer to look more carefully at their surroundings to see what is actually there but what is not necessarily obvious. In her practice she takes inspiration from the obscure and unusual, using both nature and architecture as her inspiration through photography. She is fascinated by light and shadow and likes to experiment with different media to explore innovative solutions to her work. She tries to find what others leave unnoticed, to create works that reflect the magic that is there to be seen but is often relegated to the forgotten.
Loraine Monk’s visual arts practice derives from a sense of place. Her family were working-class Londoners; inspired by local and community history, her background has influenced her politics, academic research and artistic practice.
Having moved from painting to printing she uses the act of cutting to make tactile, the visceral anger of inequality and political disengagement. Previously exploring the inequality of power relations and occlude histories of certain people, places and ideas. She began printing by making a series focussing on Protest movements an demonstrations .
She creates images using both relief and etching processes, carving and engraving into, and under, the surfaces of lino, metal and wood. During Covid lockdowns she explored images related to animal extinction, as well as representing both human/ hybrid animal images, connecting both animal and non-animal species together in the face of political and environmental threats.
Her recent work has focussed on Woodcuts. The last, Broken bird, a reaction to the destruction and deaths in Israel and Gaza, was made as part of an exhibition in London in December 2023, the first print being taken on the third day of working in the gallery.Her intention is to continue experimenting with making prints in public spaces, using larger wood panels. Returning to issues of protest and resistance, as well as continuing to work on a series depicting iconic women.
Rachel Pearcey came late to the actual study of Fine Art but has always loved making and building things; She studied cabinet making course in her forties and learnt to rebuild, repair and polish antique wooden chairs, and that is where she first came to love chairs. Studying art, Rachel discovered drawing and mark making. Now her work is mainly about stitching; hand stitched marks on secondhand or vintage linen, cotton or flax.
“Reading my dissertation from nearly 20 years ago I find that I am still feeling and thinking the same things then as now. I’m not sure whether this is good or bad, or neither.” Rachel Pearcey
Jennifer draws from a myriad of influences and techniques to create her work. She recruits the energy expressed with dramatic brush marks and splashed paint from action painting, from the baroque she exploits the dynamic use of space, illusion and resistance to boundaries. In her current work, she combines the restrained energy of splash marks with organic forms generated using the art of Suminagashi, the Japanese technique of floating ink on water. While she resorts to a wide range of techniques and influences to create her art, the work is never arbitrary. For in its making, she uses intuition, seeking the alliances and relationships that provide the foundation to what are seemingly disparate sources of inspiration. While the works are being made they undergo many possibilities evolving through an iterative process that never stops until the works are shown.