Wednesday, 31 January 2018

The Performativity of Painting - Artists' Talk, Saturday 10 February



















The Performativity of Painting, The Stephen Lawrence Gallery, University of Greenwich Galleries. Opening hours: Tuesday - Friday 11am - 5pm, Saturday 11am - 4pm, until 16 February 2018

The Performativity of Painting, Artists' Talk,
University of Greenwich Galleries and Creative Conversations


‘An experience of an artwork is an embodiment of space, within the work and around the work – the experience of the temporal’[1]


The Creative Conversations initiative and University of Greenwich Galleries invite you to join the artists of the current Stephen Lawrence Gallery exhibition, on the afternoon of Saturday 10th February, to view and experience the work and to discuss the performative nature of painting.


‘What is the relationship between the artists and their artwork? What role does the gallery space serve in the staging and meaning of the work? How does the ‘framing’ of the gallery space alter the experience of the viewer? How can an artwork behold a viewer? How can a curation of works create thoughtful dialogue individually and as a collaboration?’


These are some of the topics that will be considered in an open forum with the artists Tobias Buckel, Liz Elton, David Lock, J.A. Nicholls, Selma Parlour, James Pimperton, Rebecca Molloy guided by participating artist and curator Alex Roberts.


For further details, and to register the event, follow the link on the Eventbrite page here


Schedule of the event: 

Saturday 10 February 2018, The Stephen Lawrence Gallery, University of Greenwich Galleries
1.30-2pm arrivals – Coffee, tea and cake provided
2pm Rebecca Molloy performance
2.30-4pm Public panel, open discussion, Q&A’s. Introduced and guided by Alex Roberts.


[1] Linday Seer’s commentary, elevated from the final panel discussion of the conference, ‘Folds in Time: Artists’ Responses to the Temporal and the Uncanny’, hosted by The Freud Museum, 4th July 2015. Part of The Freud Museum Festival of the Unconscious.

Tuesday, 2 January 2018

FAD Magazine Recommends & Reviews... Control To Collapse


"The Top 7 Art Exhibitions to see in London over Christmas & New Year’s. Read more..."

I have visited 5,000 painting-based shows this century. Yet there are approaches in the gesturally-themed group show ‘Control to Collapse’ which I can’t recall seeing in any of them..." Paul Carey-Kent. Read more...

Control to Collapse, Blyth Gallery, Imperial College London 2017
Image credit: Liz Elton



















Closes 3rd January 2018
How to find the gallery at Imperial College please click here

Wednesday, 13 December 2017

The Performativity of Painting


any day now, 2017, J.A. Nicholls (left).  Postcard, 2017, Selma Parlour (right).

A choreographed meeting.

16 January – 16 February 2018, The Stephen Lawrence Gallery, University of Greenwich Galleries.

Artists: Tobias Buckel, Liz Elton, David Lock, J.A. Nicholls, Selma Parlour, James Pimperton, Rebecca Molloy, Alex Roberts

Painting – the performance of structures, fragments and use of space within the perceived painted frame, and the relating inherent surround.

In bringing together these artists, through their distinct individual accounts and methodologies, the exhibition, The Performativity of Painting offers the opportunity to consider site-specificity, theatrical tropes, depicted surfaces, staging and the interconnectedness of the artwork’s context (in the works’ content and proximity). In this sense, the exhibition will seek to address painting's embodiment of the performative space.  Curator: Alex Roberts 

To access the full press release please download here

Opening hours: Tuesday-Friday: 11am-5pm, Saturday: 11am-4pm
Private view: Friday 19 January 2018, 6-8pm 
Artists’ Talk: Saturday 10 February 2018, 1.30-4pm.  To reserve a place please register here

Contact: Gallery Curator, David Waterworth ugg@gre.ac.uk www.greenwichunigalleries.co.uk
STEPHEN LAWRENCE GALLERY, University of Greenwich, 10 Stockwell Street, London, SE10 9BD, Tel: 020 8331 995

Curator contact here






We would like to thank Dr. Ken Wilder for his insightful text, written specifically to accompany the exhibition.  For those interested in gaining a copy of the catalogue please contact Alex

Dr. Ken Wilder is an artist and writer. Having practiced and taught architecture, he now makes site responsive installations and films. Based at Chelsea College of Arts, he is the University of the Arts Reader in Spatial Design. He has published widely on issues of reception aesthetics, including Bloomsbury’s 2016 anthology Painting: Critical and Primary Sources.

Sunday, 5 November 2017

New Life Drawing Day Workshop, Drawing Projects UK - 16th November 2017, 09.30-15.30

Drawing Projects UK are delighted to present this special life drawing session.

Life Drawing Session: Two Male Models with Simple Props & Drapery

This one-day life drawing session led by artist-tutor Alex Roberts will provide the opportunity to draw two male life models and to explore how simple props (eg: drapery, masks, blindfolds) add visual meaning and aid symbolism within figurative art. This session will reference compositions from Francisco Goya and Paul Delaroche to George Fredric Watt and John Singer Sargent, and explore drawing style and language relevant to the subject matter.

Twelve places are available, for adults of all levels of ability. For further information and secure a place please click here

Image credit and © 2017 Drawing Projects UK

Control To Collapse, Blyth Gallery: 22 November 2017 - 3 January 2018

Contacts: Rebecca Byrne: rbyrneblack@gmail.comLiz Elton: lizlelton@gmail.com

















Imperial College, Sherfield Building, Level 5, South Kensington Campus, Exhibition Road, London, SW7 2AZ

“Paint records the most delicate gesture and the most tense… Paint is a cast made of the painter‟s movements, a portrait of the painter‟s body and thoughts.” James Elkin, What Painting Is, 1955 

The 'gesture' is defined as a movement, usually conveyed by the hand or head, that expresses an idea or meaning. When accompanied with speech, it can articulate, emphasise, create humour or angst. In painting, the gesture has a loaded his-tory. Most commonly associated with the abstract expressionists like Willem De Kooning, Lee Krasner or Joan Mitchell, it held alchemical accord, with the ability to imbue painting with the emotional charges of joy, anger or melancholy directly from the artist’s hand. Now emptied of those grand accreditations, the gesture takes on a more functional role. In an age of image proliferation, the gesture is a unique device or mode of language that is crucial in relaying a painter’s conceptual concerns. 

The artists in Control to Collapse feel, interpret and respond to the viscosity of pigment and the absorbency of surface to find painterly gestures that take an active role in conveying meaning. Through this tactile connection with their materials, these artists draw on bodily intellect and let muscular memory guide the application of paint. They are acutely conscious of the gestural act as a device for communication and find movements and motions that allow ideas to be soaked into the surface of their work. 

This exhibition navigates a variety of gestural acts, from an intricate slicing that causes oils to take on the healing qualities of flesh; to broad swathes of paint that engulf the gallery and interrogate the psychological qualities of the spaces we in-habit; or rapid washes of thinned oils that create aqueous scenes of transparent and luscious landscapes of vegetation to address politically charged themes of excessive water consumption. It explores the gesture’s role in communicating the wider concepts explored in the featured artists’ respective practices. 
Niamh White

Control to Collapse is curated by Rebecca Byrne and Liz Elton, the title aiming to encapsulate the range of gestures these nine artists employ, from the tightly controlled to a point where the gesture is undermined and almost allowed to disappear. Under the name ‘PaintUnion’, Rebecca and Liz have collaborated on a number of talks about painting and other projects, including ‘Pool’ at Griffin Gallery and PIY PaintLounge at Sluice Biennial (with Wendy Saunders and Paula McArthur of paintbritain). They are very grateful to Niamh White, co-founder of Hospital Rooms and founder of the Den-tons Art Prize for writing Control to Collapse’ introductory text. 

Download the full press release here

Thursday, 19 October 2017

Positive review: "Drinking in the messages", Stations of Water, St. Paul's Cathedral

Positive review, #Stations of Water @StPaulsLondon @StPaulsInst thanks to @The_Tablet  access here


Overlooked - Stations of Water, St. Paul’s Cathedral, London - extended until 28th October

Overlooked, 2017
The painting triptych, Overlooked, made up of Reflective Hope, Wish/Cleanse, and Reveal, gains its inspiration from the physical properties of water - transparency and reflection.

Image credit: Graham Lacado 
Image credit: Laurin Gutwin

The two paintings, Reflective Hope and Wish/Cleanse displayed on the panelled stone walls are images of visitors that Alex may have seen while visiting the cathedral. One, a member of the public/congregation grasping a momentary pause, possibly listening to clerical words shared, while the other, a tourist, listens, to an informational audio guide on his walk-through of the space. Both instances allude to St. Paul’s daily use.

Image credit: Laurin Gutwin
Alex is also aware that despite St Paul’s holding a position and physicality of vastness, a symbol of immensity, it also serves as intimate personal space for the individual; allowing people to bring their personal concerns forward. Thus, the final, more hidden work, Reveal, hangs close to the former works, beneath the neighbouring roundel. Suspended between the ground floor and the crypt, the painting hangs in opposition to the previous subjects. Together they look eastwards towards the apse, they ‘give their backs’ to the piece below.

Reveal, drifting above the laid tombs, honoured heroes of news serves a painted, narrative association to current global social/political concerns. Is this an innocent that our contemporary, global waters have washed up from fleeing political struggle? Do we offer our backs to such a need?
Image credit: Graham Lacado
Image credit: Graham Lacado

The artist would like to thank The Eaton Fund, who helped support the making of these works. www.eaton-fund.co.uk

For more information about the exhibition and Just Water 2017 campaign please visit St.Paul's Institute's website