Home About Us Artist-members A.P.T Gallery Education & Projects Studio Space

A.P.T encourages participation in the
visual arts through creative practice,
exhibitions and education
 

A.P.T Gallery

↓ 

Selected Exhibition Programme

Current Exhibition

Future Exhibitions

Gallery Plan & Images

Next Selection Meeting

A.P.T Curatorial
Fellowship


A.P.T Projects
An education programme which enables artists to develop their artistic practice and release their potential

↓ 

CREEKSIDE OPEN

A.P.T Artist-members Programme | Open Studios


Past Exhibitions 2016

Past Exhibitions 2015

Past Exhibitions 2014

 

 

Past Exhibitions   2015

PASSAGE OF TIME
Fritz Duffy | Iain Herdman | Maya Ramsay

29 January to 22 February 2015

The works in Passage of Time will include surfaces lifted from the derelict buildings of Bletchley Park and the walls of Jimi Hendrix’s London home.

‘Everywhere we go, all around us, are traces of the past. As we hurry by, intent upon some task, we usually overlook these traces. However, there is a hidden beauty to be found inscribed on the surface of humble things, things that we might not consider looking at with an aesthetic eye: old walls, crumbling plaster, stains, crusts of dirt, discarded packaging materials.
It is from these marginalised sources that Fritz Duffy, Iain Herdman and Maya Ramsay make their art. And the result is something transformative. Once we have seen their art we return to the everyday world more aware of the visual beauty around us, more conscious of the traces of time on everything that surrounds us and, indeed, on ourselves..
 All three artists cross boundaries between the found and the made, between the past and the present, between fragility and permanence. They occupy an indeterminate region between decay and regeneration, ugliness and beauty, the discarded and the cherished.
Combined together, in this exhibition, they resonate with each other, creating a profound contemplative experience, a kind of visual music, a ghost trio, whose resonances haunt us long after we have left the gallery.’

Copyright Colin Pink


 

To Fill A Void

Caroline Corbasson | Anthony Faroux | Kasper Pincis | Andy Wicks

27 February to 15 March 2015

This exhibition brings together four quite different artists to explore one of the seemingly simplest of concepts, that of filling the void. It is a basic enough idea that it can be approached in a variety of ways, seriously or playfully, from childishly colouring in letters, filling the void of the blank page or canvas, to filling an emotional void with some obsessive activity, or filling the space of the gallery itself. The title and concept were partly inspired by the writer Georges Perec’s playful inhabitation of the page, and his novel A Void written entirely without the letter ‘e’.

To Fill A Void

ACE logo

 

STRANGE ATTRACTION Curated by Emily Purser

Vanessa Mitter | Lana Locke | Eleanor Moreton | Andrew Mania | Lady Lucy | Hannah Campion

20 March to 5 April 2015

Dear A, I’m attracted to you, and I don’t know why.
            Shall we be friends?

Artworks can write letters too, inasmuch as they reach out, make lines of contact with other artists, and forge an aesthetic of correspondence. In Strange Attraction, a group exhibition of six artists working in a variety of mediums, curated by Emily Purser, that correspondence is curated and archived, as the works speak to one another through their shared preoccupations. Sometimes the works’ closeness can be found in the processes in which they have been made, or the materials that have been manipulated, and sometimes it is found in the works’ ideas, its postscripts and its messages.

Many of the artists gathered here are interested in biography, not as a mapped out narrative, but as an affective pool: a script to be rewritten and performed, as pliable as paper. And even when the life is not visible in the works’ imagery, it exists in the frenetic states of matter and experience that the work has endured.

The abject body is a marginal unclean thing, potentially transgressive in its borderline subversiveness. In Lana Locke’s work, the sculptor references this body, but fragments it, creating sculptural installations that suggest, or indeed perform, a loose and perverse corporeality. Heads float. Limbs are scattered about like twigs on the ground. Bloody sheets fall from flowers on plinths.

This mode of identity performance is similarly found in Lady Lucy’s paintings, which draw on documentary and interview research, to create portraits of layered and collaged material, often incorporating art historical gestures and tropes. Defiantly appropriated, the self is rendered a composite artificial object. 

Andrew Mania makes art akin to the obsessive habits of a collector, transcribing people and objects. In his work, the autobiographical is recast in small, coloured pencil drawings, and even smaller paintings: a public re-reading of the intimate. The blue eyes of a young boy gaze out from the canvas, affective and abject: it is a look of innocence, melancholy, desire and love.

In Vanessa Mitter’s paintings, the personal is also treated as a pliant material, a source of affect and investigation, but also of fiction and performance. Collage, paint and pigment find a way on to the canvas in ephemeral expressive gestures. There is an abject narrative at play – of lost childhood and drifting brides – but it is a narrative that wanders in and around the artifice of the material.

In Hannah Campion’s work, painting is made into a happening, and then an installation, as her worked on canvases are then reworked into ambiguous three-dimensional forms, which are strewn on the floor or pinned to the wall. The paper or canvas undergoes all kind of processes: it is crushed, trampled, nailed, repaired, collaged. It is an active, performative mode of painting, which is also a site-specific response to the surrounding space.

Eleanor Moreton is similarly interested in painting as performance. In her work, narrative is not so much read as experienced. She provides the protagonist and the prop, often drawing on her own personal histories; but with the medium and its application (part abstract, part figurative), comes an ambiguous appropriation of the primary material. As in the work of the other five artists, the raw is remoulded as an artistic event.

In Strange Attraction, the viewer will find six distinct but correspondent practices, whereby narratives relating to the bodily and the biographical are re-made in painting, sculpture and installation. In these intimate objects, the personal evades our grasp when the performance takes over.

 

'A SORE HEAD' ROBERT WELCH
Book publication and exhibition
16 to 19 April 2015



 

GIANT INK DRAWINGS  |  Emyr Williams
23 to 26 April 2015 | Open 12noon to 5pm
Artist’s Talk  |  Friday 24 April |  6.45pm to 7.15pm to coincide with SLAM Last Fridays

These drawings are made with a shellac based Indian ink - a beautiful but
unforgiving medium. They have an 'on-off' approach; either it's  black
ink or white paper. I have avoided atmospheric washes. Although I see
the drawings as autonomous works, they have enabled me to look at wider
issues such as weighting, contrast and spatial relationships - not
forgetting surprise and discovery too, as nothing is planned out.

I use certain marks or phrases almost as characters which I take on
journeys that build into larger areas. I have to deal with the challenge
of the transition from one section to another as the drawing takes shape.
With time, the possibilities for these characters reveal themselves to me,
and a fresh impetus to explore their potential further, is created.

 
 
 

CREEKSIDE OPEN 2015   |  A.P.T Gallery

A.P.T’s two CREEKSIDE OPEN exhibitions are a snapshot of the breadth and diversity of contemporary visual art in the UK today. Lisa Milroy and Richard Deacon have independently selected recent work by 113 artists from one anonymous submission for two shows which will be held at the A.P.T Gallery, Deptford in May and June 2015.

A.P.T set up the CREEKSIDE OPEN in 2005 and over the past ten years it has become one of the UK's foremost open competitions for visual artists.

creeksideopen.org

CREEKSIDE OPEN 2015 selected by Richard Deacon
11 June to 5 July 2015  |  Exhibition open Thursday to Sunday from 12noon to 5pm

Dominic Beattie   |  Flora Bowden  |  Jessie Brennan  |  Daryl Brown  |  Malina Busch  |  John Butterworth  |  Joe Carcary  |  Alex Chalmers  |  Louisa Chambers  |  Nicholas Cobb  |  Fergus Cooper  |  Tim Coppard  |  Will Cruickshank  |  Tori Day  |  Benjamin Doherty  |   Terry Dynes  |  Archie Franks  |  Tricia Gillman  |  Robert H Hitzeman  |  Sam Hodge  |  Geoff Hodgson  |  Jane Hoodless  |  Elizabeth Jardine  |  Toby Jury Morgan  |  Aileen Kelly  |  Danielle Knight  |  Leo Koivistoinen  |  Mel Lloyd  |  Paula MacArthur  |  Enzo Marra  |  Scott Massey  |  Patrick Mifsud  |  Matt Morris  |  Ben Jack Nash  |  Martynas Noreika  |  Suzanne O'Haire  |  Amy Owen  |  Clare Palmier  |  Mark Parkinson  |  Richard Proctor  |  Sam Pullen  |  Julia Russell  |  Kate Russo  |  Angus Sanders-Dunnachie  |  Eleanor Sparrow  |  Christine Stark  |  Andrew Taylor  |  David Theobald  |  Pandora Vaughan  |  Max Wade  |  John Wallbank  |  Nicola Wallis  |  Grant Watson  |  Matthew Webber  |  Nicole Weisz  |  Teresa Wells  |  Sara Willett  |  Emyr Williams  |  Jonathan Wright  |   Stephen Wright 

> Richard Deacon's Selected Works

> Lisa Milroy's Selected Works

Richard Deacon

Exhibition

 

BEACHCOMBER

An exhibition of paintings by Cuillin Bantock

10 to Sunday 12 July 2015 

In July we will be showing work by Cuillin Bantock who has been a trustee of A.P.T since the charity was set up twenty years ago.  The exhibition, entitled BEACHCOMBER, celebrates Cuillin’s 80th birthday and includes his paintings from 1995 to the present day.

 “A beachcomber walks along the shore, alert, not sure what he's looking for, but knowing when he's found something worth hanging on to. I spent most of my childhood doing just this (and even started a wartime museum of 'finds'). For me, making a painting involves precisely the same process."  Cuillin Bantock, 2015

 

SCHICHTWECHSEL

Flyer for Schichtwechsel exhibition

Fiona Grady  |  Hannah Luxton  |  Brigitte Parusel  |  Zoe Schoenherr  | Cecily Tattersall

16 to 19 July 2015 

Schichtwechsel is the next plateau in a progression of investigative, exploratory approaches negotiating space.  Stimulated from the success of the group’s inaugural, experimental exhibition Again From Here in December 2014, five artists present methods of translating their internal perceptions of space into the three dimensional realm using repetition.  In Schichtwechsel, which can be interpreted as a change of layers, the artists deconstruct this shared interest to identify where their overlapping thoughts, methods and understanding start to separate into different territories.

At A.P.T Gallery the artists present newly developed works amongst established pieces.  By inhabiting a new environment, existing processes are tested and site responsive works can be pushed to new limits in the large space.  Together the artists explore the emergence of form in their abstracted realities using a visual language created by the rhythm of repetition.  These interpretations have the ability to transcend their physical location and suggest a place beyond what is present, closer to the origins of their conception.

Brigitte Parusel’s sculptures begin as circular lines that, on mass, form a pattern offering seemingly limitless structural possibilities.  When folded, they break the invisible boundary into physical space, with the potential to expand from sculpture into architecture.  A series of movement diagrams by Zoe Schoenherr depict the body travelling around a pole.  The repeated line reinforces and redefines the area of activity where a movement or gesture becomes ingrained into memory. Fiona Grady’s site specific wall drawings activate the environments they inhabit through a developed visual grammar.  Responding to the character and features of their environment, they mimic the structure, light and ambiance of the space.  Cecily Tattersall investigates how single layer images can tether space into new forms, and energises environments with her drawings and paintings through their confidence and physical presence.  Hannah Luxton situates the self within the void instead of a position of observation.  Embracing the Eastern principle that infinity is a positive space full of energy and light, she communicates depth and activates imagination through texture and lines, whilst exploiting the paradox of perspective and the immediacy of the painted surface.

www.againfromhere.co.uk

installation image

installation view

installation view

 

CONSTRUCTION INDUSTRY: Contemporary Assemblage, Construction & Relief
Curated by Geoff Rigden

13 August  to 6 September 2015  |  Open Thursday to Sunday from 12noon to 5pm

PANEL DISCUSSION | Sunday 23 August 2015

Artists from the show will be present to discuss their work with Mark Hudson, chief art critic at The Daily Telegraph and author of the book 'Titan, the Last Days'. Also present will be writer / poet John Cornall, a long time collaborator of Geoff Rigden

2.30 to 3pm | Welcome and Refreshments
3 to 4pm | Discussion
4 to 4.30pm | Questions from the Audience

Exhibiting artists  |  Willard Boepple, Stephen Cooper, John Gibbons, Charles Hewlings, Stephen Jaques, Barrington Joseph, Stephen Lewis, John McLean, Geoff Mowlam, Stassinos Paraskos, Brigitte Parusel, Geoff Rigden, Norman Toynton, Lee Tribe, Sheila Vollmer

Following in the tradition – and it may be described as such by now – this exhibition of three dimensional CONSTRUCTED work (as distinct from carving and modelling) represents 15 contemporary artists whose practices, in essence, derive from the tenets of an avant-garde genre which originated a century ago.

It began with Picasso’s mixed-media cubist reliefs, a logical extension of the collages he had developed alongside Braque, of which the Tate’s “Still Life” 1914 (painted wood and upholstery fringe) is a prime example and judged by sculptor William Tucker as the masterpiece of that ground breaking phase.  In 1928 he entered into another milestone collaboration with Julio Gonzalez to produce his first welded iron sculptures: “Construction in Wire” 1928/9 and “Woman in Garden” 1929/30 amongst them, which would cause:  “.....the surprising....rapid and widespread influence over sculptors looking for new methods of expression.....in fact the origin of the modern conception in sculpture that is built in space rather than modelled”.  So reflected friend and biographer Roland Penrose in 1967 in his introduction to MOMA’s (NY) exhibition: “The Sculpture of Picasso”.

That same year (1967) Anthony Caro who had been constructing in steel for several years exhibited “Prairie”, a floor based sculpture which, if ever a sculpture defined the term “built in space” this was its refined embodiment.

The link between – one might say – the gimcrack, folksy facture of the representational Picasso relief and the cool, illusionistic abstract Caro is that, in the end, both works have been created by a process of composing with separate, discrete elements – like single musical notes or words – which both artists have employed for the same ultimate purpose of achieving a cogent, expressive three dimensional entity – albeit, in themselves entities of very different material, intention and manifestation.

During the past 100 years CONSTRUCTION has continued as a discipline in its own right, has burgeoned and promulgated a significant oeuvre of quality, variety and vitality and has established its place in the lexicon of the artistic mainstream.

Geoff Ridgen, July 2015


The exhibition brings together a diverse group of artists selected by Geoff Rigden.   The common strand being that they exemplify a particular aspect of the modernist tradition.  He writes: “Following in the tradition – and it may be designated as such by now Constructed Sculpture, as distinct from stone and wood carving or modelling in clay, plaster or wax (the conventional, universal sculptural media for centuries) – this exhibition presents fifteen contemporary artists whose individual practices acknowledge, embrace and exploit, in essence, the tenets of a genre which originated one hundred years ago”.

 

 

TWENTIETH

tWENTEITH GALLERY VIEW

An exhibition of recent work by Artist-members and Trustees, past and present, of the Art in Perpetuity Trust to celebrate the Charity’s twentieth anniversary of nurturing, supporting and exhibiting fine art from its studio and gallery complex in Deptford, South East London
19 September to 11 October 2015
A.P.T Gallery open Thursday to Sunday from 12noon to 5pm

Open Studios 2015 |  Friday 25 September from 6 to 9pm  |  Saturday 26 September from 2 to 6pm  |  Sunday 27 September from 2 to 6pm

Art Licks Weekend 2015  |  Thursday 3 October from 6 to 9pm  |   Friday 4 October to Sunday 6 October from 11 to 6pm

TWENTIETH |  A.P.T GROUP SHOW 2015

An exhibition of recent work by Artist-members and Trustees, past and present, of the Art in Perpetuity Trust to celebrate the Charity’s twentieth anniversary of nurturing, supporting and exhibiting fine art from its studio and gallery complex in Deptford, South East London

Saturday 19 September to Sunday 11 October 2015
A.P.T Gallery open Thursday to Sunday from 12noon to 5pm

This exhibition celebrates the 20th anniversary of the Art in Perpetuity Trust, showcasing the diverse work of its members - artists and trustees, past and present.  A.P.T has long been at the centre of cultural life in Deptford and has developed a strong reputation for the quality of its gallery shows and the strength of its studio identity. 

The show is an eclectic and vibrant mix of medium and style with every member contributing important pieces that provide a fascinating insight into the lineage of A.P.T.

If there is a theme it is an acknowledgement and celebration of  the spirit of A.P.T, embodied both in the place and the remarkable commitment of its members. Since its inception as a charity in 1995, A.P.T has provided a unique environment in which many practices have flourished. The principles and protocols developed by the A.P.T artists themselves over the years coupled with the stability and security of tenure of the place itself makes for a fascinating microcosm of unfolding history.

This show is a perfect opportunity to speculate on connecting threads between members, and perhaps reflect in general on how the creative dynamic of an artists’ collective is sustained.

A.P.T Artist members and Trustees

Ekkehard Altenburger  |  Cash Aspeek  |  Cuillin Bantock  |  Simon Barkworth  |  Zadok Ben-David  |  Stacey Billups  |  Christine Bolam  |  Heather Burrell  |  Jodie Carey  |  Andrew Carmichael  |  Veronique Chance  |  Stephen Cooper  |  Fran Cottell  |  Tim Cousins  |  Tony Daley  |  Miriam Davies  |  Jeff Dellow  |  Nuno Direitinho  |  Arnold Dobbs  |  Gerry Dowd  |  Dexter Dymoke  |  Catherine Ferguson  |  Leila Galloway  |  Marc Garrett  |  Laura Gethen-Smith  |  Eva Maria Gisler  |  Nic Godbold  |  Cheryl Hall  |  Marilyn Hallam  |  Alexis Harding  |  Liz Harrison  |  Margaret Higginson  |  Judith Hogarth  |  Clyde Hopkins  |  Catrin Huber  |  Stephen Jaques  |  Peter Jenkins  |  Isobel Johnstone  |  Lisa Jones  |  Mark Knowles  |  Gillian Laidlaw  |  Sue Lawes  |  Richard Lawrence  |  Ann Leaney  |  Kevin Lewis  |  Steve Lewis  |  David Mach  |  Lesley Mach  |  Alix MacSweeney  |  Paul Malone  |  Chris Marshall  |  Robert McIndoe  |  John McLean  |  Mali Morris  |  Geoff Mowlam  |  Alma Munson  |  Laurence Noga  |  David Oates  |  Andy Parsons  |  Brigitte Parusel  |  Sara Pearce  |  Lucia Pearcey  |  Anna Prada  |  Nicola Rae  |  Victoria Rance  |  Ruth Rattenbury  |  Geoff Rigden  |  Rachel Russell  |  David Ryder  |  Jackie Ryder  |  Amba Sayal-Bennett  |  Julian Sherwood  |  Hideatsu Shiba  |  Keir Smith  |  Lou Smith  |  Paul Soper  |  Lalitte Stolper  |  Keith Swales  |  Paul Tonkin  |  Amanda Townsend  |  Janne Vaagenes  |  Sheila Vollmer  |  Roxy Walsh  |  Annie Wasdell  |  David Webb  |  Rob Welch  |  Jessica Wilkes  |  Chris Yetton 

Open Studios 2015
Friday 25 September from 6 to 9pm 
Saturday 26 September from 2 to 6pm 
Sunday 27 September from 2 to 6pm

Deptford X
Friday 25 September to Sunday 4 October

Art Licks Weekend 2015 
Thursday 1 October from 6 to 9pm
Friday 2 October to Sunday 4 October from 11 to 6pm

Artists' Talk | Sunday 4 October 2015 at 3pm | Does the Place influence the Practice?
A.P.T artists in conversation with curators Heather Burrell, Dexter Dymoke and Rachel Russell.
The curators will invite A.P.T members to speculate on the existence of a common thread that links the practice of A.P.T artists. Exploring how the gallery and studio complex and Deptford Creek has impacted on their work.

 

The Places We Go

An exhibition of six painters: Günther Herbst, Dan Hays, Julie Fountain, Alexandra Baraitser,
Clio Lloyd-Jacob, Stephanie Kingston

Curated by Alexandra Baraitser and Julie Fountain.

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time

Little Gidding, Four Quartets - T.S. Eliot (1943)

The physical process of wandering enables us to draw in information as we move from site to site. However The Places We Go isas much about looking inward, searching what we conceptualise as a ‘space within’ as looking outward, as the borders between material space and internal space are often blurred. One of the ways a painter works is to respond in paint to these physical and psychic landscapes. The artists in this exhibition eloquently capture the moment of returning to the start and finding something new in the familiar.

These paintings have in common a delicate honesty and a painterly expression that describes the places these artists go. Kingston, Herbst, Hays, Baraitser, Lloyd-Jacob and Fountain are driven by an exploration of the particularities of place, whether unknown or known, that are available in human experience.

 

SPRINGBOARD, PERHAPS?

Curated by Olga Hendel, Liz Lowe and Jennifer N. R. Smith

30 October to 15 November 2015| Gallery Open | Thursday to Sunday | 12 to 5pm

Private View
  |  Friday 30 October  |  6 to 8pm

Susannah Bolton, Valentine Emilia Bossert, Michael Bryan, Matthew Clifton, Leo Dodgson, Olga Hendel, Mark Langston, Liz Lowe, Jennifer N. R. Smith, Céline Villaneau, Alex Wakefield, Aimée-Beth Warburton

New artist collective Perhaps? is delighted to announce the upcoming opening of its debut exhibition, Springboard, Perhaps?. Perhaps? is a collective of recent BA Drawing graduates from Camberwell College of Arts, UAL.

'...consider drawing as a medium which has undergone radical transformation throughout the last hundred years, a period when numerous artists subjected traditional ideas about drawing to critical examination and expanded the mediums definition to gesture, context, process and form' - Anne Marie Creamer

The collective views drawing as the foundation of their practice. This commonality of interest can often seem hidden due to the extreme diversity in contemporary drawing. Perhaps? is therefore an active embracing of the unsure; an acceptance of the inbetween, the interdisciplinary, and the unknown elements of how a fine art community might identify itself.

Springboard, Perhaps? will showcase work made since the artists’ degree show, expressing two different attitudes to the in-between place many artists face upon completing a degree. The first is an act of resistance – the reformation of their practice into new and unknown territory. The second is an act of embracing – delving deeper and expanding on the possibilities of previous work.

There is an emphasis on the evolution and the shaping of fresh identities; as a new collective, post-graduate students, or artists working outside of an educational environment. The show will also act as a springboard in preparation for the first residency of Perhaps?, culminating in their second exhibition Drawing, Perhaps?, which will take place at the new Artcore Space, Crows Nest, 3-5 Crowthorne Rd, London from 3 to 7 December 2015.

 

CORNERSTONE

Simon Barkworth  |  Nuno Direitinho  |  Eva Maria Gisler

10 to 13 December 2015

Gallery Open  |  Thursday to Sunday  |  12 to 5pm

PV  |  Thursday 10 December  |  6 to 8pm

Conversation about the works with the artists and the public
|
Saturday 12 December | 7 to 8pm

Cornerstone is a culmination of a shared space and common motivations. Structures and constructs are reoccurring elements, usually disconnected from their original sources, seen, treated and processed as individual or isolated independent entities. These can be understood as a cornerstone, a fundamental element, something to build on to. It is a starting and reference point from which to measure all following actions. These become pivoting elements for a translation of the multiple occurrences of a place. It enables us to set the first stone, landmarking future actions.