Current Event



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

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



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

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

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.

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

I See I Don’t See

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

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

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

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

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

Performances and Events:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


19th – 30th June 2013

2013-06 BizzaroFilter

BIZZARO FILTER is an exhibition of portraiture by a group of emerging artists working in paint and print. Each artist operates as a filter, projecting, delineating and subverting the figure; creating a new perspective rooted both within a tradition of painting and their own personal experience. The results inevitably are bizarre.

Mathew John

I create ethereal hinterlands that are eerily constructed and ambiguous in a bid to explore the moral and finite reality that humans have formed. The paintings challenge the viewer to reflect upon and enter into a dialogue concerning their universal vulnerability and empathy. A fusion of techniques influenced by Richter, Polke, Turner, Goya, Doig to name a few are combined to produce paintings that are poignant, calculating, hopeful and otherworldly.


I see my art practice in parallel with life as a journey of learning and discovery. A journey through which I can produce work that reflects my eclectic interests and that also serves as a tool for the discovery of new ideas. Most of my practice is purposely sombre and unpopulated, but when painting portraits I wanted to make paintings that were human, eccentric and yet light hearted. The painting process for me is about speed, a relaxed touch and the intensity of colour.


My work is a voyeuristic intrusion into fantasy and secret desires. Using photographs of people as a starting point from which I draw on the mood, infusing them with my own imagination and memories. I aim to create an ambiguous world of escapism and delusion, in a sense an alternate reality. Currently I am painting on uneven or reused boards the surface of which add their own, accidental mark to the work.


My recent work takes its imagery from Greek and Roman sculpture, where I paint restored marble busts with the colours they may have worn, which raises questions regarding our taste and the kitsch. The ‘Mug Head’ series toys with musicological display practices and directly explores the relationship between object-hood, decoration and the illusory nature of painting. The paintings record the process from object to staged photograph and finally to painting. They then serve as a record of constant metamorphoses: in scale, dimension, and in cultural value.

Nadir Kinani

I am a printer making CMYK halftone screen prints. I treat each print and the process as individual works of art. My work is split into two branches, the first of which I call ‘Funsies’. These are prints that I make purely out of an enjoyment of the process, where I strip away all sense of context to make enjoyable images to look at. The second strand I have labelled ‘Pretentious’. These works explore philosophy, metaphysics, religion, science, art history and theory. These works are purposefully contrived and dense with questions and influences, in which every element serves a specific function.

For more information please contact or visit or