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We need to talk

We need to talk
14th December 2017

We Need To Talk is a series of peer to peer crits organised by graduate resident Kate Fahey at Lewisham Art House. Through the presentation of works in various stages of production and development, We Need to Talk aims to facilitate constructive feedback and a forum for the discussion of critical issues relating to art, design, culture and politics. The crit runs without any introduction to the work, followed by an opportunity for the artist to speak about their practice and ideas. This facilitates the opportunity to engage with how the work is read primarily, aiming to create a diverse, open and constructive discursive environment.

The first of these sessions will run on Thursday the 14th of December from 7.30 – 10pm. The artists presenting are Chris Alton, Saelia Apraicio, Hadas Auerbach, Philipp Dorl, Kate Fahey and Yonatan Zofy. All are welcome to attend. Festive drinks and snacks provided.

Chris Alton is an artist and curator, whose practice spans; documentary film, music videos, online interventions, clothing, disruptive design, live events and exhibitions. Whether deploying disco music in opposition to fascism or playing table tennis in competition with aggressive architecture, his work addresses an array of interwoven socio-political phenomena. His practice is research led and often interrogates symbolic manifestations of power, such as; coats of arms, Latin mottos, corporate identities, mythological weaponry and national flags. He works to destabilise or subvert their logic, revealing and undermining their shaky foundations through humour and play.

Saelia Aparicio lives on a secret island in London. She graduated in Sculpture at the Royal College of Art in 2015. She has had solo shows at La Conservera (2012, Murcia, Spain) the Patio Herreriano Museum (2013, Valladolid, Spain),Da2 2002 Domus Artium (2015, Salamanca, Spain), TURF projects (Croydon, UK) and The Tetley (Leeds,UK). Group shows include Bloomberg New Contemporaries 2016, the bluecoat ( Liverpool) and the ICA (London), Retour Sur Mulholland Drive, curated by Nicolas Bourriaud at La Panacée, Montpellier, France, And A Mysterical Day, curated by Tai Shani and the Serpentine Gallery public program. In 2016 she was a resident at Sema Nanji, (Part of the Seoul Museum of Art, South Korea) and is currently enjoying a New Contemporaries studio Bursary with Sarabande, The Lee Alexander Mcqueen Foundation. She is working towards show where all the works will be collaborations with the product designer Attua Aparicio. Her multidisciplinary work dwells on ideas of the organic, establishing analogies between corporeal and social mechanisms.

Hadas “BhadasS” Auerbach was born 20 minutes from Jesus, in Israel. She is currently living and working in London. Her favorite animals are honey badgers, tortoises, and armadillos; her least favorite are dolphins, swans, and baboons. Her favorite people are identical twins, as they are the same person twice. Her research proved that twins have super powers since they can be in two places simultaneously and they can teach each other fast as they have same exact genes but two different bodies; therefore they have double the database compared to regular people. Her favorite colour is yellow. Her work evolves around how charming and stupid people are, she is telling us stories; most of them are stupid charming ones, like the ones from the Bible. These stories are non-narrative & non-linear. The characters exist in an imaginary theatre and there aren’t really any actors & actresses. There isn’t even a play.

Philipp Dorl lives and works in London. He graduated from the Royal College of Art in 2013 where he studied with a DAAD studentship. His work has been presented in exhibitions at institutions such as the Museum Kulturspeicher Würzburg (GER), The Photographers Gallery in London and the Fotomuseum Winterthur (CH), where his work is part of the museum’s collection. He recently have had shows in project spaces in London and Berlin such as; Dreamcatcher, Zona Mista, London, Snæfells (two-person), Filet, London (2016), Taupe (solo), Art Lacuna Space, London (2015), Slit Backdrop (solo), Pavlovs Dog, Berlin (2014), DashDotDash (two-person), Projects, London Art Fair (2013).

Kate Fahey is an artist based in southeast London. Recent projects include, Secret Stations, a solo exhibition at Callan Workhouse Union (2017), Inarticulate Landscapes at Unit 1, London (2017), and the Bloomberg New Contemporaries, ICA, London (2016). She is an AHRC funded practice based PhD candidate at the University of the Arts, London and a recent recipient of the Mead Residency Award to the British School at Rome.

Yonatan Zofy, is an Israeli artist living in London. He received a BFA degree with an Excellence award from the Bezalel academy of art and design, Jerusalem. He has exhibited in different galleries in Israel, among them: Barbur Gallery, Jerusalem, The Artists’ House, Jerusalem, Julie M. Gallery, Tel-Aviv, Hamidrasha Gallery, Tel-Aviv, Artspace Gallery, Tel-Aviv. In 2016 he exhibited in the 6th Jerusalem Drawing Biennale, and in 2017 he received the Osnat Mozes Prize for a Young Artist.

Granular /ɡranjʊlə/

10-13 January 2018

MA Fine Art Students at UCA Farnham
MA Fine Art Students at UCA Farnham

MA Fine Art Students at UCA Farnham

Deborah Davies (Dd) * Chris Horner * Bianca Hendicott *
Mirta Imperatori * Nerys Joseph

Open 10 – 13 January, 12 – 6pm | Private view Friday 12 Jan, 6 – 9pm
Lewisham Arthouse, 140 Lewisham Way, London SE14 6PD

The distinction within this group of artists is apparent. With their varying subject matter and methodologies, this show makes for an exciting exhibition, rich with ideas and concepts. The exhibition incorporates a diversity of multidisciplinary artwork. An array of mediums is combined, including photography, sculpture and installation.

Deborah Davies (Dd)
Dd’s work is a mixture of art and technology. Fascinated by conversation and feedback loops she combines electronics with textiles, wood and LEDs producing work that is both interactive and participatory.

Chris Horner
Chris Horner graduated with a BA Honours in Fine Art from the UCA 2012 and is currently studying for his Masters in Fine Art. His work has been exhibited broadly most notably in May 2017 at the HLS Gallery for an International art show, and in September 2017 and an international arts festival in Venice, Italy.

Bianca Hendicott
Bianca Hendicott explores conceptual platforms such as the sublime and the digital aura through iPhone, film, software, fabric and installation. The work explores how light can be such a ‘body’ that affects the soul metaphysically.

Mirta Imperatori
This work reclaims experiencing the world through taking photographs. In an age where humans are pushed to be constantly connected through digital media, we are not experiencing the world directly any longer. Imperatori is concerned how we are more isolated than we have ever been.

Nerys Joseph
Nerys Joseph is revisiting a place filled with memories as a photographic artist and documents what she sees. Curiously still, this is a place that has barely changed in four decades and is somewhat frozen in time: like a living photograph, breathing you in and exhaling you out.

Modern ritual

Modern ritual

2nd December 2017

Daylight Music 267: Laura Cannell presents – [Modern Ritual] The Bell Agency (Charles Hayward), Laura Cannell & André Bosman, These Feathers Have Plumes + Jennifer Lucy Allan

In 2017, Laura Cannell created the [Modern Ritual] series, which is currently on tour throughout the UK. It’s a series of performance events which explore ideas of ritual through music and words, and evokes real and fictional landscapes.

This performance at Union Chapel features Laura Cannell and André Bosman’s experimental early violin duo, as well as Charles Hayward’s The Bell Agency. There’s also Jennifer Lucy Allan’s performance of ‘Foulis’s Daughter: A short history of the foghorn in 30 interrupted acts’, and glass and electronics from These Feathers Have Plumes. A lazy afternoon with music, tea and cake. An event for all ages. Produced by Arctic Circle. Pay-What-You-Can ticket on door (suggested donation £5.00). Midday – till 2.00pm

Saturday 2nd December 2017

Union Chapel
Compton Terrace, N1 2UN., N1 2UN London.

The launch of the Adam Speaks treehouse

The Adam tree house
25th November 2017
In April 2017, Chris Alton received the Adam Speaks commission from the National Trust to develop and make new work responding to Robert Adam’s vision and designs at Croome Court. He ran workshops with St. Barnabas CofE First and Middle School, Writing West Midlands, Birmingham Institute of Theatre Arts and Kimichi Independent Secondary School. These workshops informed the final artwork.

Chris has created a new folly for the parklands of Croome Court. It takes the visual language of Adam and speaks it anew with playful intonation, riffing on the neo-classical architect’s style and applying it to the form of a treehouse. The work will be opened on 25th November 2017 and will remain at Croome Court until November 2018. It will be the site of an ongoing programme of workshops and events

25th November 2017
Croome Court, Worcester, WR8 9AZ

Noisy night

Noisy night
25th November 2017
Members Kerri Jefferis and Sophie Chapman are playing with their band Molejoy.

Emerging artist musicians will share their sounds on this cosy noisynight at Laines Organic Farm… Once again The Round Building, (known locally as ‘The Pumpkin Palace’) will host an evening of fun, food, fire and friends. Suggested donation entrance £2-£8/pay what you can.

Vegan food and drinks will be made using farm produce and sourced from a local brewery served from 5pm on a suggested donation basis.

25th November 2017

Music will begin at 6pm and run until 11pm.

Last few trains back to London depart from Haywards Heath at 23.26/23.30/23.58.

Laines Organic Farm, Newbury Lane, Cuckfield, West Sussex, RH175AA.

Trains from Victoria/Clapham/Brighton to HAYWARDS HEATH > 30mins walking to Cuckfield Village > bus no.40 to Cuckfield High Street > roadrunners taxi 01444443300 is £5.50

Once you’ve reached Newbury Lane look and listen out for signs/lights/vegetables/The Round Building! Welcome!!

Facebook page for the event
Kerri Jefferis
Sophie Chapman

The Machine for Saying Sorry

Image of a DIY robot

30th November – 3rd December 2017

‘The Machine For Saying Sorry’ is an installation work by four people from different practices and interests. In this sense it may appear to link art, design, technology and music. However, it was not driven by any pre-determined purpose, issue, crusade, or funding requirement. So, what might this artwork be ‘about’? Well, perhaps a clue is in the title, although art often defies meaningful description, or categorization.

Since the 1970s, while economic growth has been immense, more than half of the vertebrate animal population has been lost. Some experts believe that the human species itself may go the same way. At the same time, the hype surrounding developments in robotics, AI (artificial intelligence) and ‘Big Data’ is getting as much attention as global extinctions. We are very confused. While some welcome a technological revolution that will save us from the drudgery of work, others fear that robots will, in some fiendish way, enslave us all.

Recently, it has become fashionable for AI experts to claim that machines will become empathetic. But this reveals a failure to grasp the difference between living systems and machines. Similarly, we often hear calls for politicians to apologise. But how many people know that apologising and saying sorry have almost opposite meanings? The ancient Greek word ‘apologia’ (ἀπολογία’) referred to the public defence of a religious belief. This is very different from expressing heartfelt remorse (i.e. as in saying ‘sorry’). Never mind, we might still need someone (or some thing) to excuse us, once we’re gone…


John Lunn composer
Tischlerwood artist
Sara Willett artist
John Wood curator
Private View on Thursday 30th November at 6.00pm, when the Machine will give its debut ‘performance’.

Thursday 30th November 2017
6-9 pm

Exhibition open:
30th November – 3rd December 2017
Open 12-6 pm

Free entry
Step-free access

Urban Photo Village @UrbanPhotoFest – Cartographies

UrbanPhotoFest #UPF17
10-15 November 2017
Urban Photo Village @UrbanPhotoFest – Cartographies is an exhibition in the Urban Photo Village at UrbanPhotoFest, an annual photographic arts festival focusing on cities and urban spaces. The Urban Photo Village showcases the work of established and emerging artists, in eleven venues located within walking distance of each other, in and around Deptford. An area with a strong sense of community and neighbourhood, Deptford it is another example of London’s ever-changing social landscape. In addition, the village — with its intensive programme of workshops and seminars — creates an active space to encourage discussion, participation and creativity, involving local communities, artists, researchers and people interested in contemporary urban life.


UrbanPhotoFest will take place from 10-15 November 2017 and the theme is Cartographies. The festival aims to provide an engaging and culturally relevant programme that reflects on visual approaches to contemporary urban life and the image of the city. The programme of events includes the Urban Encounters conference, exhibitions, seminars, workshops, urban walks and portfolio reviews; all of which are overseen by a steering group of lens-media artists and urban researchers. The festival collaborates with a number of international arts and academic institutions, established and emerging artists, urban theorists and researchers. Together their work addresses critical urbanism within its varied and diverse forms, and explores how photography plays an important role in opening up debates about urban change, voice and the condition of the city.

10-15 November 2017
Open daily 12–6pm
Private view: Monday 13 November 2017, 6-9pm
Twitter / Facebook @UrbanPhotoFest



12 October – 5 November 2017

12 October – 5 November 2017, Wed-Sun 12-6pm
Opening: 11 October 2017, 7-10pm
Lewisham Arthouse, 140 Lewisham Way, SE14 6PD

Disturbed, Hacked, Reassembled explores how artists today are employing technology to stage, interrogate and celebrate the digital female body. Disturbed, hacked, and reassembled, the body is being experienced in new ways digitally and virtually.
Central to feminist critiques of sex and gender, the body is the site of visual difference and it is through the body that difference is experienced and lived. The development of technology and the inception of the Internet have opened up online spaces and virtual worlds that are inhabited by interactive avatars, orbiting 3D body parts and user generated identities. Disturbed, Hacked, Reassembled reflects on these developments and our enduring fascination with the posthuman. Are new technologies helpful for our understanding of gender or do they perpetuate traditional concepts of masculinity and femininity? Are subject and object fixed positions or can they be challenged by embodying the virtual? What do new imaging technologies mean for the representational and the real? By exploring a range of subjects including 3D digital modelling, the virtual body, the dissemination of the female image and digital healing, the project asks, what are the limits and freedoms of the digital body?
The exhibition presents new and existing works by three artists and an artist collective spanning moving image, virtual reality, animation and video installation. ‘Paradise Found’ (2017) by Lisa Carletta uses 3D scanning technology and animation to explore the disintegration and reconstruction of identity, the body and the digital self. She presents a digital avatar of herself which resists the body image ideals that are advanced online in 3D CGI image libraries. The reality of representation is also explored in Suzannah Pettigrew’s ‘IC€Y’ (2017), a four channel video installation that explores the fragility of social currency. Hierarchical systems and iconographies of the female experience are investigated and dissected using footage sourced online. Content is reassembled and assigned new forms, the video of a video of a video, information on information on information. Keiken present ‘Silicone_Animism | The Birth of Mother Digital’ (2017), an interactive installation where the cybersoul contracts in the interuterus. VR, video and sound trace the birth of the digital, a giant networked space fused with human interaction and technology. Advancements in technology are also investigated in ‘Sugar Walls Teardom (Homage To Dark Labia)’ (2016) by Tabita Rezaire. The work explores the contributions of black women’s wombs to the advancement of modern medical science and technology. The work attempts to heal exploited and abused female bodies and celebrate womb technology through an account of coercive anatomic politics. 

Disturbed, Hacked, Reassembled also plays host to a programme of performance, discussion and workshops. Speakers from a range of backgrounds will exchange ideas surrounding the posthuman, the cyborg, digital eroticism, feminist digital art practices and the augmented body, as well as the gender gap in the world of technology, female representation online and the importance of digital exchange. Workshops led by artists and tech professionals give participants an opportunity to use the latest technology to reassemble, recreate, repurpose or resist their own ideas around gender, race, sexuality and the body.

By presenting these works together, alongside a programme of performance, discussion and workshops, Disturbed, Hacked, Reassembled demonstrates how the site of the female body, in a digital era, continues to pose important questions around commodification, gender binaries, representation, sexuality and race. As the discourse surrounding these subjects continues to develop, the project creates a space for reflection, a platform to disturb, hack and reassemble existing conditions and newfound knowledge.

Disturbed, Hacked, Reassembled is curated by DRIVE-THRU with thanks to Lewisham Arthouse.

Making Works: Leybridge Estate

Leybridge Estate
July – October 2017

We’re in our fourth year working with the residents of Leybridge Estate. Sadly we had to say goodbye to Laura X Carlé who led the project from its inception with our partner Affinity Sutton. This year the project was placed in the capable hands of artist Ruth Beale. Ruth and our members had a terrific time with the kids; looking, drawing, building, sculpting and lots more. Check out our blog to see all the fabulous things they produced.

Courses and Workshops

Courses and Workshops September 2017-18

September 2017-18

Did you know that a number of our members run workshops? Don’t miss your opportunity to join in. Courses are aimed at a range of age groups and levels of ability. We also have open access facilities, such as an analogue darkroom and a Kiln for hire. Check out our Joining in and Hire pages for more details.

PLAY/Make – a celebration of making


19th – 23rd April 2017

Lewisham Art House is delighted to invite you to PLAY/MAKE – an exciting, interactive exhibition that celebrates the long tradition of running and hosting learning projects at the Arthouse. It will show-case the wide and varied programmes we support, including musical events, adult classes, film evenings, children’s art lab, ceramics, mo-saics, printing, life drawing, photography and painting as well as the popular Graduate and Curatorial Awards that we run.

This exhibition also profiles our outreach work at local schools and estates, such as the “Making Works”, sponsored by Affinity Sutton, Lewisham People’s Day, Deptford X and our events at major London galleries, including the Tate Modern and The South Bank Centre.

Come along and try one of our free taster workshops on Sat 22nd & Sun 23rd April 2 – 5 pm – there will be something for everyone !

Private View
Wednesday 19th April 2017 6pm – 9pm

Exhibition runs:
19th – 23rd April 2017
Open Wednesday to Sunday 12-6 pm

Free entry
Step-free access

Performance Special!

SONY DSC 30 September – 1 October 2017

We are super excited to have four performances/lectures over the course of the Open Studios weekend on 30 September to 1 October.

Please meet in the foyer and we will take you to the location of the performance.

Saturday 30th 1pm
We have the very talented Kerri Jefferis and Sophie Chapman, last year’s graduate studio award winners and they now have a membership with us. The two artists will embark on Behavioural Training for Astronauts for Earthlings. They describe it as ‘ an experiential situation, hosted on our dear planet, aimed at outer space. It introduces and prepares rookies to new notions not often present on earth such as; supporting others, avoiding or negotiating high risk environments, elements of self care and hygiene as well as vital space skills such as communicating across cultural differences.’

Saturday 30th 6.30pm
We have the debut performance of 4 Brown Girls Who Write – please join us in the garden for a reading of poetry by 4 brown girls, who er… write!

Saturday 30th 7pm
A live performance by Heart of Steel, a South-East London based steel band who will be there to warm us up before the garden party in the evening, where we will have music and jerk chicken being served!


Sunday 1 October 2pm
We have Chris Alton delivering a short performative lecture in his ground floor studio, on 1960s rhythm ‘n’ blues band Trident, drawing on the blog of Ben Ford. Trident were popular in Central America and the Caribbean from the mid-60s through to late-80s, when they vanished under mysterious circumstances. Ford’s blog traces their story and investigates their disappearance.

Sunday 1 October 3pm
Ruth Beale will do a reading from FFWD the Revolution (2014) which charts the the history of the Lewisham Arthouse building, the uses of each space, and the political ambitions of its occupants. Combining new writing and archive material, the work encounters presence and absence, ambition and legacy, from the Carnegie endowment to 75 years of public library service, from a brief occupation in the early 90s as a venue for raves to community protest, and the last 20 years’ tenure as an artists’ studio cooperative.

Combined with timed tours at 2pm and 4pm each day by artists to the artists where you are free to ask questions and explore the building!

Hope you can join us!

Deptford X Festival 2017 presents Run!! For The Present


23rd September – 1st October 2017

Sam Austen makes 16mm films that create new worlds and landscapes by filming objects he’s made in the studio, often floating or moving somehow through specially-made rigs, utilising a range of in-camera effects, superimpositions and mattes. The process is much like a collage yet allows an element of chance into its construction and tempo.

He said of his work: ‘My interest is in looking and how humans see themselves, how the gaze is locked into our being, how the image in our mind with eyes open or closed is constant, and never really switches off.’

Sam Austen was nominated for Platform 2017 by writer and curator Attilia Fattori Franchini.


Founded in 1998 as an artist-led project rooted in Deptford’s creative communities, Deptford X has grown to become one of the UK’s leading festivals of contemporary art. From 22 September to 01 October, we present a series of ambitious commissioned artworks within Deptford’s varied public spaces, as well as presenting the work of a wider community of mostly local artists through the Deptford X Fringe.

Friday 22nd September 2017
6-9 pm

Exhibition continues:
23rd September – 1st October 2017
Open Wednesday to Sunday 12-6 pm
SLAM Friday 29th open till 8.30pm

Free entry
Step-free access

Illegal Raves

The Deptford Central Library was closed down in June 1991 and after being vacant for some time the building soon became a venue for illegal raves leaving behind considerable damage to the building.

1st floor1

illegal raves

The Artists move in

1st floor2

After a long fought campaign from the local pressure group, The Friends of Deptford Library, the local authority agreed not to sell the building for redevelopment but to remain in community usage and in March 1994 Lewisham Arthouse moved in.

08 First floor studios 1994

During the first year the Arthouse members assisted with 2000 community hours through the Probation Service, providing £80,000 worth of renovation. The building is voluntarily maintained by Arthouse members through a work hours scheme.

Filmed on location

tale of a vampire

Unknown to some but Lewisham Arthouse was once used as a backdrop to film scenes for the feature length movie ‘Tale of Vampire‘ (1992).

Set in South London, this surreal and atmospheric low-budget film takes an interesting approach to the vampire genre by focusing almost exclusively on the emotions of its tormented central character: reclusive, intellectual vampire Alex (Julian Sands). Alex chooses to prey only on criminals and street derelicts, devoting more of his time to pursue a greater hunger for books on the occult, a passion surpassed only by his tragic love for a beautiful woman whom he lost to his ancient rival, the vampire-hunting Edgar (Kenneth Cranham)

Here are some production photos taken at the time whilst the film was being shot at the Lewisham Arthouse.

Tale of vampire 5 small

Tale of vampire 6 small

Tale of vampire 2 small

The full movie is available to watch online:

Tale of a Vampire (full movie)

Lewisham Arthouse Open Studios 2017

Open Studios

30th September – 1st October, 2017

Explore over 30 studios, meet the artists, buy art at affordable prices or just have a look around. There will be an ‘I Spy’ children’s activity trail, café, guided studio tours and a programme of exciting live performances throughout the weekend. We’ll have a pop-up café and jerk chicken stall to keep you going, and a bar in the evening.

Deptford X Platform artist Sam Austen will be presenting his exhibition Run!! For The Present in our Project Space.

Sam Austen makes 16mm films that create new worlds and landscapes by filming objects he’s made in the studio, often floating or moving somehow through specially-made rigs, utilising a range of in-camera effects, superimpositions and mattes. The process is much like a collage yet allows an element of chance into its construction and tempo. He said of his work: ‘My interest is in looking and how humans see themselves, how the gaze is locked into our being, how the image in our mind with eyes open or closed is constant, and never really switches off.’

Lewisham Arthouse supports artists and arts-based learning through creative workspace and specialist facilities. We run an exhibition and events programmes of visual art and experimental music. This echoes the original intentions of the Carnegie library building we occupy – to enrich communities by nurturing their creativity.

Saturday 30th September 12-8 pm Sunday 1st October 12-6 pm

Free entry
Step-free access

Open House London 2017

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Sunday 17th September, 2017

Lewisham Arthouse will be participating in this year’s Open House London. A free weekend event for Londoners to explore behind the closed doors of some of the capital’s biggest, most renowned and most secret venues for free in September 2017.

This is your chance to explore a bit of hidden London and have a poke around some of London’s best buildings.

Click the following link to download our Open House information sheet:
History of Lewisham Arthouse

Open 10am – 5pm

open city

Across the whole of London, there is a the full programme of architectural venues to visit spanning 30 of the capital’s boroughs. Proudly representing the borough of Lewisham the Arthouse will open its doors to welcome in the public.

Free entry
Step-free access

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Lewisham Arthouse

Formely Deptford Central Library
Grade II listed, 1910 -1914 Designed by A. Brumwell Thomas (1868 -1948)


A New Library

On 27th October 1905 a Public Libraries Service was opened in the former borough of Deptford. Andrew Carnegie promised a sum of £9000 for a central library and £4,500 each for two branch libraries. The present site was purchased for the central library in October 1909 for £5,600. Originally three shops stood here. Andrew Carnegie was again approached in August 1910 with a request to increase the funding. The final figure for the central library amounted to £12,000. In 1911 Sir Alfred Brumwell Thomas won the commission for the design of the building. The tender of £12,418 was accepted in October 1913 and the work started at once. The foundation stone was laid on 5th April 1913 and the library eventually opened on 18th July 1914.

Building Design

building plan

The building is Edwardian Baroque based on the Classic Renaissance style. The facades are built in small Berkshire bricks with porticoes, entablature and balustrade in Portland stone. The main architectural order is Ionic and the portico with its eight columns forms the principal entrance to the building. An inscription to Andrew Carnegie, the donor, is carved in the stone panel over the doorway with a floral wreath and the lamp of knowledge at its head.

From the entrance, a wide corridor with a plaster vaulted ceiling leads to the ground floor (formerly the lending library). A massive marble staircase leads to the first floor (formerly the reference library) which includes colonnaded gallery with a glazed barrel-vaulted ceiling. The baroque revival for public buildings such as these flourished from 1896 to 1906. The years 1905 and 1906 may be regarded as the peak of the style.

Building Layout

The public rooms of the library were arranged on the ground floor and first floors. On the ground floor were the newspaper room (for 41 readers) and the periodical room (for 45 readers). Off the entrance hall was the main lending library arranged for an ‘open access’ system. There was shelf accommodation for about 20,000 volumes. On the same floor were the rooms for the sub-librarian, a store room and work room with a staircase leading to the staff mess rooms on the mezzanine and to the reference library bookstore. The marble staircase from the entrance hall led to the first floor where the reference library (for a maximum of 60 readers) was housed, the magazine room (for 48 readers) and auxiliary room for special exhibitions and lectures (seating 120 people). A book lift ran from the basement to the first floor.

The Architect


Sir Alfred Brumwell Thomas (1868 – 1948) was born at Virginia Water in Surrey. His father, Edward Thomas, also an architect, was District Surveyor for Rotherhithe. After being articled to a little-known architect, WS Witherington, and attending Westminster Art School, he ran his own practice from 1894, at a small office in Piccadilly, in partnership with his father. He had added the name ‘Brumwell’ to make himself distinctive, and by 1899 his office was in the fashionable Queen Anne’s Gate. The Rotherhithe connection may have led to the son’s first major building, Addey and Stanhope School in New Cross Road (1898-9).

But competitions were the main avenue to success; in 1898 Thomas won the contest for Exeter Eye Hospital, and that same year he was catapulted from obscurity to fame in 1898, when he won the competition for designing the new City Hall for Belfast, one of the largest public buildings in the British Isles. It has huge Baroque porticoes, lavish marble interiors, and a central dome base on Wren’s domes at Greenwich. When it was completed in 1900, he was knighted, at the early age of 38. On the strength of Belfast, Thomas went on to become one of the most successful exponents of the Baroque Revival, which became the fashion for buildings of the early 1900s.

His other principal works were the Town Halls of Stockport (1903-8), and Woolwich (1899-1908), both also won in competition.

(Woolwich Town Hall, Wellington St, Woolwich SE18 6HQ)

He also designed the Dunkirk and Belfast War memorials. However, by the 1920s Thomas’s extravagant style had become financially and aesthetically impossible; his only major building was Clacton-on-Sea Town Hall (1929-1931). He died on 22nd September 1948.

Then and Now

The inauguration of Deptford Central Library, on the 18th July 1914, took place a fortnight before the outbreak of World War I. Now missing, a carved oak plaque below a bronze base relief portrait read, ‘This Library is a gift of Andrew Carnegie’.

A good example of Classic Renaissance architecture, the building is Berkshire brick with a Portland stone façade in the Ionic order. Many original features remain including the oak front door, others have been replaced, such as the new oak side door, or restored like the barrel vaulted glazed roof on the first floor. The addition of the access ramp, realized with a grant from the Lewisham Council is also finished in Portland stone.

On the left of the entrance is the ‘workshop’ space an area used for multi-purpose activities – mixed media events, music rehearsals, life drawing and yoga classes as well as the Arthouse’s continuous programme of free workshops. To the right was the old library’s newsroom, later the children’s library, now a thriving gallery space, run entirely by Arthouse members.


The remainder of the ground floor was taken up with the open access lending library. As mixed media studios they are now occupied by a wide variety of artists including potters, sculptors and painters.

The marble staircase leads up to the first floor, which house the magazine room, reference library and librarian’s office. It is now used as studio space and, with its glazed roof, is ideal for painters. Two rear staircases, one either side of the building, lead to a photographer’s studio on the right, and communal kitchen on the left, both mezzanine floor level. The basement, originally comprising a large storage area, caretaker’s flat and a line of small rooms, now accommodates a variety of studios and a print workshop.

Paint and Plaster

The Deptford Central Library was closed down in June 1991. The vacant building suffered heavily from vandalism, attracted squatters and became a venue for illegal raves.

1st floor1
(first floor of the abandoned Deptford Library, left in considerable damage)

The damage in the first year was estimated at £70,000. The local pressure group, the Friends of Deptford Library, convinced the local authority that the building not be sold for redevelopment but remain in community usage and in March 1994 Lewisham Arthouse moved in.

During the first year the Arthouse members assisted with 2000 community hours through the Probation Service, providing £80,000 worth of renovation. The building is voluntarily maintained by Arthouse members through a work hours scheme. The Arthouse has also assisted in attracting funds to the building; the London Borough of Lewisham renovated the glazed roof, and improvements to the external security and the cleaning of the front of the building were met by Deptford City Challenge.

(first floor studios, renovations to the glazed roof providing natural daylight)

A fundamental part of the ethos of the organization is to provide affordable studio space to artist in the early stages of their careers. Currently it has 45 spaces used by over 50 artists. It also runs regular course, classes and workshops.

Lewisham Arthouse is taking part in this year’s London Open House weekend but opens its studios to the public annually. Then next Open Studios event will take place
September 30th – October 1st 2017. It’s another opportunity for guest to personally meet our resident artists and discover more what goes on inside what was once the old Deptford Library now Lewisham Arthouse.

Open Studios 2017

The Bee’s Knees – Beecroft Garden Primary School exhibition

Beecroft Art fundraiser - Bees Knees-18

13th – 16th September, 2017

Beecroft Garden School will be hosting an event at Lewisham Arthouse where all the art sold raises money for developing a special outside space and training for the children to revive Brockley’s tradition of bee-keeping!

Beecroft Art fundraiser - Bees Knees-2

Beecroft Art fundraiser - Bees Knees-28

Special Preview to reserve art work:
Wednesday 13th September 10am – 5pm

Visitors to Beecroft Garden School enter a reception area that has been designed as an open plan gallery and library space that is filled with works by children working both collaboratively and individually.

“The fact that art work is framed and exhibited around the school with a professional level of care clearly indicates the value placed on pupils learning and outcomes, fostering respect and self – confidence amongst the children” (Charlie Salter, Co-chair of The National Society for Education in Art & Design (NSEAD) South East Region)

All the works in this exhibition will be for sale in order to raise money for developing a special outside space for the children that will revive the local area’s tradition of bee-keeping. Beefriendly plants, hives and sculptures will all feature. The exhibition has already gained the support of art critics, gallerists and even the occasional collector eager to get work early.

“It’s great to see a school that understands bringing to fore a child’s innate creative spirit is of paramount importance. Who knows…perhaps one day one of the children from Beecroft Garden Primary School will be showing in the Tate, building architectural icons or writing life-changing novels.” (Oliver Basciano, Editor, International, of ArtReview)

Putting the arts at the centre of a Primary School’s ethos is a bold thing to do – but that’s exactly what Beecroft Garden Primary School has been doing since the school re-opened in 2012.

“The way you have developed the children’s creative skills and techniques, working on large scale cross-curricular projects, while maintaining outstanding academic results and Ofsted judgements, is truly inspiring! I always use your school as an example when teachers tell me that they do not have time to do arts projects due to needing to raise standards in English and maths.” (Philippa Beagley, Arts Award Trainer, Advisor, Moderator)

0208 692 2762


Beecroft Art fundraiser - Bees Knees-22

Get to know…Kate Fahey

September 2017

Secret Stations (install image1) Photo Credit_Brian Cregan

Meet Kate Fahey the winner of our 2017 Graduate Studio Award!

Member Since June 2017


An introduction – please write a few sentences to introduce your work to the public.

At the core of my practice lies a concern for the surface and skin of the image through which I attempt to channel affect and a more embodied type of visuality, positing the surface as a site of mediation, transfer and transformation. Through the haptic nature of the work, I examine humans’ relationship with the digital and seek to connect with and to slow down our experience of images, calling on lost lore and old forms of knowledge to negotiate technology and scientific advancement.

Are you a self-taught artist or have you been to art school? Has this helped shape the artist you have become?

I studied fine art printmaking at undergraduate (Gray’s School of Art, Aberdeen) and masters (Royal College of Art) and both had a profound impact on my practice.

Which exhibition have you visited which made the greatest impact on you and why?

Its impossible to choose one as so many types of work and practices have an effect on the way I think about my work. I’m a big fan of craftsmanship, antiques, clocks, and the old masters so probably the collections at Kenwood House on Hampstead Heath and the Calouste Gulbenkian Museum in Lisbon.

Who and/or what inspired you to become and artist?

I wasn’t exposed to much art in my childhood and went on to study a bachelors in science at university. In my early 20’s I was particularly inspired by an artist from my home town called Tony O’Malley. He had a previous career in banking and went on to become an internationally renowned painter later in life. I went to his retrospective at IMMA in 2005, and a couple of years later I went on to study fine art in Scotland.

Discuss a recent project, exhibition or event you have been involved in.

Secret Stations is a recent body of work developed in collaboration with two crafts people; a diviner and a wood turner, on a residency at Callan Workhouse Guild in August 2016. Guided by Richard Sennett’s suggestion in The Craftsman that touch delivers invasive, ‘unbounded data’, the research related more obliquely to embodied forms of sight and knowledge, in particular haptic vision. The project culminated in Secret Stations, a solo exhibition with Callan Workhouse Union and Trasna Productions and a Divining Walk in the town in July 2017.

Do you see collaborative practice and working with others as an important part of your practice?

Recently I collaborated with a dark matter scientist, a water diviner and a wood turner, all of which were fantastic opportunities. I have also previously collaborated with other artists in projects but find it just as exciting to work with people outside / on the peripheries of the art world. Collaboration is not essential to my practice but I have found it to be rich terrain in the past.

How do you use the studio and what you do in here? Do you have studio rituals?
I use the studio for everything, admin, writing, thinking, reading and making. I don’t have any rituals but I’m a messy maker so I try to tidy up every so often.

How does the studio become a part of your everyday life and work?

The studio has become so essential to my practice and life that it is a space I need to be in. Everything and nothing happens in the studio and most of my week revolves around my time there.

What do you get from working in a studio community? How has it impacted your work, if at all?

When I graduated from my MA, I couldn’t afford a studio and I told myself that I didn’t need one. However, having a studio has made me more ambitious and motivated. Having space to think and make, changes how you process your work and the outcomes. Being in a studio environment has exposed me to many other forms of making, conversations and ways of thinking about a practice. Having other artists around with critical distance from my work can be very useful!

What are you working on at the moment? Do you have any forthcoming exhibitions to promote?

I am working towards a four person group show entitled ‘All the Elsewheres of the World’ at Zona Mista project space ( which also houses many artists studios. We were particularly drawn to Foucault’s text ‘Utopian Bodies’ and we will use the space not as a white cube but as a body, exploring all the passages, storage and transient spaces. We intend to work together to install the show as something living, with some pieces dependent on others for their realization. The installation will play with ideas of perception, deception, and proximity and will ideally yield many unpredictable and exciting outcomes. The show opens on the 23rd of August.

Will you be showing work at Open Studios in October? If so, what can the public expect to see?

Yes, my studio will be open and people will be able to view some recent works from my Phd research and recent shows.

Kerri Jefferis and Sophie Chapman: Group Show Podcast Series

Listen Now!

Group Show is a five episode podcast series by artist and curator Caitlin Merrett King featuring Arthouse members Sophie Chapman and Kerri Jefferis, amongst a number of others. It covers topics like work, collaboration, education and criticism through a mixture of interviews, sound commissions and regular features covering artist-led activity around the UK.

The first episode was released 30 July and subsequent releases will continue through August and September. Group Show is an attempt to draw links horizontally between people and organisations to promote all the fab work everyone’s doing. An audio interpretation of the busy, messy, exciting squishing together that happens in group shows.

The podcast was conceived of as part of 12ø’s S/S17 curatorial residency and is sponsored by Cuvva, and supported using public funding by Arts Council England.


Sophie and Kerri

13 – 14 September

Creative Unions: Free Movement of Culture – Registration now open!

Lewisham Arthouse Project Space, 140 Lewisham Way, London SE14 6PD

13 and 14 September, 2017

14:00 – 22:00 (13 September); 10:00 – 13:00 (14 September)

Borders are a concept and a reality that restrict and permit people in different measure. Physical, social, psychological, they hold slow and they hold fast.

Creative Unions: Free Movement of Culture is a two day international artist gathering where the only desire is to make space to ask questions and share different forms of knowledge about what is proximate to us now; culturally, socially, historically, geographically, personally and politically. And it invites you. In fact, it invites you plus one.

CUFMC is a platform and exchange where individuals occupy space/s, sound and listen. It welcomes self-defining recent graduates to produce, provoke and participate in a convivial space where discussion around cooperation and cultural agency foreground any objects, images or situations we might create.

CUFMC is an open forum for sharing and debate rooted in the experience of cultural producers as active, global citizens with common insights, intentions and senses that unite; even when interpretations are undecided or conflicted.

The hosts, (Sophie Chapman and Kerri Jefferis, Paul Haywood and Basia Sliwinska) actively welcome marginalised voices and those interested in maintaining and extending cultural freedoms beyond the reach of political institutions.

CUFMC asks you to:

Bring a friend, colleague, family member or associate based in/from another country than you. You can bring them: in person, through social media, on the other end of a phone, through collaboratively produced content, an effigy or any objects you want to bring or any other way you can think of that might represent them in the space.

Plan something to share. Such as: a game, a rant, a movement, a song, a story, an image, an art, an object, a recipe etc. It could be something you want to say, or to try out with others. It should be something that allows you and others to gain knowledge or experience and bring you into contact with new ideas, concepts, realities etc – responding to the ideas raised in the blurb. You can specify what this is in the registration form.

Be available 13/14 September, 14.00-22.00 and 10.00-13.00 respectively.


Participants are asked to register before 5th of September for the event via an online form here:

Creative Unions: Free Movement of Culture – Registration now open!

13 and 14 September, 2017

14:00 – 22:00 (13 September); 10:00 – 13:00 (14 September)



15th – 19th August, 2017

Zoe Richardson and Vanessa Omer’s exhibition “Me, Myself ’n’ You” provides an experience for the viewer that they will never forget. This experience is dependant on the after affect that will be created for the viewer, in how it’s possible for the self and one’s body to be constructed in fragments. The work proposed will be installations such as projections and audio pieces, as well as some prints.

The self, the mask and ideas of identity form the conceptual axis of Zoe Richardson’s practise. Working mostly in film and photography to explore these ideas, Richardson takes herself as the subject, and within this exposes vulnerabilities and anxiety. The self (herself) presented masked or unmasked, hidden or revealed creates a highly personal viewing experience, but one in which collective contemporary concerns about identity and self-image are raised. While the work can make for an uncomfortable and challenging watching, the viewer becoming implicated as a possible voyeur, they also captivate and hold ones attention, leaving a lasting image that can haunt.

Vanessa Omer’s practise displays a heavy interest in the anatomical body with the use of functions and movements. Her work often is presented as a sensory based experience that aims to mesmerise and physically ‘affect’ the viewer within the space. With this sensory experience and atmosphere it provokes the essence of the familiar but also alienation of the body. Omer displaces the viewer from the environment in which the work is exhibited.

Private view:
Thursday 17th August 2017
6-9 pm

Exhibition open:
15th – 19th August 2017
12-6 pm

Free entry
Step-free access

Two Studios for available


We have 2 studios available one is a sublet for 12 months and the other is a permanent sudio offering a great opportunity to become a member of Lewisham Arthouse. Both studios are available from October 2017. Please note that the sublet will not be part of the Arthouse membership.

Studio G4
Robstudio1A partitioned space on the ground floor with excellent natural light from the large glass windows.

(12 month sublet) – 135 sq ft / £73 pcm from October

Studio F15
Philsstudio A partitioned studio with excellent natural light from the glass ceiling and is on the first floor and is accessed by stairs.

Studio F13(permanent) – 173 sq ft / £93.60 pcm from October

Deadline for application:
Friday 7th September 2017, 6pm

Deadline to apply: 7th September 2017, 6pm.
Shortlisted Applicants will be contacted for interview shortly after this date.

Please note that due to the high number of applications we will not be contacting those who are not shortlisted and will be unable to offer feedback. For the same reason we are also unable to organise viewings prior to the interview.

Application procedure:
* A statement (no more than 500 words) outlining your practice and areas of interest and an indication of how you wish to use this opportunity.
*A statement (no more than 350 words) highlighting what you could contribute and how the cooperative would work for you.
* CV (no more than 2 sides of A4)
* Equal opportunities form – Equal-Opportunity-Form
* CD with up to ten images or for time-based work DVD (pieces or excerpts should be no longer than 5 minutes).
* Corresponding list of titles, media and dimensions should be included (please do not send originals).
* One reference.

Alison Day: Reflection and Meditation

1 August – 31 August 2017


Alison Day is a Fine Art Photographer and Botanical Artist. The series of images seen in this exhibition are selected from photographs taken along the Northumberland Coast several summers ago.
They are abstract landscapes that come about as a result of meditations and wandering along the shoreline. Originally grouped under the title ‘Surface Reflection’ which was intended as a double word play, relating to that which is on the surface and below. The notion of reality being objective and subjective thus can be seen at many levels. The images allow both a reflection in ones own image, which appears in some shape during the gaze. They also prompt a deeper dredging of memory and consideration of other images. The meditation comes through the act of allowing thoughts to emerge take shape and change state. Ultimately disappearing like clouds that break up in the wind. They are therefore to you the viewer that of your own creation acted out on a fluid arena.

The Duke, 125 Creek Road, SE8 3BU
Venue Opening Times: Mon – Thur Noon till 12 am
Saturday Noon – 2 am Sunday 11pm 12
1 August – 31st August 2017

good good, double good


20th – 23rd July, 2017

The web was meant to be our way out but has just become more corporate than the real. But what is real anymore anyway? The past is now the present. The press has always been biased but is BuzzFeed really that different than the Daily Mail or the Sun? And why is it now that we have the possibility to be free that we are locking ourselves up? We had a glimpse of hope but it’s far away now. Politics has become just another word for perception management. The definitions of truth and knowledge have changed within our lifetimes – but nobody can quite pin down their new meanings. Whistle blowers are becoming this generations rock-stars. But what does it all mean? Meme’s replace movements. Witchcraft over science. A collapsing façade. A coherent picture that doesn’t add up. Things are good good, double good. Or are they?

Thursday 20th July 2017
6-9 pm

Exhibition continues:
21st – 23rd July 2017
Open Friday to Sunday 12-6 pm

Free entry
Step-free access

and the ground gave way tenderly


12th – 16th July, 2017

In 2015 artists Susan Beattie and Charlotte Law spent two weeks in semi-isolation on a petrified lava field at Fljótstunga, Iceland.
Now as we collectively slide through once unimaginable shifts they reconvene to collaborate on an exhibition of work inspired by that expansive landscape.
Lead by visions of the living dead love child of John Carpenter and Marilyn Monroe.
By material mythologising.
By tenderness.

Opening on the 12th of July with a performance at 8pm, this site specific installation featuring new works – made from earth, fire, objects, guitars – will be in-situ for five days.
Beyond the opening performances are scheduled for 2pm and 4pm each day, with a special extended set in collaboration with invited sound artists for the closing on Sunday 16th from 2pm-3pm.

Wednesday 12th July
6-9 pm

Exhibition open:
12th -16th July 2017
Open Wednesday to Saturday 12-6 pm
Sunday 12-4pm

Free entry
Step-free access

tempo process + grass


27th – 6th August, 2017

tempo process + grass investigates the connections between spaces and processes. Exploring themes of colour, material, environment, artefact and documentation, Gabb’s continued interest in re-contextualising ‘conventional’ fine art painting practices, considers it within the experience of installation through performative actions.

Manoeuvring in and out of systems and processes, and in and out of fine art and rudimentary materials and methods, tempo process + grass seeks to invert traditional notions of formal abstraction and material contextualisation: The limits of process art are explored in the internal volume of Lewisham Arthouse which seeks to explore and fill the gallery space with a diverse composition of materials, tempered by identifiable references in pivotal points.

Jonathan’s recent work black + multiple 24, was selected by Alison Wilding for the APT Creekside Open 2017. He has been recipient of a number of highly-coveted and competitive awards, including the WW SOLO Award in 2012, and winner of the international 2014 Saatchi Art Colour Showdown competition. Following his first solo exhibition SYSTEM at the WW Gallery in January 2013, Jonathan’s second solo show at A Brooks Art Gallery in November 2013, entitled Opera Rose, was met with critical acclaim and listed in the top 5 shows to visit in Whitechapel Gallery’s First Thursdays. Jonathan has also had works exhibited at the Griffin Gallery, and at the Affordable Art Fair, London. He was nominated by AxisWeb in 2013 as one of ten contemporary artists to watch and invest in, confirming his status as one of the UK’s most exciting emerging artists.

Friday 28th July 2017
6-9 pm

Exhibition open:
27th July – 6th August 2017
Open Monday to Sunday 12-6 pm
Sunday 6th August 12-4pm

Free entry
Step-free access

After Presents: The Precariat

The Precariat

22nd June – 2nd July, 2017

The Precariat seeks to explore themes of risk and resistance through architectural form. Emerging artist Karen Mc Lean will present an installation that invites and reveals the darker harmonies of historical and contemporary occupation. Questioning the physical structures of everyday life, Mc Lean seeks to create a charged and highly distinct site, responding to the ever present fear of dispossession.

We hope to see you there!

Kind regards,

Julie Bentley & Nick Scammell

The Precariat Press Release

Karen will suspend twenty sugar houses, each made from a refined molasses solution that slowly transforms from solid to liquid throughout the course of the show. A multi-channel sound installation, evoking the toiled land, will accompany the transforming houses.

The Caribbean landscape is scattered with makeshift housing illustrative of creativity, tenacity, poverty and a landless peasantry. Using the material inheritance of Caribbean colonialism, Karen explores the historical forces that have kept this form alive into the present day. The Precariat aims to open a new dialogue between freedom and servitude.

About Karen Mc Lean

Karen Mc Lean grew up on the island of Trinidad shortly after the country had gained its independence as a colony from England. Growing up on a Post-Colonial island, her memories include the many barriers that restricted non-white people that had to be challenged and torn down, and the tumultuous event of the Black Power Revolution that was fuelled by the Civil Rights movement in the USA. The history of colonialism and its legacy continues to be the source of inspiration for her practice.

Karen moved to England in 2000 and embarked on a career change after working with the national airline of Trinidad and Tobago, BWIA, for 20 years. Mc Lean completed her BA (Hons) in Art and Design, at BCU in Bournville, Birmingham, followed by a Masters at Goldsmiths University, London. Karen has exhibited in Birmingham where she lives, regionally, and nationally, as well as in her home country.

Opening night:
Thursday 22nd June 2017
6:30pm – 9pm

Exhibition continues:
23rd June – 2nd July 2017
Open: Wednesday -Sunday 12pm-6pm, and by appointment.

Free entry
Step-free access

A Sharp Intake of Breath

MA Painting interim a sharp intake of breath

7th – 11th June, 2017

Lulu Ao, Dalia Atteya, Emma Brassington, Lingyan Cao, Abir Mukerjee, Kim Onslow, Nikhil Patel, Mofan Xu, Fengrong Yu, Jayden Zhang and Zedan Zhang

The eleven artists in this Wimbledon College of Arts MA Painting interim exhibition are brought together through a mutual interest in painting’s enduring capacity for invention and reinvention. The exhibition is also testament to the group’s shared dialogues and ideas that centre on subjects such as the informal city, science fiction, body modification, ruins, the architecture of multinationals and anthropomorphism.

[ Press Release ]

This is the second interim exhibition presented by MA Painting at Wimbledon College of Arts at the Art House Project Space following ‘About Space’ April 2016.

Opening night:
Wednesday 7th June 2017
6pm – 9pm

Exhibition continues:
8th – 11th June 2017, 12pm – 6pm

Free entry
Step-free access

Other Fiction


2nd – 5th June, 2017

Other Fiction is an exhibition organised by three students currently enrolled on the MFA programme at Goldsmiths. The exhibition brings together three artists, that have diverse and wide ranging practices and methodologies, into the Lewisham Art House space, where they hope to create a dialogue between these different styles and approaches to their work.

The work is not unified by a mutual thematic narrative but rather address’s a multitude of different areas that overlap and have a shared concern about wider issues and subjects of interest such as place, memory, popular culture and alterity.

This synergy of diverse ideas and treatments is arranged and juxtaposed together in order to create a level of uniformity that also maintains the individual and unique characteristics of each work within a cohesive exhibition structure. The exhibition is made in the spirit of experimentation, it is without a fixed point of finality and showcases work that is open ended, adaptable and still in progress.

PASCAL UNGERER works with a wide variety of media incorporating photography, painting, video, and sculpture in his art making process. He is primarily interested in themes based around social, geo-political or ecological issues.

JOE TWINN’S art practice spans a range of media, such as costume design, collage and painting but his primary concern is with the moving image. For the past two years he has been making short films, utilising lo-fi, D.I.Y special effects.

BYUNGCHAN KIM is a visual artist from South Korea who has recently relocated to London. He works in an interdisciplinary practice incorporating a wide variety of media. His work draws upon a range of diverse references from hip hop and popular culture to war, history, cultural appropriation and misinterpretation.

Opening night:
Friday 2nd June 2017

Exhibition continues:
2nd – 5th June 2017

Free entry
Step-free access

New Graduate Award Resident: Kate Fahey


May 2017

Lewisham Arthouse is delighted to welcome our new Graduate Resident, Kate Fahey, who joins us from 1st June 2017 – 31st January 2018. Kate Fahey is an artist working with print and installation. She received a BA in Fine Art Printmaking from Gray’s School of Art, Aberdeen and an MA in Fine Art Printmaking at the Royal College of Art, London.

‘With machine vision, technological acceleration and the increasing pace of life, time seems to flow ever faster, making our relationships to images and the land fluid and problematic. At the core of my practice lies a concern for the surface and skin of the image through which I attempt to channel affect and a more embodied type of visuality, positing the surface as a site of mediation, transfer and transformation. Through the haptic nature of the work, I examine humans’ relationship with the digital and seek to connect with and to slow down our experience of images, calling on lost lore and old forms of knowledge to negotiate technology and scientific advancement.’

Her upcoming exhibitions include, Secret Stations, (solo) at Callan Workhouse Union, Kilkenny, Ireland. Recent projects include Going Dark, Guest Projects, London (2017), The Bloomberg New Contemporaries, ICA London (2016/17), The Jerwood Drawing Prize, Jerwood Space, London (2016/17), The Artist Traveller, Royal Scottish Academy, Edinburgh (2017), Reference Mollusk, Gossamer Fog, London (2016), PR!NT, Impressions & Expressions, Editions & Seditions, La Cambre Gallery 425, Brussels (2015), Resonance And Recapitulation: Echo Of a Renaissance, Collaboration with composer Enda Bates, Ormston House Gallery, Limerick (2015) and Spring Exhibition, Kunsthal Charlottenborg, Copenhagen (2015). She has received numerous awards including the Stanley Picker Tutorship in Fine Art Printmaking (2015/16), the Augustus Martin Print Prize (2015), the Tim Mara Trust Award (2015), the Royal Scottish Academy Residencies for Scotland Award (2015) and the Irish Arts Council Travel and Training Award (2013). She is an AHRC TECHNE funded practice based PhD candidate at University of the Arts, London.

We look forward to working with this exciting artist.

Silence Un-scene


22nd – 28th May, 2017

Silence Un-scene brings together the works of four artists, each one using the slow concentrated processes of painting to give full attention to the everyday and overlooked. Re-evaluating the scenery and discovering the symbolic qualities, they attempt to still time, silence the chatter and hold on to that moment, to shape it and own it.

| Press Release |

| List of Works |

Hannah Brown
Nathan Eastwood
Marguerite Horner
Rob Reed

Private View
Friday 26th May 2017 6pm – 9pm

Exhibition runs:
22nd – 28th May 2017
Open daily 12 – 6 pm

Free entry
Step-free access

installation shot 1

Installation shot 2

installation shot 3

installation shot 4

Studio Spaces available


An opportunity has arisen for 2 studio sublets at Lewisham Arthouse – one for 6 months and the second for 12 months. Both studios are situated on the ground floor of the building.

Studio One
Studio One
1 Year Sublet starting from August 1st-July 31st, 2018
111sq ft £60 per month

Studio Two
Studio Two
6 month Sublet starting from July 1st- December 31st, 2017
222.27 sq ft £120.50 per month

Application procedure:
* A statement (no more than 500 words) outlining your practice and areas of interest and an indication of how you wish to use this opportunity

* A statement (no more than 350 words) highlighting what you could contribute and how the cooperative would work for you.

* Specify which Studio you are interested in.

* CV (no more than 2 sides of A4)

* Equal opportunities form – click to download Equal-Opportunity-Form

* CD with up to ten images or for time-based work DVD (pieces or excerpts should be no longer than 5 minutes).

* Corresponding list of titles, media and dimensions should be included (please do not send originals).

* Two references

Application Deadline 26th May 6pm
email to:

Please note: Studio Sublets do not count as Arthouse membership.

Curatorial Open 2017

Curatorial Open

Call for Submissions – Deadline Friday 9th June

Following the success of last year’s project Lewisham Arthouse is pleased to announce that applications are now open for the Curatorial Open Call 2017. Based in Deptford’s Grade 2 listed former library Lewisham Arthouse provides access to artist studios, workshops, exhibitions and learning. We are looking to build on our proud history of supporting artists, their audiences and the wider community by offering free use of our project space to an artist, curator or collective for a period of 5 weeks.

We are inviting proposals from an artist/curator or collective interested in working with us beyond traditional forms of exhibition making. This might include visual art, music, talks, screenings, educational events or other kinds of creative output. Lewisham Arthouse will provide in-kind support with promotional, logistical and practical concerns along with a production budget of £1000.

This is an opportunity to realise a concise and considered strand of programming (one off exhibitions will not be considered). The successful applicant will provide and implement an innovative program, focusing on audience engagement, participation and using the full potential of the space.

Please send a CV (1 side of A4 max), an introduction to your curatorial practice/approach (300 words max) and a proposal outlining your program and its intended outcomes (1 side of A4 plus images / supporting material). Please include one written reference and a completed copy of our equal opportunities form.

Download the Equal-Opportunity-Form

Deadline for applications: Friday 9th June

Interviews: Week commencing June 18th

Curatorial project: Wednesday 4th October – Tuesday 7th November

Please send your applications to:

Curatorial Open Call 2017,
Lewisham Arthouse
140 Lewisham Way
London SE14 6PD

Postal applications only

* Due to the high level of entries we are unable to give feedback to applicants not shortlisted for interview. If you would like your application or supporting materials returned to you please provide a stamped addressed envelope

For more information about Lewisham Arthouse please visit our website:

Thanks and best wishes,

Lewisham Arthouse

What Happened Between?


15th – 21st May, 2017

‘Between the secret interior and the public exterior, carrying items to trade: shared knowledge, a shoulder to cry on, insight, fun’ (Hannah Black)

We are Kerri Jefferis & Sophie Chapman and we have been lucky enough to hold the Graduate Studio Award at Lewisham Arthouse for the past year. We are sadly coming to the end of our tether, we mean tenure, and would love to invite you over one last time.

We would like to bring people together, to expose the unseen construction site, prop the supports and acknowledge overlaps, blind spots and differences. Support is usually ‘derided and discarded by authority and depoliticized by the mechanisms of it’ (Celine Condorelli/Gavin Wade) so we are especially OBSESSED with it. We want to take this time to appreciate what has happened, gather and share knowledge, references, materials, have the conversations that we haven’t yet had, and have a wee PARTY! It promises to be a bonanza.

‘In the spirit of coming together to take ourselves apart’ (Kyla Wazana Tompkins) throughout the week we will host the following:-

Monday 15th 6.30pm – 9pm : A SCREENING on social time, how we document & ask questions in/of it

Wednesday 17th 6.30pm – 9pm : A LETTER what writing, diaries & confessions do for history/theory/personhood

Friday 19th 7pm – 11pm : A GIG bringing bodies together to make noise! (unwieldy noise) shit-hot noise makers… NX Panther, Rainham Sheds, Molejoy and more TBC

Saturday 20th 1pm – 6pm : A HANGOUT & CHAT discussing what support structures allow for improvisation, intuition, sounding / listening, the particulars of shared endeavours & the complicated spaces between people – schedule TBA

‘Because they were listening to each other the room felt small’ (Chris Kraus)

Free entry
Step-free access



27th April – 14th May 2017
‘[The] simple act of tying a knot is an adventure in unlimited space … an excursion that is limited only by the scope of our own imagery and the length of the rope makers coil.’

Clifford Ashley, The Ashley Book of Knots

From 27th April to 14th May, Lewisham Art House will present KNOTS, an exhibition of new work by Shiree Allen, Nancy Edwards, Jo Evans and Liz Workman.

Knots are everywhere in our daily life, often overlooked but always invaluable. Working in print, photography, sculpture and works on paper, each artist has responded to the theme of knots: the literal (tangled, connected, binding, tension, repetition); the psychological and emotional (stomach knots, ‘certain knot of peace’, tying the knot); and the mythological (Gordian knots, Heraldic knots). A collaborative sculpture forms the centre piece of the exhibition.

Shiree Allen’s work is inspired by the tall ship building and the debris of the past that can be found on the banks of the Thames. She contrasts this with the industrialisation of modern London; the tangle of buildings, railways, road and river that can still be seen from high above. Creating intriguing and detailed prints of these aerial views, Allen combines the chaos of knotted roads and buildings with the nails, washers and pulleys, that remain long after the rope that made the ships has decayed.

Nancy Edwards focuses on the connections and constraints of relationships; how these ebb and flow over time, increasing in intensity, wavering as priorities change. Working with paper and thread her delicate and precise works use repetition, order and misplacement to explore the ways these ties are made, broken, strengthened and subverted. Tension sustains the fragile structures she constructs, whilst simultaneously testing their integrity.

For Jo Evans, a rope knot found washed up on the beach, provided the starting point for an exploration of the psychological and emotional associations of knots. She positions the ‘knot’ as a bind, a tangle, a problem to be solved and a metaphor for the process of art making. Through drawing and text-based works she considers the patterns of behaviour we are compelled to repeat.

Liz Workman’s photography looks at repetitive tasks unconsciously performed, mapping and recording these unseen routes taken in our everyday lives. In her work Spider she weaves a giant cobweb around her home while tidying to create something beautiful, fragile and temporary from a necessary but mundane routine.

Further information and images:

Friday 28th April 2017
6-9 pm

Exhibition continues:
27th April – 14th May 2017
Open Thursday to Sunday 12-6 pm

Free entry
Step-free access

John Berger Night: Ways of Seeing/Man with a Movie Camera


27th April 2017

Lewisham Arthouse will be participating in the New Cross & Deptford 2017 Free Film Festival (21st – 30th April).

free film

As a tribute to John Berger who died in January, we are screening episode one of his groundbreaking TV series Ways of Seeing from 1972.

Ways of Seeing helped to re-define our approach to culture and brought Walter Benjamin’s ideas of art in the age of mechanical reproduction to a wider audience. Berger describes how the camera changed the way we perceive reality and Vertov’s 1929 masterpiece uses every trick in the cinematic book to upend our perceptions to dizzying effect.

Dynamic, playful and sexy, Man with a Movie Camera helped to expand the language of cinema in ways that still seem fresh and exciting today.

Screening at 8:00pm
Free (No ticket required – First come first served)
Running Time 30 mins/80 mins

Drawing Picasso: Life Drawing Workshop hosted by LDG


Fri 14 April 2017

Join London Drawing Group as we return to our original home at Lewisham Arthouse for a whole day of Life-Drawing this Easter Friday!

With easels, materials and our wonderful model provided, we will be offering a tutored session inspired by Picasso’s Demoiselles D’avignon, focusing on the themes of human abstraction and the possibilities of how we deal with the human figure in drawing. Tutored by our three LDG artists, the day will begin with a series of short poses and exercises designed to get you to think differently about the way you naturally approach your drawing, building to longer sustained poses in the afternoon that will allow you to create a completed work.

At just £30 for the whole day’s drawing this is a real steal, and trust us, it will be a treat for everyone involved! Book quick – these tickets won’t hang about for long!



Fri 14 April 2017
11:00 – 17:00

Free entry
Step-free access

Townly Cooke Exhibition


5th – 9th April 2017

Lewisham Arthouse Project Space will be hosting an exhibition of paintings by Townly Cooke (1949 – 2016), a long-standing member of the Lewisham Arthouse studios who sadly died in June last year.

Townly was a highly accomplished painter and photographer. His paintings, which meld figuration with elements of abstraction, explore the nature of representation in relation to the history of art, with special reference to his favourite art-historical era, Post-Impressionism.

The exhibition will present a selection of Townly’s last works, reflecting his preoccupations at the time of his untimely death. It will include the series of paintings Double Degas, a meditation on the 19th century French artist Townly particularly admired; Darkroom Tent, which poses questions about photography and reality; and on a more intimate scale, some sensitive drawings from his sketchbooks.

Townly Cooke was born in London and graduated from the Slade School of Art, Middlesex University and Goldsmith’s College.

His work has been exhibited widely including at the Serpentine Gallery, the National Portrait Gallery, Cameraworks, Woodlands Art Gallery, Whitechapel Gallery, Lewisham Arthouse Gallery, the Celeste Art Prize in London, and at Photokina in Cologne.

Commissions have included the Tottenham Historical Society, Trinity Laban Conservatoire of Music and Dance, Apprentice Bargees, Smithfield Meat Market and Swan Upping for the Museum in Docklands.

Private View
Friday 7th April 2017
6-9 pm

Exhibition open:
5th – 9th April 2017
Open 12-6 pm

Free entry

Prefix is ‘Post’


21st – 25th March 2017

Prefix is ‘Post’ is the interim show of 2nd year BA fine art students from the University for the Creative Arts
As exciting as this is, imagine how exciting the collapse will be‘ Dave Hickey

With an abundance of information and a multi-layered reality – by which we refer to as the world around us – our response is to create within our own terms, taking a reviewing, self-inquiring and self asserting position.

The show places the artists both in the physical present and the anticipated future. We propose a timeless human condition in a world oversaturated with images and digital data, a world that has multiple surfaces.
Without the utopian or dystopian futures, what is left behind is a reality that is suspicious to images, in which we find ourselves drowning.

The show is a reflection of a diversity of practice, perspectives, political and cultural attitudes, with work ranging from painting, where painting becomes a sculptural medium, sculpture as image, the experience of the present under the form of performance, moving image, installation and photography.

21st – 25th March 2017

23rd March 2017

Free entry
Step-free access

Less Navels, March! March!

sophie.kerri.march copy

March 2017

Sophie Chapman and Kerri Jefferis have been invited to be The White Pube’s artists in residence for the month of March. During this time they will use TWP’s web platform as host, interface and instigator to test out, document and start conversations through a series of public interventions.

On a defined website page, the actions will appear sporadically alongside fragments, residue and reflections. Acts that ask for input, are transitory or locational will be announced prior to their undertaking. These notices will be posted on TWP’s twitter and consequently, engage both online and offline publics, participants, audiences, observers and individuals in their enactment.

The works will take a range of forms considering the physical, the sonic and the poetic in relation to affect, contagion, situations and embodiment. Some engage with aspects of homage, drawing clear desire lines to the past considering the pace and nature of social time; others, introspection, networks, difference and commonality. Each act in dialogue with the others will appear in a different form or context; as counter-information, confrontation, prompt, proposition or pretext.

Kerri and Sophie will take an experimental approach to the month, seeing it as ‘a play in many acts’ and ‘small gestures in specific places’ because, ‘the skin is faster than the word.’

Acts will be announced on The White Pube’s twitter.
March residency page here.

The White Pube is an art criticism website and research project ran by artists Gabrielle de la Puente and Zarina Muhammad. They publish a new text each week – often exhibition reviews, though sometimes baby essays. In August (2016) TWP curated Zayn Malik Zindabad, an evening of artists moving image at Lewisham Arthouse which recently toured to the ICA, London.

Graduate Studio Award 08

DSC_0465 (1) copy

May – June 2017

Lewisham Art House is an artist cooperative of over 20 years. Based in a Grade II listed building, the organisation provides access to artist studios, workshops, exhibitions and learning. We strive to build upon our organisation’s proud history of supporting artists, their audiences and wider communities, fostering diversity and an ongoing commitment to capacity building.

Continuing our commitment to support emerging talent, we announce the 8th round of our Graduate Studio Award Scheme.

We are inviting recent London-based fine or applied arts graduates to apply. The award offers a free 200 sq ft studio for 8 months (commencing May/June 2017), culminating with a project/exhibition in our Project Space. The successful applicant is encouraged to participate in our lively artistic community.

Applicants should be London based MA or BA level, applying within two years of graduation. Please do not apply if you are currently studying or graduating in June/September 2017.

Deadline Friday 28th April 2017
Interviews 11th May 2017

Please see the attached forms and submit as outlined. Good luck!

Graduate Studio application outline

Equal Opportunity Form 2017

sound is sound is sound

Sound is

Saturday 25th February

sound is sound is sound returns to the Albany with a heady mix of punk, free jazz, electronica, sound art and breakbeat. sound is sound is sound brings together the South East London underground, music from other London and UK scenes, and internationally renowned musicians for one unique and eclectic night.

BLOOD SPORT from Sheffield, rhythm at the centre of their sound, rhythm at the heart of their noise

WARREN SCHOENBRIGHT a lightbulb moment, they will play in the centre of the space

MERLIN NOVA in performance and here’s a link to her soundcloud page

ALAN WILKINSON the long game, for real making sound as a life thing, exploring acoustics, alto and baritone saxophones

Afternoon Workshop
Soundhoppers, 3pm & 4.30pm.
Led by sound artists Wajid Yaseen and Helen Frosi, SoundHoppers is a workshop for children exploring making sound, instruments and active listening. Age Guidence: 5-10 years
FREE but booking advised.

DATES & TIMES: Saturday 25 February, 8pm (doors)
TICKETS: £10 advance / £12 on the door

Take One Picture 2017 – Myatt Garden Primary School


23rd February

Each Year the National Gallery promotes the use of a single painting for cross curricular teaching and learning through the Take One Picture Programme. This year’s picture is a fresco ‘Penelope with the Suitors’ about 1509.

All year groups at Myatt Garden Primary School focused for an entire week on the picture and subsequently all their learning and creative outpourings were inspired by ‘Penelope with the Suitors’.

I am extremely proud of the children’s creativity and the whole schools energy and skill in delivering this project. The exhibition displays not only every child’s work in the school, but the excitement and enthusiasm of their learning.

Well done Myatt Garden!

Karen Vost
Art Specialist Teacher
Myatt Garden Primary School

Action Time Vision


8th – 19th March 2017

Action Time Vision is an immersive exhibition, that fuses installation, traditional representation and live performance. A.T.V. takes its inspiration from events that happened in the immediate area, over half a decade, starting 40 years ago. Some of these occurrences, like the Battle of Lewisham and the New Cross Fire, were of lasting national significance. However this show also celebrates more parochial phenomena, such as the lasting role of Deptford Street Market in promoting social cohesion.

A similar role has been played by the local independent music scene and that too will be a focus, with particular emphasis on the Sound System scene and Rock Against Racism. The largely moribund technology that was used to consume music and promote alternative ideas back then will also be explored. There will be opportunities play recorded media on vintage equipment and to produce mix tapes. Fanzines and other expressions of Cultures of Resistance will be celebrated too.

As a reflection of the importance of Rock against Racism concerts and Sound System dances to this cultural milieu, the Preview Night will feature a live show, at the venue, on 11th March. This will feature live bands, specialists DJs and an environment heavily dressed for the occasion. There will be a follow up event on the following weekend, at The Duke, featuring Tessa (The Slits) and Ras Danny Mosiah.

Contributing visual artists will include: Amanda Knight, Allison Phillips, Fret, Jim Cauty, Other World Arts and Yerman Wax.

Sonic contributors will include The Laura Trombone Band, Rebel Sister Sound, Tom Phobic, Waxy and The Ukadelics.

Local Historian Carol Pierre.

Live Club “Preview”
Saturday 11th March 2017

Exhibition open:
8th – 19th March 2017
Open Wednesday to Sunday 12-6 pm

Free entry
Step-free access

Robert Hitzeman: StoneLicker Dessins

Robert cropped

25th January – 16th February 2017

Le Hic Brussels is pleased to present a new series of drawings by Robert Hitzeman from his StoneLickers series as well as his sculpture Sweet Dredge exhibited installed throughout the space. Le Hic will also host the publication Floor and Ceiling: 3rd Edition a Photo-zine dedicated to Robert’s Floor and Ceiling photographs and designed by Michal Kozlowski. Robert Hizeman’s work uses visual languages to subtly disrupt readings of interior and exterior in the body and the built environment, as well as examining the relationships between ideology and the physical conditions of space. The idea of the subtle abjection; a way of transgressing the viewer quietly, is a central theme to his work. He is interested in how a transgressive force can appear seductive benign or comical but still disturbing on another level: subverting traditional separations between attraction and repulsion. “Stonelickers” are a series that include several works relating to parasitic relationships, feeding or mating and their potential as a model for artistic production and cultural exchange. The drawings for this permutation of the series are based on images of the mouth and teeth of several species of Lamprey, a parasitic fish and several models of angle grinder bits used in stone and metal work. Lamprey comes from the latin lampetra, which translates roughly as “stone licker” (lambere “to lick” + petra “stone”). In sculpture, Robert’s work is made from assembling building materials gathered from a particular area; creating a link from that area’s history to a totemic object or artifact

that connects it to the present while questioning notions of location. “Sweet dredge” is another take on this idea, using animal remains gathered from the Thames at the site of a former meat processing plant and colorful rope. The area directly above the river now houses a rock climbing wall and gym built on the foundation of the meatpacking district. Robert is interested in linking the gym’s conception of the body as a malleable object to be conditioned or changed to the “processing” of animal remains into meat; both systems that attempt to alter the original into a state that conforms to a normative ideal.

The Exhibition will be open from 25th January until the 16th February 2017.

Get there: Le Hic Rue de Rodenbach 51, 1190 Brussels
Tram lines 3-4-51 stop Albert/Berkendaal
Bus 48 et 54 stop Albert Tram 92 stop Darwin
Opening times: Monday to Saturday 10 to 18:30

For Further information: +32 465 594 216

Objects In The Mirror May Be Closer Than They Appear



Image: Untitled, (Above) Mama said, mama said, Grace Lee, embroidered canvas, 2017

8th – 18th February 2017

A group show of new work by London based artists Clémentine Bedos, George Dunkerton, Hattie Godfrey, Liam Hughes, Grace Lee, Gabriel Mansfield, Cait Miskelly, Susie Pentelow and Sara Rodrigues.

In exploring particular conditions of fiction that favour narrative and experiment with the alternate, they question binary distinctions between reality and fiction, original and copy, interior and exterior. Through the use of image, object and sound, the works reveal the ways in which translation and plurality are always present in communication.

Funded by the Goldsmiths Annual Fund

Friday 10th February 2017
5-8 pm

Exhibition open:
8th – 18th February 2017
Open Wednesday to Sunday 12-6 pm

Free entry
Step-free access



17th – 23rd January 2017

Tarmac brings together a diverse collection of artists and mediums spanning across disciplines including painting, sculpture, film and photography.

This is the third independent exhibition for a collection of emerging artists currently studying Fine Art at UCA Farnham following the success of Chrome at The Lacey Contemporary Gallery and No Ordinary Disruption at The Flying Dutchman.

Tarmac touches upon themes such as cinema, the everyday, the existential, process and perception which all ultimately exist under the umbrella of exploring our reality. The work throughout this show plays with the idea of disrupting and altering that which already exists, whether it be a surface, object or idea; opening viewers up to the possibility that the way we view the world could be wrong, overturning established ideals and conclusions.

Monday 16th January 2017
6-9 pm

Exhibition continues:

17th – 23rd January 2017
11am – 4pm

Free entry
Step-free access



11th – 15th January

Etienne de Villiers, Julia Noble and Marion Piper present drawings and paintings on paper and canvas which continue the conversation between these three artists about the nature and practice of perception and production.

An accompanying text by Paul Carey-Kent, ‘Grid Play’, discusses the artists’ methods and motivations for the works exhibited.

The artists will be present throughout the exhibition period.

Etienne de Villiers

Julia Noble

Marion Piper

Wednesday 11th January
6-9 pm

Exhibition continues:
11th – 15th January
Open Wednesday to Sunday 12-6 pm

Free entry
Step-free access

Kerri Jefferis and Sophie Chapman: Of The Hand That Point Out, Of Fingers That See

16th-18th December 2016
Preview: Friday 16th December 2016, 7pm, gig from 8pm
Saturday 17th December 2016, 12-5pm and Sunday 18th December 2016, 12-4pm

“Maybe I have written to see; to have what I never would have had; so that having would be the privilege not of the takes and encloses, of the gullet, of the gut; but of the hand that points out, of fingers that see, that design, from the tips of the fingers that transcribe by the sweet dictates of vision. From the point of view of the soul’s eye: the eye of a womansoul.” – Helene Cixous

We have to live in the future. Anyone practicing politics that goes against the current socio-economic nightmare* is practicing the future. They live in the future, by desire and by necessity. We have to start somewhere. We have to start with the micro.

So what are the gestures of our collective desired future? If language isn’t working for us, can we use our bodies? How can we communicate trust and solidarity to one another through our bodily language? How can we include contradiction within our gestures? Attempt to cover the distance that is perceived and experienced of difference? Include complexity? Seepage and slippage? Overflowing subjectivity? A sense of humour?

Gestures are conceived through metaphor. Bodies signifying, expressing. Therefore we cannot decontextualise movement and we are unwilling to separate discourse and materiality, language and embodiment. Bodies give permission. They alternate power. They co-author. They use shared and marginalised history. They follow desire lines. They identify with the past and with the present. They assemble. They have to unlearn. They change.

“There is a body wherever there is resistance. But their potential to speak is waiting to be mined.”
– Zsuzsanna Soboslay Moore

Of The Hand That Points Out, Of Fingers That See will be a collection of works in progress by Sophie Chapman, Kerri Jefferis and others.

Arthouse Winterfair 2016


Lewisham Arthouse’s ever popular Winter Fair returns on Saturday 10th December 2016.

We will be offering lots of lovely gifts and art for your delight and possibly seasonal presents for you friends and family. Everything from paintings, posters, prints, ceramics, mosaics, jewellery, sculpture and digital art, to crafted fashion accessories.

There will be a tasty food bar run by Marta Addari, our local Vegan/vegetarian caterer Chef on Menu. A splendid mulled wine stall run by Lewisham Arthouse plus great vibes from our in-house DJ, fabulous festive decor, and of course the friendly face of Lewisham Arthouse to meet and greet you all.

It’s a free event and all are welcome, we have wheelchair access and there will be some fun stalls for children to look at.

Open: 11.00am – 6.00pm
For more information email:

Rosey Prince: Shifting States

29th November – 11th December 2016

Richard Brayshaw, Deborah Burnstone, Janety Curly Cannon, Robert Fitzmaurice, Nick Hazzard, Maria Lena hedberg, Stephanie Herbert, Alison Lumb, Maureen Nathan, Rosey Prince, Ann Simberg, Sally Tyrie, Erika Wengenroth, Edward Winters

Lewisham Arthouse Studio Member Rosey Prince is taking part in the group show Shifting States.

“The condition of liminality is a state of transition, of suspension on the threshold between one place, time or state of mind and another. It involves ambiguity, uncertainty and the dissolution of order, identities and outcomes thrown into doubt, speaking of borderlands, faultlines and indeterminate places… The exhibition features print, photography, film, installation and sculpture.”

Rosey Prince’s work in the exhibition, which includes mezzotints, drypoint and painting, has been inspired by a series of walks along the Thames estuary, and continues her interest in the transience of place. The marshes and the river remain constant yet shifting against monumental structures such as power stations and pylons which temporarily dominate the horizon, until demolished or left to ruin allowing the landscape to reinvent itself. These images focus on the desolate yet hauntingly beautiful landscape of the estuary and the uneasy relationship between the semi-rural and the semi-industrial.

Exhibition Dates: 29th November – 11th December 2016
Espacio Gallery, 159 Bethnal Green Road, London E2 7DG

Tube: Liverpool St station, Bethnal Green Station
Overground: Shoreditch High St
Buses 8, 388

Open Tuesday-Saturday, 1-7pm, Sunday 1-5pm
Closed Mondays

Soft Wax – Winner of the Arthouse Award


We are pleased to announce Soft Wax as the winner of the Lewisham Arthouse Award for the Deptford X Fringe 2016.
The Soft Wax collective were selected by an anonymous panel of Arthouse members for their site specific, multi-media piece ‘Punky Reggae Party‘, staged over 2 venues and focusing on key events in local history and the life of our community. The outcome was an inspiring and immersive work and we look forward to seeing what Soft Wax will produce for their two week takeover of the Arthouse Project Space in March 2017, 6th to 20th.

Soft Wax is a loose collective led by Steve Wax. The main focus of their diverse output is cultures of resistance, taking inspiration from the popular music that embodies them. Alongside their project for Deptford X, Soft Wax recently staged an installation at The Museum of Club Culture in Hull for the Freedom Festival 2016 and Steve Wax has been at the helm of some of the UK’s best dub and reggae nights.

For more information regarding their forthcoming programme for the Arthouse please join our mailing list or keep an eye on the website.

London Road: The ballad of RAY + JULIE


23rd November – 4th December 2016
Preview: Friday 25th November 2016, 6-8pm


Image: Still from The ballad of RAY + JULIE, photo: Leila Romaya

Exhibition featuring new film and 7” single that celebrate the RAY + JULIE sculpture, once listed by The Guardian as one of Britain’s Top Ten Secret Public Artworks.

In 2009, The Guardian’s Top Ten Secret Public Artworks of Britain included the familiar names of Moore, Hepworth, Cragg, Mach, and Muñoz. Number five on this list was the work entitled RAY + JULIE on London Road in Liverpool. Created by artists Alan Dunn and Brigitte Jurack in 1995 it has remained as a homage to the long faded graffiti on the back wall: RAY + JULIE. Intended to last only six months, RAY + JULIE has since become a symbol of the ebb and flow of urban regeneration in the North. Two minutes from Liverpool’s main Lime Street station, RAY + JULIE has inspired poems, CD covers, photographs, theatre pieces, films, short stories, sound works and billboards. As for London Road’s two original residents, nobody knows who RAY + JULIE were, but these artworks bring them to life.  

The ballad of RAY + JULIE, commissioned by Liverpool Everyman and Playhouse Theatre to mark twenty years of the RAY + JULIE sculpture is produced and directed by Nick Bagnall and features an original soundtrack by Philip Jeck, winner of the Paul Hamlyn Foundation Award for Composers.

Tim Brunsden’s film of the event will be screened in the exhibition, along with the release of a limited edition 7” single by Dunn, Heslop & Young entitled LONDON ROAD

The exhibition is supported by Liverpool Everyman and Playhouse Theatre and Leeds Beckett University.

23rd November – 4th December 
Open Wednesday to Sunday 12-6pm except Sunday 4th December 2016, 12-4pm

Free entry
Step-free access

Abolish Trout


19th and 20th November 2016, 10am – 4pm
Preview: Friday 18th November 2016, 6-9pm

Craig Coulthard / Peter Donaldson / David Maclean

Abolish Trout is a group show of new work by three Scottish artists, all living and working in London. Originally graduating together from Edinburgh College of Art in 2002, these three friends present new work consisting of sculpture, ceramics, textiles and painting. Taking its title from a doctored piece of anti-immigrant graffiti; (originally reading ‘Polish Out’) Abolish Trout is an opportunity for the artists to exhibit their similarly subtle, humorous and thoughtful creative interventions to a new audience.

Craig Coulthard (b. Rinteln, West Germany, 1981) lives and works in London. He studied at Edinburgh College of Art, and was a co-founder of The Embassy gallery in Edinburgh in 2003. His work has been exhibited at Atelier Hoherweg Dusseldorf, Ingleby Gallery Edinburgh, Camden Arts Centre London and Collective Edinburgh. Recent shows in include The Drummer & The Drone as part of the Edinburgh Art Festival and Generation:TG on the Travelling Gallery. In 2009 Coulthard was awarded the £460,000 Scottish Commission for Artists’ Taking the Lead, part of the London 2012 Cultural Olympiad. His work, Forest Pitch, completed in 2012, saw the construction of a full-size football pitch in the middle of a spruce forest. He also writes and records music as Randan Discotheque.

Peter Donaldson (b. Edinburgh, 1980) lives and works in London. He studied at Edinburgh College of Art, and the Royal Academy Schools, where he is currently a sculpture tutor. He was recently selected for the East London Painting Prize and the ArtWorks Open. His work has been shown at TAP Southend; the Royal Academy of Arts; Modern Art Oxford; the ICA; Mizuma Art Gallery, Tokyo; and Museo Civico di Rovereto, Trento, Italy. He was awarded the Deutsche Bank Award for Fine Art in 2010.

David Maclean (b. Perth, 1980) lives and works in London. He studied at Edinburgh College of Art and in 2003 co-founded the Edinburgh gallery The Embassy. He moved to London to study at Chelsea College of Arts where he formed the music group Django Django in 2007. The band have gone on to record two albums, tour internationally, and in 2012 were nominated for the Mercury Music Award. Maclean often directs music videos and designs record sleeves for Django Django. Recently he has recorded an album with Damon Albarn’s Africa Express in Mali and this year worked on KT Tunstall’s latest album ‘Kin’. In 2014 he founded his own record label, Kick and Clap. He has recently collaborated with artists such as Haroon Mirza and George Henry Longly, and has scored music for the Royal Shakespeare Company and the Film Four feature, Slow West.

Free entry
Step-free access

Thank you LDG


Lewisham Arthouse would like to say a huge thank you to the London Drawing Group who recently completed their tenure as the Arthouse’s first curators in residence.

LDG presented an ambitious and highly successful program of exhibitions, workshops and talks. All the workshops were offered free of charge with an ethos of inclusivity and an agenda to demystify the act of drawing “breaking down contextual barriers and helping people to engage in the playful, unpredictable and unknown aspects of art making”.

The residency was structured around a series of four exhibitions. Individual shows by each of the three members of LDG acted as the starting point for the three weeks of workshops, culminating in a community exhibition, showcasing the artworks made by the participants of the workshops. Lucy, Frances and Luisa worked tirelessly preparing, promoting and presenting all elements of the program and it was excellent to see the project space as a buzzing hive of activity throughout.

Following on from this their next project is a series of workshops at the British Museum – check out the available events on their Eventbrite page (

To follow their ongoing activities you can visit their website:

The Lewisham Arthouse Curatorial Open will be running again next year with application details becoming available in 2017.

Studio Available for 6 Month Sublet from 1st January 2017


An opportunity has arisen to rent studio space for a studio sublet at Lewisham Arthouse. Situated on the ground floor of the Arthouse the studio is 229 sq ft with a monthly rent of £124.
Application procedure:
* A statement (no more than 500 words) outlining your practice and areas of interest and an indication of how you wish to use this opportunity
*A statement (no more than 350 words) highlighting what you could contribute and how the cooperative would work for you.
* CV (no more than 2 sides of A4)
* Equal opportunities form – equal-opps-monitoring-form
* CD with up to ten images, or for time-based work DVD (pieces or excerpts should be no longer than 5 minutes curation).
* Corresponding list of titles, media and dimensions should be included (please do not send originals).
* Two references


Please post your applications to:

FAO: Allocations
Lewisham Arthouse
140 Lewisham Way
London SE14 6PD

*Please note that the sublet will not be part of the Arthouse membership*

Application Deadline: Friday 25th November 2016, 6pm

Selected Applicants will be contacted for interview shortly after this date.

Please note that due to the high number of applications we will be unable to contact those not shortlisted and will be unable to offer feedback.

Urban Memories


3rd – 12th November 2016
Preview: Friday 4th November 2016, 6 – 8pm
Open daily, Monday to Sunday 12-6pm


Image: David Colm Killeen, 2016, courtesy the artist.

UPA (Urban Photographers Association) Annual Exhibition

The organisers of the 2016 International UrbanPhotoFest (UPF) are delighted to present Urban Memories, the annual collective show of the Urban Photographers Association (UPA).

The exhibition shows the selected work of 14 UPA members responding to the Festival theme of Photography, Memory and Archive. Cities are living archives and rediscovering their visual history is fundamental to the development of urban photographic practices. Nothing is cast in stone and only interpreted as heritage; the past is illusive and uncanny. How do historical photographs visualise and politicise daily life in order to commemorate and generate specific social histories, public memories, landscapes and pictorial archives? Cities are not merely architectural metaphors; they are mobile, evolving entities projecting memories deep into the social life of urban dwellers. In what way can urban photography break down social stereotypes and offer alternative ocular archives of cities? Urban Memories tries to answer these questions through a variety of selected visual projects.

Caroline Knowles, Urban sociologist and Goldsmiths professor, says:
“In their entries to this exhibition the artists raise important questions about how we might think about memory; about how memories manifest themselves in cities and in people’s lives; and about the complex multi-layered relationships memory, cities and people might have with photography. In a mix of found images – whose photographers and their preoccupations must be imagined – and newly created images that dialogue in off-beat ways with people, places and circumstances, the artists in this exhibition show us that multiple truths – not the truth – are in contention in the ways in which we apprehend and remember the individual and collective realities which are significant for us.” (UPV catalogue, p. 5)
Exhibiting artists: Peter Coles, Diego Ferrari, Michael Frank, Gill Golding, Paul Halliday, Tanya Houghton, Rebecca Locke, Bas Losekoot, David Kendall, David Colm Killeen, Luc Pauwels, Galit Seligmann, Gesche Würfel and Kyler Zeleny.

For further information, please visit:

UPA portfolio review, Tuesday 8th November 2016, 11.00-13.00

Free entry
Step-free access

Freddie Thomas presents Well Proud

Freddie Thomas presents Well Proud

29th – 30th October 2016
Preview: Friday 28th October 2016, 6-9pm

London being Freddie’s hometown she feels very passionate about it and its ever-evolving changing face. Once a place where everyone could afford to live, it is now a place made for the rich, investing in the rich and kicking out the poor. With house prices rising and rising, people are struggling to live on this little island called London. Once a place where council estates were prominent and communities were generations old, it has now turned into a transient place, people coming and going. The young white middle classes, doing their four years in London and then moving on to affordable places to live. Is this place once built on history and tradition turning into one big airport?

Through the use of banners, textile paintings and script, Freddie discusses London, the fabric of society. With every stitch sewn, with every button sewn on, you can feel her passion hovering behind you like a ghost that will not go away. So immerse yourself in the material, feel its presence because she may not be able to afford to live here anymore but she certainly won’t go away.

Free entry
Step-free access

Winter Fair 2016 – Stall Bookings


Saturday 10th December 2016, 11am-6pm

The ever popular Lewisham Arthouse Winter Fair is back. Festive decor finely executed by our talented members, festive food and mulled wine, festive tunes, warm welcome and a selection of fine arts and crafts stalls to tempt the happy Christmas shopper.

Stalls available to book by artisans, purveyors of fine hand made foods, designer/makers/artists and crafts people. Stall cost £25 with table or £20 without table.

To book a stall please contact

All stalls are now fully booked. Thank you for your submissions.

Sara Willett: City Kaleidoscope

22nd October – 5th November 2016

At the end of a five week residency in Beijing at the invitation of Being 3 Gallery, Lewisham Arthouse Studio Member Sara Willett presented a solo show of paintings, drawings, sculpture and installation entitled City Kaleidoscope. View images here:

Being 3 Gallery, Caochangdi, Beijing, China
22nd October – 5th November 2016

Works by Rob Reed featuring in NOA 2016


27th October – 4th November 2016

National Open Art is bringing its 20th Exhibition to the heart of the City this autumn.

Curated by Robin Muir, following his hugely successful curation of the National Portrait Gallery’s Vogue 100 earlier this year, this free admission exhibition at Mercers’ Hall features 160 selected paintings, drawings, prints, photographs, wall hung installations, digital art pieces and short films.

The artworks have been selected by an expert panel, including Robin Muir and Royal Academician David Remfry, from thousands of pieces by the very best professional and amateur artists working today in the UK and Ireland.

More than £50,000 worth of prizes will be awarded to 35 artists, including for the hotly anticipated Best Emerging Artist and Best Young Artist, when Lord Mervyn Davies opens the exhibition on Thursday, 27 October.

Winners of the children’s competition, judged by Children’s Laureate Chris Riddell, will also be announced when the exhibition opens.

Mercers’ Hall
Ironmonger Lane
London EC2V 8HE

27th October – 4th November 2016

Opening times

October | Thu 27th & Fri 28th | 10am – 3pm
Sat 29th & Sun 30th | 10am – 4pm
Mon 31st | 10am – 6pm
November | Tue 1st & Wed 2nd | 10am – 6pm
Thu 3rd | 10am – 5.30pm Fri 4 | 10am – 6pm

Free Admission

All exhibition and shortlisted works are available on the online Galleries.
Please contact us if you would like to purchase works from any of our artists.
We are in constant touch with all our artists who will readily undertake commissions.

By Underground:
Bank Station on the Central, Northern, Waterloo & City and DLR
Exit to Princes Street
Walk west on Mansion House St towards St Mildred’s Ct (125 ft)
Continue onto Poultry (338 ft)
Turn right onto Old Jewry (177 ft)
Enter from Cheapside or Gresham street
Total about 3 minutes

By Bus:
Routes 8, 25 and 242 travel along Poultry
Routes 11, 21, 23, 26, 43, 76, 141 and 388 travel past Bank station.

Click here for a Google Map

Guided tours of Lewisham Arthouse


1st & 2nd October 2016

As part of Deptford X Visual Arts Festival we are giving guided tours of the building and selected artists’ studios. With the benefit of an Arthouse guide, have a look around the 3 floors of the building including our open access dark room, the kiln, chat to artists in their studios and have a look at their work.

The tours are scheduled at the same times on both Saturday and Sunday 1st and 2nd October:


No need to book! Please note we are sorry you will not be able to look around the building without an Arthouse guide.

For more info on Deptford X see

In addition to the tours of the building, in the gallery we are hosting a month long residency, Acts of Translation a programme of free workshops, talks and exhibitions by The London Drawing Group.

Lewisham Arthouse presents sound is sound is sound at The Albany


Saturday 1st October 2016
Free events 3-8pm
Evening performance 7.30pm – late, £12/£10
Lewisham Arthouse presents sound is sound is sound, Albany Theatre, Douglas Way, Deptford SE8

sound is sound is sound showcases and celebrates the curious mix of forward motion and DIY attitudes, the vanguard and the street, which has flourished in the SE postcodes, a highly motivated gathering of outsider sounds, exploiting the logics of punk, free jazz, electronica, sound art and breakbeat, melding them to suit the perverse intentions of the musicians.

sound is sound is sound follows on from the Lewisham Arthouse monthly series of sound and music, bringing together the south east London underground, music from other London and UK scenes, and internationally renowned players in a heady and engaging mix.

The evening performance will follow a full afternoon of sound installations, workshops and interventions in and around the Albany.

TOMAGA channels percussive energy to create a collision of vibrating rhythms and tones. TOMAGA actively seeks to transport the audience to zones outside the normal limits.

CHARLES HAYWARD ZIGZAG+SWIRL full on drums, electronics and song, beyond breakbeat, headfirst into uncertainty, a psychedelic continuum and the startling other.

SCULPTURE performances are a mix of electronic music, kinetic art, comic strips, abstract animation, audiovisual cut-ups, analog and digital, tape manipulation, samples, found sounds, algorithmic programming and live improvisation.

GRAHAM DUNNING’S MECHANICAL TECHNO – Ingenious DIY experiments in sound and movement to make you dance. Turntable chicanery taken to new heights.

CHARLES BULLEN guitarist from This Heat and Lifetones plays a DJ set from far and wide, high and low.

JJ AKINLADE is a London-born spoken word artist, exploring the diverse range of human stories which comprise our current social climate.

evening performance tickets £10 in advance/£12 on the door

INSTALLATION: The Pomegranate Circus is a collaboration between Sam Weaver and KHOM visuals, both key figures in the creative hotspot Islington Mill, Manchester. Crashing together order and chaos they take Richard Brautigan’s poetic text as a starting point for unfolding patterns of sound and light.
The Albany Theatre Studio 5-8pm. Admission free

WORKSHOP: SoundHoppers is a workshop for children exploring making sound, instruments, active listening. Led by sound artists Wajid Yaseen and Helen Frosi this workshop is a fantastic introduction to new ideas and attitudes in sound and music sharing.
The Albany Theatre Orange Room 3-5pm. Admission free, booking required.

Lewisham Arthouse Award


Lewisham Arthouse is proud to announce the Lewisham Arthouse Award, as part of the Deptford X Fringe Awards.

A panel made up of members of the Arthouse cooperative will be selecting an exhibition from this year’s Deptford X Fringe programme to be given a two week show in our project space in spring 2017. Throughout the festival our anonymous panel will be visiting the Fringe projects, looking for the most ambitious, outstanding and original work.

The selected artist(s) will be given full use of our Project Space for two weeks along with promotional support from Lewisham Arthouse and Deptford X.

Curatorial Open 2016 – The London Drawing Group


19th September – 16th October 2016

Lewisham Arthouse is an artist-led cooperative formed in 1992. In April Lewisham Arthouse invited proposals from artist(s)/curator(s) interested in working with us beyond traditional forms of exhibition making.

The London Drawing Group were selected to curate a month long public programme of events aiming to help people engage in the playful, unpredictable nature of making art and promote the joy of drawing through a series of free workshops, talks, walks and exhibitions.

Coinciding with Deptford X art festival and The London Drawing Group will present their programme within the wider context of the festival.

“We believe that when we copy or imitate the work of another artist, we are participating in an act of translation: learning through doing. Taking our starting points from those that have come before us allows us to translate timeless ideas into our own visual language. Through this act of translation, we learn as much about ourselves as artist as we do about our subjects, our processes, and what it is about the work that engages us.”

Their first week of workshops will take as their starting point images from their initial exhibition; with the guidance of artists and tutors the participating group will be encouraged to make art in response to these images, beginning the act of artistic translation. The artworks created in the first workshop will form the basis of our second workshop and continue throughout the month, creating a new series made by members of the community, encouraging and forging links between one group of artists and the next. The workshops will comprise a diverse range of teaching methods and draw from both our collective art history and contemporary art-making techniques, ranging from sculpture, collage and traditional life drawing to live music-scores, performances, film and animation. The work created throughout the residency by members of the community in response to our three exhibitions will be showcased in a final Community Exhibition.

Week 1: Luisa-Maria MacCormack
Exhibition opening Thursday 22nd September 2016

Week 2: Lucy McGeown
Exhibition opening Friday 30th September 2016

Week 3: Frances Stanfield
Exhibition opening Friday 7th October 2016

For further details on the London Drawing Group residency click here (pdf).

About The London Drawing Group:
The London Drawing Group is a collective of three contemporary artists living and practising in London. Although our practices are individually varied and diverse, we are brought together by our shared love of and passion for drawing, and our experiences of being taught by
a huge range of practising artists at the Royal Drawing School Central.

To contact London Drawing Group email

One One Seven | Ghost House Gone House

One One Seven Ghost House Gone House

16th – 18th September 2016

A double bill theatre and music event by Kyoto-based theatre group BRDG and Deptford-based music duo RABBIT touring Stroud, New Cross and Kyoto. Both pieces are based around an old Victorian house which used to exist at 117 Lewisham Way and the family which used to live there.

117 – one one seven 
This is a play based on interviews with a British woman who has been living in Kyoto since 1989. It introduces her life and her old house at 117 Lewisham Way, which used to exist in New Cross. During the play, the recorded voices of interviews are played and Japanese actors interpret them into Japanese and English. As the play unfolds, this act of ‘interpreting’ transforms into ‘acting’. The memory of New Cross travelled overseas with her and now will be re-told to the people in UK as the story of ‘an outsider’.

Directed by Keiko Yamaguchi. Performed by Bridget Scott, Hiromi Demura and Tatsunori Imamura, with sound technician Toru Koda.

Ghost House Gone House
Two simultaneous films documenting 117 Lewisham Way, a Victorian villa and lost local landmark in the year prior to its demolition. The films were shot by David Aylward (drums and percussion) and Tom Scott-Kendrick (reeds, strings and electronics) who will also provide a live soundtrack including field recordings made at 117 Lewisham Way. 

Keiko Yamaguchi (director, actor) and Kano Kawanabe (co-ordinator) founded BRDG in 2011 creating works under the theme of Foreigners in Kyoto.
423 (Shitsumi) Art Project based in rural area in Kyoto produce workshops and events for children and local people. 
117 – one one seven are performers Bridget Scott, Hiromi Demura and Tatsunori Imamura with sound operator Toru Koda.  

RABBIT are Tom Scott-Kendrick (reeds, samplers etc) and David Aylward (drums, percussion etc). They have played together since the mid 80’s, a contemporary, experimental urban folk music, merging and mutating genres in an on-going dialogue of sound and music. For further information go to or email 

Friday 16th September 2016, 8pm
Saturday 17th September 2016, 8pm* 
Sunday 18th September 2016, 3pm

*On Saturday 17th there will be a special appearance by Nick Doyne Ditmas and Adam Bohman playing with Tom Scott-Kendrick.

£7.50 adv / £8 door (£5 concessions )

Supported by The Daiwa Foundation and the Great Britain Sasakawa Foundation with special support from Bred in the Bone, Rose Bruford College and Lewisham Arthouse.

Step-free access

Phil Ashcroft: Finissage, Fallout

Phil Ashcroft, Qwazars, acrylic on canvas, 200 x 200cm, work in progress, July 2016. Photo: Tom Horak

Thursday 1st September 2016, 6.30-8.30pm
CANAL, 60 De Beauvoir Crescent, London N1 5SB

A final chance to visit Lewisham Arthouse studio holder Phil Ashcroft’s solo exhibition Fallout at CANAL for the finissage on First Thursday 1st September 2016.

The finissage for Fallout will include new work completed during his live painting sessions at CANAL over the summer plus the launch of Monkphat’s new Obelisk EP (Gamma Proforma) with cover artwork by Phil. Monkphat and Phil Ashcroft have worked together on previous Gamma Proforma releases and he recently painted live alongside Monkphat’s set at MATA at The Social, London. ‘Obelisk’ will be free to download via Gamma Proforma on the night. For more on Monkphat go to

Refreshments will be served.



31st August – 11th September 2016
Preview: Friday 2nd September 2016, 6-9pm

Frederic Anderson, Andrea Coltman, Daniel Curtis, Antony Dixon, Cara Jean Flynn, Sarah Hawley, Jacquelyn Hodges, Benjamin Martin, Tom Waring

The nine artists in this exhibition explore the idea of interventions within the gallery space. Their individual practices, through a variety of different languages and media, are very diverse, yet the artists search to reveal a dialogue, a connection and thread. The group are interested in the relationships between how their works create a visual discourse and how by placing their works within a common space the interventions of their works create yet another layer and language. These artists are searching for hidden dynamics that create new understandings, correlations and connections.

Frederic Anderson’s drawings inhabit the space between figuration and abstraction, between how we believe things to be and how they actually appear – the space in which, under persistent observation, things begin to fall apart.

Andrea Coltman’s paintings muse over societal issues, she regards herself as a social observer. Andrea paints what she sees, the ordinary and expected. Through crosshatchings of realism and abstraction in her paintings Andrea interrogates empathy, space and place exploring how we communicate and interact.

Daniel Curtis
’ practice is driven by form. Through composition he explores tensions and relationships between found and low status objects. In recent work Curtis has searched out subtle elements of character or history in these objects and uses that to charge his compositions with a peculiar presence.

Antony Dixon explores the inherent qualities of materials and things. He collects and references fragments of human activity by taking imprints, making casts, assembling and re-assembling. Interested in the linguistic interface between materials and things, Antony describes his activity as “archaeological in nature, exploratory yet rooted in history.
Cara Jean Flynn creates prints, video, sculptures and installations using a combination of natural and man-made materials. Flynn’s work focuses on our relationship with the natural world. She is particularly concerned with our control of the natural environment and our perceived dualistic thinking of ourselves, separated and elevated above it.

Sarah Hawley’s collages have the ability to bring order out of chaos as well as integrate various patterns, colours, designs and materials from different origins that together can create a uni ed composition. This mimics a multicultural society, where a diverse group of individuals of many cultures co-exist within a community.

Jacquelyn Hodges’ subject is in painting and sculpture and where they intersect. She works in a range of mediums because her interest is to take her subject and nd new methods of intersection. Jacquelyn assembles materials that may seem like they have nothing to do with each other but looks to nd the tension and overlap.

Identity is the central axis of Benjamin Martin’s practice, around which revolves notions of childhood, gender and the artificial. Benjamin is interested in how the social and political shape us from an early age and in how the landscapes that surround us create both physical and psychological scars. What shapes us?

Tom Waring’s paintings explore an imagined world where the boundaries between the present and future have disappeared. Projections of the now, into the future, create a fertile ground for exploring our present condition in our real world of unrivalled capitalism and ecological decline.

Preview: Friday 2nd September 2016, 6-9pm
Exhibition open:
31st August – 11th September 2016
Wednesday to Sunday 12-6pm

Free entry
Step-free access

The White Pube presents: Zayn Malik Zindabad

Screen Shot 2016-08-16 at 16.59.01

26th August 2016, 7-9pm

A screening of moving image art by artists. Also happen 2 b young and in the South Asian Diaspora.

The White Pube is tired of white people, white walls, and white wine. So for one night only, we are hosting brown people, white walls and chai. Come and view work by brown artists in a real vacuum, where brown-ness is banal, where you can view the art without the white-iarchy lookin over ur shoulder, askin if they can eat ur Other.

The screening will be held in the Education Space in Lewisham Arthouse.

Screening starts at 7:30pm
There is limited seating so RSVP is essential.

Hosted by Zarina Muhammad & Gabrielle de la Puente @ The White Pube
& Sophie Chapman and Kerri Jefferis.

Cover Photo is a screenshot from work by Sabella D’Souza ♥


Somnath Bhatt

Himali Singh Soin

Anisa Jackson

Sabella D’Souza

Seema Mattu

Ilavenil Jayapalan

Rathai Manivannan

Katy Jalili

Hassan E Vawda

and the White Pube’s very own
Zarina Muhammad

Studio Space Available

Studio B-4
Deadline Thursday 8th September, 6pm

1 x Studio B4 (permanent)- 103 sq. ft., £55.20 per month

A permanent studio has become available; a rare opportunity to become a member of Lewisham Arthouse. The studios will be available from 8th October 2016. Deadline to apply is Thursday 8th September 2016, 6pm.

Application procedure as follows:

– A statement (no more than 500 words) outlining your practice and areas of interest and an indication of how you wish to use this opportunity.

– A statement (no more than 350 words) highlighting what you could contribute and how the cooperative would work for you. For further information on how Studio Members are selected go to:

– CV (no more than 2 sides of A4).

– Equal opportunities form – click to download here (word .doc).

– CD with up to ten images or for time-based work DVD (pieces or excerpts should be no longer than 5 minutes).

– Corresponding list of titles, media and dimensions should be included (please do not send originals).

– Two references.


Please post your applications to:

Lewisham Arthouse
140 Lewisham Way
London SE14 6PD.

Shortlisted Applicants will be contacted for interview shortly after this date. Please note that due to the high number of applications we will not be contacting those who are not shortlisted and will be unable to offer feedback.

Deadline to apply: Thursday 8th September 2016, 6pm. 

For further information contact:









17th – 28th August 2016

Alan Dunn & Peter Suchin, Mark Fairnington, Charles Gray, Charlie Godet Thomas, Susie Green, Sharon Hall, Brigitte Jurack, Bernadette O’Toole, Catherine Parsonage, James Quin, Alma Tischler Wood, Roxy Walsh, Flora Whiteley, Godbold & Wood

Doppelgänger asks the same taxing question that has set alight the heroes of the greatest writers including Baudelaire, Dostoyevsky, Flaubert, E.T.A Hoffman, Heine, Kipling and Wilde: Could there be, through the duplication of the self, the double or the shadow, a different self, a co-equivalent of the human soul?
Doppelgänger focuses on this idea of the double as method and methodology of the artwork, the second work as the reflection, shadow or double of the first. In these artworks, the doubling occurs through the process of observation and making and not by means of mechanical or digital reproduction.
As Jean Paul states through his tragic hero Roquairol’s in Titan: ‘Then I saw you, and wanted to become your You – but that won’t work, for I cannot go back; but you can go on ahead, one of these days you become my Self’. (Titan: A Romance, Volume 2 page 83)
The exhibition is guest curated by Brigitte Jurack (Manchester/Liverpool) and Founder of Alternator Studio. She is also Head of Sculpture/Time-Based Arts at Manchester School of Art and Co-Founder of the artist’s collective Foreign Investment.

For further details, including appointments outside the regular opening hours call 07789 123 735 or email

Introduction: 17th August 2016, 5.30pm by Brigitte Jurack
Finissage: Thursday 25th August 2016, 6-8pm
Exhibition dates: 17th – 28th August 2016
Open Wednesday to Sunday 12-6 pm

Free entry
Step-free access

Laura X Carlé: Material World

meet the artist

23rd July – 4th September 2016

Summer Family activity for all ages
Tate Modern, Macaulay Gallery

Touch, bend, balance and play with large scale, colourful shapes and forms.

How do artists handle materials in their studio and how is this different to the way we experience the same materials in a gallery? Material World invites visitors of all ages to experience an immersive artwork and to handle, compose and play with materials together. Improvise with materials. Try touching the ceiling or two walls at the same time. Try connecting all the shapes together. Go under. Go over. Wrap a shape around you!

Material World is linked to the Materials and Objects collection display on Level 4 and devised by Laura X Carlé with Tate Families.

Drop-in for special artist-led sessions with the creator of Material World; Laura X Carlé.

Monday 8th August 2016, 2 – 5pm
Saturday 13th August 2016, 11am – 2pm
Friday 19th August 2016, 11am – 2pm





Oliver Campbell: Good God

Oliver Campbell, Scene from the Bacchae, 189 x 120cm, 2016

10th – 14th August 2016, 10-6pm
Preview: 9th August 2016, 6-9pm


Image: Oliver Campbell, Scene from the Bacchae, 189 x 120cm, 2016

Good God is the first solo exhibition by Oliver Campbell (b.1981).

Drawing on tropes from classical literature and rhetoric, this exhibition of paintings and other objects takes seriously the absurdity of some of our most imaginative beliefs, and explores their relation to our everyday experience.

Symposium: Thursday 11th August 2016, 7.30-9pm
In conjunction with the exhibition Good God there will be a full Greek Symposium: an ancient drinking party with entertainment and discussion. There will be wine and a non-alcoholic alternative, entertainment, and three related topics posed for discussion. To reserve your couch please RSVP to:

Artist Talk: Sunday 14th August 2016, 2-3pm

Oliver Campbell in conversation with Dr Brian Murray from Kings College London.

To download exhibition invitation as a pdf click here

Exhibition continues:
10th – 14th August 2016, 10-6pm, or by appointment.

Free entry
Step-free access

Marion Phillini Invites You to Join Collaboration In Progress

Marion Phillini Collab in Prog

22nd July – 29th July 2016
Preview: Friday 22nd July 2016, 6-9pm

Marion Phillini takes over Lewisham Arthouse and invites you to join Collaboration In Progress.

Amongst the Phillini debris of past installations, multiple screens and a familiar washing line, discover the results of an experimental Marion workshop with Wimbledon MFA Students. Testing the boundaries of collaboration, their work will join Marion Phillini’s exhibition/ installation/ performance/ studio for one week.

Marion Phillini will use the space for production of new work during exhibition opening times. Working on site, Phillini will shift and re-modulate the installation of works in response to viewers’ reactions/ interactions.

More info about Marion Phillini at
Twitter: @marionphillini

Exhibition continues:
22nd July – 29th July 2016
Open Wednesday to Sunday 12-6pm

Free entry
Step-free access

How the Hares are Dying: Private Stocktaking

How the Hares are Dying

15th – 17th July 2016
How the Hares are Dying: Private Stocktaking
Work in progress by Ja Ja Ja Ne Ne Ne

The founders and core creative team of Ja Ja Ja Ne Ne Ne are Magdalena Tuka and Anita Wach, two very different performing artists from backgrounds in theatre and dance respectively, who were inspired in 2013 to unite under a name appropriated from the 1968 Joseph Beuys’ artwork to represent the creative combination of opposites.

Through its various mixes of new dramaturgy, contemporary dance, and multimedia experimentation, the work of Ja Ja Ja Ne Ne Ne (JJJNNN) may be located within the notion of a postdramatic theatre. The narrative of a JJJNNN show is never that of a linear cause-and-effect system of events but one open to fragmentation and deconstruction. Fiction is employed as a device for the performer-devisors to confront personal material, though the strategies used to achieve such confrontations are not set in stone but built anew in relation to the content being dealt with. While the initiator of each project may ultimately retain an authorial final word, JJJNNN encourages the idea of a performer’s autonomy and every performance is very much the result of a true collaboration.

From the outset one of the group’s key modus operandi has been the development of co-operations with and support of other international organisations and individual artists. Over the last three years of showing work a network of ongoing connections has evolved throughout Poland and the UK as well as in Slovenia, the Czech Republic and Slovakia. Works presented by JJJNNN have received various funding including Polish Ministry of Culture, Visegrad Foundation, Adam Mickiewicz Institute, Dance Festival in Gdansk 2013; Threecity Dance Cooperation, Body/Mind Foundation, Maat Festival.

‘There were men and women, children and old people, teenagers and babies, rich people, and poor people, black men and white women, white men and black women, Orientals and Arabs, men in brown, and grey and blue and green, women in red and white and yellow and pink, children in sneakers, children in shoes, children in cowboy boots, fat people and thin people, tall people and short people, each one different from all others, each one irreducibly himself…’ City of Glass Paul Auster                                    
How the Hares are Dying: Private Stocktaking is about: war (past, future and now) and identity smeared in the muddy memory’s landscapes, about mnemonic and reaching out to the cellars of that memory to recall girls from grey pre-stressed concrete housing estates, about a sense of destroying everything around and weakness of the will and about the power of drawing by the Great Architect. It’s a combination of different theatre strategies, a stubborn and unstable search for the meaning of the events on stage, giving up and start from the beginning again and again. 

Click here for a link to the teaser

Work is devised and performed by Magdalena Tuka and Anita Wach, sound and video by Myles Stawman. Work combines video, live video, sound and live acts.

Friday 15th – 17th July 2016

Free entry
Step-free access

Children’s Art Sale from Beecroft Garden Primary School‏

Beecroft Garden Primary School

6th – 9th July 2016
Preview: Wednesday 6th July 7-9 pm


Image courtesy Beecroft Garden Primary School, 2016.

An exhibition and sale of work by children from the school.

An event where all the art sold raises money for developing a special outside space and training for the children to revive Brockley’s tradition of bee-keeping. 

Putting art at the centre of a Primary School’s ethos is a bold thing to do – but that’s exactly what Beecroft Garden Primary School has been doing since the school re-opened in 2012.
Visitors to the school enter a reception area that has been designed as an open-plan gallery and library space that is filled with works by children working both collaboratively and individually. The children at the school are always encouraged to talk about art and culture and to understand how the arts can be used to explore the world around them.
The National Society for Education in Art and Design Survey Report 2015-16 reported that 89% of primary state school teachers felt that time allocated to art and design fell before key stages 2 National Curriculum tests. Almost half of key stage 1 teachers thought that time allocated for art and design had decreased in general.
It is with this context in mind, that the exhibition of works by Beecroft Primary School’s children can show what can happen when art is given a key place in a primary school’s ethos. The school’s specialist art teacher, Dilys Finlay, has worked with children to make drawings, paintings, textiles photography and sculpture that are inspired by art movements such as Aboriginal painting or ideas such as Paul Klee’s notion that drawing was “taking a line for a walk”.
All the works in the exhibition will be for sale in order to raise money for developing a special outside space for the children that will revive the local area’s tradition of bee-keeping. Bee-friendly plants, hives and sculptures will all feature. The exhibition has already gained the support of art critics, gallerists and even the occasional collector eager to get work early. 
Oliver Basciano, Editor (International) of ArtReview said: “It’s great to see a school that understands bringing to fore a child’s innate creative spirit is of paramount importance. Who knows, perhaps one day one of the children from Beecroft Garden Primary School will be showing in the Tate, building architectural icons or writing life-changing novels.”
Preview: Wednesday 6th July 7-9 pm

Exhibition open:
6th July, 10am -5pm
7th – 9th July, 10am – 6pm

Free entry
Step-free access

Making Works Returns to Leybridge Estate

Making Works 2016
30th June – 22nd September 2016
(Thursdays and selected Saturdays, dates below)

On the grass @ Leybridge Estate, Lee Green, London SE12

Affinity Sutton, Lee Green Lives Community Centre and Lewisham Arthouse are pleased to announce that free Making Works workshops for young people will be available to Leybridge Estate residents for the third year running this Summer 2016.

Making Works creative workshops are open to all children and young people living at the estate as well as their parents on a drop-in basis. Participate and you could take home a little trophy, such as a spooky toy spider or a colourful flag!

These fun and engaging workshops have been commissioned and funded by the Affinity Sutton Community Fund and Groundwork. They are delivered by qualified artists and art tutors from Lewisham Arthouse, with practical support from the local Lee Green Lives Community Centre.

The project has run twice previously in the Summer’s of 2014 and 2015. In those past two years, children made fantastic and outrageous houses and castles; their own space ships; speedy go-cards; pyramids and much more, whilst learning how to use power tools along the way. All materials such as wood, colourful tapes, DIY tools, paper and paint are provided.

Lead artist and workshop tutor Laura X Carle says that it has been truly amazing to see the children enjoying themselves so much whilst learning practical and transferable skills for life when taking part in the creative activities. ‘They learn to share, to collaborate, to make practical decisions together, for instance when they build a house there is so much teamwork going on’. Laura and her team are looking forward to working with children who participated before as much as they are welcoming new participants.

Parents are welcome to join for a complete session or just a part of it. Children under 4 years must be accompanied by an adult throughout the whole workshop. Parents have commented on how much they enjoyed taking part together with their little ones. Rebecca, Isaac’s mum, said ‘it gets the children outside, getting creative and making together’. Dan, Natan’s Dad, commented ‘it was such a great idea to get the kids and adults outside, working together and having fun’.

For further enquiries about the workshops, please contact Adila Rose on 020 8285 4165 or Laura X Carle on 07789 362 069.

Workshop Dates:
Thursday 30th June 2016, 4.30-6.30
Thursday 7th July 2016, 4.30-6.30
Thursday 21st July 2016, 4.30-6.30
Saturday 30th July 2016, 3.30-5.30
Saturday 6th August 2016, 3.30-5.30
Thursday 11th August 2016, 4.30-6.30
Thursday 18th August 2016, 4.30-6.30
Thursday 25th August 2016, 4.30-6.30
Thursday 15th September 2016, 4.30-6.30
Thursday 22nd September 2016, 4.30-6.30
Visit to Tate Modern, Date TBC

Twitter: @makingworks

Fracture: Rory Biddulph | Kate Hubbell

Fracture, 2016. Image courtesy the artists

24th June – 1st July 2016
Preview: Friday 24th June 2016, 6-9pm


Image: Rory Biddulph, A Game of Orbs (detail), acrylic, ink, spray paint and laser print on paper, on board, 122 x 94 x 3cm, 2016. Image courtesy the artist.

Rory Biddulph | Kate Hubbell
Curated by Xenia Langlois

The theme of the exhibition comes from the artists’ combined interest in portraying the effects of social and cultural identification through analogy and absurdity.

Both artists are graduates from the Slade School of Fine Art and have exhibited widely. Rory Biddulph was recently shortlisted for the Adrian Carruthers Award and the Clifford Chance Printmaking Purchase Prize, he was also included in the XL Catlin Art Guide and is a current finalist in the XL Catlin Art Prize. Kate Hubbell has attended numerous residencies including being resident artist at the Atlantic Center for the Arts and the Oxbow School of Art and Artist Residencies. She was also recently shortlisted for the Red Mansion Art Prize and the Sarabande Scholarship.

Rory Biddulph is known for depicting strange, carnivalesque characters using layered print alongside painted imagery. Stemming from a kind of urban gut, Biddulph depicts a crude and elaborate present. In his work iconography, ideology, the spectacle and the social become subject to reproach, plunged into visions of fantasy, metaphor and excess.

Kate Hubbell orchestrates experiences of empathy and connectivity through immersive installations, video and objects. She employs a wide range of materials, including synthetic hair, gelatin, food and makeup to analyse the tensions and anxieties manifested within the dichotomies of comfort and unease.

Xenia Langlois, curator, comments: ‘Fracture is an exhibition in which the taxonomies, ideologies and the habitual infrastructures of contemporary life become subjected to play, depravity, fancy and farce, questioning the role of the self in what is depicted as an arcane, tumultuous time.’

Please see the following websites for more information on the artists and their work.

Exhibition continues:
25th June – 1st July 2016
Open Wednesday to Sunday 12-6pm

Free entry
Step-free access

Lark In The Park

Lark In The Park
Saturday 18th June 2016, 12-4pm

Mayow Park, Mayow Road, Sydenham, London SE26 4SS

Join Lewisham Arthouse artists Laura X Carlé and James Mackness at Lark in the Park this weekend. Laura and James will be representing Lewisham Arthouse and running the fantastic workshop Placard Factory, where children are invited to design and paint a placard and make a protest.
Laura works primarily with sculpture. The themes of her work come from situations that she witnesses in the social space. She produces objects and installations that aspire to challenge the spectator to question their own perceptions.

Two Studio Spaces Available

Studio F15
Application Deadline 30th June 6pm


Image: above, Studio F13 (Sublet*), below article Studio G2 (Permanent)

We have two studio’s available, one a sublet for six months and the other a permanent space; a rare opportunity to become a member of Lewisham Arthouse. Please note that the sublet will not be part of the Arthouse membership. Both studios will be available from 1st August 2016:

1 x Studio G2 (permanent), 121 sq ft- £65.50 per month
1 x Studio F13 (6 month sublet) 93sq ft – £52 per month

If you are interested in taking up either studio please follow the application procedure below.

Application procedure for each studio (please indicate which studio/s are of interest):

– A statement (no more than 500 words) outlining your practice and areas of interest and an indication of how you wish to use this opportunity.

– A statement (no more than 350 words) highlighting what you could contribute and how the cooperative would work for you. For further information on how Studio Members are selected go to:

– CV (no more than 2 sides of A4).

– Equal opportunities form – click to download here (word .doc).

– CD with up to ten images or for time-based work DVD (pieces or excerpts should be no longer than 5 minutes).

– Corresponding list of titles, media and dimensions should be included (please do not send originals).

– Two references.


Please post your applications to:

Lewisham Arthouse
140 Lewisham Way
London SE14 6PD.

Deadline to apply: Sunday 30th June 2016, 6pm.

Shortlisted Applicants will be contacted for interview shortly after this date.

For further information contact:

*Please note that the sublet will not be part of the Arthouse membership.

Shortlisted Applicants will be contacted for interview shortly after this date.
Please note that due to the high number of applications we will not be contacting those who are not shortlisted and will be unable to offer feedback.


Image below: Studio G2 (Permanent)

G2 studio

The Overview Effect

The Overview Effect

8th – 19th June 2016
Preview: Thursday 9th June 2016, 6-9pm
Artist Talk in Conversation with writer Anna McNay: Saturday 18th June 2016, 3pm

Henrietta Armstrong, Miranda Boulton, Fiona Grady, Hayley Harrison, Katya Kvasova

This group exhibition borrows its title The Overview Effect from a term used by Astronauts; described as a cognitive shift experienced when viewing the planets vulnerability and beauty from afar. An altered perspective is the emphasis for each of the artists, this is evident in their method of making the work, or in the work itself, acting as a lens of distortion.

Each artist works with multiples, repetitive marks and processes to obscure and disorientate. This disorientation shifts our relationship with the subject matter, the familiar becoming unfamiliar. This unfamiliarity is also a disclosure from which a new perspective is revealed to the viewer.

For several of the artists perspective is altered within the process of making the work; for Henrietta Armstrong this involves a reconfiguration of familiar structures into alternative architectures and patterned symmetries. Whilst in Miranda Boulton’s work shifted perspective is something that happens cognitively, through memory, and through the reinterpretation of that memory; Hayley Harrison’s half sculptural, half painted works demand a vast oversight of society through its debris. Fiona Grady’s installations are a lens in themselves, asking the viewer to adjust their perspective there and then, within the gallery space. Finally, Katya Kvasova’s work turns this altered perspective both inwards and outwards. Her paintings are a translucent surface or lens between inner and outer worlds.

There is a contradiction here, the singularity of the Overview and those astronauts’ perspectives of the planet – a single view of a single world – compared to the myriad of perspectives exhibited here. Yet the desire is shared, that of a cognitive shift rooted in perspective. The process is also similar – each artist is discovering methods of stepping back from what you know, to see their world anew.

Open: Wednesday to Sunday 12-6 pm

Accompanying publication available with introductory essay by Anna McNay

Free entry
Step-free access

Open Studios 2016

Lewisham Arthouse Open Studios 2016
4th June – 5th June 2016

Lewisham Arthouse Open Studios 2016
Part of Brockley Max Arts Festival

Explore over 30 studios, talk to the artists, buy art at affordable prices or just have a look around. There will be a children’s activity map and guided tours of selected studios will be at 2pm and 4pm each day. If you get hungry we have a café and a jerk chicken stall.

In our gallery we are very excited to present the exhibition “Two Minute Studio Visits” speed selected by Jeremy Deller. For more information click here

Come and join us!

Saturday 4th June, 12-8 pm, with DJs and a bar from 6 pm
Sunday 5th June, 12-6 pm

Free entry
Step-free access


Image credit: Image courtesy Lewisham Arthouse, 2016

“it was quick but fun”, speed selected by Jeremy Deller

27th May – 5th June 2016
Preview Friday 27th May 2016, 6-9 pm

“it was quick but fun”, speed selected by Jeremy Deller

We are very pleased to present an exhibition of work by 29 Lewisham Art House studio members selected by Turner prize winner Jeremy Deller. Visiting each studio in turn, a piece of work was selected for the show without the studio artist being present.

Opening night:
Friday 27th May 2016, 6-9 pm
As part of South London Art Map Last Fridays as well as the opening of Brockley Max Arts Festival.

Exhibition continues:
28th May – 5th June 2016
Open Wednesday to Sunday 12-6 pm
Free entry
Step-free access

Open Studios
Saturday 4th June 2016, 12-8 pm
Sunday 5th June 2016, 12-6 pm


Image credit: Image courtesy Lewisham Art House, 2016

Chris Alton: the man who moved too far, too fast

Chris Alton, Under The Shade I Flourish, 2016

17th – 22nd May 2016
Open 12-6pm
Preview: Wednesday 18th May 2016, 6-9pm

“1963: An unknown rhythm ‘n’ blues band called Trident* play at various jazz clubs in London and the home counties. The group come under the management of Michael Ashcroft, a business graduate from Mid-Essex Polytechnic, who sees them play at the Crawdaddy Club in Richmond, Surrey.”

During the mid-1960s, a rhythm ‘n’ blues band called Trident were briefly managed by the non-uk domiciled billionaire, Michael Ashcroft. Ashcroft is a controversial figure, notable for; “opaque tax practices”, “operating in the dark” and his use of “shell companies”. This exhibition imagines that he continued to manage Trident, incorporating feedback from his life into their narrative.

Trident become a vehicle to discuss the exploitation of post-colonial countries as tax havens. Fictitious tours see them zigzag haphazardly between venues, mimicking financial graphs; song lyrics repurpose Latin mottos and tax terminology; and posters advertise performances in notorious centres of tax avoidance (including Belize, where Ashcroft resides).

Chris Alton’s recent exhibitions include; Welcome, Trident; International Stars, THE DOOR (curated by Rice + Toye), London (2016); Under the Shade I Flourish, xero, kline & coma, London (2016); Outdancing Formations, Edith-Russ-Haus, Oldenburg (2015); and each other, Wysing Arts Centre, Cambridgeshire (2015). Alton was recently awarded; the Edith-Russ-Haus Award for Emerging Media Artists of the Sparda Bank 2015; the Lewisham Arthouse Graduate Studio Award 2015; and the Collyer Bristow Graduate Award 2014. He was included in the Catlin Guide 2015.

*Dirty Politics, Dirty Times, Michael Ashcroft, 2005


Image courtesy the artist, Chris Alton 2016

Lewisham Arthouse Graduate Award 07 Recipients: Kerri Jefferis and Sophie Chapman

Kerri Jefferis and Sophie Chapman, FUCK IT LET’S MAKE A BAND!, 2016. Image courtesy the artists
Lewisham Arthouse Graduate Award 07 Recipients: Kerri Jefferis and Sophie Chapman

Kerri Jefferis and Sophie Chapman have accepted they are on the same demolition path and recently began working collaboratively.

Their work is characterised by a need to challenge and disrupt known forms to create atmospheres of play, speculation and mutual aid. They are not interested in feeding the market but are interested in uncomfort, mess and complicated feelings. 
Sophie and Kerri have worked across performance, public intervention and the creation of participatory situations. Sometimes their work is situated in the experience and therefore transitory, and at other times, it manifests in publication, film or installation.
Right now, they are starting a band to think about the circulation of authority between listening and sounding and how particular encounters can support individual and collective risk-taking. This will have its first outing as part of the AntiUniversity Festival in June. Kerri and Sophie also work with others on various initiatives one, Aspiration Suits, Sophie co-directs with designer Philippa Taylor and another KINGDOM, an artist led expedition series Kerri organises with artist Ellie Wyatt.

Further information:
Sophie Chapman –
Kerri Jefferis –
AntiUniversity event –
Aspiration Suits –


Image credit: Kerri Jefferis and Sophie Chapman, FUCK IT LET’S MAKE A BAND!, 2016. Image courtesy the artists and

MOVENZE: London Fragments of a Journey

MOVENZE: "London Fragments of a Journey"

27th April – 15th May 2016
Preview: Friday 29th April 2016, 6-9pm

Maurizio Trentin – Arte Contraddittoria

Movenze: London Fragments of a Journey has its beginnings in the everyday voyage of a London bus. Using a meditative process, frames from this journey have been transformed by the artist into careful reflections that express aspects of the surrounding reality.
Informed by interests in perception, gestalt, phenomenology and mathematics Maurizio Trentin describes his vision through twenty fragments in a study of the sensitive.

Open Wednesday to Sunday 12-6pm
Free entry
Step-free access


Image: Maurizio Trentin, Arte Contraddittoria, 2016. Image courtesy the artist.

Curatorial Open Call 2016


Deadline Friday 27th May 2016

Lewisham Arthouse is an artist-led cooperative formed in 1992. Based in Deptford’s Grade 2 listed former library we provide access to artist studios, workshops, exhibitions and learning. We are looking to build on our proud history of supporting artists, their audiences and the wider community by offering free use of our project space to an artist, curator or collective for a period of 4 weeks.

We are inviting proposals from an artist/curator interested in working with us beyond traditional forms of exhibition making. This might include visual art, music, talks, screenings, educational events or other kinds of creative output. The project will coincide with Deptford X art festival and the chosen curator will present their program within the wider context of the festival.

This is an opportunity to realise a concise and considered strand of programming (one off exhibitions will not be considered). The successful applicant will provide and implement an innovative program, engaging audiences and using the full potential of the space. Lewisham Arthouse will provide in-kind support with promotional, logistical and practical concerns.

Please send a CV (1 side of A4 max), an introduction to your curatorial practice/approach (300 words max) and a proposal outlining your program and its intended outcomes (1 side of A4 plus images / supporting material).

Please include one written reference and a completed copy of our equal opportunities form. To download the Equal Opportunity Form 2016 (word doc) click here

Deadline for applications: Friday 27th May 2016

Interviews: Week commencing June 6th 2016

Curatorial project: Monday 19th September – Sunday 16th October 2016

Please send your applications to:

Curatorial Open Call 2016
Lewisham Arthouse
140 Lewisham Way
London SE14 6PD

Postal applications only

* Due to the high level of entries we are unable to give feedback to applicants not shortlisted for interview. If you would like your application or supporting materials returned to you please provide a stamped addressed envelope.

Thanks and best wishes,
Lewisham Arthouse

Lausch II


Thursday 7th April 2016, 8pm
Doors 8pm, Start 8.30pm
Entry £5
Bring your own drinks
Step-free access

LAUSCH II presents an eclectic mix of experimental live performances within the scope of sonic improvisation, drawn from the prevailing London scene. This time we have noise, voice, bells and whispers – electronics, sax and silences with Iris Garrelfs, Artur Vidal + Grundik Kasyansky and Khaled Kaddal.

LAUSCH is a series of performances and events exploring new sounds and experiences. Expect an array of exciting artists and venues, hand picked by Adam Jaro and Rahel Kraft.

Iris Garrelfs
Iris Garrelfs is an artist working on the cusp of music, art and sociology. Her practice includes fixed media, installation, improvised voice performance and has been included in major institutions worldwide, for example Tate Britain, National Gallery, Visiones Sonores Mexico, Liverpool Bienale, MC Gallery New York. Elsewhere she is the commissioning editor of the online journal Reflections on Process in Sound and the co-curator and director of Sprawl, a London based experimental music organisation. Iris has a PhD in Sound Art from University of the Arts London where she also works as a researcher and lecturer.

Artur Vidal + Grundik Kasyansky
Artur Vidal is a Spanish-born saxophone player and sound artist who grew up in Paris and currently resides in London. As such, he has performed in Europe, Asia and America. His work is interested in the possibilities of improvisation from the perspective of its implications within the social field. As an active member of the improvised music scene, he has been playing and recording with musicians who include Eddie Prévost, Phil Durrant, Jennifer Allum, Roger Turner and Sébastien Branche, with whom he makes up the improvising saxophone duo ‘Relentless’. He has currently completed an MA in Sound Arts and started in 2013 an MPhil research at London College of Communication about improvisation, the practice of listening and the notion of silence.’

Grundik Kasyansky (b. 1974, Moscow) is a London-based artist and electronic musician who works in experimental improvisation, live installation, audio collage, and designs sound for dance, theatre and film. He wrote poetry before switching to electronic music and it deeply influenced his current practice.

Khaled Kaddal
Khaled Kaddal is an Egyptian musician/sound artist. His work embraces sound/music and mixed medias to create installations and performances. his music/sonic practices are scoping on the social and the political structures, through the exploration of the varieties of Sonic phenomena. Interested in finding new intersection between disciplines, he collaborated in performances, choreography, films and mixed media projects.

Graduate Studio Award Scheme 2016-17


Deadline Monday 11th April 2016

Lewisham Arthouse is an artist-run co-operative based in an Edwardian ex-library in Deptford. We run 45 affordable studios, a busy gallery, classes, workshops, community activities and events.

As a commitment to supporting emerging talent, the Arthouse has a Graduate Scheme which is now entering it’s seventh year. We have been very fortunate to have had Chris Alton as 2015-16’s winner and you can read an interview with him here.

Applications are now welcome from BA or MA level graduates who have graduated within the last two years from 2014 and 2015. Please do not apply if you are currently studying or graduating this June.

Please see the PDF below for more information about how to enter and remember to also submit the Equal Opportunities form with your application.

The deadline is the 11th April with interviews being held on 18th April 2016. The residency begins on 22nd April 2016. Please be aware that this is a postal application only so leave enough time for us to receive it.

Good luck!

To download the Equal Opportunity Form 2016 (word doc) click here

To download information on how to apply to the Arthouse Graduate Award (pdf) click here

Image: Graduate studio 2016

We Need To Talk About Heaven






Friday 25th March 2016

Fusebox invited a diverse range of artists, to talk about heaven, in all of its shapes and forms. Which heaven are you fighting for? Which heaven are you hoping for? What is heaven anyway? Working through media spanning video art, performance and installation, each artist will consider different notions of heaven; deconstructing, challenging and building heaven(s) today. Fusebox curate thematic nights of newly commissioned work from emerging artists, who may not have had the chance to exhibit. Fusebox are committed to showing work from numerous disciplines, creating new connections between artists and audiences.

Selected Artists

Wilf Speller
We’ll be screening a new video work by Wilf Speller. Wilf’s work looks at the politics and ethics of contemporary image culture. Most recently he exhibited in Fresh Faced and Wild Eyed, The Photographer’s Gallery’s annual showcase for emerging talent.

Jasmine Lee
Jasmine Lee’s work sits at a nexus between artist as performer and artist as delegator, bringing audiences together and facilitating their roles as performers through emotional and surreal experiences, as she herself disappears. She is a resident artist at the Roundhouse.

Sara Zaltash
Sara Zaltash is a Bristol-based live artist, known for large-scale interactive projects exploring culture, spirituality and our future. Her recent One Day: Day One crowdsourced questions and answers about the possible outcomes of climate change and notions of sustainability and resilience. She is a research fellow at the Schumacher Institute.

Ralph Pritchard
Ralph is making a new three-part single channel video piece exploring heaven variously through text, performance and cinematography. Increasingly Ralph’s work responds to concepts with a multi-faceted approach – playing with storytelling using multiple aesthetic perspectives. Ralph has recently screened at the ICA in London and the Whitworth Gallery in Manchester.

Sheaf & Barley
Sheaf & Barley make charms and instructions to change the present through ritual and magic, for everyone to use. For Heaven they will present a new charm, exploring our wishes for a new future.

Gloria Dawson
Gloria is a writer of plays, performance, essay and poetry based in Leeds. She is also a geography researcher with an interest in precarious housing, retail and gentrification. Her main ‘artistic’ interests are the relationship between political organising and lived experience, the politics of death, urban transformation and history. Recently she has been on attachment to West Yorkshire Playhouse developing an original performance around the persistence of bodies and graves in a changing city. She blogs at

To watch event documentation on You Tube click here


All event images courtesy Fusebox

Anita Gwynn: Wildflowers and L.P.s – it’s a thing

Dandelion and Root

March 2016

Anita Gwynn is exhibiting new drawings of at Vinyl, 4 Tanners Hill, London SE8 4PJ until mid-April.

Anita says “I am interested in the indigenous and wildflowers, especially in my local area and my drawings in this exhibition are examinations of some of these flowers.  If I have drawn them it is because I have been excited by their shape and beauty. Coming from surburbia and its tidy gardens, I enjoy the plants that break through the concrete and walls and grow, beautifully and subversively. They can be part of the heritage of a place and each plant has a story, a myth or a legend attached to it.  My artistic practice helps me to look outside of my own life and to see the world. It helps me to relate to it with curiosity and to understand that I am part of it and not separate from it.  Ecology and stewardship are important to me and I have come to see that we do not exist in isolation, but as part of a whole. Without plants we wouldn’t survive.”

Links below for more information on Anita’s work and Vinyl


Image: Anita Gwynn, Dandelion and Root, 2016

nonfictional, Winters/Lane/Spinelli, The Bell Agency


Saturday 19th March 2016, 8pm
Two new projects offering distinct and unique sound worlds, and one game structure composition, never the same twice.

nonfictional are Maggie Turner (Voice), David Hunger (Guitar), Ravi Low-Beer (Percussion) and Nick Doyne-Ditmas (Double bass, trumpet). nonfictional are currently engaged in deconstructing the song format via improvisation and psychodrama. Each performance is a vivisecion. Nothing is faked.

Portia Winters; voice Arnold Lane: percussion
Emmanuel Spinelli: electronics and objects
This is a development of a duo of Winters’ vocal improvisations with Lane’s acoustic/electronic percussion mix, combining pure improv with song and spoken word. Tonight they are joined by
Emmanuel Spinelli on electronics and objects.

A simple game structure for 3 or more players, The Bell Agency opens out into a mesmerising slow motion sound world. Somewhere between performance and unfolding, tonight’s realisation, led by Charles Hayward, depends on cluster maths and hive mind and the unique details to be witnessed.

Entry £5 doors 8pm
Bring your own bottle

The Garden of Forking Paths

The Garden of Forking Paths
Red Shift Detail 1 2012-14The Garden of Forking Paths

16th – 27th March 2016
Preview: Friday 18th March, 6-9pm

Open Wednesday – Sunday, 12-6pm


top: Russell Terry, Red Shift, hand cut painted paper, 2012-14, plus a detail, bottom: exhibition invitation card

Curated by Russell Terry

Brigitte Parusel, Caterina Lewis, Cedric Christie, Charley Peters, Italia Rossi, Jack Otway, Lucy Harker, Ludovica Gioscia, Paul Robinson, Roland Hicks, Rowena Boshier, Russell Terry, Ryan Terry, Sarah Longworth-West, Simon Liddiment, Tom Hemming, Trevor Simmons

“Destiny takes pleasure in repetitions, variations, symmetries” – Jorge Luis Borges

This collection of work by seventeen artists, showing diverse and unique methods and interests, is waiting for an infinite tapestry of connections to be woven across it. 

The title of this show is borrowed from Jorge Luis Borges. The Garden of Forking Paths is a beguiling story about an impossible book that is also a labyrinth. Borges was famous for condensing complex, paradoxical ideas into incredibly short fiction, much of it expressing his attraction and/or frustration with the “muse of impossibility”. He considered the composition of huge books “an impoverishing extravagance” and chose instead to maintain the ambiguity and potential perfection of his ideas, by writing commentaries on imaginary books. Even with such a solution, the inevitable failure to realise an idea before it transforms into a new one, keeps us starting afresh. Our ideas occur so much faster than the process of realising them. From the first step out of imaginary space, they have to contend with unforeseen practicalities and suffer the inconvenience of existing unambiguously. By the time we finish/abandon them, influenced by manual discovery, they are rarely the same idea. Looking back over our finished/abandoned works, we often see that each one contains the seeds and reflections of so many others, made and unmade.
To download press release click here (pdf)

To download invitation card click here (pdf)

Free entry
Step-free access

School Of The Damned: End Of Year

School Of The Damned
School Of The DamnedSchool Of The Damned


Image courtesy School Of The Damned.

Exhibition Dates: 4th – 13th March 2016
Open daily, 12-6pm
Preview: Friday 4th March, 6.30-9pm


Class Of 2016 Manifesto:

The School of the Damned is a free postgraduate art course run by, and for, its students. It provides participants with the critical space to develop and reassess their art practice. We operate without money, without a bank account, without financial obligation. SOTD runs a labour exchange programme with a growing number of guest artists, spaces and lecturers. It exists to promote access to free education as a fundamental right and stand in opposition to the current system of higher education. The student body share roles and the responsibility to aid each other’s education as well as the development of the programme. As SOTD moves into its fourth year its students hope that this network of advocates will continue to grow, allowing the protest to continue into the future.

End of Year will host the work of this year’s 17 students, whose energetic and diverse practices have developed from their involvement in SOTD. Over the past year the class of 2016 have exhibited together extensively, End of Year is their final show and a culmination of their work on the course together. This “degree show” style exhibition echoes the institution in a way that demands SOTD is recognised as a working alternative and demonstrates that this collection of artists can work together to run a school, collectively organise exhibitions and programme events that are outward facing and inclusive. As in the above manifesto, this is something Class of 2016 will pass on to a new cohort of students/ artists.

Continuing the School of the Damned ethos, this year’s final degree show will be hosted by Lewisham Art House. Members of Lewisham Art House share their time, equipment and knowledge with wider communities on a non-profit basis. Besides renting space, each studio member commits at least 5 hours per month in support of the organisation’s wider programmes. There will be talk and discussion with SOTD and guests on Saturday 13th March at 7PM speakers to be confirmed check fbook/website for updates all are welcome to attend.

Click here to download Press Release as a pdf

For more information on School Of The Damned please visit: or email

Free entry
Step-free access

Chris Alton: Under the Shade I Flourish


March 2016

The non-uk domiciled billionaire Michael Ashcroft is a controversial figure, notable for “opaque tax practices” and “operating in the dark”. Whilst serving as a member of the House of Lords, he remained a non-dom despite promises that he would become domiciled in the UK for tax purposes.

In the mid-1960s Ashcroft briefly managed “an unknown rhythm and blues band” called Trident. Under the Shade I Flourish (2015-2016) imagines that he continued to do so. However, this is not a direct speculation upon another possible timeline. Incorporating feedback from the life Ashcroft did lead, Chris Alton engages in a cartographic process that involves the cross-pollination of both fact and fiction.

Working through simultaneous satire and celebration, Alton invokes seemingly incongruous juxtapositions, as a means of visualising the power structures in which we are all embedded – narrativising something that is too complex to be immediately comprehendible. The extrapolated band becomes a vehicle to explore the the very real exploitation of post-colonial countries as tax havens.

Alton’s recent exhibitions include; Outdancing Formations, Edith-Russ-Haus (2015), MEIL, Chisenhale Studios (2015) and each other, Wysing Arts Centre (Open Weekend) (2015). He was recently awarded; the Edith-Russ-Haus Award for Emerging Media Artists of the Sparda Bank 2015 and the Lewisham Arthouse Graduate Studio Award 2015.

Exhibition dates: 12th March – 3rd April 2016 (Saturday – Sunday, 12 – 6pm) at Xero, Kline and Coma
Preview: Friday 11th March 2016, 7– 9pm

For more information go to:

Myatt Garden School Presents

Peter Paul Rubens, A Roman Triumph (detail), about 1630. Image courtesy The National Gallery, London. All rights reserved.


Peter Paul Rubens, A Roman Triumph (detail), about 1630. Image courtesy The National Gallery, London. All rights reserved.

25th – 27th February 2016

Come and enjoy the Myatt Garden School Children’s artwork at their Take One Picture Exhibition.

Opening Times:

Thursday 25th February, 3.30 – 5.30pm
Friday 26th February, 3.30 – 5.30pm
Saturday 27th February 10.00am – 3.00pm

Free entry
Step-free access


Saturday 13th February 2016

London based improvisers of industrial ambient noise, Ampersand are an improvisational sound ensemble who have performed across Europe over the last nine years. They produce an experience of sound to envelop the audience in the act of the moment and the art of the moment. This uniquely pan-generational group utilises found objects, engineered metal, deconstructed traditional instruments and audio toys.

Ampersand performances are always improvised, they arise thus from the moment, the place, the atmosphere, the occurrences of that day. The sound, and the experience of that sound, are imposed on all the senses, to share with the audience a charged and superlayered emotional state. Ampersand are Brian Bushell, Joseph Oldfield, Stephen Oldfield and Paul Wells.

Nguyen Tri Mai is a Franco Vietnamese dance artist. For the last 20 years, she has drawn her inspiration from the waters, back and fro between Brittany coasts, salt marshes and the river, pools and canals of the East End of London. Mixing her Butoh dancing spirit with her passion for improvising with live music, Mai loves to express her intense movements in the moment, bring light to a space with her explosiveness. Mai has collaborated with musicians, film makers and photographers and specializes in site- specific and outdoor performances. 


WeltAusstellung is a situational alliance of noise-makers, visual artists, improvisers and composers of the absurd, based in Düsseldorf and Berlin: Peter Issig, Anja Lautermann, Uwe Möllhusen, Thilo Schölpen – they work in the field of sound-action, sound-installation, radio-art, music-theatre and soundtrack-ism. They wring unsettled ideas from a wide range of sound-sources of their own invention, varying their approach in order to experiment with a range of methods and standards.“We play each sound object that passes the test of significance: from massage tools to Styrofoam, from selfmade electronics to piano. We are not interested in the latest sound technology but in the raw and direct signal…which is the basic principle of absurd composition. Absurd composition tends to be doomed to failure and delivers an unexpected twist. Our ambition is to transgress from the internal motivation (of the composition) to the point of failure.”

Doors 7.30pm
Start 8 – 11pm
£5 Entry
Bring Your Own
Step-free access

experimentataion 2 arthouse



Thursday 4th February 2016

LAUSCH is a series of performances and events to explore new sounds and experiences. 

Expect an array of exciting artists and venues, hand picked by Adam Jaro and Rahel Kraft. This evening brings together five artists/musician to share their interest in sound and voice. The Los Angeles based musicians Archie Carey and Odeya Nini will open up the evening with two solo works that encounter durations, resonance and pure expression.

The Deptford based sound artist David Bloor will perform ‘Care Work’ with a self-made artificial intelligence followed by a duo performance by David Toop and Rahel Kraft

Archie Carey, Bassoon – SOLO
Odeya Nini, Voice, Movement – A SOLO VOICE
David Bloor, Sounds – CARE WORK
David Toop, guit, objects  + Rahel Kraft, voice, electronics – DUO

Doors 8pm    
Start 8.30pm
£5 Entry
Bring Your Own
Step-free access

‘What Fresh Hell Is This?’

Wednesday 27th January 2016
A Launch Event For The Happy Hypocrite, Issue 8

Edited by Sophia Al-Maria

Film, discussion and reading from,
Sophia Al-Maria, Mika Mino-Paluello from PLATFORM, and Fresh Hell contributor Alex Borkowski.

18.30 – A film, streaming live from where it runs continuously twenty-four hours a day, depicts characters surveyed remotely, their actions followed, scrutinised and abandoned as they unfold over a sprawl of a desert town. With no clear markers of beginning or end, the work can be encountered multiple times; each meeting a discreet moment of engagement with its disordered storyline.

19.00 – An introduction to ‘Fresh Hell’ by The Happy Hypocrite founder Maria Fusco, and by issue 8 guest editor Sophia Al-Maria, followed by a talk with Mika Minio-Paluello of Platform London on art, oil and power and how oil-sponsored galleries like Tate can break with business as usual and our colonial legacy. PLATFORMLONDON.ORG

20.00 – ‘Vital Plastics’, a reading from The Happy Hypocrite – Fresh Hell by the writer Alex Borkowski.

On 27th January The Happy Hypocrite – Fresh Hell, Issue 8, and a new limited edition print by Sophia Al-Maria will be available at a special price.

The Happy Hypocrite, founded by Maria Fusco, is published by Book Works annually with a new guest editor. Designed by A Practice for Everyday Life.

RSVP via Eventbrite here

Alma Tischler Wood: Liverpool Provocations

Wednesday 20th January 2016

Alma is one of a number of artists to have participated in Alan Dunn’s FOUR WORDS. Alan Dunn, artist/curator, presented FOUR WORDS The Media Wall on 20th January 2016 outside Lime Street in Liverpool as part of: Liverpool Provocations: A series of artistic interruptions
Between 3 and 4pm the adverts will stop and the giant screen will host an alternative stream of provocative, 10 second animations of just four words each.

Alan Dunn, a Liverpool Art Prize 2012 nominee, has collaborated on or appropriated existing texts from 108 individuals, from world-famous artist (Gerhard Richter) to lesser known contributors (Captain Pengelly, a retired seafarer).

Each set of FOUR WORDS will act as a counterpoint to the sales season and the invisible pressures of this time of year, with ruminations on value, money and exchange.

This was followed by an evening event at the Small Cinema where the animations were screened again.

The other contributors include Gerhard Richter, Douglas Coupland, Shaista Aziz, Pavel Büchler, Fiona Banner, Levitt & Dubner (‘Freakonomics’), David Shrigley, retired seafarer Captain Pengelly, Hala Al-Alaiwat and ex-Liverpool FC striker David Fairclough, Hala Al-Alaiwat, Sean Ashton, Clarisse Aubert, Chris Bishop, Jessie Brennan, Billy Cancel, Jayne Casey Roger, Cliffe-Thompson, Ade Blackburn, Zak Dunn, Nina Edge and Jack Ehlen.

Sheena Patel: Cologne’s Gold + Beton


Friday 15th January – Monday 8th February 2016

Sheena Patel’s 16 minute performance film, NOW BREATHE. is being exhibited as part of a group show on female identity at Cologne’s Gold + Beton, in conjunction with Bradford’s FUSE Arts Space. Exquisite Corpse​ explores female form, self-image and stereotypes from the perspective of eleven female artists. Through video, painting, performance and illustration, the exhibition also considers the potential of contemporary technology as a tool to examine female self­ identity and evaluates the impact that it has upon constructs of ‘femininity’.

Internationally acclaimed visual and performance artist Poppy Jackson ​explores the female body as an autonomous zone, and has produced a new performance work commissioned by Fuse Art Space; she will also be exhibiting a series of paintings. Based in Toronto, Rupi Kaur​​ found notoriety as the poet who critiqued Instagram earlier this year with her “period.” ​​series – these photographs feature in the show. Delicate and charged illustrations from Sue Williams ​draw the viewer into a world of provocative sexual politics. The exhibition also includes work by artists from Austria, Russia, UK and US including Anastasia Vepreva​, Evelin Stermitz, Faith Holland, Julia Kim Smith, Kate Durbin, ​Lacie Garnes, Sarah Faraday​ and Sheena Patel​.

“The internet poses significant problems in female representation, from pornography to the use of female form in advertising and notably the use of sexually violent language as a form of censorship and aggression towards female expression”, comments the exhibition’s curator Sarah Faraday​. “Exquisite Corpse presents an array of female artists using both online and material forms for creativity, empowerment, and subversion, whilst reclaiming control of the representation of their bodies”

The exhibition has been covered by The Independent and Dazed Digital

Gold + Beton
Cologne, Germany

Spotlight Interview 03 : Chris Alton



Image credits Laura X Carlé

An interview with Chris Alton, our 2015 winner of the Graduate Studio Award. We have been very proud to have Chris with us, and as he enters the final quarter, we ask him to reflect about his time here.

Can you introduce yourself?

My artworks often draw upon multiple, seemingly un-associated, cultural phenomena. Whether deploying disco music against xenophobia or playing table tennis in competition with aggressive architecture, I seek to highlight unlikely parallels and produce bizarre situations. Through these, I aim to implement or imagine alternative ways of being in the world. This desire stems from my Quaker upbringing, which resonates throughout my practice.

You won this years graduate studio award, how has this impacted on your work? What do you get from working in a studio community?

Winning this award has given me the time and space to focus on and develop a number of projects that probably wouldn’t have happened otherwise. The opportunity to realise an interim-project and a concluding solo exhibition (in May 2016) is fantastic as space is so scarce in London – especially free space.

The Arthouse community is great, people are incredibly generous and have often offered their support on projects, from lending kit to helping to build a stage – complete with sparkling curtains, lighting and mirrorballs.

Are you a self-taught artist or have you been to art school? Has this helped shape the artist you have become?

It’s impossible to imagine the hypothetical artist that I would have become if I’d pursued a different route, but I don’t think that my time at art school was what shaped me. I’d like to think that my practice has been influenced more by my upbringing as a Quaker and by encounters with particular people and artworks.

Which exhibition have you visited which made the greatest impact on you and why?

There are two. I saw them at around the same time; during the summer of 2012, between my first and second years of University. The first was Yael Bartana’s And Europe Will Be Stunned, a trilogy of films following the rise of a fictitious political movement, called the Jewish Renaissance Movement in Poland. The second was Joy in People, Jeremy Deller’s solo show at The Hayward Gallery. These exhibitions triggered a pretty radical change in my own practice by showing me that art could actively engage with society and its current issues.

Who and/or what inspired you to become an artist?

My Mum.

Discuss a recent project, exhibition or event you have been involved in.

I had my first solo exhibition in September 2015 at the Edith-Russ-Haus in Oldenburg (GER). I won one of two emerging media artists awards with my ongoing project English Disco Lovers (EDL) (2012 – present), a satirical campaign that redeploys the utopian vision of disco music in opposition to the English Defence League. The exhibition featured photographs, posters, videos and other materials from the project, as well as a 4 meter-wide, glittery hashtag.

Do you see collaborative practice and working with others as an important part of your practice?

Absolutely, I often develop works through conversations and collaborations with a number of people. Recently I’ve been trying to develop a more inclusive crediting system for my projects, so that the people involved are acknowledged and thanked. It works in a similar way to the credits at the end of a film or TV programme.

How do you use the studio and what you do in there? Do you have studio rituals?

I always begin by making a coffee, the Arthouse is pretty cold in winter and something hot with a little caffeine gets me off to a good start. The wifi in my space is dreadful, so I often take a little wander down the corridor to answer my emails and buffer an album. Recently I’ve been listening to a lot of mid-’60s rock. Then I crack on with whatever I’m working on at that time, which tends to be pretty varied – I could be writing a script, editing photos, trying out wallpaintings or making watercolours of shells.

How does the studio become a part of your everyday life and work?

I actually find that it’s a place to get away from my everyday life. Instead of doing the washing up, scrolling through endless cat memes or alphabetising the book case, my studio is a place where I can put the distractions of home to one side and focus on my work.

What are you working on at the moment? Do you have any forthcoming exhibitions to promote?

I have my first solo exhibition in London opening on February 25th at xero, kline & coma. It’s a project that I’ve been working on for over 7 months now, in which a fictitious band is used as a vehicle to explore the exploitation of post-colonial countries as tax havens.

Will you be showing work at Open Studios? If so, what can the public expect to see?

My studio, slightly tidier (but not much tidier) than it normally is. I’ll probably empty the bin. I have lots of diagrams and mind maps on the walls, along with exhibition floorplans, scribbled ideas and simple doodles. There are a few finished pieces hanging around, but it’s mostly populated by work in progress and fresh ideas that may never get realised.

Four Studio Spaces Available – Application Deadline 30th December 2015



Image: Studio G8 on the ground floor

Four Studios available from 1st February and 1st March 2016

Studio 1 – B3 – 6 month sublet (from 1 February – 31 July 2016)- £84.40 156sqft pcm

Studio 2 – G4 – Permanent (from 1 February 2016)- £73.00 135 sq ft pcm

Studio 3 – G8 – Permanent (from 1 March 2016)- £81.20 150 sq ft pcm

Studio 4 – 6 month Sublet in shared space (from 1 February 2016) £30 pcm 55.5sqft

We have four studio’s available, two are sublets for six months and the other two are permanent spaces which will be a rare opportunity to become a member of Lewisham Arthouse. Please note that the sublets will not be part of the Arthouse membership.

Studio 1 is a self contained space in the basement with french windows leading into the yard. Studio 2 and 3 are both partitioned studios on the ground floor with excellent natural light. Studio 3 is only available from 1 March. Studio 4 is a shared space on the ground floor suitable for an artist working in non-dusty materials someone looking for a desk/wall space would be ideal.

If you are interested in taking up any of these studios and becoming a member of the Arthouse please follow the application procedure below.

Application procedure for each studio (please indicate which studio/s are of interest):

– A statement (no more than 500 words) outlining your practice and areas of interest and an indication of how you wish to use this opportunity.

– A statement (no more than 350 words) highlighting what you could contribute and how the cooperative would work for you. For further information on how Studio Members are selected go to:

– CV (no more than 2 sides of A4).

– Equal opportunities form – click to download here (word .doc).

– CD with up to ten images or for time-based work DVD (pieces or excerpts should be no longer than 5 minutes).

– Corresponding list of titles, media and dimensions should be included (please do not send originals).

– Two references.


Please post your applications to:

Lewisham Arthouse
140 Lewisham Way
London SE14 6PD.

Please note that the sublet will not be part of the Arthouse membership.

Deadline to apply: Wednesday 30 December 2015, 6pm.
Shortlisted Applicants will be contacted for interview shortly after this date.

For further information contact:

Images of Studio 2 – G4 – Permanent (from 1 February 2016)- £73.00 135 sq ft pcm:
G4_2nd photo


Images of Studio 1 – B3 – 6 month sublet (from 1 February – 31 July 2016)- £84.40 156sqft pcm:

B3_2nd photo

Gagarin, Warren Schoenbright, Lofe

Saturday 28th November 2015


“There’s nobody quite like Graham Dowdall aka Gagarin“ Boiler Room TV 2015

Graham ‘Dids’ Dowdall aka GAGARIN has been making music on the edges of the musical galaxy for many years in many guises. As Gagarin he works alone crafting instrumental electronica that doesn’t adhere to any particular scene or style and draws on influences ranging from contemporary classical to techno and every point in between and beyond. The music is atmospheric, melodic and sometimes beaty characterised by a combination of field recordings, gorgeous synth melodies, tough abstract beats and a sophisticated yet accessible approach to composition. Gagarin has released several albums on his own Geo imprint as well as contributing tracks and remixes to a large number of compilations and releases by other acts. His latest album Aoticp was released in Summer 2015 and follows the much acclaimed Biophilia in 2011.

As well as Gagarin, Dids is also a member of avant rock legends Pere Ubu for whom he provides digital synthesis, keys and samples , a duo Roshi feat. Pars Radio with Iranian songstress Roshi who create what has been described as “ Welsh-Iranian folktronica “, another duo Low Bias with Rothko leader Mark Beazley and is an occasional member of world beat pioneers Suns of Arqa. He has also released a cassette Outside Broadcast in his given name Graham Dowdall for Touch’s cassette imprint Tapeworm.

WARREN SCHOENBRIGHT is a band, not a person. Their new Ep, (Out of Bounds) Eaten by the Forest, brings live drums and electronics together with minimal acoustic instrumentation to create a disturbing and arresting sound palette. By turns confrontational and meditative, the mercurial textures retain a sense of flow through continual reference to noise, drone and modern improvised idioms.’

LOFE: Driving beats, driven words. jewel carriageway chords. Keyboard plus Ableton (Nik the Deks), Bass (Elwell) and Voice (Zolan Quobble). It’s got that biodynamic, organic whole grain texture and that lively lambic yeasty rhythm. It hits 260°C, when it’s baking.

Doors 8-11pm
Entry £5
Bring Your Own

Alex Tyrrell: Memories We Made in the Computer Age

5th – 16th August 2015

Alex Tyrrell Memories We Made in the Computer Age

Curated by Rebecca Edwards

For his exhibition at Lewisham Arthouse, Alex Tyrrell presents Memories We Made in the Computer Age, a multichannel sound sculpture introducing music from the debut album of the same name.

The work seeks to challenge normative approaches to composition and live performance by presenting the music in the form of an immersive, spacial sound environment, utilising directional speakers and natural acoustic reflections. Emancipated from the concerns of orchestration and harmonic arrangement: Alex’s work problematises the relationship between timbre and space, challenging the listener to explore the physicality of the composition, while homogenising the relationship between sound and materiality.

The installation will also serve as a public launch for the album Memories We Made in the Computer Age, giving listeners the opportunity to experience the work in its intended immersive realisation.

Alex Tyrrell is an artist and composer from London. Recent performances/exhibitions include: 10 Empty Boxes (The Vaults Gallery), Computer Music (Progkunstfestivalen, Oslo) and Improvised Series (The Park Studios, Wembley).

More information:

Housewives, Charles Hayward (begin anywhere), Adam Bohman & Tom Scott, Tom Moodyhousewives

Saturday 6th June 2015


HOUSEWIVES: surly monochrome slowly ascending into a maelstrom of rage and density, an intensity both political, psychological and illogical. Here’s a video for their song Almost Anything:

ADAM BOHMAN & TOM SCOTT: Adam plays the stuff we ignore, toast racks, clothes pegs, styrofoam, upholstery springs, you name it; Tom plays reeds, sampler etc. and the music duets/duels around the sonic subconscious of the everyday. here’s a clip of Adam solo:

CHARLES HAYWARD (begin anywhere): songs at the piano, a sequence of betrayal, paranoia, subterfuge and privilege, as well as a series of sound events and This Heat & Camberwell Now songs in stark, minimal arrangements. here’s 3 songs:

TOM MOODY: bassist with FIRST eschews loudness for acoustic guitar and songs that disintegrate and haemorrhage language left right and centre.

8 – 11pm
Entry £5
Bring your own

An Arranged Marriage

15th – 17th May 2015


Six UAL students exhibit their work together against their will.

Experience a group show, the outcome of an arranged marriage that these artists would definitely like to share with you. Celebrate the result of our collaboration at the beautiful venue that Lewisham Arthouse has provided us. Exhibiting the works of:

Kathryn Armitage
Tom Benedek
Leonel Cravioto
Christina Koutsolioutsou
Sophie Fox
Joe Winder

Thurston Moore & James Sedwards + Albert Newton + Harmergeddon

Saturday 21st March 2015

THURSTON MOORE: Since the demise of Sonic Youth Thurston has moved to London and thrown himself into the city’s fevered music underground. Local/global. Makes sense. Tonight he will be performing songs with guitarist JAMES SEDWARDS, currently one of Moore’s closest collaborators and deep with it. Here’s a clip of them getting all site-specific performance like:

ALBERT NEWTON is a long term project of John Edwards (double bass), Pat Thomas (keyboards) and Charles Hayward (drums). Sudden change of direction, spin on a fivepence, pirouette like emergency response team, iron grip, sumo wrestling on speed, we don’t know the result yet, like football. Albert Newton played for 12 years as a quartet with Harry Beckett on trumpet and flugelhorn. At Harry’s memorial benefit, as the last notes faded, John remarked that they had to keep playing this music and so Harry’s absence has thrown them into a new dynamic as a trio: the spirit lives on in the music.

HARMERGEDDON do their thing like nobody’s business. Their thing accesses dreamtime via the off cast, the disembowelled VHS cassette, the bar code check out, the L.E.D. and photosensitivity. Think cavemen, Fred and Wilma, for example.

Doors open 8pm
Entry £5

Thurston Moore 1
Thurston Moore 3
Thurston Moore 4
Thurston Moore 2


Image credits: Tom Hemming

The Groundnut

11th – 13th March 2015


We’re back from our travels in Eastern Africa and have more news. Our cookbook is now available for pre-order on Amazon. It’s exciting to see it up there!

We are also happy to announce that we will be hosting three days of dinners, at Lewisham Arthouse, during the second week of March.

Tickets are £34 per person and advance purchase is essential. Please do reserve a place in good time to avoid disappointment, as tickets tend to sell quickly. Food is served banquet style, and the menu will be revealed in full on the day of the event. As always, we welcome vegetarians and most dietary requirements (but please let us know in advance). The evenings begin at 7pm.

For more information or to see menus and pictures from our past evenings visit If you have any further questions, contact us at

Warm Regards,

Folayemi, Jacob and Duval


Friday 27th – Sunday 29th March 2015


“As I lay asleep in Italy
There came a voice from over the sea,
And with great power it forth led me
To walk in visions of poesy”
– The Masque of Anarchy by Percy B Shelley

Poesy is a new collaborative project from visual artists Louise Emily Thomas and Nell Loder. The project, based on the poem The Mask of Anarchy by Percy B Shelley, will culminate in a three-day experimental show at the Lewisham Arthouse. The title Poesy – a Middle English term derived from the Greek poiesis ‘making, poetry’; poiein ‘ to create’, represents the premise of the project; exploring boundaries between poetry, art and the moving image.

In the spirit of protest, folk tradition and the process of ‘making’, the artists will endeavor to create an innovative piece of work that re-imagines Shelley’s historical poem in a new language. Craft techniques from around the world will be used to explore a multitude of processes, resulting in a theatrical multi-media installation in the gallery space. Taking a collaborative approach, the artists will work alongside peers within music, art curation and political theory, to re-narrate the poem from various angles, offering a new interpretation of Shelley’s work for a wider audience.

The poem was written on the occasion of the Peterloo massacre, a fatal protest that voiced the lack of suffrage, amongst other issues. Thomas and Loder are interested in re-appropriating the political, social and romantic agendas present in the literature, to demonstrate the virtues of poetic thought that the poem explicitly advocates. The show will result in the production of a moving image work that will be released and screened in May 2015.

The artists met and trained at The Heatherley School of Fine Art in Figurative Sculpture and now work independently in London. Their individual practices have evolved to push the boundaries of the figurative tradition by focusing on the object as multi-functional within the disciplines of puppetry, animation, performance and theatre.

Lewisham Arthouse Winter Fair

13th December 2014

WINTERFAIR FLYER landscape 2 revised ai

The Winter Fair returned with renewed spirit!

We opened our doors on December 13th sending yuletide joyousness to one and all! Come and enjoy a wonderful selection of original works, seasonal gifts and artisan foods – all hand made by local artists, makers and designers. Visitors were warmed by aromas of mulled wine & pine, hot drinks and refreshments – all accompanied by the smooth vibrations of our resident DJ Terry ‘Trunkstore’ Humphrey. Full disabled access. Photography by Lynda Laird.

Winter Art Fair 2014

Winter Art Fair 2014


A performance by Skall and Alma Tischler-Wood
3rd – 4th Decemeber 2014

Scallywag, skallywagingtail, série rouge - 2005Scallywag, skallywagingtail, red seriesTirage lambda 130 x 104 cmTirage, Print: 1/3 + 2 EA (2 AP)En association avec Thierry Demarquest
Scallywag, skallywagingtail, série rouge – 2005
Scallywag, skallywagingtail, red series
Tirage lambda 130 x 104 cm
Tirage, Print: 1/3 + 2 EA (2 AP)
En association avec Thierry Demarquest

This is the first time that the French artist Skall will be performing in London. His debut presentation IT’S NOT MY F*#*..ING FAULT….!! will take place at Lewisham Arthouse, where he will perform for seven hours over two days consecutively. He has selected four senses to focus on and will prepare for the live performance in collaboration with the London based artist Alma Tischler Wood.

Skall has been performing since late nineties but is equally well known in his native Paris for making beautiful sculptures that mix precious objets d’art with cheap bric-a-brac. A great many of these works raise questions about culture and tradition, passionately informed by a good deal of thought and background research. This does not mean that they work in a didactic, or literal way. Nor do their decorative qualities make them especially easy on the eye. Quite often, their simultaneous allusions to different genres, such as Pop Art, anthropology, or early cubism will place the viewer on an uncomfortable edge between inadequate worlds that bring about a surprising switch of emotions. What, at first, appears to be an impish exercise in kitsch may begin to evoke something darker and more sinister, after a while. This hinterland of duality is Skall’s homeland territory. It is the state of mind that he jokingly refers to as “Skallistan”. It is at its most convincing when he enacts an impromptu ritual wearing some of the physical artifacts taken out of its typical context. Sometimes, the territory of Skallistan seems uncannily unfamiliar, perhaps because it initially seems over-sentimental, infantile or tasteless. This is a subtle portal that entices viewers into the work and enables them to read a fine string of pearls as a signifier of dignity or pathos, depending on whether they make the sculpture seem shockingly large, or whether it somehow seems to be crying.

Skall’s performances allow everyone an infinite amount of freedom to capture its essence. Often, however, the rules change. Perhaps this is his secret. Once an audience has allowed the artist to stipulate new codes of behavior it becomes vulnerable to a succession of unexpected changes in those codes.


14th November 2014


MONKEY PUZZLE TRIO features the words, voice and textures of singer and sound artist Viv Corringham, bassist Nick Doyne-Ditmas (Pinski Zoo, Crackle) and drummer Charles Hayward (This Heat, About Group, Massacre). Together they create a distinctive sound world, both exhilarating and immersive, which relies on the sensitivity and experience of all three musicians, obsessed with song as an ideal, adept and fast thinking improvisers.

The Pattern Familiar is the second album from MONKEY PUZZLE TRIO, a vibrant and energised song cycle that proffers a stark and resonant refusal of despair and the absurd. Just say yes. Brass orchestrations are tightly conceived and highly organised, complementing, while contradicting, the spontaneous funk and sound art of the original improvisations. For tonight’s performance MPT will be joined by the brass and saxes of Tom Marriott, Rob Mills, Tom Scott & Lawrence Wilkins.

Listen to the album ‘The Pattern Familiar’

Listen to the track “White World”

Download and purchase the album ” Walking” by Viv Corringham

A beep is a single tone onomatopoeia, generally made by a computer or other machine.

BEEP are a trio from Glasgow playing their first London gig. They live in a pigeonhole called SPACE POP. Within its small confines (3 x 10 x 12) they seek to explore theatre in music and music in theatre.

space pop. lollipop. pelican pan.

view perfomance via YouTube link

Doors open 8pm

£5 entry
No bar, bring your own, off licenses nearby

Michael McManus, Solitary Spaces

29th October – 9th November 2014

Michael McManus Fraction

The show brings together a collection of Michael McManus’ recent works that explore structure within the motif of a landscape. Referencing virtual spaces’ use of flat, horizontal and vertical planes, there is a distinction between the more representational pieces and those that sit on the brink of an abstract pictorial space. Some are rendered to present a building or empty scene whilst others have been stripped back to reveal geometric forms and a network of overlapping marks.

Each painting serves as a translation of the collages McManus creates in his studio. The fragmented nature of the medium, together with its dramatic juxtapositions are recurring visual themes in his works. Some are rooted in historical appropriation whilst others reference photographs of abandoned spaces.

McManus lives and works in London. He graduated from Wimbledon College of Art (2012) with a BA (Hons) in Fine Art. He won the Prunella Clough Painting Prize and following graduation was shortlisted for Future Map (2013) and awarded the Lifeboat residency (2013) . Recently he has exhibited in UAL Showroom Space and completed the Downstairs Residency in Herefordshire.

Artist Talk: Michael McManus in Conversation with Jessica Rutterford (Artist Talks and Front of House Manager, Flowers Gallery) Wednesday 5 November, 6.45pm

The talk will focus on Michael McManus’ recent experimentations in the studio and the changing use of source imagery within his painting. It will look at the impact of working for other artists whilst reflecting on personal concerns in his practice.


17th October 2014


V4V launch their new album IN / OUT, an 8 CD-R realisation of the same shape/same details constantly re-configured one against another, like 3D chess. A limited edition of 300 with hand-made cover art.

V4V features DJ BPM (breaking out from the Grime mould for which her ResonanceFM radio show is increasingly acclaimed) building flickering ghost storms of sound, meshing with Vern Edwards’ serpentine cartoon guitar. Served on a bedrock of churning and fractured funk from the telepathic rhythmic architectures of Nick Doyne-Ditmas (bass guitar, flugelhorn) and Charles Hayward (drums).

FIRST: In a zone of it’s own with a lovely gallop, First keep the skin free from blemishes and the heart from aching 99.9 percent of the time. First are odd but familiar, animated and fruitfully nihilistic with no added sugar and using raw ingredients when possible. They are open from 7-11 at weekends and are not involved in any terrorist activity to speak of. Blisters, bliss and bananas, tender yet awkward nights at the disco. But don’t panic! First can also mean last…… to leave or to worry; it depends on context. Remember the first beak of a duck, crest of a wave and the first nib of a pencil and you’ll almost actually be there.

Link to Facebook page
Music Video “First – Unconsciousness/Happiness”
Music Video “First – Champagne With Sean Penn”

Entry £5

No bar bring your own refreshment

An Aggregate Material

Paul Crook, Rae Hicks, Hannah Hood, Abigail Jones, Emmie Mcluskey, Ian Parkin, Will Thompson and Mary Wintour
8th – 19th October 2014

An Aggregate Material

A group show by Garage Projects

‘An aggregate material’ is the third in a sequence of an ongoing exhibition project by eight emerging artists from across the UK. Working under the name ‘Garage Projects’, they collectively look to create works that challenge, debate and comment on contemporary society, using the gallery space as a site to present our continuous discussion.

The title ‘an aggregate material’ refers to a composition of two or more substances that form a ‘sum’ or ‘mass’. Taking this term as a starting point, we would like to propose a collective mixed media exhibition that creates a cohesive structure, which prompts dialogue around the configuration of disparate material.

The title allows the work to be read by the viewer both collectively, as a presentation of artistic practice and independently, as individual narratives.

The artists participating are:
Mary Wintour
Ian Parkin
Abigail Jones
Hannah Hood
Paul Crook
Will Thompson
Emmie Mcluskey
Rae Hicks


3rd – 5th October 2014

Open Studios 2014

Phil Ashcroft / Chris Barnes / Ruth Beale / Luke Burton / Oliver Campbell / Laura X Carlé / Barry Cunningham / Ali Day / Amanda Francis / Anita Gwynn / Lucy Harker / Tom Hemming / Terence Humphrey / Steve Mihara / Basia Muslewska / Nina Necak / Janine Nelson / Mark Nelson / Stephen Palmer / Rosey Prince / Toby Rye / Anna Salamon / Joyce Saunders-Diop / Fiona Smithers / Heather Steed / Shirley Stewart / Alma Tishler Wood / Eleanor Watson / Sara Willett /

Lewisham Arthouse opens its doors again with a bumper selection of exhibitions and events… Wander around a warren of studios, buy artwork from the source, window shop or simply enjoy the grandeur of a beautiful Edwardian building. After the success of Lounge at the Arthouse, its back to provide a wide selection of scrumptious handmade cakes, savoury nibbles and drinks. Add a dollop of family fun activities – postcard-sized artworks by Arthouse artists, on view and sale in our pop-up café + bar and DJ’s on opening night.

Who Thinks The Future?

Josh Bilton, Darren Harvey-Regan, Jenny Moore, David Mabb, Steven Ounanian, Kate Pickering, Charlotte Warne Thomas
26th September – 5th October 2014


A Peer Sessions project coinciding with Deptford X, Art Licks Weekend and Lewisham Arthouse Open Studios

Curated by Tom Trevatt & Peer Sessions

Recently, there has been a resurgence in thinking the future. Not only what horrors it may hold, but how we might construct it. This important task had fallen out of favour over the last thirty years, a period of time that could be equated with a general repetition of the logic of the same. If we are now forced to think forward again, to find ways out of impending climate crises for example, we have to find new methodologies by which to construct our shared future. Perhaps the logics of contemporary art, a non-oriented, cyclical exercise, are inadequate for dealing with this project. However, equally, the modernist conditions under which the avant-garde appeared no longer exist. Thus new models need to be constructed. This exhibition asks whether the artist is a figure with whom these tasks can be carried out. Without assuming the privilege usually associated with this exceptional figure, we ask what role the artist has now, and what they should have in the future.

To engage in these questions we will adopt a methodology of synthetic thinking, practised as it is by Peer Sessions, to combine multiple ideas into complex wholes. This practice, something that art is capable of, could be utilised to connect and represent positions across a spectrum, enabling an ecology of ideas to be enacted or engendered. The exhibition will negotiate these concerns, attenuating them through art practice, and start thinking the future.

Talking about Contemporary Art

Free public widening-participation workshops to be held in the gallery, all welcome:

Friday 3rd October 3-4.30pm

Saturday 4th October 4-5.30pm

Sunday 5th October 4-5.30pm

Further information can be found at:
2014 Who Thinks the Future 2014-09-25 at 15.21.39



2014-09 Who Thinks the Future




Lucy Harker, Tom Hemming, Trevor Simmons, Russell Terry
10th – 21st September 2014
Preview: Friday 12th September 2014, 6 – 9pm with a performance by Charles Hayward

2014-09 Untitled, Mixed media, 2010


Image: Untitled, Mixed Media, 2010.

Repetition is the only form of permanence that Nature can achieve. – George Santayana

In many ways the act of making art can be seen as a means to impose a sense of permanence, to immortalise a moment, person or idea. Or perhaps to create something solid, something treasured, an object to be kept forever. In reality however permanence is a false ideal, the only possible permanent state being a state of impermanence. (Im)permanence brings together the work of four artists whose practices engage with the contradictions of this complex idea. The theme is repeated as an element of each artistsí work manifesting itself in a variety of ways. In bringing the works together we hope to open a dialogue between the individual approaches of each artistís working practice.

No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.

The private view will include a live performance by Charles Hayward adding an additional dimension to the exploration of this theme. The performance will feature two new pieces ‘SHUDDER’ and ‘CHAPELWHITE’, integrating elemental projections of video shot by Hayward, electronics of reconfigured voice samples and resonances of slowed down and manipulated bells, given in-the-moment social context by Hayward’s live drum performance. Sound art with funk backbeat.

Lucy Harker paints with varnish and oil paint. By their nature the materials are hard wearing and solid. In contrast the images are fragile explorations of mortality. Delicate portraits emerge from organic looking forms. Themes of fragility and mortality are undermined by the sculpted relief and careworn solidity of the surface, like treasured fetish objects. The outcome is contradictory, maintaining a conflict between permanence and decay, the synthetic and the organic. She is interested in the tensions created by contradictory relationships in painting and this becomes apparent through the conflicting elements within her work.

Tom Hemming works figuratively in oil paint focusing primarily on portraiture. His paintings attempt to engage with time and movement rather than a direct likeness or static moment. Working from drawings done quickly from life, the paintings are made over a period of time, removed from the subject. The intention is to capture a sort of perpetual flux more closely related to the perceived reality of lived experience. Any likeness is incidental, found through the distortions of time, movement and the painting process. The time described in the image is replaced by the time spent painting and left evident in the mark making.

Trevor Simmons’s heterogeneously accumulative drawings- amass upon the two parallel sides of a clear perspex block. Circumnavigation causes the assemblage of marks (made with coloured inks), ranging from the swift and the observed to the filamentary and the protracted, constitutes of the two opposing sides to alter in relation, without rendering the synchronicity of the object’s non-predetermined image(s) arbitrary. They hover- on the brink of becoming.

Russell Terry shows a large paper sculpture of a sarcophagus alongside a selection of two dimensional, composite paper cuts. Intricately cut and intrinsically delicate the monumental architecture of the sarcophagus creates a tension with the fragile paper. The ephemeral nature of the material and the shifting opacity of the planes contrast the human obsession with permanence and mortality evoked by the sarcophagus itself. The works achieve a particular state of ambiguity that is usually found in drawing – a shifting between solidity and transparency, a ‘state’ that isn’t fixed at all and one that is properly reserved for forms within the imagination.

Charles Hayward Drummer/songwriter with astoundingly prescient prog/industrial/post-punk soundscapers and electronic pioneers This Heat, later working with Fred Frith and Bill Laswell in Massacre and more recently a key contributor to improv kraut/jazz/pop quartet About Group, Charles Hayward has been a tireless collaborator, prolific solo artist and performance artist for well over 40 years. Evidence places his solo sets at the confluence of post-punk abstraction, percussion attack and spoken-word agit-prop; minimalist fragments eked out on drums, loops and voice broken up by spells of hypnotic drumming.

I See I Don’t See

Luke Burton, Jack Tan, Miriam Austin, Andrew Munks, Claire Blundell Jones, Harry Lawson, Stephanie Mann and Claire Poulter
30th August – 7th September 2014

I See I Don’t See is a group show that explores contemporary notions of symbol and ritual, and its relationship with the idea of an artwork’s aura through specifically curated video, sculpture, photography and performance. The works in the show privilege the way ritual is formed through personal mythology or diffuse biography, as well as through the shared and formalised manners and repeated symbols of society.

As Walter Benjamin states, “We know that the earliest art works originated in the service of a ritual – first the magical, then the religious kind. It is significant that the existence of the work of art with reference to its aura is never entirely separated from its ritual function. In other words, the unique value of the ‘authentic’ work of art has its basis in ritual, the location of its original use value.”

If an artwork’s authenticity, as Benjamin proposes, is defined by its original purpose as ritual, then how easily can this ‘function’ be located now? How do artists consciously or unconsciously employ this authenticating function?

The exhibition will also include a specially commissioned performance by The Office of Public Ritual for Lewisham Arthouseís centenary, and a panel discussion on ritual convened by The Onion Discussions.

Performances and Events:

2 September 2014, 7pm – ‘Ome’, a performance-lecture by Claire Blundell Jones. ‘Ome’ explores the ins and outs of what a home is – as a comfort or confine – and will be given from within a homemade cardboard house.

6 September 2014, 5pm – Performance by the Office of Public Ritual of a specially commissioned ritual commemorating the 100th year anniversary of the opening of the Lewisham Arthouse building. The ritual will be facilitated by Nina-Shen Poblete, Christopher Minchin and Stephanie Farmer.

6 September 2014, 6pm – A panel discussion on ritual, convened by the Onion Discussions.

For further information, contact Luke Burton at, or Jack Tan

Luke Burton’s practice works across media and often uses the architecture of urban landscape as a stage to perform a series of estranged or intimate interactions with architectural flourish. These actions appear as a repeated repertoire of gestures, but are elicited rather than pre-determined through paying attention to the particular site or detailís formal qualities and context. Recent exhibitions include Postcodes, Casa Du Povo, Sao Paolo; What do you think of the title: ‘Nothing Lasts’, 37 Gallery, London; Unperforming, Floating Island Gallery; Please Stand By, Chisenhale Studio Space, London; An Uneventful Day, Carroll/Fletcher, London; Love/Architecture, Turner Contemporary, Margate.

Jack Tan makes work that explores the connection between the political or social and art. Prior to retraining as a potter and artist, Jack had a background in law, social policy and the voluntary sector. He currently teaches performance at the University of Roehampton where he is also researching the performativity of political resistance in his PhD. Jack has produced work for contexts such as Modern Art Oxford, Cornerhouse Manchester, the Soane Museum, Stephen Lawrence Gallery and art fairs including Frieze and Art14 London.

Claire Blundell Jones uses humour in her drawings, performances, videos and installations to tickle at subjects which are conventionally associated with gravitas, such as wasting time, alienation, intimacy, death, shame and doubt. Her wobbly-lined drawings or DIY performance props lighten these dour themes and create an interplay of pleasure and engagement. Claire has recently exhibited at Environmental Futures, Cardiff; CGP, London; ANTI – Performance Festival, Finland; Casino Forum d’art Contemporain, Luxembourg; Roam Festival of Walking, Loughborough.

Harry Lawson completed a Sculpture MA at The Royal College of Art in 2013 where he constructed a living room for the objects he collects and artworks he makes. His practice looks into how objects and artists communicate through time, researching how archaeological methodologies might affect the way some artworks are produced. Harry is also a member and contributor to the London based artist and architecture group STORE. Recent projects include: Flow, Store, London and Everything and More, OSR Projects, West Coker. Harry also recently completed a residency at the Bothie Project, Aviemore, Scotland.

Claire Poulter aims to make personal landscapes, and explores different concerns by questioning the perceived value of a given subject with an analysis of its make-up. Using different processes and materials Poulter hopes to remain self-aware and in doing so wants her evaluation of a given environment to be expressed by the result. Poulterís objects strive to describe an experience she thinks of as ëflat-nessí and rely heavily on the use of contemporary technology, historical gleaning and personal construction. Claire has previously exhibited at Cowley Manor, Modern Art Oxford and in a number of artist-led group exhibitions.

Miriam Austin’s practice can be thought of as a kind of shadow play. Whether installation, sculpture, video or performance, the work speaks at once of cyclical organic processes and of a form of corporeal vulnerability. Its material, formal and symbolic properties are devices ñ narrative, performative, psycho-suggestive ñ used to give rise to a suspension of disbelief; even to something akin to hypnotic trance. The works open imagined and hybrid territories whose referents oscillate between landscape, animal and body. Recent exhibitions include: A Sense of Things (Performance), Zabludowicz Collection, London; Elements of Religion, Bold Tendencies, London and The Birth Caul, Vitrine Gallery, London, 2013.

Stephanie Mann works primarily in lens-based media and her practice is rooted in sculptural principles. She graduated with an MFA in Contemporary Art Practice at Edinburgh College of Art in 2013. Recently, Mann was awarded the John Kinross Travel scholarship and undertook a period of development in Florence, Italy. She worked on a short film commissioned by the BBC in Japan as part of the Edinburgh International Art Festival, and has had solo exhibitions in both Summerhall and in the Scottish National Gallery of Modern Art. Mann has work in private and public UK collections including the Royal Scottish Academy.

Andrew Munks is nearly 30 and lives in London. His fish works came out of both watching Jane Eyre and going fishing and also making bonnets for people and reading the page 3 Metro. He has exhibited narrowly and currently runs Watch It gallery with Sophie Michael in the spare room.

The Office of Public Ritual (OPR) is a service that creates bespoke secular rituals for significant occasions or life events.† We work with clients to develop a set of actions, sequence of performances or an order of programme for personal, group or public use.

The Onion Discussions are a series of discussions that seek to peel back ideas within art and culture for a deeper look. Often taking the form of panel discussions or roundtables, the Onion Discussions brings together artists, writers, curators and other producers to consider pertinent issues in contemporary visual, spatial and material culture in an experimental format and in a cross-disciplinary context.

2014-09 If Fish Were Human, Andrew Munks, 2013

Lounge @ the Arthouse

Pop-up Café, 6th June – 13th July 2014


Our gallery becomes a space to relax and refresh for 6 weeks! Greenwich Kitchen will delight your taste buds with a fantastic array of fresh food and drinks, all ethically and sustainably sourced.

Pop in for a quick snack or stay for something more substantial. Thursday nights are Foodie Nights. Bring friends and family and sample internationally inspired cuisine. Guest chefs each week will concoct marvellous menus from hot Caribbean spice to vibrant zest of the Mediterranean.

Side orders are a special programme of events to wet and nourish your appetite including; families craft activities with Arthouse artists, live music from musician Charles Hayward & Friends to Dansette record players politically spun by Rachael House’s Feminist Disco.

Monday – Saturday 9am – 6pm

Late night Thursdays and Fridays till 9pm

Friday Night Programme

6th June Barby Asante’s Open Deck Night

13th June WARNING: A virulent strand is prevalent in South East London noise. Featuring RABBIT, X-AMOUNT and MIREI YAZAWA + CHARLES HAYWARD

20th June Rachael House’s Feminist Disco – Putting the ‘disco’ into ‘discourse’ featuring Silvia Ziranek Colette Rosa


Featuring, MER ROBERTS of 0[rphan]D[rift>], AUDiNT (Steve Goodman, Toby Heys & John Corhs), Plastique Fantastique + More

4th July Independents Day – films From the London Filmmakers’ Co-op Catalogue – as chosen by David Leister.

Featuring; Mike Dunford – LENS TISSUE, Alia Syed – SWAN, Vanda Carter – MOTHFIGHT, Nick Gordon-Smith – O, Michael Maziere – SWIMMER, John, David Leister – DRIVING THE LOOP, Noski Deville – CAROUSEL and more

11th June La Bouffe: A Night of Film with Gordon/Whitty Projects.

Featuring; Joel Blackledge – How To, Regina De La Hey and Sophie Seashell – Nux Vomica, Can Do Films – Wordfood, Jiann Hughes – Sizzling Babes, Fiona Whitty – Conversations Over Food, Tara Manandhar – Lagos is Lovely, Nick Masters – It’ll All End in Tears, WhittyGordon Projects – Vincent

Thursday night Pop-Up Restaurants from;

12th June Mana Greek, Marianna Nikologianni

19thJune In A Pickle

26th June Olly’s Turkish Gourmet

3rd July Taste of Tapas

10th July Roger Poitier

Saturday Drop-in Family workshops

7thJune Family Silhouette Workshop

14th June High Tea; cardboard cake craft

21st June Geodesia: Build a dome

28th June Butterflies & Flowers Mosaic

5th July Kidetopia; Film and Quiz for kids

This project was a partnership between Lewisham Arthouse and GCDA

For further info and photos visit our Facebook page


Lounge_4_diso 2



Lewisham Arthouse Open Studios 2014

Saturday 10th May 2014, 10am – 10pm (studios close 8pm)

2014-05 May Open Studios 2

Come and explore over 30 artist studios within the beautiful Lewisham Art House. We are a voluntary led co-operative organisation, opening our doors to the public in May.

In the gallery Painting, Smoking, Eating a group show curated by Nelson Diplexcito.

Drop by for yummy cakes and a cup of tea at our pop up cafe by GCDA , followed by bar, drinks and DJ in the evening. Take part in the Cardboard Jungle workshop.

To download flyer as a pdf click here

Painting Smoking Eating

Philip Allen, Jake Clark, Nelson Diplexcito, Freya Guest, Dave Leeson, Tom Rapsey
Exhibition Dates: 8 -17 May 2014

2014-04 Painting.Smoking.Eating

“There is a delicate form of the empirical which identifies itself so intimately with its object that it thereby becomes a theory”.

This statement by Johann Wolfgang von Goethe summarises the pre-occupations of the six exhibiting artists in Painting, Smoking, Eating. The selected artists in this exhibition are painters who are driven by their experience to then reflect that experience through painting.

The artists in this exhibition know their object. They are aware of the histories, the debates and the challenges in making painting today. These artists are in it for the long haul; singularly independent but also marked by a collective distrust of the convenient and anything that would compromise their vision. The place of looking is the studio. It is work, a routine and what begins is a quarrying of the object. If you ask painters how the work begins, you will discover from the responses that there is no single unifying approach. There are always exceptions to the rule and this is perhaps one of the reasons why painting is such a resilient form.

To make paintings is to always be looking. This may seem obvious, however it is the particularity and nature of the looking for the object that is central to the experience of painting. If the painter is fortunate the image will emerge quickly. More often it will never be so immediate. Painters always hope that the next painting made will be carried out more quickly than the last. The painter knows that there is a danger in the image being too familiar, particularly if they have looked too long on a painting. To paint by its very nature is to be close and sooner or later detachment, de-familiarising often through a radical decision is necessary. This combination can awaken the object of the painting. It is a very particular form and condition of the paintings in this exhibition.

In the quarrying of the image – there is always a movement towards this visual dialogue, where truths and lies are expelled between painter and painting. It is difficult to predict, document and know when and if it will happen. It should also never appear to be forced, although there may have been innumerable revisions and detours in getting there. There is no one way to the object. Sometimes the encounter comes from a suspicion or doubt that what has been set down previously does not communicate the ‘tone’ of the object. What is certain is that this encounter can only be revealed through looking intensely at what is present. Experience, tenacity, practicality and time all play their part towards this visualisation. It is only through their combined meeting that the image begins to ‘stick’ and offers a type of resistance. To recognise this encounter is to always live in the moment.

The painting that was once familiar, having been worked, will now appear unfamiliar and will be truer for being so. Only now does the work have the possibility of looking back at the painter. The painting that does this often locates itself between states, being surface and mirror and window and wall, never quite prioritising one above another. The painter will recognise the form, the territory, surface and face as a likeness of the object. The object is a resistant image that has the ability to meet and disarm, transfix and immobilise the painter. It is the myth of the Gorgon and the painters in this exhibition know its stare and the tale intimately.

They are also aware in consolidating the moment by working on and perhaps by doing so, force and lose sight of the presence of that, which was momentarily seen. The paintings in this exhibition talk about this quarrying towards immobilisation. It should never be confused as an end for a painting, far from it. It is an opening-out into the possibilities of painting and very rarely does it happen. To “finish” is too convenient and would only close the image down. Good art is always at work. Robert Frost talks about it at work, in a literary form, and more succinctly. He says that a poem should be like a “ice on a stove – riding on its own melting”. The artists in this exhibition know this. It is the experience and the difference between looking and reflecting that experience through seeing.

There will be an opportunity to meet the artists on Saturday 17 May at 6.00pm in an open discussion and all are welcome. The title of the exhibition is taken from the Philip Guston painting of 1973, Painting, Smoking, Eating (Collection Stedelijk Museum).

-Nelson Diplexcito 7.5.14

The Mysterious Function of Belief

Christopher Oliver
Exhibition Dates: 23rd – 27th April 2014

2014-04 ChrisOliver


(Above) Christopher Oliver, Go to the Poltergeist, image courtesy the artist, 2014

The Mysterious Function of Belief is a meditation; an address to humans responding to chaos in nature, our sacred geographical locations, arctic tundra and visual pleasure. Science attempts to explain chaos logically, but the esotericism present in religious symbology (particularly Catholic) and its rituals that offer their own interpretation of the universe is what appeals to the artist. The artist’s creed is to believe in One Pure Aesthetic Value and the preferred colour is Gold, Pure Gold.

Join us for a culmination of five years immersion in visual pleasure formed from collections made from the exotic detritus of an artist’s life.

The preview on 25 April, for one night only, will feature a new installation in the adjoining room.

Ruth Beale, FFWD the Revolution, 2014

Ruth Beale
Exhibition Date: 16th April 2014
Book Launch: 6pm – 9pm
Tours: 8pm, 8.30pm



Ruth’s accompanying publicsation, FFWD the Revolution (edition of 150), 2014,can be purchased from Lewisham Arthouse for £3.00 + P& P. Contact

In the hundredth anniversary year of the opening of Deptford Central Library, a performative tour and publication by Ruth Beale will chart the the history of the building, the uses of each space, and the political ambitions of its occupants. Combining new writing and archive material, the work encounters presence and absence, ambition and legacy, from the Carnegie endowment to 75 years of public library service, from a brief occupation in the early 90s as a venue for raves to community protest, and the last 20 years’ tenure as an artists’ studio cooperative.

Ruth Beale is the current Graduate Studio Bursary Artist at Lewisham Arthouse.

RuthBeale FFWD performance photoSimon Beesley2

RuthBeale FFWD performance photoSimon Beesley

Snorkel, Bass Drum, Alan Wilkinson

12th April 2014

2014-04 Snorkel

SNORKEL South London based collective whose members come from different corners of the alternative scene, bringing together the tactics of improvisation, electronica, and sound art. Propelled by the drums, the band revel in the joy of angular repetition, throwing in elastic interruptions on guitar, trombone, analogue and digital synthesisers and vocals. To date they have released two albums and an EP on Slowfoot Records, with a third in the pipeline.
“…a vital flow of angular energy and unpretentious swagger” [The Wire] “…the missing link between Krautrock and Lee Scratch Perry” [Rock a Rolla) “…the spirit of Ege Bamyasi-era Can looms large” [The Wire]
“ …this is deeply grooved and experimental stuff” – [Clash magazine] “…bathed in the rhythmic propulsion of Can, spiky post-punk Moog/guitar interplay, and the dissonance of This Heat” [Uncut]

Facebook page
SNORKEL – The Conversation

BASS DRUM South East London noise and then some from the Vanguard Street and surrounding area as drum dynamo Charles Hayward clashes with the synthetics of new-kid-on-the-block Riley leaving a trail of destruction, taking no prisoners and giving as good as they get, only more so. Music as fever, sound as object. Very physical.
Bass Drum – Frost (video)

ALAN WILKINSON Alto and baritone saxophonist Alan Wilkinson has had a lifelong fascination with the more extreme end of the sonic palette, fuelled by the overloaded guitars of his youth, and by ecstatic free jazz, as well as a firm belief in the undiluted potency of spontaneous creativity. As a consequence he became primarily involved with free improvisation and has played with some of it’s greatest names including Derek Bailey, Peter Brötzmann, and Alex Schlippenbach, as well as in acclaimed groups like the incendiary Hession/Wilkinson/Fell,his current Norwegian quartet Akode and with NYC duo Talibam! The more exposed and personal challenge of solo performance has always presented a welcome departure being documented on Seedy Boy from 1994, and 2011’s Practice.

Alan Wilkinson – Solo (video)
Alan Wilkinson – Solo, Pori, Finland (video)

admission £5
no bar, bring your own

Crossing Points

Lewisham Arthouse presents three films by Alia Syed, Amanda Francis and Lucy Harris – Panopticon Letters, The Making of… and Crossing Points
Thursday 10th April, 7pm – 9pm



(Above) Alia Syed, Panopticon Letters, 2013, mage courtesy the artist 2014

Lewisham Arthouse presents three films by Alia Syed, Amanda Francis and Lucy Harris – Panopticon Letters, The Making of… and Crossing Points.

Each film presents uninhabited locations haunted by events long passed. Tides, shifting light and fleeting shadows observe the constant movement of time and a multitude of cultural and historical perspectives. The artists however offer no single point of observation. The shifting horizon disputes its role as a point of reference; figures remain fluid, fixed boundaries shift. From these fluid states the audience is encouraged to examine their own position as observers, observed and witness.

Characteristics and themes shared by these works will be discussed in conversation with curator and writer Paul Goodwin.

Alia Syed’s work examines memory, representation and colonialism through narratives constructed from both personal and historical realities. Panopticon Letters is a single screen work that explores ideas of memory, techniques of the body and colonialism, within the tradition of landscape painting. In the film, footage of the river Thames in London is altered to bring about a false relationship between sky and water. This is set against the technical descriptions of the architectural plans for an ideal prison as read from ‘The Panopticon Letters’ of Jeremy Bentham (1748-1832), who had first identified the Millbank site for the construction of his Panopticon. The darkness of the severed horizon-line allows different modes of address to emerge within a correspondence of letters, reformulating a multitude of narratives of time and place.

Amanda Francis is preoccupied with identity – specifically, how attempts to ‘define’ can be influenced by context. Francis’ is particularly interested in ‘Black’ as a cultural construct, the evolution of a political and social identity within the occident. The Making of… is the culmination of a project inspired by a saint with an identity crisis. Taking the practice of hagiography as a starting point, the film charts the story of Saint Maurice who died along the French/Swiss border in the third Century AD. He later became a cult figure in 15th Century Germany and a popular subject for art of this period. Following the footsteps of other artisans, Francis’ intentions to add to this catalogue were thwarted. The film presents a meandering narrative of the process, conflated with a tale of a man, an object and a legend…

Lucy Harris’s work explores relationships between personal narratives and rereading of the spaces that we inhabit, often shifting the usual/received focus of attention.

Crossing Points, filmed in the 1936 Berlin Olympia Stadium and the Kuppelsaal, exploits the interplay between memory, history and architecture. Through the interweaving of these empty venues with two fencers performing a series of choreographed gestures, a dialogue between distinct architectural spaces disrupted by a legacy of past activity is created. Her background as an artist and international fencer led to investigating the relationships between these two activities, exploring the use of the performance as a means to trigger undisclosed historical narratives.

Awkward Conversations

New work by Liam Kean and Ed Liddle
Exhibition Dates: 2nd – 13th April 2014

2014-04-13 Awkward Conversations LiamKean EdLiddle


(Above) Liam Kean, Ed Liddle, 2014, image courtesy the artists

“A conversation is a dialogue, not a monologue. That’s why there are so few good conversations: due to scarcity, two intelligent talkers rarely meet.” – Truman Capote

Art is a conversation between the artist and the subject; the work and the viewer; between the contemporary and art history – and in the case of a two person show, between the artists involved. Liam and Ed have made work in close proximity together for over four years and their work deals with similar themes, including what it is to be a painter in the current artistic environment.

Sometimes, the conversations surrounding art can be awkward – Awkward Conversations aims to be a confrontation or clash of two peoples work. It also aims to ask as many questions as it does provide answers – to be a visual conversation between two peoples work, even if that conversation is awkward.


Friday 14th March 2014

GERTRUDE are an alternative 4-piece band based in and around London. Formed as a collective in 1996 Gertrude soon caused a stir in many different London scenes. They enjoy playing gigs in a wide variety of venues – such as onboard the Motorship Stubnitz or alongside ‘punk robots’ at a science/art event at the ICA.

Gertrude weave electric cello, melodica, clarinet and keyboard with traditional rock instruments to create a unique sound. Live, the band is energetic, rhythmic and intense – their set often scattered with droll commentary and surreal musings. Gertrude have been influenced by punk rock’s ‘DIY’ ethos, feminist thinkers as well as numerous other bands, ideas, people and events. The band have toured Europe, Canada and the U.S. and have been asked to perform at various Ladyfest events. A new album LOVE AXE WISH LIST was released in November 2013 on their Urban Missfits label.

ROSHI featuring PARS RADIO is the band built around Welsh-Iranian singer-writer Roshi Nasehi. Their music is a mix of sometimes radical interpretations of Iranian songs she grew up hearing alongside her own evocative and atmospheric songs. Her collaborator is Graham Dowdall who also works solo as Gagarin, is a member of Pere Ubu and former colleague of Nico, John Cale and many others. Roshi feat. Pars Radio have released several records to widespread acclaim. The most recent 3 Almonds & A Walnut (2013) “a beguilingly unclassifiable mix of traditional roots and crunchy avant-garde sound effects and beats”, The Independent (4 stars); “sophisticated cross-cultural urban art-pop… an original creative voice”, Songlines;
“Classic songs that transcend any “exotic” or “culture clash” boundaries…” The Quietus.

The band have gigged extensively in UK and also in Europe – live performances combining Roshi’s incredible voice with keys, vocal looping as well as Graham’s electronic beats, atmospheres and field recordings.

ANGELPOISE is a new project from Jo Thomas and Charles Hayward conjuring a primitive elegance from voice, laptop and drums. Is this electronic circuitry, city traffic or blood flow? A constant play with sense of scale and dynamics invokes a visceral field of mesmeric hypnosis. Earlier they thought to both wear pinstripe suits, but that seems inappropriate now that the sound has stated its stark, stern & unequivocal demands.

Disability Re-Assessed

Shape Open Exhibition
Exhibition Dates: 12th – 29th March 2014


Marion Mitchell, Soldier’s Child, 2013, image courtesy the artist

This exhibition is an annual call-out for disabled and non-disabled artists to submit work in response to a disability-focused theme. The theme for 2013 was Disability Re-Assessed. The winning submission, selected by a panel of arts industry judges, was announced prior to the exhibition showcase at The Nunnery Gallery and was awarded the Shape Open Prize of £500.

REFLECTION, the winning work by Eric Fong represents a reflection on identity and disability in the context of facial disfigurement. This short film plays with perception and moves between abstraction and reality. The piece was done in collaboration with the organisation Changing Faces.

2012 proved a momentous year, in which disabled people dominated sporting events, cultural celebrations and political debate. The focus on categorising, defining and re-assessing disability was, and continues to be, as prevalent as ever – influencing and impacting on the experience and representation of disabled people around the UK.

The Shape Open exhibition showcases work from a range of multi-disciplinary disabled and non-disabled artists, whose work explores and comments on the 2013 theme Disability Re-Assessed. Shape’s Patron Yinka Shonibare was on the shortlist panel and helped select works from 46 participating artists.

‘The Shape Open Exhibition provides a fantastic platform for artists to show their work. Such exhibitions offer great opportunities for artists to be discovered by institutions and large audiences. Similar exhibitions have helped to contribute to the development of my own personal career’.

– Yinka Shonibare MBE, Shape Open Patron

Shape is a disability-led arts organisation working to improve access to culture for disabled people. We develop opportunities for disabled artists, we train cultural institutions to be more open to disabled people, and we run participatory arts and development programmes. We aim for:

a. More disabled people as arts audiences

b. More disabled people employed in, and leading, the arts

c. More disabled people participating in arts activities

d. More high quality practice by disabled artists

For more information please visit

For a preview of the winning entry REFLECTION by Eric Fong V=wuzq; OAZOjg

For further information about the exhibition please email:


Lily Hawkes and Holly Hendry
19th February – 2nd March 2014

‘Domming’ is a graffiti term referring to a colour mixing technique created by spraying one colour over another while it is still wet, then rubbing the two together. The term is derived from ‘condom’, referencing its synonym ‘rubber’ and is sometimes called ‘fingering’ as it is commonly done with one’s fingers.

Domming presents the work of Lily Hawkes and Holly Hendry, whose sculptural installations deal with important notions of process, including the physical manipulation of material and colour. Influences of architecture and scale are employed in both artist’s work, involving the viewer in an experience of simultaneous confrontation and seduction through the sculptures that are presented. Forms from the inner body accompany silhouettes from urban cityscapes, dry and soft materials are placed in juxtaposition with the taught and rubbery, squashed against the framework of the gallery or existing as islands within the space, mimicking the social or physical structures at the core of their creation.

Flamin’ Martians

A Retrospective of Nonexistent
24th January – 10th February 2014

Eero Tiitula
I first came across Flamin’ Martians in Glasgow in early 2008. I was scraping together my weekly food budget as a living statue, when someone handed me a deep fried disc wrapped in a greasy flyer… such are the unexpected scraps of life that feed the alternative world of Flamin’ Martians.
Contradictions are their essence. Fine art is renounced, yet fine art fuels the Flamin’ Martians’ unsigned flyers and untagged graffiti. Members identify themselves to each other by wearing leather jackets bearing a symbol. Flamin’ Martians denies its existence as a group, yet leaves its traces everywhere to the initiated. To the uninitiated, however, the traces appear to lead nowhere…

A retrospective is usually expected to bind together various lines of development, to tell a coherent story. Flamin’ Martians shuns the simplicity of Aristotelian dramaturgy: the beginning is not known, the end does not exist, and the confusing middle does not help to construct either one of them. Such fragmentation and inconsistency is what provides the element of surprise and excitement.

Flamin’ Martians is above all a manifestation of the 21st century counterculture. Behind its pseudo-religious rhetoric and symbolism lies a genuinely agnostic world view.

Flamin’ Martians strive for Utopia – or the nonexistent – aiming to create an exciting space for discussion and openness…

Expect the unexpected, we invite the uninvited.


10th January 2014
Doors Open 8pm, Entry £5

OSCILANZ is a new trio formed of Charles Hayward (This Heat, About Group), Ralph Cumbers (Bass Clef, Some Truths) & Laura Cannell (Horses Brawl, LCAB duo).

They came together in 2013 with the intention of interpreting the music of Hildegard Von Bingen, a 12th century nun and mystic, a herbalist and inventor of her own language, who was also a prolific composer of some very beautiful pieces of music.

The group started off using very small fragments, sometimes runs of only 3 or 4 notes, as a basis for improvisations, bypassing any ideas of correct ways of performance and instead connecting with the spirit and magic of the music in a very subconscious and non-verbal way. The melodies took on a life of their own and Oscilanz was born.

Trombone, drums, violin, recorders, voices and electronics all blend together to produce something beguiling and hard-to-pin down. The word Oscilanz is taken from the Lingua Ignota, the language Hildegard invented. It means ‘October’.

HOOFUS based in the undergrowth of rural Norfolk, Hoofus writes and performs electronic music, using visceral ritual rhythms smeared with restless feral yearning and the distant hum of moss covered machinery to express the feelings of living on the borders of ordered civility and untamed wildness, and the uncanny beauty of the intangible, the occult and the arcane seeping through into the post-industrial 21st century world of reason and corporate compliance.

OPEN TUNING is south east London guitarists Terry Edwards (AKA ThE WizarD of New CrOZ) and Holly Victoria Hayes playing a gently hypnotic set of acoustic guitar improvisations.

No bar – bring your own refreshments

Artistic Autistic

Joel Smith, Wesley John-Smith and Victoria Noel
4th – 8th December 2013

Artistic Autistic is an exhibition celebrating and sharing the work of three young autistic students who attend Drumbeat School. They are all very passionate about making art in their chosen medium.

Joel, who is 13, makes models mostly from re-cycled materials. He gets his ideas from watching TV, playing games and using his imagination. He likes to play with the models when he has made them.

Victoria, 14, does photography as an everyday thing and takes a camera where ever she can, photographing herself, friends, family and anything she finds interesting. Editing her images is currently her favourite pastime.

Wesley, 13 years of age, draws because it makes him feel free. He likes detail and precision. Trains and designscapes are his main interest.

The Groundnut

27th – 29th November 2013

Firstly we would like to say a special thank you to our guests and hosts at Le Bal Café, Paris, for our last evenings in September. It was a fantastic experience, and we enjoyed sharing our food with a new audience.

We very much emjoyed another run at Lewisham Arthouse in November, after the success of the July series.

We hosted three nights of dinners on Wednesday 27, Thursday 28 and Friday 29 November 2013.

Tickets were £32pp with advance purchase is essential (available from our website – – or by email). Food was served banquet style, and the menu will be revealed in full on the day of the event.

For more information or to see menus and pictures from past evenings visit If you have any further questions, contact us on

Warm Regards,

Duval, Folayemi & Jacob

Crackle / Housewives / Necessity

23rd November 2013
8pm to 11pm

CRACKLE: is an off-kilter collaboration between bass player Nick Doyne-Ditmas and drummer Frank Byng, that draws on their extensive experience as musicians and producers working across a wide range of traditions and practices, old and new. Through a series of studio experiments and improvisations the duo explore the frontiers between analog and digital, acoustic and electric, lo-fi and hi-fi, real and imaginary…Recent addition to the band is Ben Cowen [keyboards], one half of electronic duo 7-Hurtz [Output] and also currently plays with Snorkel and Vibration Black Finger.

HOUSEWIVES: I was in Music Complex, Deptford’s rehearsal studios, buying some drumsticks. From along the corridor I could hear an intriguing and dynamic sound, coming from one of the rehearsal rooms.
“Who’s that?’” “Housewives.” “Who are they?” “Local band, playing Bird’s Nest next week.” So I went to the gig, but they went on early and I missed them; total piss off.
Couple of weeks later I’m in Music Complex again, sound along the corridor. “Is that Housewives?” “Finger on the pulse, sir.”
They come along to the reception area for a break, we get chatting. They’re playing 2 weeks time at Old Blue Last, and by the way, here’s a soundcloud
Far out. 2 weeks later I’m at Old Blue Last to hear Housewives. Far out. A sort of monochromatic surliness slowly warms up to a barely controlled anger, hypnotic and building from the simplest elements. Far out. I want to hear more of this music.

NECESSITY: The power trio re-configured for the age of social and emotional collapse. 3 generations of underground noise makers collaborate in the unending struggle with the mainstream subconscious infrastructure.
Alex Ward plays guitar. Eric Clapton was never ever God. And anyway, God is dead.
Nathan Harmer plays found and abandoned sound.
By the way, beneath the pavement, the beach.
Charles Hayward plays drums. It’s a life. Keep going.
Their first CD Strip Search will be released in the new year.
So fresh it’s off the map. Click here for eternal youth.


Chrissie Stewart
13th – 17th November 2013

Look explores, semi autobiographically, constructs. How the artist was encouraged to be a girl, a woman and a woman artist. By approaching some of the artist’s past, the hope is to explore through various pieces the impact on her. This often means using found objects that relate to her past. There is a hinted narrative sometimes clear, sometimes more poetic and open.

V4V + Lone OMI + The Balloons

One event, 3 different approaches to music making
Saturday 19th October 2013, doors open 8pm, entry £5

V4V is group V4V is sound V4V is shape
Shape same, details differ
V4V sci-fi nostalgia
Same shape, different detail
V4V may vary V4V Mayday! Mayday!
V4V deserve the rights and wrongs
V4V so much more than 4 on the floor
Uncommon time V4V do 7/8, 11/4, 24/7, 9/11
V4V learn from city: traffic, buildings and crowds
V4V been Japan and back
V4V been Birds Nest and roundabout (see A-Z)
V4V hearts synapses V4V sound-art funk
V4V DJ BPM, Charles Hayward, Nick Doyne-Ditmas, Vern Edwards
V4V uncertain until box open V4V south-east London noise

LONE OMI sings songs about mountains and rivers and heartbreak…
I am the Sun video: (Preview)

THE BALLOONS: Fuelled by passion and commercial indifference in equal measure, The Balloons have evolved from being completely unknown to utter obscurity in a mere 35 years.
With an energy to rival that of terminal invalids at least 25 minutes their junior and a unity of purpose that belies their capacity for persistent squabbling, The Balloons remain the dark and cheery purveyors of juddery, shuddery, jittery, jottery, scuttlesome jat they always was.
Jock? Razz? Who gives a monkey’s makeover!!?


South East London Arts Network
11th – 27th October 2013


Above: Philip Baird, 2013

South East London Arts Network (SELAN) officially re-launch with a group show at the Arthouse Gallery.

The show features work by SELAN artists, many of whom have exhibited widely in London and beyond, including Phil Baird winner of the Outside In Award 2012.

The eclectic show highlights the talents of our artists who work in a range of mediums including mosaic, glass, painting, drawing and mixed-media.

SELAN – South East London Arts Network is South London’s leading visual arts organisation for people living with severe and enduring mental health support needs.

Open Studios

Friday 4th October 2013, 6pm to 9pm
Saturday 5th October 2013, 12pm to 6pm
Sunday 6th October 2013, 12pm to 6pm


Brian Archer, Peter Baker, Chris Barnes, Richard Buckle, Laura X Carle, Barry Cunningham, Alison Day, Amanda Francis, Anita Gwynn, Lucy Harker, Pat Hextall, Terry Humphrey, Julia McNeal, Nina Necak, Janine Nelson, Mark Nelson, Stephen Palmer, Ben Parry, Sofie Pinkett, Rosey Prince, Toby Rye, Anna Salamon, Rachel Salter, Joyce Saunders-Diop, Fiona Smithers, Shirley Stewart, Alma Tischler Wood, Luigi Vanzan, Ben Varney, Eleanor Watson, Sara Willett

We invite you to come and explore 30 artist studios over three floors of our beautiful Edwardian building, the former Deptford Library.

Friday 4 October, 6pm to 9pm
Saturday 5 October, 12pm to 6pm
Sunday 6 October, 12pm to 6pm

Don’t miss our special programme of exhibitions, events and site-specific works, during and preceding open studios weekend. On the ground floor, Arthouse artists will be demonstrating people power in the group exhibition POWERHOUSE. Back by popular demand is our Ping Pong Tournament with special cocktails to savour. In the gallery artist Rory Macbeth will be showing a site-specific work LOST PRAIRIE, and as a special treat he will be giving an artists talk. And last up, David Aylward and friends will be leading a parade through the streets of Deptford in tribute to our dearly departed anchor. You can catch the parade on route or at the Arthouse where things culminate in a striking crescendo.

Anchor Parade 5 October arrives at 4pm (approx)

Special thanks to Greenwich Kitchen for their sterling work providing scrumptious food in our pop-up café. Greenwich Kitchen is part of Greenwich Co-operative Development Agency (GCDA), a voluntary organisation, established to support the creation of community owned social enterprises focused on food and health.







by Rory Macbeth as part of Deptford X
Exhibition Dates: 27th September – 6th October 2013

During Deptford X, Rory Macbeth will be making a site-specific piece of work in response to the complexities of Lewisham Arthouse as a long-standing co-operative arts organisation.
His performance-driven practice has recently seen him translate a novel by Kafka with no understanding of the original language and no dictionary, write email excuses to a gallery for a poor art show of dog paintings, and to play Beethoven on piano in front of classical music audience, having never played piano before.

For his show at Lewisham Arthouse, Rory Macbeth has built 3 street billboards and rented the space out via a pubic advertising company, Outdoor Advertising Ltd, who have found 3 clients interested in advertising here as part of new publicity drives. As such, all three adverts are fully functioning current adverts, the same as the ones on the buses that drive past the Arthouse or that line local roads, and in this sense a sort of reversal of the ‘80s idea of billboards as a site for Art. Lost Prairie is also a direct response to the particular circumstances and history of the Lewisham Arthouse as an independent and autonomous space, with all the utopian advantages and nightmares that brings with it: forcing the corporate world into the co-operative’s hard-fought independent boundaries temporarily, in a sense to see who wins. Named after a half-remembered song lyric, Lost Prairie is romantic, hopeful, stupid, awkward, funny and wrong.


An evening of music, film and movement
Friday 13th September 2013, doors 7.45pm start 8.15pm


MONKEY PUZZLE TRIO Viv Corringham, electric voice, Nick Doyne-Ditmas, electric double bass, Charles Hayward, drums and keyboards

JO THOMAS will unfold her elegant and mysterious soundworlds

GONE HOUSE, GHOST HOUSE (film plus live soundtrack by RABBIT with butoh interventions/actions by Bridget Scott)


Nicky Teegan
Exhibition Dates: 12th – 22nd September 2013

NickyTeegan_Star GazingLazerCats

Following a 6 month residency in Lewisham Arthouse, Nicky Teegan presents a collection of devotional objects, handmade oddities, sounds, texts and footage. Drawing from the every day, science fiction and local stories of mystical phenomena this exhibition will function as fiction rather than a hermetically sealed system of pedagogies.

Teegans’ work deals with the fanatical collecting of things. It specifically focuses on the fetishisation of everyday objects, outmoded technologies and found oddities and their subversion into devotional objects. It examines hidden meanings behind these devotional objects and rituals and their purpose. Underlying this, Teegans’ work draws from dystopian science fiction and ufo cults.

Alongside the exhibition was an event on 21 September, from 6pm. A dusk performative walk with the exhibition as a starting point. The two hour performance was a subversion of objects, science fiction and local stories of mystical phenomena, functioning as a fictional narrative and subverting the location and objects into a place of mystery. Tea and snacks were provided at the end.

NickyTeegan Tetra

NIckyTeegan Overview

NickyTeegan 2

NickyTeegan 1

NickyTeegan 3

The Question Market?

An arena of exchange: 5 performance events in 3 hours
30th August 2013, 6-9pm

30 minute drum rool

Bridget Scott makes work that takes movement to expressionist terrain, adapting a variety of approaches to achieve places of vulnerabilty. She lives in Kyoto, which naturally informs her work.

Charles Hayward is a musician, songwriter and performer. 40 years at the coalface of the European underground.

Harmergeddon is Nathan and Fae Harmer, a duo of sound artists, utilising a hybrid technology from the hinterlands of now.

Merlin is an emerging performance artist, using movement, word, character and costume for her own reasons. She will bring her friends.

The evening will feature 5 performance pieces:

The BELL AGENCY is a study in cooperation and concentration. For 3 or more players.

Bridget Scott will slowly unfold an UNTITLED movement piece involving gesture and stillness that takes its cues from the Arthouse gallery space. Nathan Harmer and Charles Hayward will provide live soundtrack.

Harmergeddon will play their sound in semi-darkness, enhanced by the flickering TV monitor and LED devices, music from the dreamtime.

30 MINUTE SNARE DRUM ROLL does pretty much what it says, as Charles Hayward takes the limited sonic palette of the snare drum roll and uses it to build a 30 minute sound world of inflection and structure, a pencil thin line of sound.

MODEL VILLAGE is a collection of miniatures, song, movement, spoken word and sketches.


31st July 2013
Nina Davies, Elenor Hellis, Cara Mills, Zoé Nguyen, Anna Pickles Harvey, Michael Peters, Jean-François Santhéo Le Minh, Andrew Smith, Sif Thy, Christian Wright, Charles Verni


“The prefix “post-,” which denotes an immobile state past history, is replaced by the prefix “re-,” which points at repetition or response. We are not after production. Rather we are in a state in which production is endlessly recycled, repeated, copied, and multiplied, but potentially also displaced, humbled and renewed. Production is not only transformed but fundamentally displaced to locations that used to form its outside: to mobile devices, scattered screens, sweatshops and catwalks, nurseries, virtual reality, offshore production lines. It is endlessly edited and recombined.” – Hito Steyerl, Cut! Reproduction and Recombination, e-flux journal (2012)

When I watch a film it exists in numerous tabs. 1channel and Facebook blur into one site. I listen to an album dissected into a Youtube playlist, its narrative deleted by the silence of buffering or the roar of adverts. The tune is interrupted as the BBC News theme tune emanates from my IPhone. I open the app and slip through the top headlines with the haptic touch of my thumb, stories of heterogeneous nature and origin blending into one heterotopian space. A new story emerges and in one smudged swipe of an index finger I’m back at a fleetingly current event. The laptop screen flickers off temporarily and my gaze is brought up from one GUI to another. I’m in a digital composite and it hurts. Apps don’t translate well corporeally and it’s hard to move through a 4D space.





18th – 27th July 2013

2013-07 The Groundnut

The Groundnut was a dinner project founded by Folayemi Brown, Duval Kojo Bankole Timothy and Jacob Fodio Todd. Menus were inspired by their mixed European and African heritage. The food was freshly made and unless otherwise stated all recipes are new creations. Lewisham Arthouse hosted The Groundnut for a series of six pop-up dinners over two weeks in July 2013. Tickets were £30 and advance purchase is essential. For more information, and to learn abot future events visit or email






Curated by Katalin Halasz and Polly Card
8th – 10th July 2013

2013-07 Visualizing Affect

This exhibition has been organised in conjunction with the International Visual Sociology Association Annual Conference 2013 that takes place at Goldsmiths, University of London.

Visualising Affect investigates art-practices and visual research strategies that consider and challenge the affective and emotional dimensions of race, sexuality and gender-constructs in art and society. It provides a compelling argument for an aesthetic engagement with affect and offers an insight into the ways in which social research remains concerned with the role and possibilities of feeling.

The art show and conference talk bring together the most exciting minds from social science and visual arts, both new talent as well as established international contributors to explore these issues. The group show runs over three days and includes sound and textile installations, video-art, photography, film screening and talks from 17 contributors from 10 different countries.

Artists and visual sociologists participating in Visualising Affect are Sutapa Biswas, Sandra De Berduccy, Nirmal Puwar, Yasmin Gunaratnam, Julio Gonzáles Sánchez, Karin Michalski, Laura Cuch and Yvonne Füegg.

Films by Jane Kin Kaisen and Guston Sondin-Kung, Jack Tan, Justin Archer, Martin Bleazar and Rosanna Scott, and by Konstantinos Panapakidis are screened as a special event to the exhibition.

A panel talk with academics Allison Carter and Rachel Clarke and exhibiting visual practitioners Laura Cuch and Konstantios Panapakidis takes place on 9 July as part of the International Visual Sociology Association Annual Conference 2013.

For additional information, images or interview requests please contact:


19th – 30th June 2013

2013-06 BizzaroFilter

BIZZARO FILTER is an exhibition of portraiture by a group of emerging artists working in paint and print. Each artist operates as a filter, projecting, delineating and subverting the figure; creating a new perspective rooted both within a tradition of painting and their own personal experience. The results inevitably are bizarre.

Mathew John

I create ethereal hinterlands that are eerily constructed and ambiguous in a bid to explore the moral and finite reality that humans have formed. The paintings challenge the viewer to reflect upon and enter into a dialogue concerning their universal vulnerability and empathy. A fusion of techniques influenced by Richter, Polke, Turner, Goya, Doig to name a few are combined to produce paintings that are poignant, calculating, hopeful and otherworldly.


I see my art practice in parallel with life as a journey of learning and discovery. A journey through which I can produce work that reflects my eclectic interests and that also serves as a tool for the discovery of new ideas. Most of my practice is purposely sombre and unpopulated, but when painting portraits I wanted to make paintings that were human, eccentric and yet light hearted. The painting process for me is about speed, a relaxed touch and the intensity of colour.


My work is a voyeuristic intrusion into fantasy and secret desires. Using photographs of people as a starting point from which I draw on the mood, infusing them with my own imagination and memories. I aim to create an ambiguous world of escapism and delusion, in a sense an alternate reality. Currently I am painting on uneven or reused boards the surface of which add their own, accidental mark to the work.


My recent work takes its imagery from Greek and Roman sculpture, where I paint restored marble busts with the colours they may have worn, which raises questions regarding our taste and the kitsch. The ‘Mug Head’ series toys with musicological display practices and directly explores the relationship between object-hood, decoration and the illusory nature of painting. The paintings record the process from object to staged photograph and finally to painting. They then serve as a record of constant metamorphoses: in scale, dimension, and in cultural value.

Nadir Kinani

I am a printer making CMYK halftone screen prints. I treat each print and the process as individual works of art. My work is split into two branches, the first of which I call ‘Funsies’. These are prints that I make purely out of an enjoyment of the process, where I strip away all sense of context to make enjoyable images to look at. The second strand I have labelled ‘Pretentious’. These works explore philosophy, metaphysics, religion, science, art history and theory. These works are purposefully contrived and dense with questions and influences, in which every element serves a specific function.

For more information please contact or visit or




Take It Or Leave It

29th May – 9th June 2013
An exhibition of work by members of s-a-l


Take It or Leave It is a mixed media exhibition by the London based collective s-a-l (Spanish Artists in London). The show explores and celebrates the artistic response to changing cultural context and identity. s-a-l aims to promote and exchange experiences with other contemporary art groups and create awareness and interest in Spanish culture.Using various mediums the artists examine their idiosyncrasies and responses to their own personal identities. The exhibition encompasses installation, sculpture, painting, photography and music; featuring: Maria Alverez, Trndad Ball, Marisol Cavia, Loli Cardenoso, Slvia Ramona Estevez, Manuel Noguera, Natalia Rivero.

Event: Friday 31 May kicking off from 6pm as part of SLAM Last Fridays.
Playing live SLEEPLESS KIDS CLUB – indie/folk band from Madrid.

Free Entry.




Berliner Mauer Dunkelheit

24th April – 5th May 2013


Mystique and Mundanity

A study of the fallen Berlin Wall aims to reinvent the mystique of a famous city by elevating the mundane

Press photographer Haydn West and filmmaker Tom Sands spent five nights documenting what they saw over a nocturnal six mile walk along the route of the fallen Berlin Wall, using 35mm black & white film, a DSLR and radio microphones.

Kunst Photo-Projekt used the photographs and film as the starting point for an installation of photographs, film, sound-design and 3D work. The personal vision of the artists investigates the mystique of the Berlin Wall. The photographer used a film camera while being filmed by a cameraman using a digital camera. The two types of media are exhibited side by side, encouraging the viewer to reflect on the reliability of information in our world today.

I N V I T E 100

Townly Cooke & Mary Louise Evans
6th April 2013


I N V I T E 100 was an Event/Exhibition on Saturday April 6th 2013 that marked the 100th anniversary of the laying of the foundation stone for the then Deptford Central Library, now the Lewisham Arthouse Grade II listed building.

In 1913 over 70 people sent RSVP letters accepting or declining their invitation to this ceremony that celebrated this new building which honoured the then progressive idea of libraries open to all.

We invited today’s inhabitants of the same addresses that attended the ceremony on Saturday April 5th 1913. Copies of the letters and archival material will be exhibited alongside new work documenting the process and response to the invitation.

All were welcome to join us to celebrate this building and be part of this event. For further details contact Townly Cooke at or Mary Louise Evans at

Thanks to Lewisham Local History and Archive Centre.


Duval Timothy
22nd – 29th March 2013


Duval Timothy presents Mahsiwel, a solo exhibition of new artworks at Lewisham Arthouse Gallery, situated in the heart of the local area of south-London that has inspired many of his works. The exhibition includes video, paintings, sculptures, audio, prints and drawings; a display of Duval’s cross-disciplinary practice. Mahsiwel will be Duval’s first major show since graduating from Central St Martins University, London and Beaux Arts, Paris.

The title of the exhibition, Mahsiwel, is an example of how Duval has recently adopted the use of text and anagrams to his practice to evoke questions about language and a suggested ethnic background inside familiar names and places. This technique was also used in a musical context in The world Is Yours where Duval transcribed the lyrics of the rapper Nas’ hip-hop track by jumbling up the letters in each word and re-rapping the new lyrics over the Pete Rock instrumental.

Duval also continues his exploration of clothing through collars, bow ties and hats. He explored his old school’s photographic archive (also situated in Lewisham borough) as a platform for various collages highlighting elements of the uniform. In his studies, Bow ties for Corbusier, Duval comments on traditional architects attire through the influential modernist architect Le Corbusier. The motif of a continually expanding bow tie is a celebration and critique of the infinite potential of repeated units typically used in modernist tower blocks, something that Corbusier pioneered.

Duval who is Sierra Leonean, Ghanaian and English references the large west-African population that exists in south-London. In Kufi, the artist has taken the logo for Lewisham borough (a crown of yellow figures holding hands) and embroidered the logo in relief around a blue wool kufi hat that he constructed. Fittingly, the name for the traditional west African hat “kufi” translates as “crown” in Yuroba.

A closing event took place on Friday 29 March 6 – 9pm as part of South London Art Map Last Fridays.

DuvalTimothy_Mahsiwel PV_Lewisham Arthouse_2013

DuvalTimothy_EULB HGUOROB_2013

DuvalTimothy_Charles_listeningto_TheWorldIsYours 2013

Co-operatives’ Salon

Hosted by Ruth Beale
16th March 2013


Community-led initiatives, social enterprises and co-operatives – people continue to seek new ways to work collectively, and to reinvigorate tried-and-tested models. From its noble beginnings in 19th century Rochdale, through to the 20th century labour movement, the co-operative sector is growing again, and bucking the recession trends. But doing things together isn’t always easy, as members face both the realities of home-grown democracy and external bureaucratic pressures.

Following on from 2012’s ‘year of the co-operative’, this event will bring together ten co-operatives and collectives to consider the co-operative from all angles. As well as being a chance to share practical information, it will address the ideological and political reasons behind co-ops. The afternoon will include presentations by a range of organisations, followed by a series of discussions and workshops about democracy, community and ethics, bureaucratic barriers, common strengths and difficulties.

Participants include representatives from: 115 (Kentish Town), Brockley Housing Co-op, Cube Cinema (Bristol), Cubitt (Angel), Lewisham Arthouse, Myatt’s Fields Park Project (Brixton), The People’s Supermarket (Bloomsbury), Voice of Youth (Hackney) and the former London Filmmakers Co-op.

2-6pm discussions, workshops and presentations

6-7pm food and drinks in the newly renovated gallery, and the opening of Arthouse members’ ‘secret show’

7pm screening of ‘Together’, dir. Lukas Moodysson

Free, all welcome. No booking necessary – drop into any part of the day. Step-free access.

Lewisham Arthouse is an artists’ studio cooperative in New Cross, South London, formed in 1994. The Arthouse is currently undergoing organisational change, including the formation of a new charity to run the building – a spectacular Grade II-listed Carnegie Library. Ruth Beale is the current Graduate Studio holder. The Arthouse Gallery runs a selected programme of contemporary art exhibitions throughout the year. If you are a curator or an artist with an idea for an exhibition we’d like to hear from you.



Ongoing from 16th March 2013

SecretShow_plan window_m

Alma Tischlerwood, Brian Archer, Rosey Prince, Luigi Vanzan, Toby Rye, Sara Willett, Pat Hextall, Janet Hyde, Amy Cook, Mark F. Nelson, Gregoire Bouffon, Shirley Stewart, Terence McDonald Humphrey, Tom Hemming, Charles Hayward, Heather Steed, Chris Barnes, Natasha Rosling, Richard Buckle, Jemma Grundon, Phil Ashcroft, Townly Cooke, Anita Gwynn, Fiona Smithers, Alison Day, Laura X Carlé, Duval Timothy, Amanda Francis, David Garcia Pena.

In 1905 Andrew Carnegie promised a sum of £9,000 for a central library in Deptford and commissioned Sir Alfred Brumwell Thomas to design a building. The foundation stone was laid along with other objects and affects; this show is dedicated to that moment in 1913.

Deptford Central Library closed down in June 1991. The building suffered heavily from vandalism, attracted squatters and became a venue for illegal raves. In 1994 local pressure groups, convinced the local authority not to redevelop the building – since then it has remained in community use.
As part of the buildings centenary celebrations, a time capsule lies locked behind the gallery walls evidencing the individuals who currently work and care for the building. Once you enter the gallery, listen out for the bumps, scrapes and murmurings of it’s becoming…


Live Performance
8th December 2012



(Above)Improvisation recorded and filmed at Snorkel Studios 2012.

Taken from One Long Conundrum EP which also features remixes of the album Stop Machine from the likes of Sculpture, Crewdson, Robert Logan and Rome Pays Off. Available at


An avant-whatever collective exploring the nether regions between the groove and free improvisation; sub-aquatic observations of dub, jazz, afro-beat, krautrock and electronica.

Snorkel was formed some ten years ago by drummer Frank Byng in order to explore and develop strategies for improvisation using flexible line-ups. Taking their methodology from legendary bands like Can, Soft Machine and This Heat, they like to play unrehearsed extended sets in non standard venues. Snorkel acts as an experimental workshop for Slowfoot. Ideas and material generated through improvisation often finds its way into other recording projects.

The current line-up uses drums, guitar, trombone, analog and digital synths, vocals and various cheap samplers/drummachines/electronics to create their sound, generating loops from which the tracks are built. Their intense polyrhythmic grooves pull in influences from jazz to african, rock to drum’n’bass, and drag them into a new context. The creative exuberance of the band is rooted in the joy of psychedelic repetition and the states reached when playing continuously and synchroniously; their sonic palette is informed by dub and electronica – live instruments pushed and pulled through effects filters, sculpting in real time a polymorphously perverse and unruly soundscape.


Raf and O are Raf Mantelli and Richard Smith. The two piece band from South East London deliver a vortex of live electronics, acoustic instruments and fragile, magnetic, strange lullabies married to a pop spirit.

Press have described them as ‘Indietronic delicacy’ (Mixmag), ‘Emotively intense’ (Subba Cultcha) ‘Bewitching’ (Raveline Germany), delivering ‘Really excellently knitted experimental and cinematographic world’ (De-Bug Germany) whilst ‘They display outright pop mastery’ (Flux Magazine).

Raf and O have released 3 records on Geo including their debut album ‘A Giant In The Snow’ and a ten inch vinyl to UK/ European acclaim, have extensively collaborated with Gagarin, are writing tracks with Robert Logan on a separate project and have supported amongst others Alabama 3, Rothko, Nedry and the legendary Faust.

Their new full length second album is due for release in 2013 – many of the tracks have been performed live in 2012 with an exciting live set up comprising a hybrid of electro/ acoustic drums, self-made triggers, pads, samplers, vocals, synths and acoustic guitar.

Going Backwards Towards

LEOHT Collective
21st November – 2nd December 2012


Going Backwards Towards brings together four artists working with the materiality of the photographic medium to explore ideas of memory, nostalgia and the unconscious. Alexandra Davenport, Hekla Flókadóttir, India Guthrie and Silje Lovise Gjertsen all work into and beyond the surface of the image, exploring process as a means of excavating the latent desires and memories within each artist’s practice. Addressing notions of craft and the hand-made in relationship to femininity and sisterhood, the works embrace the physicality of the artwork and the artist’s bodily interaction therewith in the processing of making. Defying the speed of image reproduction and consumption within our digital age, the works echo one another formally whilst intertwining narratives and memories to generate new understandings.

Alexandra Davenport’s series of black and white ballet slippers printed on a mottled, leathered surface, recall a mother’s attachment to her daughter’s long outgrown garments, archiving the past to safeguard the future. Davenport works with ideas of the personal archive and a passing on of craft from mother to daughter over generations. Other works include images from family albums of grandmother, mother and the artist herself stitched into to obliterate and highlight aspects of the image. Her practice examines a reclaiming of the feminine through preserving traditional methods of production.

Hekla Flókadóttir’s work explores the relationship between man and it’s environment, often in a dreamlike and nostalgic way. Her surreal like painted canvases and collages invite the viewer into her fantasy world. Flókadóttir’s work explores her relationship to the mother, the organic and reclaimed femininity. Using both photographs and drawings to project her dreamlike state, she uses delicate papers and soft shades to incorporate the female body into the landscape.

India Guthrie’s abstract drawings and paintings scrolled and layered upon one another show process and prepatory material as final works, a never-ending examination of form and materials. Skin tones and cool blues and pinks depict organic shapes that escape the drawings in wax models and sculptures.

Silje Lovise Gjertsen’s distant dreamlike portraits explore the subconscious state of mind; inducing feelings of dreaming, nostalgia, imagination and memory. Her portraits study herself and members of the collective to create an extensive study of this out of mind/body state. Using long exposures, she forces her sitters into a trance-like state — enchanting them into their subconscious. Gjertsen creates a “fetus inside a womb” like effect, exploring this temporary space – a world outside of reality. Her enchanting, vignette portraits hold an ethereal and prolonged presence of the sitter.

Alexandra Davenport is a British-born visual artist, who lives and works in London. With a previous performance background as a classically trained dancer, her practice primarily explores choreographic and performative elements of the body.

Silje Lovise Gjertsen is a Norwegian artist currently based in London. Her work explores questions of identity, family and nature; often with a closer look at the subconscious state of mind, dreaming, nostalgia, imagination and memory. Her practice emphasises experimentation with different techniques and materials in the darkroom.

India Guthrie is an English artist based in London. Working primarily with drawing, India’s practice explores abstraction and form.

Hekla Flókadóttir is an Icelandic London based artist, whose childhood in the Icelandic countryside surrounded by nature has had a huge impact on her practice – imaginary/ surreal, process. This collaboration was formed through the artists working together at London College of Communication.

My Playground

An exhibition by Clair Tighe and Nina Necak
7th – 11th November 2012


An exhibition by Clair Tighe and Nina Necak

Clair Tighe

At the age of 7 the Arthouse was like a massive playground for me. I ran around, played with the pottery wheel and explored all the old rooms. At the age of 17 I see it as a haven for artists wanting to live their dreams. Using Photography, this exhibition highlights the artists in their habitat and shows that it is not only who they are, but what they do. The Arthouse is a gateway for creative thinking and you can help it by coming to see my exhibition.

Nina Necak

At the age of 7, and through The Adoption Service, Clair chose me to be one of her new parents. We instantly bonded, and my work through the media of Ceramics, Printmaking and Painting shares some of the joys of family life.


24th October- 4th November 2012


Cavernous steel structures, intimate bodily forms and a man spending time, watching the clock: Peter Ibberson, Bethany Marett and Godai Sahara team-up to present * new video, pictures and sculptural daydreams about life, play and the imagination.

* F, FA and A


19th – 21th October 2012


An exhibition of work created during the Track Project workshops. The Track Project has now come to an end. This series of workshops for young people which ran at Lewisham Arthouse over the summer to coincide with London 2012, was extremely successful. Led by some inspiring artists, our fantastic young participants produced some great work. To celebrate we are holding an exhibition of the artwork and films produced.

Celebrating 20 years of Lewisham Arthouse

28th September – 14th October 2012



(Above)© Phil Ashcroft, Guston Yeti, acrylic on canvas, 2006.

To celebrate our 20th anniversary Lewisham Arthouse invited all the artists who have had studios with us, past and present, to put work into a group show. We wanted to acknowledge the contributions of anyone who has been an Arthouse member over the years.

In the last twenty years we have seen many artists working in very diverse artistic fields ranging from painting, sculpture and installation, print, illustration, textiles and ceramics through to film, video, performance, theatre, music and more. Deptford X was originally conceived at Lewisham Arthouse and our members have organised and curated all kinds of projects from The A6 Show to Chain and The Hallway Projects; events such as Keep and Vampire Night; international exhibitions by artists from South and North Korea, Japan, USA, France, Italy and Germany; local educational projects including The Magic Snake and Mark of Action to Simply Red And Green and The Track Project; artists as diverse as Mark Titchner, Rita Keegan, Walker and Bromwich and Bob Godfrey are just some of the many that have exhibited work at the Arthouse.

We have a lot to be proud of and a lot to thank our members for!

Lewisham Arthouse Open Studios will also be open Friday 5 October 6-9pm and Saturday and Sunday 6 & 7 October 12-6pm.