6 Alexander Grove and Control Tower
‘Who controls the past controls the future; who controls the present controls the past’ – 1984, George Orwell, Secker and Warburg, 1949
‘History is more or less bunk’ – Chicago Tribune, Henry Ford, 1916
I find the way that historic events, stories and legends are presented through art, fascinating. Or misleading. Or slanted to a purpose. Or insightful.
Linking a host of past and current records, pictures and books allows me to re-imagine narratives and explore the connection between historical matters and the events of today. I work diligently at re-defining these with my own prejudices by adding my own personal view. I do not claim that this provides any definition of truth. But it may make the observer think a little, who knows?
A recent project ‘The History of The World in Six Pictures’ came about using old and new records and a medium based on a photographic outcome. Each piece emerged through a hand-made construction process, cutting and mixing appropriated photography, my own images with photomontage, text and drawing. As a final step the completed work was photographed for display.
Unique Metal Sculpture
My creative exploration began in my childhood, making fantastical hybrid creatures using old toys and a tube of glue. Today I make animals and creatures from mostly found and recycled metal; transforming every day objects into detailed, sculptural artworks.
My commissions include sculpture, architectural installations and furniture. And many of my public artworks are on display in several locations throughout England.
4 Abbey Wood Rd
Ann Burnham trained at Harrow School of Art and worked as a graphic designer for some years before becoming a full time printmaker. She exhibits regularly and has work in private collections in this country and abroad, and permanently on display at Greenwich Printmakers Gallery and Southbank Printmakers Gallery. She has exhibited at Bankside RE open, Society of Woman Artists at the Mall Galleries, Affordable Art Fair Battersea and Hampstead, as well as being prizewinner in the ‘Inspired by’ competition at the Victoria and Albert Museum.
Her prints are inspired by a fascination with the textures and patterns found in both the natural and man-made landscape around us, as well as a sense of mystery about where things may lead and where they may have originated. She enjoys the direct and rich mark making of the collagraph and monoprint processes, as well as the more precise methods of
17 Kings Hill Ave & 4 Abbey Wood Rd
Gail Astbury was born in Lancashire England and is an artist and educator. She trained as a painter at Wimbledon School of Art in the 1990’s, and has furthered her studies recently, gaining an MA in Contemporary Arts Practices at Goldsmiths University and Tate Modern London in 2014.
Gail makes series of paintings and drawings in her studios in London and La Péruse, south west France. She works on collaborative visual arts projects that revitalise spaces and communities for private, public and corporate clients. Her work explores ‘position’ and place within any group or society to make room for ‘re-positioning’, vitality and decision-making from participants and new audiences.
1 Tower View, 39 Kings Hill Ave and Control Tower
I am an artist, editor and writer living in London, and my art practice is focused on painting.
My paintings are explorations of the language of space-making. They are inspired by light and colour, memories, places, and by the qualities of paint itself. An underlying geometry, experimentation with process, and the materiality of the paint surface are recurring themes; colour is an animating force. The paintings evolve on the canvas through a process of building, adding and removing elements, and through alternating layers of saturated and muted colours.
1 Tower View
Joshua Vaughan is a skilled artist, working in a variety of media, including steel, wood-working, silver and various other process oriented materials. He works both on commissions, on his own practice and as a technician for various art events throughout London.
35 Kings Hill Ave
I am a painter and printmaker in love with colour, having attained a BA in Painting and an MA in Printmaking. I very much enjoy the activity of making my artwork, seeing and responding to the previous mark or colour I have created. The process can then become very much part of the creative journey.
My subject matter has two strands. The first is responding to the visual impact of exotic places (and some closer to home) that I have visited. These include Morocco, Vietnam, Bali, Israel, Iceland and more recently, Nepal. The patterns, colour and shapes excite me, and through drawings and photographs I create memories for myself so that I can produce work which evokes the visual impressions of my travels have made one me. As a painter I use mixed media, and I work in screenprint and relief printing such as linocut, always trying to exploit textures, shapes and above all colour, the most important aspect.
The second type of subject matter is objects. I gather objects which are sometimes quirky, sometimes exotic and sometimes just colourful in shapes which inspire me. I compose the ‘still lives’ on the paper or canvas, so that I can play with the interaction of geometric shapes, the objects themselves and again, colour.
34 Tower View and Control Tower
drawing.The nature of the lines, clean or scumbled, lyrical or direct, together with varied colour and facture characterise my visual language. I use contours to distinguish expressive relationships, juxtaposing colours, their chroma and value, thus distorting the perceived depth of the work.
I have explored primitive and surrealist mark-making in the structuring of my work. The two-dimensionality of abstract expressionist colour field painting also informs my investigation of space. Scale is a key feature, influencing the reading of the work; with a large painting the audience navigates the nuanced surface, simultaneously consumed by the holistic presence of the piece.
30 Tower View
In 2009 I started working from a Newspaper image of a Polar Bear, the corresponding article was about global warming. In my sculpture I have tried to express both the image and some of the environmental issues. My print making developed out of the sculptural images.
All my recent prints are wood cuts many of them are reduction prints, using more than one colour. As in my sculpture I continue to experiment with both the medium and the subject.
"My work is image based expressing in the physicality of the material an essential quality of the idea. The tactile quality of my work, the process of its making, being evident is important, I would like my work to be seen as if the sensation of touch can be experienced visually."
30 Tower View and Control Tower
Stella Whalley is a multidisciplinary Fine Artist living and working in London, her work has been disseminated through exhibitions, lectures and publications, leading to heightened public awareness of the debates and developments in the expanded field of digital processes in printmaking, site-specific installation, painting, video and sound installations. Her National and International exposure of artistic practice and engagement with public and professionals, delivering many talks in public galleries and museums, including exhibitions ‘Bad Witches’ is shown in the EMPIRE 11 exhibition at the 57th Venice Biennale 2017, Site-specific installation ‘The CRASH’ Q Park London Freize art week 2017, multi media group exhibition in association with Geoffrey Leong Foundation. ‘Cinematic series’ of prints at the 3rd Global Print 2017 and Douro Biennial 2018 Portugal, the Nakanojo Biennale Japan 2015, the Wilson Gallery Cheltenham 2014.’Digital Responses’ the Victoria & Albert Museum London, and a book launch of ‘Tokyo Tales’ at the Whitechapel Gallery. She has successfully received funding for International residencies and exhibitions in Japan and Italy.
42 Kings Hill Ave and Control Tower
Yvonne Roberts deconstructs and reconstructs images of personal significance to create abstract paintings and collages, recognised for their strong sense of colour and form. Shapes and marks overlap and converge, as if in conversation with one another - each piece serving as a form of visual poetry, for both artist and viewer alike. Much like Albert Irvin and Howard Hodgkin, she has adopted a gestural approach, turning representative motifs into dynamic, rhythmical compositions, and though any indication of subject is removed, an emotive and immersive narrative remains.
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