FORTHCOMING
UNDONE
Opening: Saturday 26 October 3 - 7 pm
27 October - 24 November 2024
Thursday - Saturday 12 - 5 pm
or by appointment, contact: tondocosmic@gmail.com
TondoCosmic at Making Space
48 Aberfeldy Street, London E14 ONU
This exhibition brings together four artists, Jo Chate, Grant Foster, Dominic Kennedy and Scott McCracken, who through their contrasting approaches to painting, explore ideas of fragmentation, ambiguity, incompleteness and materiality.
In some works, the support or untouched bare ground becomes an intrinsic element of the image, questioning notions of what is considered to be ‘finished’. Other works transcend the conventional parameters of painting and are reconfigured as painting as object, to be viewed from multiple positions.
Figuration reveals itself through an emergence of painterly forms that often resist immediate recognition and interpretation. Through their hybrid nature and divorced from any specific context, they provide clues to a more personal, surreal mythology or narrative.
RECENT
WOPR is proud to announce its first exhibition YOU ARE THE CIRCLE. This landmark exhibition, as part of London Design Festival, celebrates the creativity of female artists and makers, bringing together dynamic work which explores ideas around play, potential space and possibility.
The title YOU ARE THE CIRCLE reflects the supportive and inclusive nature of WOPR. Each woman plays a crucial role in forming and sustaining a collective creative energy and this in turn is reflected in the exhibition.
The artists in this show work across a variety of media, from ceramics to film, painting, animation, drawing, to working in wood and with thread. Historically, women have often supported each other in circles of creativity, working side by side to craft, create, and innovate. YOU ARE THE CIRCLE honours this tradition while challenging the distinctions that have long separated craft from fine art.
We use materials to satisfy our practical needs and our spiritual ones, as well. We have useful things and beautiful things - equipment and works of art. In earlier civilizations there was no clear separation of this sort. (Anni Albers 1938)
Anni Albers broke down barriers between traditional craft and fine art, this exhibition reaffirms her philosophy which resonates throughout the show.
The works in YOU ARE THE CIRCLE portray an inherent and vital energy manifested through play, highlighting how it fuels the creative process and fosters a deeper connection between the artist, the material, and the viewer.
Winnicott, the British Psychoanlalyst, proposed that cultural experience begins with creative living which is first manifested in play. He suggested playing, creativity and cultural experience all have a place in which they occur - he called this Potential Space - a space for ‘experiencing life creatively, be it a landscape, a theatrical or musical performance, a poem’. It is in the potential space that possibility opens up, and the thrill of creation lies in this possibility.
YOU ARE THE CIRCLE celebrates the remarkable creativity that flourishes in this industrial zone. By creating this space for exploration and dialogue, WOPR invites visitors to reflect on their own relationship to play, creativity, and community.
Throughout Winnicott’s writing the issue of creativity and of living creatively is essential. And play is fundamental to this creativity, it allows for freedom and discovery.
This exhibition is both a celebration and an invitation - recognising that the strength of this artistic community lies in its unity, shared experiences and collaborative spirit.
Outliers is a two-person show that presents recent paintings by Jo Chate and Tamsin Morse in Q & C (Quip and Curiosity) Gallery, Cambridge. Showing together for the first time as a complimentary pair, they describe themselves as ‘outliers’, standing at the gate of the contemporary art world but feeling detached from it. Whilst being mothers, they are still artists. And yet, it is precisely as women, that they have a deeper understanding of its prejudice against women artists. Like the characters from French Novelist Camus in The Outsider, they are watched with strange eyes in a noisy club and seen as reckless intruders who do not conform. Not only as women but also as humans who have lived multiple identities, Jo and Tamsin are questioning conformity as outsiders with their strengthened souls hardened by accumulated life experience.
“I was chasing / a lonely feeling / all these hurdles / fell in a puddle / Lost in mind / Lost in time / Don’t Press rewind / Don’t press rewind” - Rewind, Cleo Sol
Jo Chate paints as a dancer, with music imprinted in her brush strokes. Engaging in contemporary dance, she integrates movement and music as vital elements in her painting process. The titles of her works often come from lyrics she listens to, echoing the rhythm invisible in her painting. In her work, Jo frequently searches for places that seem to exist elsewhere, imagining real places as fictional, much like film settings. In Lost in Mind (2024) she uses the reflection of the external space to reset the model's original scene, resulting in a bizarre dislocation. Through her lens, the lifeless mannequins become protagonists, each narrating its own story. Up close, she paints characters that are imperfect and fragile - they might lack limbs or look as if they might have a tendency to fall. From a distance, these fragmented figures float like ghosts, being absorbed into the background.
Using homemade gesso (primer) that gives a chalky feel similar to frescoes, she creates paintings in faded colours with some collaged images collected from daily life and photographs, to create her utopia. In Metano (2023), the landscape is framed like a wide establishing shot in a film without human presence before moving in for the close-up. It prompts the question of what the next shot is, and this is where our own narrative begins. It might be the world she rebuilds for us – decayed but with a flame of hope, a momentary mirage that bites the last cry for love.
“Some good and some bad, but freedom of speech must not be forgotten. And sticking to your guns when something feels wrong must be permitted.” - from Tamsin Morse on Instagram
If Jo Chate is giving us space to imagine, then Tamsin Morse is a storyteller and a humorous judge questioning existing convictions – if those who stand on the moral high ground are the ones in authority, then she is the one tickling them, satirizing power, mocking seriousness, and making them absurdly live again on her canvas.
Within this core conviction, Tamsin's spicy colours serve as the venom of her satirical contemplation. Her palette is vibrant and aggressive yet thought-provoking, especially in The Garden of Eden (2023) where the intense colours balance between beauty and toxicity. She conjures up a contrasting world between perfect form in art and society and its true substance with sculptures of Adam and Eve standing still in front of collapsing houses. Her use of animal imagery mocks and dissolves human-cantered arrogance and absurdity. The lines of her drawings dance within the colour blocks, complementing each other, walking side by side. This is one of her core thoughts, unconsciously brought into her canvas.
The fixed definitions of various figures blur under their brushes, but they are strangely amplified by this technique making the audience look and closely examine them. This gaze turns into a mirrored relationship, questioning us: in these worlds separated from the main body, where do you stand in all this?
It has been an intimate conversation between half a glass of wine, a blush, and three of us under clear weather after rain. Opening up in this cold world is rare, and sticking with your brush is hard. When outliers start telling their own stories, it reveals the most straightforward truth of another side of the human world, and this might be the real driving force of our ever-living society.
Written on a clear summer night in May 2024
Emma Yifan Wang