Sergio Santinato // MU - The same dream



"There is not very much difference from when i close my eyes and i open my eyes...
I can pretty much see the same dream

Yes and no…this or that…one or zero. In the basis of this elementary two-term discrimination, all human knowledge is built up. The demonstration of this is the computer memory that stores all knowledge in the form of binary information. It contains ones and zeroes, that's all.

Because we're unaccustomed to it, we don't usually see that there's a third possible logical term equal to yes and no which is capable of our understanding in an unrecognized direction. We don't even have term for it, so I'll have to use the Japanese mu.

Mu means "no thing." Like "quality" it points outside the process of dualistic discrimination. Mu simply says, "no class: not one, not zero, not yes, not no." It states that the context of the question is such that a yes and a no answer is in error and should not be given. "Unask the question" is what it says.

Mu becomes appropriate when the context of the question becomes too small for the truth of the answer. When the Zen monk was asked whether a dog had Buddha nature he said "Mu," meaning that if he answered either way he was answering incorrectly. The Buddha nature cannot be captured by yes or no questions.

That Mu exists in the natural world investigated by science is evident. […] The dualistic mind tends to think of Mu occurrences in nature as a kind of contextual cheating, or irrelevance, but Mu is found through all scientific investigation, and nature doesn't cheat, and nature's answers are never irrelevant. It's a great mistake, a kind of dishonesty to sweep nature's Mu answers under the carpet. […]

When your answer to a test is indeterminate it means one of two things: that your test procedures aren't doing what you think they are or that your understanding of the context of the question needs to be enlarged. Check your tests and restudy the question. Don't throw away those Mu answers! They're every bit as vital as the yes and no answers. They're more vital. They're the ones you grow on. 

--Robert Pirsig, Zen and the Art of Motorcycle Maintenance


Sergio Santinato

Italian born with a gipsy soul; rooted in London since 1999, curious in meditation, a craftsman, music feeder and producer.

Sergio lives the constant impermanence of things looking for the loops, for the nature of things, for the surprise in the unexpected.

Fond of the search rather than the discovery; looking for the essence of moments and the cycles.

In his work - music, craft, installations - you can perceive the fully pregnant state of emptiness. 

The space between things and the silence between the notes are the piece itself.

The reality and the dream are not different…
awake or asleep
empty space it is.

139 artspace



Not much difference exists from when we close our eyes and we open them, we live the same dream even when we don’t realise it.

In the emptiness of our mind many realities, many possibilities exists and manifest all the time. We experience all of them but we do not observe them. When you observe, things and thoughts are pretty much the same.

When you stop, your mind is still in motion.

When you experience and observe at the same time, in that empty space in front of you, you can see all sorts of things.

All is possible all the time; it is there where the surprise and the unexpected rest.

In Japan the emptiness, the negative the space between is called MU.

Marketa Senkyrik // looking for a geometry


looking for a geometry

At school I was always very bad at geometry.

I can say that I accomplished my education because of my geometry teacher's kindness. What seemed to be the essence of logic for the rest of the world, didn’t make any sense to me.

Today - more than 20 years later, in my adult life - I still experience the same feeling while socialising, reasoning, scheduling… (despite my attempts to keep away from geometry).

I was thinking that to get rid of that awkwardness I should start where I failed as a kid…

…and so I am looking for a geometry.


Questions stop existing because all become answers.

Somehow, the highest point was never a point to me, but more something like a moment, a circular constellation. 


about the artist:

Czech born and a world citizen, living and working in London since 2013. Marketa studied book-design in Ostrava in Czech Republic and fine arts in Clermont-Ferrand in France. She is currently working as a bookbinder, co-runs an independent non-profit gallery 139artspace and is developing her own and collaborative artistic projects.


Antoine Abel / Unmasked


Masks are a part of human culture and have been for centuries. Used for ritualistic and ceremonial practises, for transformation from mundane to the divine, for war and for pleasure.

Unmasked is the juxtaposed representations of the traditional and modern culture:

The African masks; rooted in folklore, sacred and a highly regarded craft, are opposing the Modern cultural and popular representation of Super Heroes today, which is strongly exploited commercially in profit driven industries. Particularly by the comics industry and by Hollywood.

This cultural clash and confrontation between African masks and modern Super Heroes masks is expressed through the five chainsaw carved sculptures. They are hand polished and stained with natural pigment.

African Hulk
African Captain America
African Batman
African Spiderman
African Ironman


Ronja Svaneborg // All and Nothing

Ronja Svaneborg (b. 1985) is a Danish visual artist who holds a degree from the Glasgow school of Art (UK) in Fine Art Photography.

She is currently living and working between Sibratsgfäll (AT) and Copenhagen (DK) and works with sculpture, installation and photography.

Nearlyness is a core element in her practice. She circles around the state in which you can almost grasp, are almost in control.

The frustration you experience when you can’t quite get hold of your consciousness or memory.

As in the time laps between you recognize a face and get it placed on a person.

A dream-like limbo, where you are conscious of a higher level of consciousness, but can’t reach it.

She draws on the fact that we always try to form a whole out of fragments.

That our minds attempt to fill gaps and form meaning; make sense.

Our uncontrollable urge to explain and quantify, but that we in each our subjective realities are alone with the meaning we find.


All and Nothing emphasizes the disturbance which is experienced, when you can’t quite see a photograph you are looking at, make it fall into place, decode it, reach understanding; end the contemplation.

And it insists on keeping the viewer in this position, as it finds it a constructive place to be.

In the attempt of reaching something concrete, we allow our minds to linger freely for a while.

Possibly something unexpected is found while we are scanning for connections and association, which can be brought along as we walk on, away from the exhibition space; positioned at the boundary between private and public space, street and gallery.

By passers are given a chance to experience an image that they cannot see, as they get a feeling for the intimate and private character of the motif; a freezing of a moment of great suspense right there in transition, in a moment where there is no one or other but all and nothing.

Gwenllian Spink // Murmuration

Gwenllian Spink (b. 1996, based in London) is currently in her second year studying BA Drawing at Camberwell College of Arts, UAL. A recipient of the Young Artist Scholarship, she has just returned from Japan where she learnt the traditional skill of Japanese woodblock printing with MI-LAB Artist-in-Residence, Tokyo. She has exhibited throughout the U.K, some recent exhibitions including My Big Fat Crypt Exhibition at St. Giles Crypt, London (2016), Y Lle Celf at the National Eisteddfod of Wales (2016), The Welsh Drawing Book Exhibition at Oriel Henry Thomas, Wales (2016) and We All Draw at the OXO Tower Wharf, London.


Murmuration investigates the relationship between materials and their pictorial properties, exploring the qualities of aluminium foil specifically. Regarded as a household material, I have taken it out of its stereotypical context and have been experimenting with transcending its materiality by focusing on surface and light.

The illuminated shape of Murmuration is inspired by the endless interweaving of the starlings before they disappear under the pier in my home town to roost at dusk. The title of this work is the term used to describe the billowing shapes created when starlings fly in unison, transforming the sky into an aerial dance. For this artwork I wanted to visually map their path between sea and land, between the sunset and stars of the night.

Bettina Fung // The space between the lines

A site specific drawing performance in two parts and exhibition through the month

Part 1: Technicolour (3 September 2016 12-8pm) focuses on creation out of nothingness. 

Part 2: Confetti (8 October 2016 6-9pm) approaches destruction as a form of creative act.



Bettina Fung | 馮允珊 utilises the act of drawing to focus on being.  Her drawings are created rather spontaneously without a preconceived trajectory. Her lines are like aimless wanderings traversing through the Unknown. They are “purposeless” like how the Taoist would describe nature, but spawn from deep within, where the act of drawing is as much a part of the work as the end result. Her performance drawings typically last between 4 - 6 hours non-stop.  This long durational practice resembles a meditation, allowing the perception of time to distort, the self to be in the present moment and a chance to trace the ineffable. 



Hong Kong born British Chinese artist Bettina Fung (Chinese name: 馮允珊 Fung Wan Shan) was originally trained in computer animation at Bournemouth University, she has since worked as a video editor and now dedicates herself with her artistic practice. 

Drawing is at the core of Bettina’s practice, which involves creating two dimensional, sequential, site specific and performance-based works, with lines playing an integral role. Her drawings are usually created without a plan, where encountering the unknown is part of her process. Bettina values the importance of permitting a space of not knowing, which in turn creates a space that enables undetermined possibilities to materialise.

Bettina is curious in areas of life that are deemed intangible, less defined and uncertain. Concepts of reality, themes of ritual, liminality, altered states of consciousness and transcendence are subjects of interest. Her work often takes on a performative element, where the act of drawing is as much part of the artwork as the end result.

Bettina has exhibited throughout London, South East England and abroad.

Twitter: @BettinaFWS

Instagram: @BettinaFWS


The space between the lines; photo Andre LL Media



Title: Panicact[7.11.14] / Performance drawing (Dur: 4 hours) / Performed at Modern Panic V Exhibition opening on 7 November 2014, Apiary Studios, London, UK. / Photography by Lefteris Savva.


Title: The Doghouse Jam #6 / Performance drawing (Dur: 4 hours) / Improvised drawing created in response to live music at The Doghouse Jam, a live art & music happening in July 2015 at Dog House Pub in Kennington, London, UK. / Photography by Andre LL Media.


Title: PLAY

Performance drawing (Dur: 19 hours) / Created at Toys (Are Us) Exhibition on 19-21 November 2015, The Crypt Gallery, London, UK. / Photography by Justin Fung.


Chris Davey / This is not an ad. You're welcome

By day I’m a digital graphic designer for an ad agency, and by night I sleep, digital meaning anything screen based, nothing print or can be posted through a letterbox, websites can’t be, would be a fortune in laptops. I think it’s healthy to have your own creative pursuits outside of work, for me that can be photography, flying my drone, time-lapse and when I can be bothered or have time to design for myself or others but can feel a busman’s holiday, and I like to think for the most part work satisfies my need to create.

I am very digital always comfortable inside my mac and wanted to try something that would get me over my great fear of scalpels and glue after a mis-hap at uni that took me years of therapy to get over. I’m not a crafty hands on designer, if born 20 years earlier when designers where real men and used cutting and sticking and lettraset would’ve done something completely different, not sure what, at school a computer recommended dog groomer. I answered the questions with famous musician in my head.

For this piece. The idea was to say something to people viewing the window that will alternate throughout the month.

A positive or light hearted message talking directly to passers by giving them a boost (not free chocolate sorry).

I Liked the idea of making something tangible and real not inside a machine. I knew I’d need to collaborate and use the skills and advice from others. I’m usually quite self contained and like that control of every piece myself and always editable and changeable by me as and when.

Print and art once done is done in a lot of cases. You can’t go in change the code of an object you spill glue or cut wrongly, ctrl-z won’t undo. It’s been a long time since I’ve printed anything and interesting how colours seem to really zing and print like you expect from on screen compared with 12 years ago where I started designing, my first job nightclub flyers in Essex. My boss there shot a fox from the office window, it was on a farm, you probably can’t shoot a gun in a town or city even to save chickens. 

I was inspired by a few things Brazilian designers I’m always a fan of Adhemas Batista, Nando Costa are my heroes. Japanese illustration art for the waves. Daft Punk’s pyramid concerts I saw in 2007. Psychedelia, Comic books I’d seen around Shoreditch. I designed something that worked for me and I’d enjoy looking at, enjoying that freedom without brief or client amending or changing what I did.


Stepan Rotrekl / Intergalactic dialogues

Energetic bunches and blowouts of joy

Stepán Rotrekl pushes ahead the drawing as an eminent free time activity which is motivated by a pure need for creative expression, without allegories or intricacies. Stepán just draws because he feels it this way. He doesn´t look for a style, a form or a commission, he doesn´t look for an audience.
Although he has tried different creative techniques; such as oil painting, drawing with crayons remains his prime focus, where he feels most natural. He uses a broad spectrum of vivid colours and the almost archetypal motives of cats arise in his drawings frequently. It is absolutely certain that Stepán has never thought that somebody could deal with his creations. So, we notice spontaneity and playfulness, shapes and objects, colored energetic bunches, which come out from Stepán himself, and completely casual phenomena which give us a possibility to glimpse into the nearly childish, spotless world.

(text by Magdaléna Hájková)

139: Do the characters in your drawings have personalities, do they reoccur in your drawings over the years and evolve, and do they talk to each other? Or are they all one off strangers, flickers of color with no particular porpous or meaning, perhaps little reflections of your mood but nothing else?

SR: It´s random expression of my actual mood, feelings and energy in my mind. It happens without plans and intention.

139: You mentioned that you have tried other materials however crayons stays your favorable tool of expression. What is the Appeal? 

SR: I tried oil painting few times but it was just an introduction to this technique and I´m not assured in this way of expression. But I want to experiment more in the future with different techniques. Opportunities like participating on exhibitions are big stimulation and challange for me to evolve.

139: This is your first exhibition; and abroad.

Sharing something so intimate and privet with a larger audience must have had a great impact in the way you view and relate to your work. 

What did you take from that? 

What are your plans for the future?

SR: It was unimaginable for me that my creations could be part of some exhibition and be presented to public audience. It was such a big deal for me. I had to create completely new format of drawing especially for this exhibiton.

But it was surprising experience and it was really nice. I met really nice and interesting people through the opening and it was great first time in London. Big thanks to 139 artspace and Markéta and Sergio. Luckily next invitation came soon and I took a part in project of experimental gallery NOD in Prague. I´m really happy that you „kick-started“ me in this and I hope that I will continue my creation in this way. I wish your gallery more and more achievements in the future and I appreciate your work.


Daniela Zuniga Arancibia / Falseness as a path to the truth: “It’s all in the eyes”.


About the artist:

Daniela Zuniga Arancibia was born in Valparaiso in Chile. After finishing her studies in Science, she moved to France and enrolled at ESACM Art School in Clermont-Ferrand. A year of international exchange in Italy and other travels have been a real influence in her work. Since 2015 she has lived in Marseille working in an art collective with 8 other artists. DZA’s work is usually concerned in the making of installations and sculptures but encompasses other media such as video, sound and performance. Working on the perpetuation of gestures as a binding process to the finitude of life, she approaches concepts such as incertitude and the multiplicity of reality, transforming them into a substrate to create aesthetic answers to questions from science and philosophy which stimulate her art practice. These unsettling questions haunt the artist, who tries to recreate new esoteric codes. Through totemic forces and forms, she attempts to exorcize these uncanny metaphysical queries. Baroque formal concepts are influences in the same way as classical concepts, and crisscross her work. The unity formed between perfection and imperfection, the sacred and the pagan guide her path.


Dimitri Antorka-Pieri / infinite narratives: optimism / end - times

Infinite narratives : Optimism / end-times

Mixed media, drawing


A site specific installation of drawing, light, reflections, and fragments presented all at once as Tralfamadorian literature might.

My self-published collection of drawings on themes of modern eschatology ; “Optimism / end-times” will also be previewed during the private view.

About the artist:

Living and born in London, Dimitri has been publicly making art since 2004, first in the comix scene as jimi gherkin then organising DIY art exhibitions and events, founding the artist’s collective Alternative Press and later self publishing poetry books with his given name. He has lead various workshops on zine-making and DIY screenprinting with organisations such as the Museum of Childhood, Demelza, Chapel Arts, Winchester School of Art, Harrow Carers, Usurp Gallery, Conway Hall, and Resonance FM.


139: The concrete jungle repeatedly depicted in your drawings in a very eerie, dark and apocalyptic manner, what is your relationship with the urban landscapes and living in the jungle?

DAP: I was born in camberwell, south east london and have always lived in surrounding areas of greater london. Urbanised areas. As a boy and young man I lived nearer to woodland and closer to Kent and always felt drawn towards the woods. i don't want to get too into talking about the city, or the "concrete jungle" too much. But I have had many dreams where I'm in a industrial area and am running away from something... The building type structures in my drawings I have taken to symbolise civilization more generally, which I think is going to go through some radical changes in the next fifty years or so. I do the drawing kind of automatically, then afterwards I relate it to my state of mind, things that are influencing me, what I am consuming, reading etc... I am trying to work from a non-anthropocentric perspective. I think a lot of art, a lot of writing is centred around the human experience, I'm trying to get away from that. the point of my recent work; optimism / end-times, is, I think that when the buildings fall, when civilisation falls and the numbers of humans - either over a long or short period - decrease, because of fuel crisis, war, poverty, climate crisis etc etc then that will be a big bonus for the rest of the nature. Ultimately urban landscapes are of not much interest to me , as what they relate is a human influence on the earth, viz: destruction. 

139: What significance does the creative practice and creative engagement hold in your existence?

DAP: My work patterns are sporadic, but when I am working , whether writing poems, drawing, painting, producing a book, I feel most complete. I feel that the work informs me. When I work I feel its a learning process. It's not always comfortable but I often feel I gain something internally from practicing my art. Sometimes though I think, "what's the point?" and I can't bring myself to do it. I'm thinking right now about how I can practice my art in a way that is practical and meaningful maybe in a political way. I haven't figured it out yet... 

139: What was your most surreal and vivid dream you had?

DAP: I feel this question is irrelevant generally, and dreams are highly personal reflections of our subconscious as well as images of our conscious minds. I have mentioned something on this subject relative to a previous question.


I'd like to recommend some reading which has informed my recent work; Endgame by Derrick Jensen, The Dark Mountain Manifesto, any of the films on , Petrosubjectivity - de-Industrialising our sense of self by Brett Bloom. 

Also, go to any local protests, join the mailing list of your local disabled activist group, do some research on the current political situation, don't have kids, think about what comes next...





Bruno Silva / From now until then, across the in-between.

And now, another route. This time diving between two points. Again an oblique movement, from up down and down up.

Time to sleep. Nobody work. Immersion!








Out of the Chunnel…

Time to open the eyes, take the bags, grab a coffee and search for good fish and chips.

Page de Route 7, Bruno Silva

From now until then, across the in-between, whiting powder (calcium carbonate), neon, lamp

Poem on the window:

The studio of the sculptor of my time by Sophia de Mello Breyner Andresen In Geografia, 1967

1. The Great Escape, digital print, glass.

2. Unnamed_0., blue paint, blue marbles, exhibition view from Mercato, Atelier SUMO, Lyon, Franc

3. A Lack of Brightness, spray, blue paper, exhibition view from Spotlightness, Flux Factory, New-York.

4. Unnamed_0., blue paint, blue marbles, exhibition view from Na Corda Bamba, Rua do Sol 172, Porto, Portugal.

5. Unnamed_0.1.2.1_1, HD video, 11’12’’, video :


about the artist

Born in 1986 in Vila Nova de Gaia, Portugal, Bruno Silva currently lives and works in Clermont-Ferrand, France. He is part of an artist collective space called Les Ateliers, where he shares a studio with 14 other artists. Some of his latest art experiences includes a residency in Residency Unlimited in New-York (2014), a residency in Studio36 in Spike Island in Bristol (2015), a solo exhibition in Rua do Sol 172 in Porto (2015) and most recently a collective exhibition in Flux Factory, New-York (2016) and a residency in Triangle Arts Association in New-York (2016).

Bruno works within different mediums including drawing, sculpture, painting, video and installation.

Working on movement, travel and displacements, he seeks to be adrift between mediums proposing different misappropriations to collected forms and ideas by giving them contemplative and allegoric approaches.

Rowan Corkill / The Seeker


Rowan Corkill / The Seeker

Rowan Corkill is a Scottish artist who has exhibited nationally and internationally with solo shows In the UK, Italy and Canada. He works within various artistic fields including sculpture, drawings, performance, photography, sound and taxidermy.

Corkill’s work is created from a deep ethnological fascination with various cultural, religious and occult beliefs, many of which are founded on a strong connection with nature. He uses his practice as a means to explore and examine endless belief systems, mythologies and ideologies created by mankind; questioning whether the modern world can learn from past ideas in order to regain our connection with nature and planet earth.


Do you feel more like a creator of new mythologies, or like an observer of “human and animal” behaviors and a philosopher?

Mankinds increasingly distant relationship to nature and other animals has always been the main observation of my work. As a species we hold ourselves with such high regards whilst disregarding the importance of everything else around us. With the population of humans increasing at such a high rate it is inevitable that other species will be effect by our presence on the planet. I use my practice as a means of acknowledging the importance of nature and other animals, whilst also emphasising the destructive behaviours of mankind.

Mythologies play a huge part in my work because they depict the relationship that mankind has had with nature over the centuries and how much that has changed with time. It shows us the powerful significance that nature has had on the evolution of mankind and the respect that we once had for it. My works tend to have a strong mythological presence because it elevates the subject beyond the norms of the everyday. It gives it a presence and importance that it already has, but can sometimes be hard to see. My work tends to draw from many mythologies which amalgamate together. I wouldn’t necessarily say that they become a new mythology since many have the same core ideas of respecting and worshiping nature.

You embrace nature and celebrate life in all its glory as well as death and distruction. Is this the process in which you seek your own spiritual and urban equilibrium?

Like a lot of people, I find myself with constant ‘Modern Guilt’, whilst I am aware of the destructive tendencies of mankind I can’t help but find myself being part of it, especially living in a huge city like London. Through my work I am able to have a voice on these issues and hopefully make other think a bit more about their own relationships with the world around them. I think this can be very hard when you live in a city because you tend to become completely oblivious to the natural world around you which is increasingly disappearing under concrete. I think my work is really about atonement, the idea of making amends and acknowledging our failures to the planet. It is about worshiping the Earth that created us and having harmony with our surroundings. It is important for me to be at one with nature and to have a connection which I feel I can have through my work.

When did the fascination with diverse religions and symbolism captured your imagination? And do you come from a religious background?

It all started about five years ago when I came across a book on African art, learning about African cultures and beliefs completely opened my eyes to the fascinating world of ethnography. I soon started researching different cultures, religions and occult practices which all had fascinating ideas as well as incredible costumes and ceremonial objects. I love the symbolic references that religions and cultures apply to animals and other materials in nature. This lead me to start appreciating materials in a whole new way. The symbolic meanings in the materials I use add another dimension to the work and over time it has become the forefront of my practice.

I do not come from a religious background at all. I am incredibly lucky to have great parents who have always encouraged me to follow my own paths and beliefs.

Do you have your own studio and facilities and how do you overcome technical dilemmas in order to achieve perfect aesthetics in your work?

Technical dilemmas usual occur at the last moment just before exhibition installations. You can have work sitting in the studio for months with no issues, then as soon as you take it out of that space things start to go wrong. I find the best way to deal with this is to have a minute of rage (heavy cursing) then once it’s out of your system you can start to think logically about the situation. I always expect things to go wrong so when they do it’s not as stressful.

I have had a studio at Arthub in Deptford for two years now. Arthub has a number of facilities over their three sites allowing artists to work in ceramics, printing, wood work and photography.

Did collaboration with 139 Artspace bring anything new to your art.

Collaborating with 139 gave me the motivation to complete the piece on show.

I started the work 3 years ago but after moving studio the work was damaged and I lost the motivation to complete it a second time. I knew that the piece would work perfectly in the 139 space which motivated me to finally finish it.

Showing in a window space allowed my work to be seen by a much wider audience. People who would not usually visit a gallery were able to stop for a moment to view my art which was really nice.

Vianney Clausse / Everybody needs the sun


Dear Friends,

Happy New Year to you all! We're excited that our first exhibition of Art this year will be Vianney Clausse. You can see more of their work here. Please come along on 16th January to celebrate with us.

Also, follow this blog for an interview soon.

Love all round.

139 Team



About the Artist I am a 27 years old french multidisciplinary artist working mainly with the clay material in both visual art and craft fields. (If any borders would be traced).

Essentially based on a 7 years learning process of chinese calligraphy from my early adolescence, my aestheticism followed then its footsteps by developing an abstract language with personal experiences and more largely Western societies codes.

Gradually structured on several mediums according to uneven financial possibilities, this language intuitively built to get its final complexity, turned to be very busy.

Really recently, thanks to several travels in Mexico and South America and helped by the clay's work, I started to colour more and more intensively my artworks, while missing so much the daily light along my Winter's times in Quebec.

This artwork is one of my answer to this recent life's experience, capitalizing as well, the artist's insecurity with the use of humble materials originally dedicated for kids.

By extension, I hope it highlights the benefit of networking and bring people closer, because this work has been visually very inspired by drawing with a friend, artist and mainly cabinet-maker.



Aki Moriuchi / Off the Beaten Path


You are talking about the notion of time, growing, imperfection,  fluidity.  Do those aspects come from your close relationship with Native Americans?

I can only say that my attitude towards life and thought widened after I got to know about a certain Native American world.   Though it happened unexpectedly, I learned many things by travelling on their lands with the help of Native American friends, and on my own. I also learned from their everyday life, by sitting at the kitchen table, eating together and so on.  One time I set myself a personal project and wrote out interviews with more than 30 Native American people, some famous, some not and of all ages from different reservations. I compiled these as Collecting  Voices .   All the experiences helped me think and see things from a different perspective than before.

Can you please expand on the process of layering which would appear to be present in both your ceramics and painting practice?

For ceramics, I created layers of surface by the repeated process of multi-glazing, multi-firing with sandblasting between and after firings – sometimes as many as 5-6 times.  While I developed the technique and though my work is in a much tinier scale in comparison, I realised it mirrored Nature’s process of weathering that I took special notice of in my travels.  Fragile, yet surviving to show its strata after a long period of time, weathered surfaces on rocks and stones always attracted me.

Later, when I started painting, I was a blank canvas myself, and intended to be free from any preconceived ideas or even from any of my previous experience in ceramics.   It took some time before I realised that I was layering paints over and over again, often scraping off, sanding off and applying another paints on top of already applied layers.  The process usually looks like nothing

but messy trial and error, until I come to the moment of  ‘this may be it! ‘ (Only if it comes!!)

The final surface may bury almost all that’s underneath, however, through uneven paints or scoured surfaces, sometimes revealing history.

Layers to me, means passage of time.

What does “landscape” mean to you?

Landscape to me is not only the one you can simply see, but rather a spatial extent in mind.

This concept came after my own experience of walking and driving through

huge tracts of lands over the years, when I visited remote historical sites as well as

natural wilderness.   It is not vacant.   Landscape gives me a sense of belonging to a certain

space and connection with people of past and present.

I also hope my landscape will connect to your own landscape.  Everybody should have their own internal landscape.

Did  collaboration with 139 Artspace bring anything new to your art?

It was such a great and refreshing experience - different from any other exhibitions I have ever participated in!

Planning to install the works was hard to imagine in my studio until the very last minute of  bringing the pieces  in, but once I was in the 139 window, I found myself enjoying doing it.  When I finished and looked at the window from outside in an early December dusk, my window installation of  ‘PATH OF MY OWN TIME AND SPACE’  also reflected  houses across the road.  All became one image.   It was surreal.  Most of my pieces were inspired by landscapes far from England, (I have devoted feelings to each place), but the London landscape fit in perfectly.  Gaps of time and space were gone.  It was a magical moment.

What is my art?  I often wonder.  What do I want to do with art?

If an artist sells lots of work, does it mean it is good art or she or he is a good artist?

There might be different answers to the questions, and I am not arguing here.  However, I would like to believe my art is not merely a commodity.   While I was in the middle of installing, two passing men stopped and gestured thumbs up to show that they liked it.  We smiled at each other.

I loved that moment.

I was searching for somebody who could speak the same  ‘ART LANGUAGE’ with me , and

I found them at 139 Atspace .

Thank you!

(Copyright by Aki Moriuchi)




The works shown here are fragments of memories and findings, of my personal journey through landscapes, both urban and in Nature.

Each piece is unbound but collaged to connect together to give a sense of freedom and openness as a whole.  They are incomplete, growing, imperfect, fluid…much like life itself.

(Installation with loose and stretched canvas, paper, found object -mixed media with oil, pigments, marble dust, sand, plaster, oil bar, charcoal and others)


About the artist

Born in Tokyo, Japan, Aki Moriuchi came to London via Siberia in the 1970’s travelling around Europe before reaching the U.K.  It included a short stay in both East and West Germany, during which time the Berlin Wall still existed.  She has lived in the U.K. since then.

She started her career in 1992 as a potter/ceramicist after completing two ceramic courses in London.  She was selected in 1993 as a Fellow of the Craft Potters Association of Britain (CPA) and a full member of Contemporary Applied Arts (CAA).

Her ceramics were distinctively recognisable by their weathered surfaces resembling old stones and rock formations.  They are in many public and private collections in the U.K. and worldwide including Victoria and Albert Museum, London.

Having developed a strong interest in Native American life around 1995, she attended the MA Native American Studies in 1998 and 1999 at the University of Essex.  She travelled extensively around Native American reservations and the surrounding areas in the USA and Canada over two decades, visiting numerous historically significant sites, many of which are located in remote areas away from ordinary tourist routes.

Her perception of time, space and Nature which had inherently been there as a Japanese, was further reinforced by developing a relationship with the Native American people and landscapes, and continues to inspire her work to this day.

In 2003, she moved from London to Cornwall but returned to London 4 years later, boldly ending her long established ceramic career which was still flourishing at the time.

Changing media from clay to paint happened unexpectedly, but she is finding that paint, like clay, can create certain surfaces and textures, similarly tactile in both works.

They all reflect the slow but gradual passage of time.

She currently works in a studio in Hackney Wick, and also helps as a volunteer in an art class in North London for people with disabilities.


stanislav geissler


Your work is an array of craftsmanship and material, ceramic, glass, painting, sculpture..etc

How important are these materials and skills to your art and why have you chosen them? 

I didn't choose these materials, they choose me. I am just a skilled person avidly creating meanings. The things I am creating appeared in some forms, some time with new skill I have to learn. Now I am learning to control porcelain, which I find very tricky, I said control, but to understand and have full awareness in the conversation with the material. Many times the material doesn't work, so I must put the project on the second line till the right material appears. 

You have a very celestial, dimensional, spiritual and philosophical approach to your work, infused with colour and symbolism, it would appear that every piece is a cosmos and a journey in itself. 

How do you embark on these journeys? 

I say "the first person who look at the stars and said to himself I will create an astrology " @ would I be the person, to look at the stars and said ; hmm-there's a connection between the stars and people ; and from this time to this time, they are influenced by Mars and Saturn. And you can believe it or not. What is symbol for happiness.... For me is probably the colours. Now time zero, give me quickly a symbol for good, and don't....... 

Do you leave encoded secrets and symbols in your work that are personal to you? 

Created a symbols which everyone understand the symbol which take you to the present reality of good and happiness. It is a strong believe that my work is the sender and receiver of positive energy, its can take you to the beautiful places and harmony between people. 

What was the most difficult journey you have encountered? 

Decide what I really want to be and believe me it was long way, just to put down the barrier to open myself that this is who I am sending and receiving positive energy through my art and like to think about harmony and peace. 

What was the most enlightening journey you have encountered? 

This story, Reborn has so many chapters to come to this point, when I touch the thought that I dont know what I am doing or why I am do in it. But in reality I know what I am doing I am creating appearances and listening the story. Now I am learning to tell the story and that is continues journey.

Does the cooperation with 139 artspace bring anything new to your art? 

My dream come true, I brushed the idea just a little bit that the Gratitude and Reborn will be seen like that in the window with such a interesting appearance, I love it, I come to set it up, everything fall in to places and that what I love, I am just a skilled man who putting appearances together.

139 artspace was sent to me, because I asked for it, and lovely people in the 139 artspace ask similar things, so those two stars from the universe become one for some time. So there has to be flash of light, energy and if we send positive energy we will receive positive energy. It is continuity of the story I am living in.

Cheers Stan



Porcelain angel, pregnant porcelain angel, pregnant porcelain angel with stained glass wings,

An angel come to tell us the good news, that all what is happening now around, is good for our population and all civilisation. It is a big test for who we are and what we really want. What is life about, is it; the hunt after new NOKIA, oh now I was sleeping for 10 years. Life is hunting after new I p. But why not, I jump out of the Shinkansen which is call life! I didn’t have to buy a ticket for the Shinkansen ”I got it for free at the very first station”, “I don’t remember who give it to me”. I should remember the name of the station, it was something like B, was it b b b b, o o o o O, r R r, oh sure it was BORN. (You know just between us, they fucking didn’t tell me that I need a helmet and a baseball pad on a daily basis). IMAGE any kind of image is a distraction! Distraction produced by image can occupy any mind from a single second to the duration of a life time. Life time is an unspecific duration of time, human time. My human time is now 38 years; 7 months;  3 weeks; 1 day; 0 hours and 24 minutes, don’t talk about seconds because that is changing faster than I am capable to write. In a minute or two I am going to experience new experience in my life, I will still write this article!

Thanks to god that I jump out of the Shinkansen I realize that I don’t need a helmet and a baseball pad, that everything is simpler that is looks like.

And that what is about Reborn!

I dedicated my work to several people or writers if you like,

The Power Is Within You   Book by Louise Hay

Think and Grow Rich  Book by Napoleon Hill

The Four Agreements  Book by Don Miguel Ruiz

The Secret  Book by Rhonda Byrne

The Science of Getting Rich  Book by Wallace D. Wattles

Without planning, just by asking a question about life, I started to receive those books in this exact order. I get mental help from Louise Hay, it was so hard to open myself to my parents, and let it go all the bet memories, which was strangling me. Napoleon Hill teaches me how to apply the power inside which I learn from Louise Hay in world of business, I didn’t understand why I am not happy, why is so hard for me to achieve in the business world, I had success but I could feel the straggle. By asking a question why? And Don Miguel Ruiz appeared with his Four Agreements;

  • Be Impeccable With Your Word.
  • Don't Take Anything Personally.
  • Don't Make Assumptions.
  • Always Do Your Best.

I didn’t need to meditate on the four agreements for too long, to clarify my little blocks which unconsciously ware in my head. I took the Secret, at first I discover that Rhonda Byre talking about the same thinks I already knew, but by meditation on the secret I open myself little bit more, its took quite some time, even it was there in front of me all the time, if I am not going to do what I really love to do I am not going to be happy.

I didn’t tell you, but I had desirous to meet with the thinks which doing all the stuff, which I was absolutely sure that there is something which give you all you want, by receiving in my life; how, who. I spend too much time on the case, nothing; I was in search again I wanted to find if there is a little more, some more simple explanation. You no going to guest what, Rhonda has the answer again and it was in there all the time. Gratitude if you want know more about gratitude read the book from Wallace D. Wattles.

So here I am and reading The Science of Getting Rich, reading and reading, meditating on it, going to the places meeting with the unseen every day and having long discussions or just imagination of beauty and piece. I learn that the person or things I was chasing it was I; that we are the creators. To get in to situations, with willing, and losing the opportunity, by being ungrateful, ignorant or careless. To wake up in the morning and feel that this is a life you are living and that you are in charge of your life with the first second you open your eye.

I reborn and I’m thankful to my step mums Louise Hay and Rhonda Byrne, and step dads Napoleon Hill, Don Miguel Ruiz and Wallace D. Wattles, who give me hope and believe that life is beautiful and can be even more marvels for everyone. Also I learn that my parents did they best and up to their highest knowledge and I have to say bless them with the knowledge of life I have, and I know nothing jet.

Reborn is about a new dream, to relive the light inside and believe that there is enough light for everyone.

Stanislav Geissler

dani tagen


Can you talk about the importance of electrical plugs and about the gilding process?

I am interested in the way we neglect plugs – generally. We tend to hide them behind doors, cupboards, TV racks, computer desks…we even place the sockets as near to the floor as possible to avoid looking at them. There is no socket or plug fashion, design labels or trend for them. 

Nowadays, plugs are like the air we breathe; they are necessary to keep our contemporary lives going. 

The gilding process was a tricky one. When I had the idea I never imagined it would take me two years to make it. I had to learn how to gild on plastic! Not that I knew how to god before but the problem was that every thing I found about gilding was for traditional materials. So I had to develop my own process. I had to find the right glue (size) and the right time to leave it drying out,; then the right plug shape and the right plug plastic itself as all these affected the gilding. 

What does “site specific” mean to you?

I was trained as a photographer and even though I don’t use photography as my main media the photographer’s eye is ingrained in the way I see the world. Like any photographer, I am interested in the everyday life and what I find appealing is usually taken for granted. I always try to see something new about an object, a situation, and a place… how things are never quite as they seem. I look for the “behind the scenes”- how something is made or where it comes from, how a habit evolved or even if it is the same everywhere in the world. So site-specific for me is like taking that picture from a very ordinary place but that no one else saw that angle before. Generally speaking, I believe there are things that we see, there are others we don’t and there are things that become invisible to us. So I try to change the ordinary context of the place.

Why are you drawing with tape?

Materials are very important in my artwork. Nothing I use to make art was just there. Everything has a reason. It has to make sense at least in my head.

I like to know that the tape is a very ordinary thing that we all have at home, just like plugs and it also allows me to simply peel it off once the installation period is finished. I could talk about why I use the tape for hours...there are so many layers of interpretation.

Can your work be described as a contemporary pop art?

I never thought this way, it’s hard to put labels but certainly it has a a lot conceptual art and if people think it’s pop art, I don’t mind. It's a compliment, I guess.

Does the cooperation with 139 artspace bring anything new into the project? 

Certainly, it was the first time I made the installation in a place where people are not searching for the wi-fi connection. I usually make it in very public places with free wi-fi so I was a bit concerned that the meaning would still be there. Also, its location is great for the piece as lots of people pass in front of it; people that not necessarily are looking for art.

I think it’s quite easy to talk to art lovers, the trick is to reach the ones that wouldn’t be going to an art show. These people are very important to me. So, if the passengers on the buses passing by have a quick glance at the work and then spend a couple of seconds intrigued by what they are seeing, I'm super happy. London needs more places like 139artspace!

Dani Tagen is a contemporary artist interested in the everyday-life. She works in various medium including installations, prints, performance and site-specific. She holds a Master in Contemporary Art and Teaching from Goldsmiths University London. She was awarded the CAPES scholarship from the Brazilian Ministry of Education to study photography at City of Westminster College, London.

She lives and works in London.



For few days our home, studio garden were transformed into a gallery space where the 139 artspace residents displayed their personal work.
drawing / sculpture / mark-making / sound
Orli Ivanov / Dimitri Antorka-Pieri / Markéta Šenkyříková / Dub Silver
 19th - 21st July 2015


Markéta Šenkyříková, gardenwaltz (invasion)

Markéta Šenkyříková, gardenwaltz (invasion), 2014 - 2015, mixed media

gardenwaltz (invasion) is part of a larger project gardenwaltz

which is about humidity, roots, sprouting, connecting, imagining, lights and shadows, excitement, silent steps, wildness, seeing better with eyes closed ...