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Departure Lounge

Departure lounge

18th – 21st July 2019

Location, landscape and setting can be experienced by the artist through observation, memory and imagination. There is an indelible connection between time and place, which the act of painting and drawing can attempt to access and interpret. During the making process distortions occur as the artist responds to the layering of paint, marks and colour. Place and image start to transform as they are remembered or imagined in the studio, inspired by notes, photos or studies drawn in a sketchbook. Departure Lounge explores the concept of place and environment through painting, print and drawing. Each artist responds to this theme differently, both in terms of their subject matter and artistic process.

Charlie Reed attempts to capture a specific moment, recording and documenting the changing topography of London. He explores the relationship between the cyclical natural world and the expanding and shifting environment of the city – focusing on London’s waterways. The flowing water of a river is a constant in the ever-changing environment it dissects.

Anthony Banks uses paint as both a means of encryption and description; camouflaging or disrupting his subjects, allowing them to hide in plain sight. Often using symbols of modernity or industrialisation as allegory, he plays with their assertions, displacing or reimagining these archetypes to create discordance. His paintings are deliberately slow in their production. During the gradual making process the façade of the painting becomes worn, imbued with a tangible history, a geological layering of paint.

For George Little, the idea of place and environment is examined through a research-based studio practice, looking at the interrelationship between Modernism and sites of eating and drinking. He explores how the archetypes and aesthetics within the dining experience collate with those of modernist ideals.

The three artists met whilst studying Fine Art Painting at Brighton University between 2007 and 2010 and have since studied at the Royal Drawing School and the Royal College of Art. Although they each use a different visual language, their paintings share certain aesthetic qualities. Departure Lounge creates a dialogue between the three artistic processes and explores how each painter has developed since working in close proximity ten years ago.


18 – 21 July 2019
Open 12-6pm Thur, Fri, Sat
Open 12-4pm Sun
Private View Thursday 18 July, 6-9pm

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

We each have our own landscape

We each have our own landscape

24th-28th July 2019

We Each Have Our Own Landscape reflects a personal element in landscape.
Each artist explores a sense of place as a metaphor for the exploration of the psyche.
Hypnotic waves that peak and fall in a repeating visual mantra, horizons that speak of
a future… almost fictional, landscape employed as a stage, nature anthropomorphised.

The title of this show references the idea of locating one’s self both within a present,
remembered or imagined landscape and also the emotional landscape we each inhabit.
We are primed by Romanticism; offering landscape as an opportunity to create a context
for oneself; it is at once a place and a visual representation of an emotional state.

Building on this romantic tradition of the sublime, there is an established trajectory
that considers the mind-scape. Kant established the idea that the connection
between nature and man, is man’s imagination. Landscape offers an orthodoxy
that is familiar, that instantly brings the viewer into the understanding that they
are participating in the work. The viewer summons a philosophical convention to the
reading of the work.

However living in the Anthropocene age we humans require too much of nature… we
imbue landscape with an artifice that it clearly can not support. Therefore we are all on
the verge of processing a shift in our relationship with nature.

For more information about the artists, please visit:

24th—28th July 12—6pm
Private view: Wednesday 24th July 6—9pm

Lewisham Arthouse
140 Lewisham Way
SE15 3BJ

An Art of Distance

‘Disrupting the Visual - An Art of Distance

5th-13rd July 2019

The Department of Anthropology at Goldsmiths University of London, are proud to present ‘Disrupting the Visual – An Art of Distance’ a degree show of multimodal experiments in visual anthropology. It explores the fluid boundary between art and anthropology and the importance of distance to perception. We understand distance as both proximity and as the abstracted space between ‘’anthropologists’’ and participants or ideas. Students’ topics traverse and engage with borders, the mobility of objects, and intimate lives, deploying distance to disrupt assumptions about near and far.

The image is a still of a video work by Pepe Bingham-Hall, The video is called “Drag it Out”

Show opens: 5th-13rd July 2019
weds-sun 12-6pm
saturday 13th 12-3pm
PV: 5th July 6-9pm

Lewisham Arthouse
140 Lewisham Way
SE15 3BJ

Studio sublet available

Studio sublet available

Deadline to apply June 30th 2019, 6pm
from August 1st 2019

Studio B6 – 6month sublet 114 sq ft at £63.45 per month 

Studio B6 is in the basement, has natural light and a locking door
Deadline to apply: 30th  June 2019, 6pm. 
Shortlisted Applicants will be contacted for interview shortly after this date.
Interviews will be held: The week commencing 14th July

Lewisham Arthouse is pleased to announce that we have a new studio available for a 6 month sublet commencing from the 1st August. We are an artist run cooperative based in the old Deptford library on Lewisham way. Studio rent includes electricity, water, building insurance and service charges. Access to WiFi and an outdoor working area is also available. 

Besides paying rent studio members are required to contribute at least 5 hours work per month in support of Lewisham Arthouse. These work hours provide staffing for our Learning, Exhibition and Events programmes as well as the running of the building and keep both the studio rents and facilities affordable.  Roles are hands-on and include; working on the rolling program of exhibitions and events, fundraising, implementing education programmes, PR, health and safety and building maintenance. It’s a great way to gain professional skills and valuable experience of working within an active and friendly community organisation. Studio membership is allocated according to artistic consistency, the qualities a candidate can offer the working cooperative, a positive attitude and a commitment to be present in Lewisham Arthouse for a minimum amount of time each month. We are an equal opportunities group and will endeavor to meet each individuals needs as much as possible.

If you are your interesting in joining The Lewisham Arthouse Studio Cooperative please do send an application in. Below is the information that we require in the application. Please apply either over email to or by post to:
The Lewisham Arthouse 
FAO Allocations
140 Lewisham Way
SE14 6PD

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.
* Artists CV (no more than 2 sides of A4)
* Equal opportunities form – click to download here (word .doc)
* CD or files with up to ten images or for time-based work DVD (pieces or excerpts should be no longer than 5 minutes). If you are sending over email where possible please keep the files to a reasonable size. We will except whatever format is easiest for you to render the work in.
* Corresponding list of titles, media and dimensions should be included.
* Two details of references we can contact if your application is successful

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 organize viewings prior to the interview.

If you have any queries regarding your application please contact us at and we will respond as soon possible.

Please note that sublets are not members of Lewisham Arthouse and cannot be guaranteed a permanent studio.

Render permanent

Render Permanent

14th-23rd June 2019

Translating objects and experiences through physical intervention, three artists question the limits and promises of permanence.

Legibility is challenged as boundaries and mediums are blurred. Time becomes malleable in their hands, their artworks acting as physical and temporal punctuation.

Zanny Mellor uses painting and photography to address themes of speed, light and time, in a sensory exploration of place.

Kasper Pincis plays with the contradictions inherent in trying to produce original pieces of work on copying equipment, and inhabiting a space somewhere between the heroic and the mundane.

Nick Scammell examines the frailty and impermanence of media, via surface and word.

Generating extended instants through repeated combinations and interventions, each artist adapts ageing technology to new ends.

Render Permanent
Friday 14th June – Sunday 23rd June 2019
PV Thursday 13th June 2019
Opening hours: Fri-Sun 12-6pm



May 31st – 8th June 2019

Like catching snippets of other people’s conversations in a crowded bar Pears is an exhibition made up of fractured dialogues. Each exhibiting member of the Arthouse cooperative has invited a guest artist to show alongside them. Each pair of works will be hung side by side, encouraging a dialogue between them and hopefully allowing new conversations to form across the room.

This is a group show with the emphasis on looking outward, an open and expanding conversation. By focusing on the connections between different artworks and artists we hope to promote the creative networks that underpin our community and emphasise the role of the Arthouse as a resource for bringing people together.
Dates: May 31st – 8th June 2019
Opening times: Wednesday – Sunday 12-6pm
Private view: Friday 7th June 7-9pm
Lewisham Arthouse
140 Lewisham Way
London SE14 6PD

Pear drawings by Sophie Chapman

The sherbet house

The Sherbet House

May 15th-26th 2019

The Sherbet House originated in the kitchens of Ottoman palaces and is depicted in a Topkapi manuscript as a kiosk of concoctions being wheeled against a background of bands of intense colour. As an institution it travelled and eventually morphed into the London coffee-house, becoming less refined and more alcoholic as it went, but it remained synonymous with a refuge from the mundane with its richly-patterned textiles, multicoloured glass and nowadays, flashes of neon. Assimilating influences ancient and modern, from Havana to the Euphrates, Jennifer Harding and Stephen Jaques make paintings, constructions and prints which sublimate pattern and transcend the exotic, creating emblematic images of visual vibrancy.

Dates: May 15th – 26th 2019
Opening times: Wednesday – Sunday 12-6
Private view: Thursday, May 16th 6-9

Lewisham Arthouse
140 Lewisham Way
London SE14 6PD

Life & Beyond

Life & Beyond

May 8th-12th 2019

Private View: Tue, 7 May 6-9 PM

A group exhibition by Rachel McRae and Sarah Derat, Bob Bicknell-Knight, Stine Deja and Kristina Pulejkova.

Life and Beyond brings together artists whose work explores aspects of human/non-human life, death, emergence and loss through technology and digital culture.

Through film, interactive installation and sculpture, the exhibition and programme will be looking at how technology is shaping our perceptions of life and death. With the fast development of AI, our growing social media presence and the fast-paced progress made in bio technology, new, hybrid forms of existence make part of our daily lives.

Our troubled relationship with social media and big companies which own our data gets more complicated when we die, as we carry on living as digital ghosts online. With Artificial Intelligence, we are seeing a rise of ‘deepfakes’ (fake videos created using this technology). We are thinking weather AI will lead towards a new evolution of life. The food we consume is genetically modified, and a baby’s DNA in China has been edited, sparking ethical and moral concerns.

Life and Beyond will aim to dissect our relationship with these issues, looking at how human, non-human and extra-terrestrial life and consciousness are defined in an increasingly fluid world mediated through technology. The show will invite audiences to discuss the ethical and moral implications of these new-found states.

Life and Beyond is curated by Kristina Pulejkova.

You can download Digital&Dead, an AR application (Android) by artists Rachel McRae and Sarah Derat ahead of the exhibition here:

Event: Emergence
Friday, 10 May 6:30 – 8:30 PM.
You can book your tickets (donation) here.

An evening of artists’ film exploring the emergence of new lifeforms, ways of communication and ideas in the digital age.
Join for a screening of recent and new films by artists Jeremy Hutchison, Rowena Harris, Hazel Brill, Stine Deja, Bob Bicknell-Knight, Natalia Skobeeva, Milo Creese, Camille Barton, David Blandy, and Kristina Pulejkova.

Opening times
Wed – Sat 12-6 PM
Sun – 12 – 2 PM
Private View: Tue, 7 May 6-9 PM

Lewisham Arthouse
140 Lewisham Way
London SE14 6PD

Come and work with us

access and inclusion consultant

Deadline 2nd May 2019

Lewisham Arthouse is looking at ways in which to improve access and inclusion for all: for the artists that apply for studios here, for people attending events and taking part in workshops, and for the current members themselves. LAH is also seeking to further reflect and advocate for the interests of the local community as a space that centre on wellbeing.

We are currently seeking a consultant to support us in examining our existing internal processes and to help us identify the changes we need to make and the training we should acquire in order to embed accessibility & inclusivity in Lewisham Arthouse.

See the full job description here

Please email with a CV, expression of interest and short description of why you are right for the role.

by the way

by the way

14–24 March 2019

by the way

The group of seven artists (Madi Acharya-Baskerville, Tom Banks, Joost Gerritsen, Sam Hodge, Mark Sowden, Matthew Swift and Ana Vicente) and one writer (Mike Sims) showing at Lewisham Arthouse in March all make work that emerges from an engagement with the landscapes they inhabit and move through.

Often this engagement begins with an unexpected encounter that demands attention. It may be the sight of a single lit window in a darkened cul de sac, a gnarled piece of wood that assumes the shape of a figure, an abandoned frame that demands to be given a new life or a discarded piece of plastic that will be given the close attention of a precious stone.
These incidental encounters and others like them have opened up new ways of working for the artists showing together in by the way. Through the diverse media of photography, performance, poetry, sculpture, printmaking and painting they have shaped and grown work out of these encounters.

We use the phrase ‘by the way’ when we want to introduce a new topic, something we have just thought of but needs to be said. We may not be quite sure of its importance but will share it anyway. It is this spirit of the incidental, tangential, happened upon, and the new that informs the working practices of the artists in this show and gives energy to the group.

by the way is part of an ongoing project called Things That Are There.

14 – 24 March 2019
Private View 14 March 6-9pm
Closing Event 24 March 2pm
Open Thur-Sat 12-6, Sun 12-4

Lewisham Arthouse
140 Lewisham Way
London SE14 6PD

The rage room

Rage Room

26th-31st March 2019

THE RAGE ROOM is a week-long performance experiment to build, surrender and conquer the
rage within.

It was amidst the indomitable landscapes of Iceland that writer-performer Danielle Stagg began
her critical exploration of the Medea legend. Stark and powerful, the terrain forced Stagg to
question how nature can impact on the human experience – and vice versa.
Traditional approaches to the Medea story place revenge at its heart, but for Stagg, this wasn’t
enough. Upon returning to London she paired with fellow performer Laura Hopwood to begin
examining Medea’s inner world. This March, the duo, Holocene will present the most recent
iteration of this ongoing research, The Rage Room , at Lewisham Art House.
“Utilising this 3000 year-old narrative as a lens, we are exploring how one woman’s perceived
sense of injustice lead to the unveiling of her true power,” explains Hopwood. “Destructive as it
was, we propose it came from a deeper place than a mere spiteful response from ‘a woman
“Ultimately, we are interested in exploring where the experience of rage comes from and how it
manifests in the world- especially for women,” adds Stagg. “The Medea we know was written,
performed and consumed exclusively by men in a deeply patriarchal society. This is what we
want to unpack and this is what The Rage Room is – a deconstruction of anger”.
In Holocene’s work, rage, much like the rocky plains of Iceland, bristles as a cold, raw thing,
rather than a momentary explosion.

The Rage Room is a week long presentation of ideas that invites visitors to explore their own
relationship to rage. The performers are in the space for the duration of the exhibition to
continue their exploration and facilitate the journey of others.

The Rage Room,
Tuesday 26th – Sunday 31st of March, 12-6pm everyday.
Late opening on Friday the 29th, 6-9pm.

Danielle Stagg – IG @helloholocene
Laura Hopwood –

Lewisham Arthouse
140 Lewisham Way
London SE14 6PD

Decolonising The Archive

Decolonise the archive

Recipients of the 2019 Project Space Residency

Decolonising The Archive(DTA) is the recipient of the Lewisham Arthouse 2019 Project Space Residency award. They will be curating and creating with a seasoning of artists, to cook up a social marinated response to the the history of migration in Lewisham and the legacy of the Windrush. Join us, in purposeful celebration of their 2019 Residency at Lewshiam Arthouse Project Space and travel through time on our Afro -futureship.

From 12th of April to the 5th May drop in to find out more about the project & contribute stories: Tues to Thurs 12pm – 4pm.

April 11th Opening Night 6pm to 9pm : DTA presents a world where Theatre, History, Archives, Art and Afro – Futurism meet for an isnpired Journey into The Windrush Time Capsule.

Travel through time to understand the transforming power of traditional culture, African cosmology and healing a village through alchemy as a formula to defeat the trauma of migration. This moment in time is hosted by a play reading performance of The Windrush Time Capsule betwixt the artworks of painter and sculpture Deanio X, who will have first time viewings of work inspired by the play.

April 12 – 14th 12pm to 5pm : Deanio X private viewing of art work inspired by The play Windrush Time Capsule.

Deanio X is a is self taught intuitive artist, guided by the great and terrible people around him as well as his own instincts. As such his projects tend to be focused around personal questions that are only answerable via social observation or engagement.

April 18th 10am to 1pm – Family Drawing/ illustration Workshop with an added twist of Art Therapy based on the play called Windrush Time Capsule (visit gallery to learn about the hertitage and legacies of the Windrush Time Capusle) this session will be led by Jean Campbell.

Free entry
Step-free access

This is project is made possible by a Project Grant from the Arts Council England.

The Thinkery


30-31st March 2019

In Ancient Greece a symposium was
a drinking party, but it was also a
‘thinking party’, a time to get together
and discuss interesting thoughts and
ideas. Like food and drink,
fun discussion of different opinions
was a form of art and play.
Come and be part of our Thinking Party.
We will munch upon
strange questions about what things
are real, what they are, and how we
can know about anything at all!
These are questions
for anyone and everyone

Children’s Thinkery
Sat 30 March, 12-1pm
Telegraph Hill Centre
(6-12yrs. Accompanied by an adult)
£2, book here

Adults’ Thinkery
Sun 31st March, 5-6.30pm
The Hill Station
Free, no booking needed.

2 studios available

Deadline to apply 2nd March 2019
from April 1st 2019

Studio G5 (pictured above) – permanent space 173sqft £93.60 per month available from 1 April
Studio G10b (not pictured) – 6 month sublet 96sqft £53.60 available from 1 April

Both studios are partitioned spaces on the ground floor with natural light.
Deadline to apply: 2 March 2019, 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)
* up to ten images or for time-based work (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).
* We will accept hard copy or email applications.

If you are interested in applying for these studios please go to our website for more information about our organisation


Please note that sublets are not members of Lewisham Arthouse and cannot be guaranteed a permanent studio.

Sophie Chapman + Kerri Jefferis

Guttural living

Guttural living
Guttural living

Arthouse artists Sophie + Kerri hit the north this month for a residency and solo show with fellow artist-led studios Ebor. They have been invited to spend time exchanging with the artists working from this space and to develop the first exhibition of their recent work in progress ‘Guttural Living,’ sharing their work and processes with a new audience in Greater Manchester.

During the residency the artists will shape their newest performance-based work bringing ‘philosophy to the bodies archive’, started during a residency at Scottish Sculpture Workshop, Aberdeenshire in 2018. They will develop ideas exploring the body, material practice, sculpture, sound and furniture design in conversation the artists of Ebor Studio.

Gallery FRANK is set in a former mill in Littleborough and having this space will open up a new environment within which to explore and further their ideas and experimentations posing questions such as: how do bodies orientate in the world? What shapes the way they move?

The residency starts with a movement based workshop exploring themes in the show and runs until 8 March when the exhibition will open to the public with an artist talk, the show will then continue until 17 March.

Residency: Feb 27 – Mar 8
Exhibition: opens 8 March – runs until 17 March (10 – 4pm Mon and Tuesday, ever other day by appointment)
Workshop: Sat 2 March, 11.00 – 13.00 Book it
Artist Talk: Friday 8 March, 6pm

All free, open to the public

Gallery FRANK

Ebor Studio,
William Street,
Lancashire OL15 8JP

Credit: Sophie Chapman + Kerri Jefferis

Dark Night of the Soul

Dark night of the soul

22 February – 2 March 2019

Private view 21 February 6-9 pm

Featuring: Charlotte Edey, Emma Talbot and Gosia Walton curated by Martha May Ronson

A group exhibition of works by three female artists exploring themes surrounding the spiritual awakening process. The title of the exhibition Dark Night of the Soul refers to a poem written in the 16th century by mystic and poet, St John of the Cross. The poem describes the several stages one goes through during spiritual enlightenment: realisation, purgation, contemplation, ascension, and the feelings and emotions that arise along the journey.

Opening times
22 February – 2 March 2019
Wednesday 12-6pm
Thursday 12-6pm
Friday 12-6pm
Saturday 12-6pm

Proudly sponsored by Brockley Brewery

Lewisham Arthouse,
140 Lewisham Way,
London SE14 6PD.

Lewisham Arthouse – Project Space Residency Open Call 2019

Project Space Residency Open Call

Deadline February 17th 2019

Lewisham Arthouse is pleased to announce that applications are now open for the Project Space Residency 2019.

Based in Deptford’s 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 a 4 week residency in our Project Space, with a fee of £2,500 and production budget of £2,000. The residency also includes valuable mentoring from Turf Projects, The White Pube, Cinetopia & the London Drawing Group, as well as our artist studio holders. The artist/s selected for the residency will also be supported to plan their project, connect to local audiences, manage their budget, run their public programme and evaluate their residency.

The Project Space Residency is open to all artists, curators, musicians, performers, collectives, activist or community groups – interested in engaging audiences in art, beyond traditional forms of exhibition making. This might include visual art, music, talks, screenings, educational events, classes, workshops, meals, demonstrations, discussions, study groups, performances, dances etc. We are open to applications from individuals and groups with varying levels of experience: no qualifications necessary to apply. (The fee is based on 1 artist working full time, or a group working part time. We have additional budget to support artists with access needs.)

Download the application form
Need help applying? Read our info day handout.

Worlds Apart

Words apart

30th Jan-10th Feb 2019.

JAMSHAC artists’ collective presents:
Worlds Apart
Lewisham Arthouse’s latest show, Worlds Apart, may make you smile in the face of chaos, catastrophe and midwinter gloom.
In a gallery packed with innovative new work, ten members of JAMSHAC offer a collection of installations, textiles and paintings that explore a range of contemporary themes, concerns and passions.
Critiques of the ever-strengthening powers that be, utopia/dystopia, as well as reflections on the challenges facing our ecosystems – sit alongside a love of nature and a 21st century take on Rossetti. All these topics are explored in wry, quirky and thought -provoking ways.

It’s a show that definitely offers a different spin on the world today.

Weds 30th Jan – Sun 10th Feb 2019.
Private View: Thurs 31st Jan, 6-9pm.

Lewisham Arthouse,
140 Lewisham Way,
London SE14 6PD.

Rosey Prince

From the City to the Sea
30 January to 3 February 2019
Private View Friday 1 February 7-10pm

Art house member Rosie Prince is showing her work at Deptford does art.

This solo exhibition features work that has been inspired by walks around and along the river Thames over marshes and tributaries out towards the Thames estuary and the Isle of Grain. This sparsely populated region between two rivers, the Thames and the Medway, has a complicated mix of industrial and literary history as well as being an important natural wetland area. So close to London it is always a knife’s edge away from major development and yet has not changed very much (apart from the odd power station or gas silo) in centuries.

I am drawn to this desolate yet hauntingly beautiful landscape and the uneasy relationship between the semi-rural and semi-industrial. These are the margins and edgelands the anonymous overlooked corners that are unremarkable and commonplace, so ordinary they are immediately familiar and recognisable.

Many of the prints I am showing have been exhibited before in various group shows and selected exhibitions but it is the first time they have been shown all together.

Deptford Does Art
28 Deptford High St
London SE8 4AF

open Wednesday and Thursday 12-7pm
Friday and Saturday 12-11pm
Sunday 12-4pm

A Thousand Configurations

25th-28th January 2019

Echoing Walter Benjamin’s vision of existential possibilities within urban utopias, ‘A Thousand Configurations’ presents the beginnings of a barely envisaged creative formation and the final conclusion of fully realised works. At Lewisham Arthouse, four current students from the MA Drawing course at Wimbledon College of Arts will display new work that considers “what will have been wanted”, monumentalizing the notions of memory and emotional experience, archaeological traces and fleeting biological imprints. Diverse in the content and processes of their respective practices, Silvia de Giorgi, Lucy George, Hannah Gormley and Denise Poote each grapple with notions of process, possibility and memory whether archaeological, biological or experiential.


Silvia De Giorgi’s drawing practice explores the relationship between landscapes and memory. Her photographic works often reflect on her personal connection to the natural surroundings of her home region in the Italian Alps, and the memories associated with it. Her strong interest in landscape, archaeology and prehistoric art recently led her to a research trip to rock art sites in Norway and Sweden. Returning to the UK, Silvia created a series of monumental drawings that reflect her onsite collaborations with archaeologists as they worked to conserve ancient artefacts.

Increasingly concerned by the environmental impact of humans on wildlife, Lucy George uses 2D and 3D line drawings to map how insect behaviour can convey visual information about the decrease in the population of pollinators. Using Ethiopian book binding techniques, she has been working to create a sacred book of the pollinators and, drawing on knotting skills acquired as a climber, she creates welded 3D installations that map the flight paths of bees and other pollinators.

Hannah Gormley’s drawings combine self-portraiture and portraits which challenge and consider the concept of ‘confessional art’. Using coloured pencils, these works focus on the intentional revelation of the private self, revealing specific and often unseen moments of fraught emotional experience embodied within the nude form. By positioning these bodies within hidden domestic interiors, Gormley permits a voyeuristic view into environments’ that questions the extent to which artworks created in this way claim an emotional veracity for the content as a defining feature—regardless of whether or not these ‘confessions’ are constructed or performative.

Denise Poote examines how the embodied experience of drawing relates to the artefact or residue produced in the action/performance of drawing. Her aim is to better understand how the experience of drawing creates a form of shared knowledge with between the maker and her audience. Combining an eclectic mix of printmaking, DIY robotics and video, Denise’s practice attempts to understand the complexities of experience involved in both the making and viewing of art.

Lewisham Arthouse,
140 Lewisham Way,
 London SE14 6PD
Private View: Thursday 24th January 2019, 6-9pm
Opening Times: Thursday 24th January to Saturday 27th January 2019, 12pm-6pm
Sunday 28th January 12pm-4pm.

Raiders of the lost art

Raiders of the lost art

6th-9th December 2018

A group of Camberwell College of Arts graduates including: Savannah Grieve, Alia Hamaoui, Simon Handy, Lowri Heckler, Isabel Mills and Gwenllian Spink, have come together to show a collection of new works. These artists share an interest in functions, mechanisms, lost history and cultural appropriation, which collectively creates the feeling a navigating through an ancient tomb.

Savannah Grieve (b. 1996, London, UK) graduated from Camberwell College of Arts (2018). Recent group shows include ‘FLOCK 2018’ at GX gallery, London. Her current work reflects her time spent in Florence after being awarded the Cedric Morris Foundation Travel award. Grieve’s work has recently been acquired by the UAL collection.

Alia Hamaoui (b.1996, Albi, France) graduated from Camberwell College of Arts in 2018. She was recently awarded a residency and solo show at Peckham Artist Run. Recent group exhibitions include, ‘Extended Call’ at Subsidiary Projects and ‘The World Tour Inauguration’ at Fivehundredthousand Gallery, Art Licks Weekend. Hamaoui’s work has been acquired by the UAL collection. Her work is currently on show at Hannah Barry Gallery.

Simon Handy (b.1996, Gloucestershire, UK) is a Painting graduate from Camberwell College of Arts. Recent exhibitions include the ‘Orbit UK Graduate Show’ where Simon was selected to exhibit his robotic sculptures at the OXO Tower, Southbank; and ‘Act Natural’, a group exhibition at APT Gallery. In 2017 Simon was awarded the Mead Scholarship which aided the development of his technical practice.

Lowri Heckler (b. 1996, Carmarthen, Wales) is a recent graduate of Camberwell College of Arts (2018). Her work is focused on re-configuring an objects original function and its design. This is achieved by unpicking and re- building the object until it takes on a new form. Heckler’s recently exhibited in a group show at the Flying Dutchman, Camberwell.

Isabel Mills (b.1995, Brighton, UK), is a 2018 Camberwell College of Arts graduate. Group shows include ‘Act Natural’ at APT Gallery in London. Her latest work considers taste, materials and arbitrary objects as well as recent time spent in Vietnam and Japan.

Gwenllian Spink (b. 1996, Hong Kong) graduated from Camberwell College of Arts in 2018. Recent group shows include ‘Marginalia’, Leiepark, Ghent, ‘Xhibit’, Bermondsey Project Space, London, and ‘Act Natural’, APT Gallery, London. She recently won the Vanguard Court Studio Prize, and upcoming shows include the Elephant x Griffin Art Prize, London and UKYA City Takeover, Nottingham.

Lewisham Arthouse,
140 Lewisham Way,
London SE14 6PD
6th – 9th December 2018 open 12 – 6pm
Private view Wednesday
5th December 6-9pm

This Instead of That

This Instead of That

28th November-2nd December 2018

This Instead of That

Alexandra Baraitser / Trevor Burgess
Julie Fountain / Olha Pryymak

Lewisham Arthouse, 140 Lewisham Way,
London SE14 6PD
28th November – 2nd December 2018 open 12 – 6pm
Private view Wednesday 28th November 6 – 9pm

This Instead of That is a show about artistic exchange – what happens to both representation and reality when artists get together to re-evaluate their ideas and influences through dialogue with one another. It looks at the processes and practices of artistic exchange, and focuses on the interchanges that are established when similar passions collide and how these are expressed in the tactile, haptic process of making physical artworks.

The mutual sharing of ideas about a portfolio of work that is not your own, is deeply rooted in fine art practice. Essentially this quid pro quo movement of critical exchange has been around for centuries. For example, Matisse immersed himself in the work of others, quoting imagery from his friends and contemporaries, even going into debt to buy work from those painters he admired, thereby sustaining an ongoing dialogue with their work. Discussion about the work of colleagues and contemporaries remains a central strand in fine art training, and is often sustained beyond the confines of art school through informal networks, collaborations, social art practices, shared studios, and other innovative modes of exchange.

For the creation of this exhibition, the artists involved paired up, presenting each other with ideas or questions about the other’s work, the response to which was then commissioned for the exhibition.

It is easy, in a world so dominated by the visual, to customize new ideas to fit what we already know. However, like Matisse, the contemporary artist will make a conversion of an idea that has the transformative effect of changing its core meaning. The artists here have shown how embracing new ideas from other artists about their own work can divert work in a new direction, transforming artistic development and allowing for extended collective discussion and understanding.

Curated by Alexandra Baraitser. For more information contact

Film links:
See a This Instead of That film documenting Olha Pryymak and Julie Fountain’s collaboration here.
Watch Julie Fountain’s films including In Between here.

Alexandra Baraitser Instagram: @abaraitser
Trevor Burgess Instagram: @trevorburgesspaintings
Olha Pryymak Instagram: @olha_pryymak
Julie Fountain Instagram @jf101_art

Flower Power: a winter blooms

Flower Power: winter blooms15th December 2018, 4-7pm

A free drop in Christmas wreath making session for you and your family with a special winter punch to warm you on your way!

Join and make a few floral little extras to bring light to your home through winter, learn some of the old Christmas traditions that unite home and hearth with our Winter gardens.

Open to all, please feel welcome!

Drop in (first come, first served)
4-7pm, Saturday 15th December 2018
Lewisham Arthouse
140 Lewisham Way, SE146PD

Free fun for all the family
Children must be accompanied by an adult
With many thanks to Brockley Assembly for supporting this event.

‘Flower Power’ provided a popular series of nature-based seasonal events,
exploring different elements of nature and art and appealing to a wide range of audiences. The initiative will continue with further funding being sought, and future summer sketch crawls in Brockley’s community gardens, a ‘Flower Power’ legacy designed to become a regular feature on the local arts calendar.

Flower Power: Trick or Treat Halloween Special

HalloweenA fun afternoon carving pumpkins
Photo credit: Elise Rose

On Saturday 27 October Lewisham Arthouse turned into a Halloween themed, pumpkin carving hot spot where families dropped in to create their very own scary lanterns just in time for the holiday.

Over 30+ children came along on the day, joined by artist facilitators and their guardians to design and carve out a picture of their choice. Taking inspiration from the spooky imagery on hand the group quickly got stuck into making the most of being welcomed to make a creative mess!

In addition to their lanterns, each pumpkin carver left with an early treat bag and in an effort to promote minimal waste and home growing – a pouch of their pumpkins seeds with instructions describing how to plant them in their gardens next year.

The activity was part of Lewisham Arthouse’s Flower Power programme, kindly supported by Brockley Assembly and developed in partnership with a number of local community gardens. The initiative ran throughout 2018, aiming to promote awareness and community care for the environment in engaging and creative ways.

Syntax error

syntax error

21st-25th November 2018

syntax error
Merav Shinn Ben-Alon, Stefanie Gerstmayr, Byungchan Kim, Rolf-Maria Krückels, Matthias Pabsch, Louisa Stylianidi

Curated by Katie Yook, Stefanie Gerstmayr, and Rolf-Maria Krückels

EXHIBITION HOURS: 21-25 November, 12-6pm

syntax error offers a space for experimenting with forms of communication. Through acts of speaking, translating, interpreting, and dialoguing, the artists share an interest in the transformativity of communication and how mistranslation can yield rifts in perception.

When attempting to render the unrenderable into words or images, meaning gets lost in white noise in a process that adds, alters or interprets the message. The abstraction of language and meta-codes attempt to show that which cannot find words.

The exhibition considers communication as a mechanism that is constantly reinventing itself. Given contemporary discussions around the influence of media, cultural appropriation and digital mediation, is it possible to create actual contact with the unknown? Are we still able to deal with doubt and are we patient enough to discover things not easily consumable?

Saturday, 24 November, 2-4pm
WORKSHOP: Merav Shinn Ben-Alon, “Drawing Stories and Telling Drawings”

This workshop is neither a writing workshop nor a drawing workshop; it is rather an exercise that is based on shifts between mediums—some writing exercises and some drawing exercises. The shift from drawing to writing bewilders the brain, which alternates from the right side to the left side, compelling an act of translation that generates an “error”.

The workshop is designated for artists from different disciplines, but can also be suitable for people who have no drawing or writing experience or people who have experience with other forms of media. The participants are requested to bring a notebook or a sketchbook and writing and drawing utensils.

Merav Shinn Ben-Alon is a multidisciplinary artist and writer based in Tel-Aviv with 25 years of experience teaching in art institutions and private programs. She works in a variety of media including painting, drawing, writing and installation.

Please email Katie at to sign up.

Saturday, 24 November, 5-8pm
READINGS: Louisa Stylianidi and Alexa Barrett
PERFORMANCE:Rolf-Maria Krückels, “Drawing Machine London”

In line with the Greek definition of machine, Drawing Machine does not produce drawings autonomously. Instead, Drawing Machine becomes activated by two or more participants, creating a form of direct communication without words. The process creates a situation of vulnerability and contact in which people generate an image together which is not a representation, but rather a poetic manifestation of their encounter. Drawing Machine has travelled through Europe, Thailand and Israel and is premiering in London at Lewisham Arthouse on the occasion of syntax error.

Eleanor Watson

Eleanor Watson
An interview

1. How long have you been a member at The Arthouse?
On and off since 2013 (I think)

2.What do you like about The Arthouse?
It is a beautiful building and an incredible space to make work in. My studio is upstairs under the glass barrel vaulted ceiling; the light is always wonderful, even in the winter. The temperature can be less wonderful, but it is worth the sacrifice for the light.
It is also great to be a part of the community working together to run the studios and sharing the space with lots of inspiring makers in different disciplines.

3. Could you tell us a little bit about what you do? “An Introduction to”
I make contemporary figurative paintings of interiors from found photographs. These are usually very ornate, ostentatious spaces from old museum houses. I am interested in playing with the illusionistic depth of interior paintings; the way in which we perceive positive and negative spaces and shifting the ways which these are read across the picture.

4. How do you use your studio?
I like to keep the central space flexible with a table which I move about, either with a palette and paints on top, or clear for drawing, printing or working on my laptop. I hang the paintings on the walls whilst working on them, and stack works in progress and finished works in the corner. I try not to have too much unnecessary visual material on show, as it can make me feel a bit claustrophobic.

5. Is there a work your particularly proud of and why-
Something you felt has been really important to you, or has changed the way you work
I find this a really difficult question to answer – I tend to be focused on the next piece. Different paintings come to mind as I am working and tackling similar issues, but I don’t like to linger to long on old work. Perhaps I should do a bit more and that is perhaps why I am returning to do a Masters this year. I hope to spend more time reflecting on why I make certain decisions in my practice.
I have been making paintings of interiors from photographs since my BA which I completed in 2012 – I suppose that was a breakthrough moment. Time for a new one!

6. What interests you? What influences you?
I read novels. I also I listen to audiobooks as I work. I find it easier to escape in to work with head phones on and a story I can drift in and out of. Listening and reading help me to explore my place within the world and to develop an emotional understanding; I am sure that sounds pretentious, but I think that is why I am compelled to read.
My partner is an architect, which is perfect as there is no persuasion needed to explore new buildings and gardens. We spend a lot of time discussing how we experience these spaces.
I also enjoy the charged atmosphere of theatre, although I don’t go as often as I would like. I am fascinated by the economy of information needed on stage; how structures, furniture and props elude to a world without having to fully describe it.

7.Are you working on anything particularly at the moment?
I am working on a large commission currently, as well as a few other works. Commissions are always more challenging, but interesting as they force me to confront new territory, and find new solutions.

8.What’s in the pipeline? What’s Next?
I am really excited to begin a masters in Fine Art at City and Guilds in September. A chance to really reflect on and challenge my practice.


As__: travelling in the armchair

As_ travelling

25th-28th October 2018

Xueyu Liu
As__: Travelling in the armchair
25th October- 28th October
Private view 25th October 6-10pm.
Lewisham Arthouse,
140 Lewisham Way,
London SE14 6PD

Xueyu Liu, born in China, graduated from the University of Arts London, Chelsea College of
Arts, MA fine art. Through the lens of her unique visual logic, Xueyu Liu’s works provide us
new narratives to view the relation between everyday objects and the space of its
surrounding. By dissembling the objects and deconstructing the original purpose, she
creates a resonance between spatial perception and the subjective reconstruction with a
poetic sense. A sensuous narrative was formed by the loss of functionality and the found an
ineffable familiarity, which aims to bring the viewers to a surreal wonderland.

This exhibition is the third part of:
As__: Rolling Exhibition of Asian Artists
Hao-Chun Hsieh, Ting Hsu, Xueyu Liu
Curated by Ruby Lau

As__: Rolling Exhibition of Asian Artists is a three-week exhibition that includes three Asian
artists’ solo show individually yet collectively. Through the lens of their artistic practices, this
exhibition aims to offer the viewers a multi-version of perceptual experience and the
cognition of self-identity in relation to the perception of the space in the context of living in a
foreign land.

Sola Olulode

Sola Olulode
Graduate resident 2018-2019

Lewisham Arthouse is delighted to welcome our new Graduate Resident for 2018-2019, Sola Olulode.

Sola Olulode’s canvas is stretched with her own version of Adire, an indigo-dyed textile traditionally made by Yoruba womxn in Nigeria using resist-dyeing techniques. She felt the need to have a connection to her Yoruba heritage present in the works. She uses batik, tape and a traditional cassava paste to create intricate and lineal resistance patterns. She plays around with using these rich textiles to elevate the backgrounds and to enhance the figures in the foreground. Using collage to layer gorgeous textiles and textures over figures bringing their saucy outfits and glorious hairstyles to life. Sola’s paintings are a look into the lives of Black womxn, in particular looking at when Black womxn and femmes discover their sense of self. The works document this exploration of sexuality, relationships and individuality through the form of figure painting. Her paintings have been deeply influenced by the culture and community that surrounds her life and I want to project in my paintings something that black womxn and black femmes can relate to and see the complexities of their identities reflected in.

Sola has graduated BA (hons) Fine Art Painting from University of Brighton. She recently exhibited at BBZ BLK BK: Alternative Graduate Show, Orbit UK Arts Graduates Show, Affordable Art Fair Recent Graduates and took part in the VON GOETZ ART Frieze Week Residency.

Flower Power: Halloween

FLOWER POWER halloween27th October 4-6pm

Lewisham Arthouse is getting spooky this October with a FREE, halloween themed Flower Power FAMILY ACTIVITY. Drop in on Saturday 27 October (4-6pm) to design and carve your very own pumpkin lantern just in time for the scary season!

Help will be on hand as will a variety of pumpkins, tools, arts materials and inspiration. All children must be accompanied by an adult. Designers of all ages will leave with a scary pumpkin lantern as well as their seeds and instructions on how to plant them next Spring!

Facilitated by members of Lewisham Arthouse with many thanks to Brockley Assembly. The ‘Halloween Special’ is the final instalment of our Flower Power community initiative that has been exploring green spaces and care for the environment through the arts this Summer.

Open to all, please feel welcome!

Drop in (first come, first served)
4-6pm, Saturday 27 October 2018
Lewisham Arthouse
140 Lewisham Way, SE146PD

Free fun for all the family
Children must be accompanied by an adult
With many thanks to Brockley Assembly

As __: shole

As__ Shole

11th-14th October 2018

Hao-Chun Hsieh
As__: Shole

11th October- 14th October
Private view: 11th October 6-10pm
Lewisham Arthouse,
140 Lewisham Way,
London SE14 6PD

Hao Chun Hsieh, born in Taiwan,1992. After graduated from Tunghai University, Fine art
department in 2015, he went to the University of Arts London, Chelsea College of Arts for
further study, and finished his master degree of fine art this year. Hsieh’s practices mostly
focus on the society and religion. By using drawing, videos and sounds, his works aim to
dialogue with the audience and explore the spiritual world of individuals and communities.
With a series of works looking at self-identity and self-exploration, A Peaceful Century
(2018) presents a religious environment that looks at the artist’s emotional conclusion
toward his two years of life in London. Hsieh transfers his thinking about the religion into
three basic elements: industry, nature and the symbol, which aims to invite the viewers
to his prayer room and learn about self-acceptance irreligiously.

This exhibition is the first part of:
As__: Rolling Exhibition of Asian Artists
Hao-Chun Hsieh, Ting Hsu, Xueyu Liu
Curated by Ruby Lau

As__: Rolling Exhibition of Asian Artists is a three-week exhibition that includes three Asian
artists’ solo show individually yet collectively. Through the lens of their artistic practices, this
exhibition aims to offer the viewers a multi-version of perceptual experience and the
cognition of self-identity in relation to the perception of the space in the context of living in a
foreign land.

As__: the blink of an eye

As_ blink

18th-21st October 2018

Ting Hsu
As__: The blink of an eye

18th October- 21st October
Private view: 18th October 6-10pm
Lewisham Arthouse,
140 Lewisham Way,
London SE14 6PD

Ting Hsu, born in Taiwan,1993. Recently graduated from the University of Arts London,
Chelsea College of Arts and honoured with a fine art master degree.
“What did you see when you blink? You don’t know because it happened too quickly. Maybe
it was a negative image, maybe you were dreaming.”
—- Robert Wilson
Deeply believe in photography is a continuous life experience, Hsu’s practices concentrate
on the relation of time, space and existence. Her ways of seeing photography is no longer a
conclusion or capitation of a single moment, but as the duration of perceiving, constructing
and deconstructing the light, space and time altogether.

This exhibition is the second part of:
As__: Rolling Exhibition of Asian Artists
Hao-Chun Hsieh, Ting Hsu, Xueyu Liu
Curated by Ruby Lau

As__: Rolling Exhibition of Asian Artists is a three-week exhibition that includes three Asian
artists’ solo show individually yet collectively. Through the lens of their artistic practices, this
exhibition aims to offer the viewers a multi-version of perceptual experience and the
cognition of self-identity in relation to the perception of the space in the context of living in a
foreign land.

Charles Hayward at Whitechapel gallery

Charles Hayward
18th October 2018

Interdisciplinary artists Charles Hayward, Simona Sharafudinov and Thomas Stone present new sound from inside the Gallery’s Foyer.
Charles Hayward presents his ongoing improvised ritual 30 MINUTE SNARE DRUM ROLL which takes a basic drum technique and extends it into an epic acoustic space.
Using a collage of choreographed movement, sound and projected images, Simona Sharafudinov will present a new work _Denial_ inspired by the structures of authority and oppression.
Hear Thomas Stone’s post-classical / post-techno soundscapes that explore themes of memory, restraint, ritual and presence.

18th October 2018
Whitechapel Gallery,
77-82, Whitechapel High Street,
E1 7QX

Ex Libris


22nd-30th September 2018

A group exhibition by members of Lewisham Arthouse, an artist led cooperative based in the old Deptford Library. Ex Libris looks to explore the local area both socially and geographically, our relationship to it and our context within it. This is an exhibition about varied histories and possible futures.

Alison Day
Anita Gwynn
Barry Cunningham
Fanny Aboulker
Fiona Smithers
Heather Steed
Joyce Jocelyne Saunders
Laura X Carle
Luigi Vanzan
Mark Nelson
Oliver Campbell
Raju Rage
Rosey Prince
Ruth Beale
Sara Willett
Sophie Chapman + Kerri Jefferis
Tom Hemming
Toby Rye
Victoria Smart

Opening: Sat 22 Sept 18:00 – 21:00

Opening weekend coincides with Open Studios Saturday 22nd & Sunday 23rd September 12:00 – 18:00.
With special performances and tours of the building.

Part of Deptford X and Open House London

Lewisham Arthouse Open Studios

Open studios 2018
22nd-23rd September 2018

Lewisham Arthouse opens its doors, offering you a chance to experience a range of new artworks. Wander around the warren of studios, talk to the artists about their work, buy original pieces or simply enjoy the grandeur of a beautiful Edwardian building. Tours of the building will run twice daily at 2pm and 4pm, plus a special kids fun trail for families. Our pop-up café is back to provide a wide selection of scrumptious handmade cakes, savoury nibbles and drinks, as well as a bar and DJ’s on the opening night.

Our project space features group exhibition by members of Lewisham Arthouse, as part of Deptford X Fringe. ExLibris looks to explore the local area both socially and geographically, scoping varied histories and possible futures. To top it all off we have a special programme of performances throughout the weekend.

Saturday 22nd September 12 – 8pm
Sunday 23rd September 12 – 6pm

22nd September – 1st of October
Weds – Sun 12 – 6pm

Performance program
Saturday 22 September

Gallery Space
30 mins duration Raju Rage: There’s More at Stake than 5 Metres of Cloth

Gallery Space
30 mins duration Charles Hayward Drumming Solo

Gallery Space
3 mins duration Lucienne Cole: REACH

Sunday 23 September

Gallery Space
3 mins duration Lucienne Cole: REACH

Gallery Space
60 mins duration Fanny Aboulker: An Hour of Communal Reading

Part of Deptford X and Open House London

Making Works 2018

Making work
Every Tuesdays 4-6pm

Making Works 2018

Leybridge Estate and Lee Green Lives

Creative drop in workshops on the grass at the Leybridge Estate
Tuesday 11th Sept – 4-6pm
Tuesday 18th Sept – 4-6pm
Tuesday 25th Sept – 4-6pm
Tuesday 2nd Oct – 4-6pm

Special event
Saturday 6th Oct- 2-5pm

Skills-based Masterclasses at Lee Green Lives community centre
Tuesday 16th Oct – 4-6pm, Lee Green Lives
Tuesday 23th Oct – 4-6pm, Lee Green Lives
Tuesday 30th Oct – 4-6pm, Lee Green Lives
Tuesday 6th Nov -4-6pm, Lee Green Lives

We are delighted to announce that we have been commissioned for the fifth year running to deliver Making Works workshops for young people on the Leybridge Estate in Lewisham. These workshops are funded by Clarion Housing and run by professional artists from Lewisham Arthouse.

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. This year we will introduce a range of crafts and artforms, with painting, woodworking, fabric & sewing, paper & collage to produce costumes, hats, masks, theatre backdrops, banners, toys and sculptures.

This year, in addition to the usual outdoor workshops, we are organising 4 special indoor Masterclasses at Lee Green Lives community centre. The outdoor sessions will foster working on ‘big ideas’, whilst the indoors sessions will focus on new skills and individual projects.

The workshops are free and open to all. Call or text 07789 362 069 for more information, or follow us on Instagram: @Making Works.

Courses and Workshops

Courses and workshops
September 2018-19

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.

Make believe

Make believe

1st-9th September 2018

Make Believe

Saturday 1st September to Sunday 9th September 2018
Private view: Friday 31st August. 6 – 9pm
Opening Times: Weds – Sun, 12 – 6pm
@rothgill @lewishamarthouse

Gill Roth and Andrew Clarke met at Maidstone College of Art in the 1980’s. They have lived in Lewisham for over 15 years, taking part in local Open Studios. This is their first joint exhibition.

Both Gill and Andrew make work that blurs the edge between abstraction and representation, where the observable world meets the environment of the imagination.

While drawing forms the core of Gill’s practice, Andrew’s figures emerge through a process of collaging and assemblage. Both work on paper in a way that embraces intuition, accident and play with recurring motifs hinting at inner bodily functions or states of mind.

Andrew makes collages and objects through the juxtaposition of drawings, prints and found material. By relinquishing elements of control and intentionality, new forms and ideas are allowed to emerge more freely. A line in one image continues into a line on another, overlapping shapes create unexpected negative space, a drawn mark reflects a found object. The figures and faces that emerge through these processes are often cut away from the rectangle in a way that ‘sculpturises’ the two-dimensional image and emphasizes the outside line. This has led to a move towards larger scale assemblages and three-dimensional work.

“As a printmaker I often prefer the bits that are left over in the process; the stencils, the plates and the happy accidents. It is often these unplanned images and objects that inform my next move.”

His use of cyanotype introduces the element of light through material that creates ‘X-rays’ of existing collages while also revealing previously unseen textural nuances. The process unifies the image into one colour shifting the focus from the original materials to line and form.

For Gill drawing is a starting point and an end in itself. She works on paper in a relatively large scale. There is nearly always a human presence in her work whether it’s the limbs of a life model or the limbs of a tree thrusting up into the sky.

“I often start with a ‘blind’ drawing. Not looking at what I’m drawing helps me not to think too much and often produces interesting accidents and an element of chaos.”

Gill is attracted to shapes that express movement or have an inner energy, vitality and surface tension. She uses and reuses organic shapes and universal motifs such heads, hands and feet. Tracing, flipping and repeating shapes in a process of organising and editing towards a finished piece.

Notes to editors
For more information and images please contact
Gill Roth on
Andrew Clarke on

Graduate Studio Award Scheme

Deadline 9th September

Lewisham Arthouse is a 25 year old artist-run cooperative based in South East London. It houses an eclectic group of cultural practitioners whose work spans sculpture, painting, experimental sound, sculpture, set design, textile, social practice, printmaking, photography and beyond. The Arthouse provides artist studios, bookable space and specialist workshops, a programme of events and exhibitions as well as regularly contributing to local initiatives.

Members of Lewisham Arthouse 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 facilities and programme. This echoes the original intentions of the Carnegie library building we occupy – to enrich communities by nurturing their creativity. We work to support artists, their audiences and wider communities; providing platforms and occasions for encounter, learning and making.

Continuing our commitment to support emerging artists, we are very pleased to announce the 9th round of our Graduate Studio Award Scheme and invite all recent London-based (or those relocating) graduate visual artists to apply.

The award offers recent graduates a fantastic, free opportunity to continue developing their practice in a 200ft studio based within our artist-led cooperative. The scheme encourages the selected artist to utilise our facilities, participate in and draw on our lively community to produce and present new work. Towards the end of the scheme, the awardee will be invited to share the outcomes of the residency in a form of their choosing (past awardees have hosted events, presented exhibitions, symposium and even organised gigs).

Application is free – to apply please following link to details and guidelines.

New Call 2018

Deadline: 12 midnight, Sunday 9th September 2018

Grad Lab

Three events will take place in LAH on the 30th July (6-8pm), 11th August (12-2pm & 6-8pm), and 4th September (6-8pm). These events will provide prospective applicants an introduction to the award, an opportunity to ask questions, and a chance to see the studio and building. There will also be a small exhibition of work produced by artists who have previously held the award. Please RSVP by emailing with the date/time that you’ll be attending.

To see info on past recipients please click here

Two studios available

Studio F4
Deadline August 31st 2018

Studio F4 (pictured above) – permanent space 172sqft £93.20 per month available from 1 October

Studio F15
Studio F15 (pictured above) – 9 month sublet 173sqft £93.60 available from 1 December

Both studios are partitioned spaces on the first floor with natural light from the glass ceiling and accessed by a staircase.
Deadline to apply: 31 August 2018, 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)
* up to ten images or for time-based work (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 referee (name and contact details)
* We will accept hard copy or email applications.

If you are interested in taking up this studio and becoming a member of the Arthouse please go to our website for more information about our organisation


Flower Power 4

Drawing Flowers & Plants1st September 2-4pm

Come join the fourth in our series of workshops exploring local community gardens through the arts.
Drawing Flowers and Plants is a Saturday drop-in with artist Anita Gwynn on 1st September 2-4pm.
We will be using drawing and watercolour to observe flowers & plants in the beautiful Heston Gardens. All ages welcome.
Children must be accompanied by an adult.

1st September
Meet at 2pm at Lewisham Art House
140 Lewisham way
SE14 6PD

FLOWER POWER is a series of Lewisham Arthouse – art events, focusing on local community gardens and care for our environment.

One in four

One in four

14th-18th August 2018

From the 14th – 18th August, Lewisham Art House will be showcasing a joint exhibition by artists Laura Greenway and Carlie Simpkin, both recent graduates from University for the Creative Arts, Farnham. The show provides an intimate look into the lives of those affected by psychiatric disorders, and aims to start a much needed and essential conversation about mental illness. A staggering One in Four people suffer from a mental health problem in their lifetime, yet mental illness is still often regarded as a taboo subject that remains highly stigmatised – an issue that this unique and candid exhibition aims to tackle.

Performance based artist Laura Greenway, who was recently shortlisted for the Zealous Emerge Performance Prize, explores living life with severe OCD, anxiety and depression through a multidisciplinary approach to live art. Exploring themes including vulnerability, fragility and a pathological fear of intimacy, Greenway creates physical manifestations of her inner turmoil, utilising her body as tool of communication. Her work engages elements of movement and repetition combined with physical and mental endurance to produce thought provoking works that assist the viewer in understanding what life can be like for someone experiencing relentless mental breakdown.

Focusing on depression and anxiety, Carlie Simpkin, whose work has been exhibited across the UK, employs a variety of mediums to analyse life with mental illness. Often utilising a subtle, dark humour in her work, Simpkin’s clever use of metaphorical imagery creates an accessible and captivating look at the sombre subject. Through sophisticated juxtapositions, her work tackles the issues that surround living life with severe depression, immersing the viewer amongst a visual representation of her own daily struggles.

In addition to the displayed works, the show will also feature live art from Laura Greenway, with an exclusive performance taking place at the private view, which is to be held on the 14th August from 6-9pm. The exhibition is free to attend and most of the works on display will be for sale in order to raise money for mental health charity SANE, with 15% of all sales being donated to the organisation.

Raw, brave and sincere, the show endeavours to approach the subject of mental illness in new and distinct lights, allowing a glimpse into the life of two artists whose work revolves around first hand experience of devastating mental illness.

14th-18th August 2018

Private view
14th August 6-9pm

Lewisham Arthouse
140 Lewisham Way
London SE14 6PD


St. Nowhere

St. Nowhere

16th-29th July 2018

St. Nowhere gives us a space lost in time and purpose. It’s not important where these are located or if they are unidentified spaces. They are familiar and unfamiliar, between waking and reality.

With a playful pioneering spirit, these four artists’: Narbi Price, Rosey Prince, Rob Reed and Gill Rocca re-evaluate and repurpose the quiet humdrum of suburbia with the ingenuity and playfulness of explorers.

And their mission? To explore the common place, seek out the hidden havens and find a renewed meaning deep within.

Narbi Price
Rosey Prince
Rob Reed
Gill Rocca

Private View:
July 20, 6-9pm

Artists Panel Talk:
July 28, 7:30pm

Lewisham Arthouse
140 Lewisham Way
London SE14 6PD


Flower power

Flower power21 July 2018 2-4 pm

Join another of our free drop in workshops on Saturday, Experience art through play in this fabulous open air workshop, making enormous cardboard flowers and giant monster plants with Arthouse members, Laura X Carle and Alma Tischlerwood.

FLOWER POWER is a series of Lewisham Arthouse – art events, focusing on local community gardens and care for our environment.

Make Friendly Giant Flowers in Friendly Gardens
69 Ashmead Rd, London SE8 4DY
Entrances: Lucas St, Oscar St or Friendly St

Saturday, 21 July 2018
2 – 4 pm
Children must be accompanied by an adult
Flower Power is kindly supported by Brockley Assembly.

Flower power still going

14th July 2018 2-4pm

FLOWER POWER is a series of free art events throughout the summer, brought to you by Lewisham Arthouse in the Brockley area.
Our first three workshops have already taken place from making fantastic street clay ornaments to wake up Rokeby Road, and for making a mark with the local community to building dens and tunnels animals live in during a free W/e workshop in Luxmore Gardens. In total we already had over one hundred participants of all ages.
The FLOWER POWER project is designed to kick start an on-going process
of art based social engagement and care for our
environment, addressing complex issues surrounding the relationship between
communities and their local environments.

Join our next free drop in event STILL LIFE | Nature Morte – painting: Saturday, 14 July 2 – 4pm in Breakspears Community Gardens located on Breakspears Mews, just off Ashby Rd SE4 1UW for all ages – Children must be accompanied by an adult

Flower Power is kindly supported by Brockley Assembly, conceived and curated by Arthouse members, Alma Tischlerwood and Heather Steed .

Jocelyn McGregor

Jocelyn Mc GregorAn interview

Arthouse Members Interviews 2018: no.3

Jocelyn Mc Gregor

1. How long have you been a member at The Arthouse?

I’ve been subletting since last November.

2.What do you like about The Arthouse?

The space is great, the biggest studio I’ve ever had and it’s nice and light. Plus there are always people around and things going on. It is easy to get involved and meet the other artists in the Arthouse and contribute to the community.

3. Could you tell us a little bit about what you do?
“An Introduction to”

I’m a sculptor on the hunt for the point of transition between internal and external, real and imagined worlds. Using my own body as a starting point, I explore the inside/outside topography of the female form, looking to folklore, surrealism and supernatural fiction to investigate the identification of women with the earth, the home and the machine.

The materials that I use – domestic fabrics, beauty products, earth pigments and industrial materials, represent for me a point of transition for the body, the moment it meets the organic or the manufactured world. This closeness comes with bed sheets, towels, furniture and beauty products, which cleanse us, support us, modify our appearance or take us from conscious to unconscious/dreaming. These are also absorbent materials and due to their proximity to our bodies, often play into tales surrounding the haunted object, where inanimate objects assume human qualities; from dolls and charms to animated furniture and aircraft parts. For my sculptures, I combine these signifiers in order to blur the boundaries between the natural world and the manufactured one, resulting in a super-natural hybrid of the two.

4. How do you use your studio?

I kind of split the space in half using one part for making smaller more detailed objects and the other part for spreading out and making more large scale things. I had a studio visit the other day and they commented that there was so much on the floor and literally nothing on the walls. I use the floor and I hang stuff; so that’s really highlighted to me how much my work is about getting stuff out into the space, it’s volume, it’s weight, how it supports itself, etc.

5. Is there a work your particularly proud of and why-
Something you felt has been really important to you, or has changed the way you work

Hmm the first cast I made of my boob, where I replaced the nipple with a Cats-eye road reflector, remoulded it using a vacuum former, made a plaster cast and then polished it up with Vaseline – not many people have seen it, and it’s never been exhibited but I’ve kept it in one piece so that says something!

It was the first object I think I made on my MFA at the Slade. I can’t even remember what lead me to make it (I just remember catching my own eye in the mirror, tied up with thread and covered in mod-roc and thinking, “well, this is a first”) but it totally changed my practice, kicked me out of the habits I’d fallen into during/after graduating from my undergrad – which had been to try to separate my work as much as possible from the body, from the hand, from myself; making work that looked like fragments of a structure, machine-made barriers. Those old habits are an artistic concern of mine, but I’d never really asked why, I’d just made them and researched the materials I used in an equally distant, impersonal, academic way. So that strange weird, hybrid version I made of my own body, when I look at it now, represents the point when I started to question my work on a personal level. I was drawing it back to myself to better understand the things that were driving me to make it, strengthening it’s foundations – basically, that work was the point when I opened up.

6. What interests you? What influences you?

Mossy walls and fallen down trees rotting, horror movies (rural horror and eco horror in particularly) and surrealism, gothic literature, ghost stories, superstitions, folklore – because they explore histories we don’t like talking about, usually involving women or people who subvert societies conventions – monsters, malfunctions and discomfort.

7. Are you working on anything particularly at the moment?

I feel like I’ve made a lot of low-lying, stand-alone sculptures recently and now I want to make a ‘space-changer’, so a sculpture that can alter a whole space in some way. And I’ve done a lot of sewing lately, so I want to get back into a messy, heavy process again – or something altogether different, just to rebalance myself.

8.What’s in the pipeline? What’s Next?

I run a residency project though, ‘Doremifasolasido’ (, and that’s happening up in Barrow-in-Furness with Art Gene ( and Octopus Collective ( towards the end of the year hopefully, so that’s next.

Jocelyn is showing in New Contemporaries, opening 14th July- 9th September In Liverpool and showing ‘new work that you can sit on’ as part of ‘A Field Guide to Getting Lost’ at The Art Foundation, Athens. Τhe exhibition’s title pays direct tribute to Rebecca Solnit’s book ‘A Field Guide to Getting Lost’ from 5th July- 9th September.

Amanda Francis: an exhibition

Amanda Francis

7th July – 3rd September 2018

Lewisham Arthouse member Amanda Francis is featured in a group exhibition at Galerie peyrusse in Southern France, alongside Artists Bridget Sheridan and Simon Tozer. Her installation explores the interplay between memory and place focusing on an ordinary terraced house in South London.

7th July – 3rd September 2018
Friday – Sunday 3pm -7pm
Galerie Peyrusse
18 rue Paul Gleyrose
12220 Peyrusse-le-Roc



7th – 14th July 2018


Community Digital Art From Eltham Hill School

Come and see the work of our young community digital artists. Featuring the meme posse from Eltham Hill School, Lewisham.

Celebrate with us on July 7th at a special opening event with live music, poetry, and art

Opening event:
Saturday 7th July 2018
3 – 8.30pm

Exhibition open:
7th – 14th July 2018
Open Wednesday to Sunday 12 – 6pm

Free entry
Step-free access

Lewisham Art House
140 Lewisham way
SE14 6PD

Repetitive strain

Repetitive strain

23rd June- 3rd July 2018

Sometimes I’m looking down on it from above,

Other times it feels like I’m outside looking through a window, with nothing but my reflection separating me from the space on the inside.

Do you remember what I said earlier?


Lewisham Arthouse is delighted to present Repetitive Strain, a new body of work by Kate Fahey. The exhibition is her first solo presentation in the UK and embodies an exploration of her on going practice based PhD research completed while undertaking Lewisham Arthouse’s Graduate Residency Program.

Working across the boundaries of various mediums including moving-image, sound, stills, sculpture, and installation, her practice explores our relationship with images through contemporary screen-based perspectives: aerial, satellite and elevated (drone’s eye) views, particularly in the technological hard and soft wares of encounter. Focusing on imagery predominantly appropriated from YouTube, her multidisciplinary fine art practice engages with the surface and materiality of the aerial image employing metafictional and subjective approaches to their habitual modes of spectatorship online.

PV: Saturday the 23rd June 6 – 9pm.
Dates: 24th June and 27th June – 1st July. 12–6pm daily or by appointment.
Lewisham Art House
140 Lewisham way
SE14 6PD

The open call for the next Graduate Studio Award will be made public this coming July – offering recent graduates a fantastic, free opportunity to develop their practice in a 200ft studio based within our artist-led cooperative in South East London. Towards the end of the period the awardee will be supported to mark the occasion showcasing a project, event or exhibition of their choosing in the Arthouse Gallery in 2019. Sign up to our mailing list and follow Arthouse social media to receive updates!

Jocelyn McGregor: two exhibitions

Jocelyn Mcgregor

Summer 2018

Lewisham Arthouse Sublet-er, Jocelyn McGregor, will be showing her work in New Contemporaries 2018, and as part of ‘A Field Guide to Getting Lost’ at The Art Foundation, Athens.

New Contemporaries 2018 at The Liverpool Biennale. For the first time the national touring exhibition will launch from 14 July to 9 September 2018 at Liverpool School of Art & Design, Liverpool John Moores University. Forming part of Liverpool Biennial 2018, of which New Contemporaries has been an integral part since 1999, the exhibition will then tour to the South London Gallery. 

Private View: 13th July
Exhibition open: 14th July – 9th September 2018
Liverpool School of Art & Design, Liverpool John Moores University


A Field Guide to Getting Lost’ at T.A.F, Athens: Curated by Amalia Charikiopoulou, Ismene King. Τhe exhibition’s title pays direct tribute to Rebecca Solnit’s book ‘A Field Guide to Getting Lost’. In her series of autobiographical essays Solnit deals with notions of uncertainty, trust, loss, memory, desire, and place and the use of story-telling as a compass for navigating our way through the world, towards finding ourselves or equally losing ourselves. There is a moment of choice in getting lost, a conscious decision to take a path not known and to travel the journey, decidedly without the necessity of finding something or one’s self at the end of the road.

The exhibition reflects upon those moments of uncertainty and ambiguity, and also relates them to those very personal uncertain moments in an artist’s practice. The liminal space of the studio or travel, the states of ‘feeling lost’, ‘being lost’ and ‘getting lost’ and ‘not knowing’ are explored as a resourceful way to exist and to create art.

Private View: 5th July 2018
Exhibition open: 5th July – 9th September 2018
The Art Foundation, 5 Normanou str., 105 55 Athens

62 hands

62 hands

13th June- 17th June 2018

62 Hands

Wimbledon MA Painting interim show

Lewisham Art House Project Space
140 Lewisham Way, London SE14 6PD
Exhibition open: 13-17th June,
Wed – Sun 12-6pm
Private view: Wednesday 13 June 6-9pm

31 painters
62 hands
Works no larger than 12”
The work of these emerging artists centres on ideas as diverse as the myths, histories and politics of the North Caucuses; the overlooked spaces of the tourist trail; the anti-history paintings of modern India; the colonial histories of the British landscape garden; ruined industrial spaces and liminal wastelands; plant/human hybrids; anthropomorphism and fictional beasts; geology and alchemy; the erotic imagery of the Golden Lotus and the female protagonists of contemporary fairy tales.

Artists: Shuaa Alrasheidi, Emma Brassington, Daumants Brunins, Jack Candy-Kemp, Sirius Chan, Gabriel Chaim, Yue Chen, Sean Coates, Luísa De Castro, Maria Del Pino Cornejo, Nik Cross, Oliver Dorrell, Amy Gaudion, Sara Grisewood, Denise Harrison, Nimmi Hutnik, Emilie Lam, Pandora Layton, Jiaman Li, Nicholas MacNeill, Maria Mohonea, Kundan Mondal, Lorraine Monk, Maria Olivarria, Matteo Orlandi, Anna Pogudz, Ben Pollock, Junnan Wu, Renyan Xie, Xinlei Zhao, Xiaoyu Zhang

This is the third interim exhibition presented by MA Painting at Wimbledon College of Arts at the Lewisham Art House Project Space following ‘A Sharp Intake of Breath’ 2017 and ‘About Space’ 2016.

Please also join us for an MA Painting open studio event at Wimbledon to coincide with the BA/MFA Degree show private view on Thursday 14th June 6-9pm.

Flower power continues

16-17th June 2018

Here are a few picture of the event run by Lewisham Arthouse’s Laura Ximena Carlé. Thank you to everyone who attended.

FLOWER POWER is a series of free art events throughout the summer, brought to you by Lewisham Arthouse in the Brockley area.
Our first three workshops have already taken place from making fantastic street clay ornaments to wake up Rokeby Road, and for making a mark with the local community to building dens and tunnels animals live in during a free W/e workshop in Luxmore Gardens. In total we already had over one hundred participants of all ages.
The FLOWER POWER project is designed to kick start an on-going process
of art based social engagement and care for our
environment, addressing complex issues surrounding the relationship between
communities and their local environments.

Flower Power is proving very successful in numbers of people engaged of all ages, and fruitful in terms of creativity, community engagement, and new community links.

The project has introduced and encouraged members of the local community to use green spaces. New collaborations have been formed between artists and community leaders which have already inspired a legacy of related collaborative workshops at events in local community gardens.

Chris Alton

Chris Alton in his studio
An interview

Arthouse Members Interviews 2018
Chris Alton- English Disco Lover

1. How long have you had a studio at The Arthouse?

I’ve been subletting a studio since June 2017, but prior to that I held the Lewisham Arthouse Graduate Studio Award from May 2015 through to May 2016. I’m hoping to become a permanent member in the future.

2.What do you like about The Arthouse?

It’s a beautiful building, filled with kind and interesting people, of a range of ages, experiences and disciplines. I’ve been fortunate enough to collaborate with a number of other Arthouse residents on projects of various scale, including; a film, a stage for performances and the organisation and curation of the current member’s exhibition.

3. Could you tell us a little bit about what you do?
“An Introduction to Chris Alton”

I’m an artist and (occasional) curator. Throughout my practice, I combine geographically and temporally distant points of reference to produce images, objects, films and events. Whether deploying disco music in opposition to fascism, recording a rhythm ‘n’ blues album about tax avoidance, or crafting banners that prefigure the future, my work addresses the interconnected nature of prevailing social, political, economic and environmental conditions. I use humour, radical joy and speculative fiction to disrupt our lived reality and imagine the world otherwise. In doing so, I hope to bring this seemingly distant ‘otherwise’ closer to hand.

4. Is there a work your particularly proud of and why-
Something you felt has been really important to you, or has changed the way you work

In 2012, I started a project called English Disco Lovers (EDL), a multifaceted protest movement, which aimed to reclaim the EDL acronym of the English Defence League. Drawing upon the history and etymology of disco, as a site of musical resistance, it redeployed the genre in opposition to contemporary fascism. That project was pretty fundamental with regard to shaping the work that I do now.

6. What interests you? What influences you?

Growing up as a Quaker was a pretty major influence on the work that I make now. Quakers have a long-standing commitment to social justice, which manifests in various ways; from collectively lobbying of our government through to lying down in front of lorries that are carrying missiles into arms fairs. I also site skateboarding as a key influence, as it fostered in me an engagement with my built environment that was subversive and creative.

7.Are you working on anything particularly at the moment?

I’ve just wrapped up a few projects, including a billboard commission for Spit & Sawdust in Cardiff and a small body of work about Quakerism & punk for a group show in Birmingham. After a bit of a break, I’ve a few ideas that I’m looking forward to researching further; a board game about perpetual growth economics and climate change and a book of children’s nursery rhymes about arms dealing and the monarchy.

8.Anything Coming up?

I’ve a couple of exhibitions coming up, including Bloomberg New Contemporaries, as part of the Liverpool Biennial, from 14 July – 9 Sept 2018, which then comes to the South London Gallery in December. I’ll also be showing new work at Jerwood Space in October, as part of Survey, a group exhibition of 15 early-career artists. Other than that, I’m coming to the end of Syllabus III, an alternative peer-led learning programme that I’ve been participating in since September 2017.




6th June- 10th June 2018


A photographic exhibition by Foundation degree and BA (HONS) Photography students from North Kent College and The University of Greenwich.

The forthcoming exhibition is the students degree show, showing their own themed projects they worked on as their Final Major Projects for their BA (Hons) Degree, reflecting on their own unique style within photography.

6th-10th June 2018
6th-9th June 12-6pm
10th June 12-4pm
Private view 7th June 6-9pm

Lewisham Art House
140 Lewisham way
SE14 6PD

Eyeball Pleasers

Eyeball Pleasers

26th May- 3rd June 2018

A scattergun of creative outputs from 45 disparate artists – Lewisham Arthouse presents Eyeball Pleasers an exhibition of recent works by our current studio members, showcasing the output of our artist led cooperative. Based in a grade 2 listed Carnegie Library we’re inviting people to come and see who we are and what we do.

26th May-3rd June 2018
Opening times
Private view
Sat 2nd June 6-9pm

Lewisham Art House
140 Lewisham way
SE14 6PD

This event is part of
Brockley max

When you travel in time, leave nothing behind.

When you travel in time, leave nothing behind

10th-20th May 2018

When you travel in time, leave nothing behind.

Lewisham Arthouse
Thursday 10th May 6-9pm PV only (not open during the day)
Friday 11th – Sunday 13th May 12noon – 6pm
Tuesday 15th – Sunday 20th May 12noon – 6pm

When you travel in time, leave nothing behind is a collaborative show with three emerging female artist.
Anna Hillbom, Amba Sayal Bennett and Emma Papworth share a deep interest in exploring intrinsic qualities of material and shape, in order to bring out a possible mystic through poetic, tactile means and a personal definition of logics.
In sculpture, drawing and installation, an urgency to decipher and re-think signifiers of authority becomes evident. Gestures from ancient art, classical architecture, modern cityscape and archaeological founds are canalized and obscured in order to question ideas of body, agency, canonic history-writing and a linear sense of time.
The works of the exhibition act as a collaborative installation between the artists where the agency of each artist at times is blurred, at times visible, in an attempt to question the relation of object and agency in the gallery space as well as in a broader context of history writing.

Emma Papworth (1993) Lives and works in Berlin, DE
Amba Sayal Bennett (1991) Lives and Works in London, UK
Anna Hillbom (1983) Lives and works in Umeå, SE

Artist Bio

Emma Papaworth received her BFA (First Class) 2015 at The Ruskin School of Art, Oxford University. She has recently exhibited at Academy of Fine Arts Leipzig, The Griffin Gallery London, Cypher Space Berlin, ASC Gallery London, Bank Space Gallery, London. In 2015 she received The Woon Foundation Painting and Sculpture Art Prize, Baltic 39, Newcastle.

Amba Sayal-Bennett is an artist and PhD in Art Practice & Learning at Goldsmiths. She received her BFA from Oxford
University in 2012 and her MA in The History of Art from The Courtauld Institute in 2013. Her work has recently been exhibited at the Saatchi Gallery London, Parallel Vienna and Untitled San Francisco.

Anna Hillbom received her BFA and BA Artistic Research from Gerrit Rietveld Academie Amsterdam 2011 and her MFA at Umeå Academy of Fine Art 2015. She has recently exhibited her work at Kunstlerhaus Turn and Taxis Bregenz, Bildmuseet Umeå, Galleri Andersson Sandström Stockholm, Cypher Space Berlin and CLB Berlin, Umeå Konsthall, Udstillingstedet Q Copenhagen and Konstfrämjandet Umeå.

Contact person: Anna Hillbom
+46 76- 275 30 93

Spaces of making

Spaces of making

11th May 2018

Space of making project launch

The Fringe and Underground Music Group at Goldsmiths launches a pamphlet/printed edition series entitled Spaces of Making.

Based broadly on themes of physical, digital, social and conceptual/ideological space, the first run of pamphlets features contributions from artists and musicians Charles Hayward, Marlo Delara, Sharon Gal and Richard Phoenix.

The launch event for the pamphlet series, co-hosted by The Lumen Lake, will be held from 19.30 on 11 May in the Lewisham Arthouse. Contributors will present their pamphlets, and there will be live sets from Lizzy Laurance, Grey Sea Over A Cold Sky and Scrounge.

High quality Riso-print copies of the pamphlets will be available on the night.

Entry is £5, £3 concessions.

11th May 2018
Lewisham Art house
140 Lewisham way
SE14 6PD

Flower power

29th May 2018

Flower Power

Thanks to all of the 35 participants who braved the rain and made it to our first drop-in FLOWER POWER workshop, with ceramicist, Shirley Stewart
We hope you enjoyed getting your hands ‘clayed-up’ – for creating fantastic street ornaments to wake up Rokeby Road, and for making a mark with the local community.

Not only women only

Not only women only

Not only women only

Not only women only

Not only women only
21th March 2018


Image credits Sophie le Roux


Image credits Alma Tischer Wood

On a Wednesday night in March The Telegraph at the Earl of Derby hosted Lewisham Arthouse’s Not Only Women Only PUB QUIZ as part of the grassroots Telegraph Hill Festival. The event attracted over 60 participants from across the borough and beyond, bringing people together to test their knowledge of the ‘second sex’ 100 years since the Representation of the People Act. Raising money to support Sisters Uncut, a direct action group campaigning to end all domestic and gender based violence.

The evening was hosted by artists Sophie Chapman and Kerri Jefferis who devised the format with fellow Arthouse member Fanny Aboulker. On the evening, participants were guided through four energetic rounds which covered herstories, culture, labour and sexy bodies aka the explicit round. In a packed out backroom of the pub seven teams comprised of both friends and strangers battled it out for a fantastic selection of art prizes all donated by Arthouse members and their networks.

The atmosphere was loud, silly and at times confusing. Many commenting afterwards that they had ‘learnt and laughed a lot’ and that it was ‘a great way to spend a Wednesday night!’ We are pleased to report that the event successfully raised nearly £200 for Sisters Uncut and although not everyone was a winner – the prizes did end up split across different teams.

Some people bagged a weekend ticket to visit A Women’s Place project at Knole House, others took home some fantastic comics by Heather Steed, postcards notated by curator Alexandra Kokoli or received vouchers to join a tapestry workshop with Fanny Aboulker or a colour lesson with Alma Tischlerwood. Other prizes included a massage with Serena Morgan Therapy, an original print on cotton by Arthouse artist Raju Rage, ceramic work by Shirley Stewart and other fantastic artworks and publications by Rosalie Schweiker, Ruth Beale, Sara Willet or natural, handmade products by Iza.

However, the absolute final winner on the night, facing tough competition during tie-breaker karaoke managed to bring home a membership to (kindly purchased by Lewisham Arthouse).

All in all a great night celebrating wimmins and the first time the Lewisham Arthouse has contributed to the local festival programme. The Telegraph Hill Festival organisers commented that they had received great feedback from participants and were very thankful of the novel idea and the fun, reshaping of the quiz format.

Sophie and Kerri want to thank everyone who donated, participated and helped make it happen.

Lewisham Arthouse members host, contribute and facilitate a number of local, creative educational initiatives throughout the year. You can find out more on the website here. For more information about the quiz, see here.

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.

Salt Castles

Salt Catsle

27th April-6th May 2018

Billy Crosby, Thomas Greig and Rebecca Guez
Lewisham Arthouse
27 April – 6 May
Open Tuesday – Sunday, 12-6pm
Opening: Thursday 26 April, 6-9pm

This exhibition brings together each of the artists recent work and puts into dialogue the emphatic materiality and physicality of production, that surrounds their works. With an interest in labour and gesture, as well as object investigation, materials are bitten, squashed, cut, pressed, squeezed, moulded, painted and printed, creating highly charged and affective outcomes.

Billy Crosby (b.1992, Dumfries and Galloway, Scotland) is a recent graduate of Painting at Camberwell College of Arts (2016). His recent group shows include ‘Changelings’, The Flying Dutchman, London, ‘Solopreneur’, Kingsgate Workshops, London and ‘The Marmite Prize for Painting’, Block 336, London/Ireland, 2016. Crosby’s first solo exhibition ‘Props’ took place at Camberwell Space, London, in September 2017, after his year long studio residency at Vanguard Court Studios, London. At Lewisham Arthouse, Billy presents a selection of new polystyrene works. Billy Crosby has exhibited in the UK and in Europe.

Thomas Greig (b.1994, Surrey, UK) is a recent graduate of Painting at Camberwell College of Arts (2016). His recent group shows include ‘Bloomberg New Contemporaries’, Baltic 39, Newcastle and Block 336, London and ‘Any, more?’, Limbo Limbo, London. His first solo exhibition ‘Possessions’ took place in the back of a van, London, November 2017. At Lewisham Art House Thomas presents underpants, socks and bananas. Thomas Greig has exhibited across the UK.

Rebecca Guez (b.1994, West Sussex, UK) is a recent graduate of Painting at Camberwell College of Arts (2016). Her recent group shows include ‘The Kiss or Poison Boyfriend or Jesus’ Blood’, Kingsgate Workshops, London and ‘Cha Cha Chaffinch’, Ridgeway Road, London. Rebecca’s first solo exhibition ‘Gardening’ took place at Thames Side Studios Gallery, July 2017, which exhibited her first largest scale work, a 9 metre long stretched canvas. (Large Garden Painting, 2017, Oil on canvas, 287 x 900cm). At Lewisham Arthouse, Rebecca is exhibiting new works from her studio. Rebecca Guez has exhibited in the UK and in Europe and is held in a number of private collections.

Chris Alton: a billboard

Crudely Plucking the Strings
10th May- 12th November 2018

Spit & Sawdust are pleased to announce their first Billboard Commission, Crudely Plucking the Strings by Chris Alton, which launches with an event on May 10th 2018. The Billboard structure will be sited in the outdoor yard space, as the first point of contact for visitors to Spit & Sawdust. The Commission’s aim is to provide a large-scale, site-specific platform for artists to develop new work, and increase the visibility of the creative programme within this multi-aspect venue. The first two Billboard Commissions are supported by The Arts Council of Wales and curated by Freya Dooley.
Throughout his practice, Chris Alton dredges up moments and ideas from the past, attempting to rethink them for and apply them to the contemporary world. Crudely Plucking the Strings reimagines the story of the 1607 flood of the Bristol Channel, which some hypothesise to have been caused by a tsunami. 2,000 or more people drowned, houses and villages were swept away. The local economy along the coasts of the Bristol Channel and Severn Estuary was wrecked by the destruction of 200 square miles of farmland it’s livestock. It is believed that Cardiff was the most badly effected town. A woodcut print is one of the only surviving visual representations of the disastrous event.

For Spit & Sawdust’s first Billboard Commission, Alton has created a speculative reworking of this woodcut, re-telling the 1607 flood with a new cast. St. Mary’s Church, the image’s original focal point, has been replaced by Hinkley Point C; the yet to be completed nuclear power station that sits on the southern bank of the channel. When it is finally completed, Hinkley Point C will be the most expensive power station in the world. It will perch on the edge of a precipice, vulnerable to the increasingly prevalent instances of extreme weather that are being experienced globally.

By mimicking the style of the original woodcut print, Crudely Plucking the Strings prefigures that which is yet to pass, training a sceptical eye on nuclear power as an answer to climate change. In many ways, this science fiction inspired image operates as an ‘early warning system’ and a call to action.

10 May – 12 Nov 2018
Launch: 6 – 9pm, 10 May
Open: Tues-Fri 5-10pm, Sat/Sun 10am-7pm, 11 May – 12 Nov
Spit & Sawdust, Cardiff

Charles Hayward

Charles Haywards
An interview

Arthouse Members Interviews 2018
No.1- Charles Hayward- Lucienne Cole- Jan 2018

L. How long have you been a member at The Arthouse?

C. I joined in 2001 and became a full member in 2002.

L. What do you like about The Arthouse?

C. Two things- First, ever since I’ve been making music, it’s been in parallel to visual artists.
When I was in THIS HEAT we moved to an ACME studio in Brixton. After that, I moved to Mumford’s Mill studios in Deptford Creek. Coming here to The Arthouse was like coming home.

L. So was it a considered choice to be amongst visual artists?

I don’t like being amongst lots of other musicians. To be honest, it gets a bit boring. We end up talking about bass drum sounds. It’s not about that for me. I like to be with people outside my discipline.
The other thing I like particularly about The Arthouse, compared to all the other places I’ve ever been involved in, is that they have a link with the neighbourhood. They feed their energy in from the local people as well. It’s a symbiotic relationship.
Like Dada – it’s about doing stuff, it had a sort of grass roots level street vibe. The Arthouse can be a thing of great joy. There has been a lot of evenings programmed here with a particular take on how to present things that’s built up a reputation.

L. Are you referring to ’SOUND IS SOUND IS SOUND’ an event you instigated at the Arthouse?

C. Yes- I was doing it every month here. We had a very successful night with Thurston Moore, from Sonic Youth, that sent up a big wave of energy in the neighbourhood. We have now moved SOUND IS SOUND IS SOUND to The Albany in Deptford so we can showcase to a higher spec and a larger audience.

L. Do you invite people to take part in ‘Sound is Sound is Sound’ events or are more people getting in touch directly?

C. People now get in touch and I try to go along and see them – Part of the criteria of what we’re doing is to engage local, London, UK and if possible, international. So there’s a cross pollination of expertise and so it’s not just one scene speaking to itself.

L. You work a lot collaboratively – sharing, giving and receiving, seems to be very important to you.

C. I’ve been watching my peers, people my age, and often this thing happens, which is a little hat with a small brim; really good equipment and a technique that’s settled in, but it doesn’t question itself. So I’m wary of that.
One way of avoiding that is I’m playing less. I also work with guys 25-28 years old, reconnecting with that early energy. DATA QUACK is one group I’m in, where we are all equal members in the group but I’m one and a half times their age.

L. You are known as a drummer, but you make and use a lot of other instruments and bits of kit. Your drum kit has to fit, didn’t you say, its like putting on a suit- So it’s different for every drummer isn’t it.

C. Yes. I have several different drum kits for several functions and also to stop that signature thing. Also I have drum kits based on portability.

L. Yeah, that must be a factor. Physical and economic limitations can make a difference to what kit you use, what you might play?

C. Yeah. I try and integrate my aesthetic back into everything. I try not to be this guy with this big thing in my head I’ve got to express, like Wagner or something, but much more a person who’s a conduit for all these different circumstances, some of which are non- musical or completely incidental.
I get a lot of my instruments off Deptford market and I’ve got a friend who climbs in skips and sells me things. My brother used to work with all sorts of different media and he would go to scrap iron places. He bought these alarm bells he didn’t use and gave them to me. I’m still doing versions of things with them. I’m working out what notes they are by measuring them against the keyboard. I’m missing some, so I’ve integrated the whole concept of this missing minor 7th chord so the whole tonality has got this gap in it and I’m completely fascinated by this.

L. How did you get you into music?

C. I can’t really say there was ‘a moment’ – I sort of slid into it and found it was music.
We had a band in school; in the class everyone would play something. I played a snare drum one week and the teacher said I played it well. The next week she gave me a triangle. And I said, where’s the snare drum, that’s mine! And she said, no it’s not. I was completely like, I should be playing the drum! I wanted to get better at it.
I started Piano lessons when I was about 4 and when I was about 8, I played a duet with a thunderstorm on a piano and these were things I didn’t really think about, I just did them.
Also My Dad had a great collection of 78s, Ben Webster, Teddy Wilson, Ben Webster, Lester Young, Ella, Art Tatum, Coleman Hawkins, loads of big bands, Duke Ellington, Count Basie…

L. That’s obviously been quite a big influence?
C. Yes and he took me to see amazing stuff, like Nat King Cole.
Then when I heard THE WHO, there was like a baptism of fire – that’s MY music! Not my Dad’s music!
Music has been around me all my life- it was my rebellion. That inner space when I was playing, I kept secret from my parents, from everybody actually. I’m not quite sure what it was… It was the space I wanted to use to change things – like that Greek thing, like when the mode of the music changes. I sort of feel, sometimes when I’m really into it, or mostly when I’m hearing something amazing, that music holds everything.

L. Is there a particular collaboration or place you’ve worked with that has had an effect on who you are and what you do? That’s had a real impact in your development?

C. l was making music in Acre Lane in Brixton for a long time, and I learnt a lot. When I lost connection with that space, I started working on youth music projects and disability arts projects at Lewisham Academy.
I’d become a Dad with three small children and it meant for once I wasn’t away all the time and could earn regular money. I still made albums and wrote songs. Some people think I seemed to disappear. I don’t think of it like that at all. I had a huge development creatively, spiritually and emotionally, just by being a Dad.
I did ‘T in The Park’ with Hot Chip, I was filling in for their regular drummer and I’m backstage in this big field and I see this guy running across the field with his mobile in his hand, saying ” I’ll call you back, I’ve got to go, I’ve just seen my drum teacher!”- He was playing with Paloma Faith, it was someone I’d taught years ago.

L. That’s surely a great feeling.

C. It’s a fantastic feeling. It’s also against this academic thing- it’s about making it about where you live, the people where you live. The actual sounds I make, feel like they belong to the people around me.

L. It’s part of life, a way of life.

C. It becomes a way of life yes. Going to the shops becomes part of the music. The Arthouse too has been a big influence.

L. It is a community here.

C. Yes it is. It took me a couple of years to get it. You can learn here, you can share things here, what more can you ask for! And it’s only 10 minutes from where I live.

L. It does make a big difference doesn’t it. Having a studio here has changed my life already and I’ve only been here since the summer.

L. Are you working on anything particularly at the moment?

C. Yeah, I’ve gone back to the piano. When you play acoustic piano, the sound bathes the body, you’re completely inside the sound. I’ve got an album called, ‘Begin Anywhere’ and that’s all at the piano.
Then I’ve got this 30-minute thing called, ‘Snare Drum Roll’ and I’m playing that acoustically in places like cathedrals. I excite the acoustics of the space via the snare drum. More like a sculptural piece.
Also this slightly out of control electronics thing, I’m doing that a few times in the next few months- I call that, ’ Zig Zag and Swirl’
And THIS IS NOT THIS HEAT, going back to things I made 40 years ago.

L. That must be interesting to re- visit. Seeing how it stands up and is still relative now, that those relationships can still exist. Finding a new audience for something you did that was important.

C . We were originally a three-piece. One of us has died, which is why we are called, THIS IS NOT THIS HEAT. We’ve now added, sometimes four or five others and my daughter is in the group.
The first album we made, Deceit, was in response to where we were at in the world. The cover is a face, which is a mushroom cloud with an American Flag.

L. Which is very pertinent now!

C. It is and suddenly, it’s like, “Oh my god we are singing about the Roman Empire!” but really we are singing about the American Empire. We actually sing The American Declaration of Independence and we’ve added the final lines of the poem at the foot of the statue of Liberty, which is all about, ‘bring me your huddled masses’. The true sense of irony inside doing this music is, ‘WOAH! – We have to do this music’! So we are doing it, but the sense of of going backness is spiritually… although it’s fresh and new.

L. Just do it why you feel it’s worth doing it, you’ve got all these other interesting things to develop.
Sounds good to me.

C. Yes. Absolutely, I’m very lucky at the moment.


Sound is sound is sound

Sound is sound is sound
21th April 2018

Lewisham Arthouse in collaboration with the Albany presents an evening of genre fluid music from South East London and beyond including installations and performances by Arthouse members.

Sound is Sound is Sound
sound is sound is sound returns with another night of genre fluid music, tuning in to the edges, echoing new sounds and beyond.
V4V (DJ BPM, Charles Hayward, Vern Edwards, Nick Doyne-Ditmas)
DJ Barry C
VJ Flickering Light

April 21st
7.30pm (doors)
£10/£12/£8 under 25 with ID
The Albany, Douglas Way, SE8 4AG

Free entry:
Children’s workshop SoundHoppers 3 & 4.30pm
Films of Karel Doing 5-8pm

To find out more about this performance, follow the link:

In the space of elsewhere

In the space of elsewhere

11th-22nd April 2018

In the Space of Elsewhere brings together work by Lu Mei and Sara Willett that responds to the phenomenology of space. The exhibition does not just examine space in terms of cartological location and fixity, but also refers to the realm of poetic space – spaces that exist internally, in memory and imagination. Both artists have also created site-specific work, which responds to the scale of the exhibition space and the neo-classical architecture of the building. The exhibition is accompanied by a soundscape by composer John Lunn.

Lu Mei was born in Henan, China, and divides her time between New York and Beijing. Having studied traditional Chinese ink painting and calligraphy, her practice now combines this artistic inheritance with her contemporary
perspective. Drawn to what she terms the “pyramid” structure of the subconscious, she describes her work is an act of “reaching for the sky”, illustrating the road that connects humans to the rest of the universe. In the Space of Elsewhere is the first time her work has been shown in the UK.

In 2016, Sara Willett spent six weeks as an artist in residence in Being 3 Gallery, situated in an industrial area in North East Beijing. The work she produced whilst there, and since, draws on her experience of the physical environment, most specifically the days when the ever-present pollution was most visible. She became interested in the quality of light at these times, the shapes created when the sun’s rays struggled to break through the smog, or at night when the air became a neon infused haze. She also reflects on the sense of ‘otherness’, experienced when navigating a part of the city where the sight of a westerner was unexpected and unusual.

Exhibition Opening Times:
Wed – Sun 12 – 6pm
11th – 22nd April
Private View
Fri 13 April 6.30 – 9.30pm

Lewisham Arthouse
140 Lewisham Way, SE14 6PD

Transport: New Cross, New Cross Gate
or Brockley stations

For more information and images please

Retrospective Fusion ii

Retrospective Fusion ii

28th March-8th April 2018

An exhibition of work by Ben Quail
I am an artist printmaker and I work and live in Waveney, Suffolk.
This show consists of varied, colourful, bold and characterful paintings on canvas and linoprints, screenprints, and etchings.
Included is a collection from ‘a fairly natural history alphabet’, a book of linocuts published in 2013.

The theme of this show is eclectic but focuses on flora and fauna, landscape, seascape, and the essential enhanced green corridor scen-aria?

A conversation on Conservation has always been my interest.

Where do we go from ‘ere?

Private view:
Wednesday 28th March 2018
6-9 pm

Exhibition open:
28th March – 8th April 2018
Open Wednesday to Sunday 12-6 pm

Lewisham Art House
140 Lewisham way
SE14 6PD, London

Free entry
Step-free access



20th-25th March 2018

Five contemporary artists conspire within the confines of London’s Lewisham Arthouse, negotiating an agreement with the space through five different modes of making. This work takes the form of drawing, installation, sculpture and painting, creating, without a doubt, a certain amount of friction between one another. Through this friction and perhaps, too, this idea of overlapping, comes a sense of necessity, prompting the work to stand for itself, gaining its own rights within the context of this show.

What we invest into a practice, what this means, and how this is retained, carried and displayed, contribute to a slightly larger question which has been asked of the artists involved: ‘What is true to you?’ Whether this notion of truth plays a part in our contract with the work, or if it is merely a stopping off point, or just a claim – is it important?

Aria Kiani –
David Fines –
Daniel Soares –
Henry Pucknell –
William Cotterill –

Trailer for the show
Facebook event

20th March – 25th March
12am – 5pm
Private view: Friday 23rd March
Lewisham Art House
140 Lewisham way
SE14 6PD, London

Richard Parry

Who owns the art world?14th March 2018

Who Owns the Artworld?

An online panel discussion with Hayley Newman, Richard Parry and Morgan Quaintance.

The short panel debate will take place during DACS’ Annual Strategy Day, as we think about the context in which artists are currently working and how best DACS can support artists and artists’ estates in the future.

Hayley Newman, artist
Richard Parry, artist
Mark Waugh, Business Development Director, DACS
Morgan Quaintance, writer, musician, broadcaster and curator

The event will be an opportunity for you to join a discussion about the political, social and cultural complexities around artists’ engagement with art institutions and the art market. Our panel of speakers will be exploring questions of power, transparency and the circulation of capital in the art world and how these impact artists.

You can watch the event streamed live on DACS’ Twitter, or here: @DACSforArtists.

The debate will be followed by a short Q&A. Get involved. You can tweet us any questions for the panel before or during the event @DACSforArtists.


Charles Hayward plays Telegraph Hill festival

Modern ritual
21th March 2018

Lewisham Arthouse member Charles Hayward performs new songs at the piano as part of the Sonic Interventions event for Telegraph Hill festival.

Sonic Imperfections returns to The Telegraph Hill Festival with another line up of stunning musicians working in the experimental area.
Charles Hayward – This local boy needs no introduction, An endlessly inventive musician who has spent decades at the forefront of the cutting edge music scene. There are simply too many songs, groups, recordings, gigs to mention. This will be a truly special performance.
Extext – Renowned Harpist Serafina Steer and singer Catherine Carter bring their improvised Operetta to The Telegraph Hill festival.
Rotten Bliss – Cellist Jasmine Pender plays a unique brand of darkly brooding weird-folk and drones. It is our absolute pleasure to welcome her to The Telegraph Hill Festival.
Nostalgia Blocks – Mark Browne (Reeds and Percussion) is one of the most striking improvising musicians working today. Richard Sanderson is fast becoming one of the most influential people in the South East’s experimental music scene. A record label owner, a promoter and a musician. Tonight he plays Amplified Melodeon and Electronics in a duo with Mark. Two musicians at the top of their game, expect 100% commitment, invention and a few surprises.

21st March 2018
Saint Catherine’s Church, Telegraph Hill, SE14 5TY

I’m Not in Your Dream or Imagination

I'm not in your dream or imagination

8th-18th March 2018

The struggle to locate a self when the self is fractured or misrepresented forms the core of this exhibition. I’m Not in Your Dream or Imagination, a multi-media exhibition aims to explore the experiences and cultural presentations around how the East-Asian groups, especially those newcomers, struggling to redefine themselves after misread in the western societies.

Chao-tze Liu uses printing images of the wall from British Museum and transforms Lewisham Project Space into a ‘ready-made-museum’. In reflection, Ting-Ting Cheng’s video work Ten Thousand Chinese Things (2015), the Blue Willow pattern tells the story of how the imaginations of the West from the 18th Century has still been commonly considered as a representation of China until today. Alongside, Soljee Ahn uses installation work in a compelling scale to amplify the feeling of a ‘stranger’ as herself – how a foreigner gazed upon in societies full of hierarchy preconceptions and stereotypes.

The history of museum cannot avoid the relationship to the history of colonization. Modern museology prolongs the exhibition as showing artefacts from the other cultures, where the objects are defined and presented by experts under the authorization by institutions. While approaching the presentation under museology as a metaphor, the viewers are encouraged to rethink about history and archaeology under museum discourse. Partly, it is about where and how the objects to be presented. In the highlight of the power of display, there are existences of misplace and ignorance; similarly, minority groups are easily misinterpreted or misrepresented in a society. Through this exhibition, we aim to ask one more fundamental question: how can East-Asian, in relation to the other minority groups in London, own its agency to defend and define a self in a multi-cultural society under the shadow of dominant culture?

8th – 18th March 2018

Private view Thursday 8th March, 7-9pm
Lewisham Arthouse
140 Lewisham Way,
New Cross SE14 6PD

Arthouse member Rosey Prince

Rosey Prince March 2018

Lewisham Art House member Rosey Prince has pieces of work in two exhibitions this March.

The Royal Watercolour society Contemporary watercolour competition showcases new talent and innovative approaches to water-based media on paper.
2-14 March 2018
Bankside Gallery 48 Hopton St, London SE1 9JH

Rosey Prince

The Royal Society of British Artists Open exhibition is sourced from member artists and through open submission, to produce works of the highest standard brought together in an eclectic mix of style and media.
21-31 March 2018
Mall Galleries, The Mall, London SW1

Myatt Garden

Myatt garden

23rd-24st February 2018
Every year Myatt Garden Primary School run the “Take One Picture Project” in conjunction with the National Gallery. The National Gallery release one painting from their collection for children to respond to creatively, to it’s themes, subject matter, historical context or composition. This years painting is ‘An experiment on a Bird in the Air Pump’ Joseph Wright ‘of Derby’ 1768. We then hold a ‘Take OnePicture Week’ in school and all our children’s learning and creative outpouring are inspired by this painting. We then show case the work in The Arthouse as a public exhibition.

We hope you are able to visit this exciting exhibition of young artists on Friday 23rd from 3.30pm till 5.30pm to Saturday 24th February 10am to 4pm.

Two studios available from April 1st 2018

Studios available at Lewisham Art House
Studios available at Lewisham Art House
April 1st 2018
Two studios available

Studio F14 (left picture) – 12 month sublet 170 sq ft at £92.10 per month
Studio G8 (right picture) – Permanent space 150 sq ft at £82.20 per month

Studio F14 is on the first floor and accessed by a staircase. Studio G8 is on the ground floor.
Deadline to apply: 1 March 2018, 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)
* An equal opportunity form, click to download
* 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
If you are interested in taking up this studio and becoming a member of the Arthouse please go to our website for more information and details of how to apply:



Lewisham Arthouse member Charles Hayward plays with his project THIS IS NOT THIS HEAT as part of New Music Dublin festival March 3rd.

Within their two albums and an EP, This Heat perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica.
Although widely considered to be Post-Punks finest they actually began performing their music in the early days of London’s punk era. Ahead of their time, their music sounds as startlingly original and relevant, live and on record, as the day it was created.
This Heat’s music has had a huge influence on generations of musicians in the decades following their break-up. Hot Chip included the song “Radio Prague” on their DJ-Kicks: Hot Chip album with Alexis Taylor commenting that the band “were truly committed to experimentation in the studio, and making a highly-charged music of great originality and dynamics.” Dan Snaith of Caribou fame noted that the band “sounded like the future then and still do now”. Avey Tare of Animal Collective revealed that This Heat “are one of those bands that (as a person wanting to be in a band) I aspired to be like”. Damon McMahon of Amen Dunes called them “the Beatles of modern experimental music”. Both Sleepytime Gorilla Museum and Oneida covered the track ‘S.P.Q.R.’. Robert Del Naja, one of the founding members of Massive Attack, covered ’24 Track Loop’. Danny Brown sampled Horizontal Hold on the track ‘Adderall Admiral’ off the album XXX. The band were mentioned in LCD Soundsystem’s ‘Losing My Edge’. Viet Cong cited the band as a huge influence with bassist/vocalist Matt Flegel claiming in an interview that he was trying to ‘ape’ Deceit.

March 3rd 2018
National Concert Hall, Dublin

Molejoy, Scrotum Clamp, Cult Figures and H.A! Live at The Gunners.

Molejoy, Scrotum Clamp, Cult Figures and H.A! Live at The Gunners.2th March 2018

Art house member Sophie Chapman and Kerri Jefferies’s band Molejoy is playing.

A night of live noise with molejoy, Scrotum Clamp, Cult Figures and H.A! Live at the Gunners tav. Post-punk, post-cabaret, post-new year blues and resolutions – come on down and shake it out with frenemies and frengers. Expect arty crass, the sex pistols in dresses, classic singles, upbeats, down beats and not quite songs… all veiled in healthy dose of disdain and disbelief.

£4 waged/£2 unwaged with no-one turned away for lack of funds.

All proceeds from the jar will go to one of THE MOST IMPORTANT affirmative initiatives in London RN. First Timers Fest where EVERY band gets their first gig!

2th March 2018
First band 20.00 – 23.00
N5 Live at the Gunners,
204 Blackstock rd,
N51EN, London

We need to talk

We need to talk

We need to talk

We need to talk

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 were held on Thursday the 14th of December from 7.30 – 10pm. The artists presenting were, Saelia Apraicio, Hadas Auerbach, Philipp Dorl, Kate Fahey and Yonatan Zofy.

Late Junction Collaboration Session: Man vs Machine – Charles Hayward and Zamyatin

Charles Hayward

18th January 2018
Late Junction on BBC3 Radio presents Lewisham Arthouse’s very own, Charles Hayward in a collaboration session : Man vs Machine – exploring the relationship between creativity and technology. Can a piece of software, designed specifically for the show, hold its own improvising alongside one of the leading left-field musicians of the last 50 years, drummer Charles Hayward, an artist known for collaborating with musicians across the spectrum.
Available on iplayer for the next 30 days

Resonance FM in association with I-D.A Projects presents: THIS IS NOT THIS HEAT

Resonance FM in association with I-D.A Projects presents: THIS IS NOT THIS HEAT

10th February 2018
Arthouse member Charles Hayward plays a benefit for Resonance FM with his project This Is Not This Heat.

Resonance FM in association with I-D.A Projects presents: THIS IS NOT THIS HEAT
£32 £30 SOLD OUT £28 SOLD OUT
Within their two albums and one EP This Heat perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica. Although widely considered to be Post-Punk’s finest, they actually began performing their music in the early days of London’s punk era. Ahead of their time, their music sounds as startlingly original and relevant, live and on record, as the day it was created. Exactly 40 years to the day of their first gig in 1976 the two surviving members (Charles Bullen and Charles Hayward) of the original trio came together with a large group of collaborators to play under the project title of THIS IS NOT THIS HEAT. Selling out a two day residency at Café Oto in a matter of hours, the consensus was unanimous that all present had been witness to something of cultural significance. Flooded with invitations from around the world, 2017 saw THIS IS NOT THIS HEAT take to the road. Today they return to Cafe Oto for a benefit for Resonance FM, presented in association with I-D.A Projects.
“It does feel like we’ve been witness to something special. A fine body of work has been brought to life with energy and vitality that seems improbable nearly 40 years after the fact.” The Wire
“This doesn’t feel like nostalgia but a new beginning” The Guardian

10th February 2018
Café OTO,
Ashwin Street,
London E8 3DL

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.

Leg up

Leg Up

9th – 18th February 2018
New Paintings by Emma Cousin.

In Leg Up London-based artist Emma Cousin (b. 1986) investigates the body as the site of
experience – examining what we can and cannot control in all aspects of daily life, and
questioning the meanings of mobility, both physical and social. Using the body as a metaphor,
and emphasising the role that the body plays in processing and defining our experiences,
Cousin’s paintings present a pantheon of women performing everyday gestures to address
notions of time, aging, strength, inertia and vulnerability.

Cousin’s darkly comic and irreverent parade of female characters are pulled and twisted into
impossible bodily contortions, balancing the weight of gravity with a lightness extending from
their mix-and-match body parts. Exploring concepts of freedom and identity, they inhabit
precarious situations and engage in awkward activities, such as urinating in a cup in the backseat of a speeding car (Peeing at 80), or teetering precariously on high heels while juggling groceries in Purchase. Running Scared depicts a wave of ‘hysterical women’ seeming to hold one another up as they launch themselves across the canvas, away from or towards we don’t know what. Nor do we know how dependable matters are underfoot, as Cousin’s figures act on
surfaces ranging from concrete to butter. Through the theme of mobility, Cousin balances
weight and agility to propose that a persistent psychological anxiety, experienced through the
body, is our frontline experience of the world.

Leg Up takes forward Cousin’s residency research project, Legwork, started at Wimbledon in
October 2016 and is supported by paintingresearch at Wimbledon College of Arts and Isabel
Bingley at Lewisham Arthouse Gallery. The work is accompanied by a text by Luce Garrigues and
Amy Mechowski. The results of the artist’s residency research project, Legwork will be published on 8 October in the form of a catalogue including contributions from over 30 artists.

Exhibition Open: 9th – 18th February 2018.
Wednesday to Sunday 12 – 6pm

Venue: Lewisham Arthouse. 140 Lewisham Way, SE14 6PD | Step-free access
Transport: New Cross, New Cross Gate or Brockley stations
Contact: For more information and images please contact:

Kate Fahey – Repetitive Strain

Repetitive strain

Kate Fahey – Repetitive Strain

Working across the boundaries of various mediums including moving-image, sound, stills, sculpture, and installation, Fahey’s practice explores our relationship with images through contemporary screen-based perspectives: aerial, satellite and elevated (drone’s eye) views, particularly in the technological hard and soft wares of encounter. Focusing on imagery predominantly appropriated from YouTube, her multidisciplinary fine art practice engages with the surface and materiality of the aerial image employing metafictional and subjective approaches to their habitual modes of spectatorship online.

Kerri Jefferis and Sophie Chapman – What happened in between?

What happened in between?
Kerri Jefferis and Sophie Chapman – What happened in between?

Sophie Chapman + Kerri Jefferis work exclusively through collaboration, their work explores collective agency and ways to navigate or confront the social structures imposed upon us.

Sophie + Kerri’s work manifests in performance, scored propositions, film and direct acts that are either experienced live or represented via boundary objects: drawings, sculpture, text; that offer poetic records of the events.

Informed by the feminist practice of doing, each project has its own particular set of parameters and infrastructures that seek both a critical and convivial perspective in the context they are located. Common to each work is the desire to bring differing people together, to enact prefigurative forms of resistance and document social time. Each encounter that they stage invites those present to re-orientate, unlearn or embody a different way of being, together.

Image credit: Sophie Chapman + Kerri Jefferis, documentation of Friendsslashcolleagues performed by Chloe Cooper during What Happened Between?

Chris Alton – Under the shade I flourish

Chris Alton

Chris Alton was the recipient of the Graduate Studio Award in 2015, his final project for the residency was Under the shade I flourish.

During the mid-1960s, “an unknown rhythm ‘n’ blues band”* called Trident were briefly managed by the non-UK domiciled billionaire, Michael Ashcroft; a controversial figure notable for “opaque tax practices” and “operating in the dark”. Under the Shade I Flourish (2015-16) imagines that Ashcroft continued to manage Trident.

By incorporating feedback from his life into their narrative, Under the Shade I Flourish engages in a cartographic process, which involves the cross-pollination of both fact and fiction.
Trident become a vehicle to discuss the connections between Britain’s colonial history, offshore finance and soft power. 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).

*Dirty Politics, Dirty Times, Michael Ashcroft, 2005

FLORILEGIUM – A gathering of flowers.


31th Jan-4th Feb 2018
An exhibition of drawing and monoprints by Anita Gwynn.

In medieval Latin a florilegium (plural florilegia) was a compilation of excerpts from other writings. The word is from the Latin flos (flower) and legere (to gather): literally a gathering of flowers, or collection of fine extracts from the body of a larger work. It was adapted from the Greek anthologia (ἀνθολογία) “anthology”, with the same etymological meaning.

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 since my research as an artist, I have come to see that we do not exist in isolation, but as part of a whole. Without plants we wouldn’t survive.

Lewisham Arthouse 140 Lewisham Way, New Cross SE14 6PD

31th Jan-4th February 2018
Wednesday 31st January at 12-6, Thursday 12-6, Friday 12-6 and runs until Saturday 9 pm.
The private view is Saturday evening 7-9.



16th-27th January 2018


In this exhibition Yaroslaff Soltan explores the role of alchemical processes and the relationship between physical, spiritual and psychological transformation with reference to the works of Carl Gustav Jung, drawing on personal dreams, visions and emotions.
In a historical context, the first stage of the alchemical process was known as ‘calcinatio’, during which by the application of fire, crude material was refined to a subtle form.
Yaroslaff Soltan examines anger and frustration as the ‘fire’ in the alchemical process transforming psychological experience into approximately thirty sculptures, mainly represented in natural materials such as wood, fabric and thread for their organic, bodily qualities.
Alchemists would also record changes in the sound qualities of materials during the transformation process and Yaroslaff Soltan presents the audio equivalent of his sculptures in the form of a live performance by the Calcinatio Ensemble (Bernard Burns, Polly Hunt, Col Prosser and Eleanor Roberts of the London Bulgarian Choir). Four vocal pieces will be performed of Georgian, ancient Greek and Slavic origin.

About the artist

Yaroslaff Soltan was born and bred in Poland. He received formal art education at University of Folk Art Craftsmanship in Wzdow, Poland, Camberwell College of Art and the University of East London.
At present he is undertaking his Professional Doctorate in Fine Art at the University of East London.
His imagination has been shaped by romanticism with its cult of folklore and of explorations of the dark side of soul, visual fascinations by archaeological artefacts and first of all by: Jungian psychology as well as religious studies of Mircea Eliade.
Yaroslaff Soltan lives and works in London.

Private view:
Friday 19th January 2018
6pm – 9pm

Exhibition open:
16th – 27th January 2018
Monday – Sunday 12pm-6pm

Granular /ɡranjʊlə/

10th-13th 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.

Snake oil

Snake oil

30th August – 9th September 2017

An exhibition of work by Tom Wilmott and Neill Clements

Snake Oil brings together a group of works which stand on the belief that painting is at its most compelling when it addresses the specific strengths of the medium.

Wilmott and Clements share an interest in the fundamental qualities of painting; for each artist the medium is not a vehicle chosen to best deliver a message, it is itself the project.

Their work puts the unique abilities of the medium front and centre. Painting is first and foremost visual, and it is at its most convincing when engaged with in this way. Colour, form, space, texture, contrast, transparency, opacity, scale; these are the keystones of effective painting.

Presented here are physical objects borne of individual’s intent, this is not art meant to compete with sloganeering, rather it presents an alternative to it. There is no attempt to illustrate some extraneous topical concern; no explicit message.

Constructions of wood, cloth and pigment exist on their own terms, created out of an engagement with painting’s essential processes and from a passion for the medium and its history. In some ways this is an old fashioned approach, art for art’s sake. But nowadays in a climate where, more than ever, culture is being experienced at arm’s length choosing to involve yourself in physical, material concerns (such as those thrown up by the discipline of painting) looks like a sensible undertaking. We live in a soundbite world where much of the visual material encountered is designed to shout. We receive our ideas filtered and packaged; coloured by a promoter’s bias. Visual art is too often the servant of obscure ideas, virtuous or otherwise.

These works make a case for something different, something plain speaking and unmediated. Work created through an interest in materials and how they come together, through a belief that painting still offers something unique; a worthwhile pursuit for an individual but also as an entity that can be meaningfully engaged with by an audience.

Thursday 31st August 2017
6.30-8 pm

Exhibition open:
30th August – 9th September 2017
12-6 pm

Free entry
Step-free access

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

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.

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

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)

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

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

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.

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

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

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

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