Enzo Marra is principally a painter of artworks that relate to the artworld. How it can be seen from the insiders and the outsiders point of view, the processes and activities that occur behind the privacy of studio doors, the hanging and display of works animated by the commodified space of the gallery, the milling of observers in gallery spaces, the way that their presence then gives life and purpose to the works on display.
Johan Bonnefay inspired by the subject of the festival Deptford X Fringe “Stop making sense”, artist-painter Johan Bonnefoy has created a new series, which is both de-contextualised (created from pictures, Google Maps and photographs) and site specific (in that the location of the display corresponds to the subject of the paintings).
Marketa’s practise is closely linked to her personal life. There are no boundaries between the artist and the viewer. Through drawing, painting and bookmaking she is sharing her internal experiences in work that has the intimacy of a personal diary.
Currently she is exploring the subject of motherhood, mother-artist and female energy. The body’s transformation, experienced as transition – from girl to woman, daughter to mother – is a central them in the work.
Marketa Šenkyřík 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.
Catherine Long is a visual artist with a background in contemporary dance. She holds a PhD on feminist video art awarded by Chelsea College of Arts, University of the Arts London. Her work uses video, dance, mark-making, clay and textiles to explore the materiality of the body from a feminist perspective. This interest in corporeality extends to the qualities of materials and how movement and gesture interact with them. She is the co-founder of Practice in Dialogue and has curated and exhibited in In Whose Eyes? at Beaconsfield (2018), We all have a problem with representation at The Showroom (2016) and Feminist Practices in Dialogue at the ICA (2015). Catherine lives and works in London.
Rotator Cuff is a meditation on muscular systems that is grounded in activity: the coppicing of wood, the handwashing, carding and spinning of sheep fleece into woollen yarn, the weaving around and through stabilising structures and the hand moulding of clay feet. Rotator Cuff reflects on the planes and relationships of muscles and their composition of fibres, tissue, veins and nerves, their relationship to tendons and ligaments and the skeletal systems that support their structure. The work will age throughout the course of the exhibition as the wooden skeleton dries out and the clay feet shrink, crack and destabilise leading to the increasing sag of the woven tissues.
In this installation artist is using an adhesive transparent
packing tape as main material of this fragile yet sturdy
structures. With his peculiar process of making this tubes,
spinning tape using spiral juncture, artist look like he is
mimicking actions of an insect. Length of each tube depends
of artist concentration. Since their delicate physical component,
tubes are mobiles, moving in response to air currents.
“You are leaving me without tape” said one salesperson selling
their last stock of adhesive transparent tape to an artist.
Zlatan Hadžifejzović (1992.)
Is Bosnian and Herzegovinian
artist. Graduated within a MA in Sculpture from the Academy of
Fine Arts Sarajevo. Zlatan works with different range of
mediums including sculpture, collage, installation, performance,
video and sound. He lives and works in London.
The geomorphs are hand-printed sculptures that mimic the 3D printing technique using industrial silicone. The shape is not given in advance but is deeply linked with the process, consisting of a succession of silicone layers, each one drawn on top of the other. Thereby the sculpture has been growing, almost like a plant or a fungus.
The project is turning the transcendental and mechanical process of 3d printing into an immanent and emergent phenomenon that makes the sculptures almost look like natural.
Born on 29/02/1988, live and works in Paris.
My proposals are constructed as scientific experiments, with the difference that the result has nothing to prove, but rather seeks to show and explore a new form or possibility of evolution.
My work summons natural and artificial phenomenons, reusing and diverting the principles they implement.
I use forgery to stimulate the viewer’s intuition of reality, disturbing his or her expectations and perceptions.
I try to make “good fake”, meaning a fake that is exposing itself without lies, tricking people but never for too long, just triggering that brief moment when one begin to imagine a different possibility.