Liz May: A Personal Perspective
In making my selection I reviewed all the exhibitions and projects I have worked on since 2002, going through and jotting down names that struck a chord with me and artworks I remembered. After some sifting I ended up with 40 names and at the beginning of 2020 (before the world changed) I started to make contact with everyone.
Many of the works were first shown in the Creekside OPEN which I have organised with David Oates since 2005 and it was lovely to see these works back in the gallery again. But, over the years the gallery has shown both memorable solo exhibitions (Maike Zimmerman comes to mind) and its scale allows strong group shows such as Eileen Cooper’s ‘Confluence’. But the exhibition would not have been possible without the kindness and support of all the exhibitors.
Thank you all for lending works for the show.
I am so sorry that you were not able to get to see it all installed and I hope that the film and catalogue will give you an indication of how the space felt and how the artworks sat so comfortably with each other. After 18 years working in the gallery I learnt something – not just that curating a show is hugely stressful, but that imperceptibly everything just clicks into place and it just works. And that is a great feeling.
Liz May November 2020
To view the works in the exhibition explore the gallery below by using the left/right arrows on either side.
To read Liz May’s reflections on her 18 year's’ tenure, click here
Lines III, 2020,
Liz May
Hallmarked silver pendant with three gold lines
Block (Finds) 2020,
Liz May
Hallmarked silver pendant with gold block detail
Still Life (Inspiration) 2020, Liz May
Hallmarked silver pendant with silver hair detail and gold beads
Sunlight touches works by Charming Baker, Gill Capewell and Patrick Semple on the 'opening' afternoon.
Blue Boy, 2011. Wayne Lucas. Oil on linen, 18 x 12.5cm
Well worn, 2012. John Butterworth. Acrylic on canvas, 102 x 76cm
'Things just come together...' Artworks in the front gallery space.
Wheelbarrow Cha-cha-cha, 2018. Sarah Durham. Oil on canvas, 60 x 60cm
Girl on a bed, 2007. Matthew Krishanu. Acrylic on canvas, 75 x 60cm.
Tail Piece I (centre) and Tail piece II (right) Horse Hair and violin parts. Jayne Parker. With silver pendants by Liz May behind
At immediate risk I, Spurn Head, 1998. Chris Sowe. Giclée print mounted on aluminium, 60.8 x 60.8cm
Resurrection/ Insurrection I (left) and II (right). Bea Denton. Archival Giclée print on Hahnemuhle German Etching paper, 25 x 30cm. Edition of 25.
Industrial Heartland, 2019. Gill Capewell. Oil on canvas, 56 x 46cm
One, Two, Three, Four, Six, 2016. Charming Baker. oil on Linen, 122 x 102cm
Field-TM 3562 2815, 2017. Kabir Hussein. Bronze, 16 x 11.5cm
Flying Geese, 2006. Joanna Sands. Plywood 240 x 100cm.
A view down the centre space past Liz May's own work towards Peter Anderson's 'B Boy' in the distance.
Temple 2006. Kier Smith. Plaster and polyester resin. 15.8 x 17.7cm
Passage Through 2013. Sara Lee. Polymer gravure and woodcut, 42 x 59.5cm
Polished ceramic bowls by Fred Gatley
I once was a boat, 2109. Fred Gatley. Polished porcelain bowl with inclusions on bog oak base with copper feet (wood and copper sourced from Deptford Creek). 16.5 x 10.3 x 5.5cm
Illuminate 2009. Sara Lee. Pastel on paper. 50 x 103cm
A view from the rear gallery towards Chris Sowe's 'At immediate risk II'
Travelling Trunk for Nikolai Przhevalski, 2020. Patrick Semple. Mixed media including leather, grass, steel and horse-bones. 120 x 75 x 70cm
A delicate configuration including Cuillin Bantock's linocuts of Deptford Creek, Eileen Cooper's 'Fishing', two pieces by Annie Turner and a Fred Gatley.
Mussel Box and Sieve, 2020. Annie Turner. Ceramic. 10.5 x 12 x 12cm
Fishing 2004. Eileen Cooper. Pencil on paper. 28 x 38cm
APT yard, Crane Study, 2002. Cuillin Bantock, Linocut. 20 x 21.5cm
60 seconds, 2017. Kasper Pincis. 42 x 30cm
Another view of the rear gallery with pieces by Simon Leahy-Clark and Patrick Semple centre-stage.
Grey/Pink Murmur , 2018-19. Virginia Verran. Acrylic on panels, 140 x 80cm
Disappearing Act 2017. Claire Undy. Performance photograph.
City [Frequency]; a project. Maike Zimmermann. Film still.
Boy B, 42.St NYC,198. Peter Anderson. Silver Gelatin Photograh. 151 x 116cm
Soul Imaging III, 2009. Bea Denton. Archival Giclée print, (edition of 25), 94 x 67cm
The rear space again towards The Queer Gentleman by Wayne Lucas.
Untitled, 2009. Christine Stark. Household and acrylic paint on canvas. 50 x 50cm
Wreckage of Glacial Reverie, 2008. Barbara Nicholls. Mixed media, 45 x 30 x 10cm
Spectre de la Rose, 2005. John McLean. Acrylic on canvas 40.2 x 50.5cm
Black Magic, 1992. Tricia Gilman. Oil on canvas, 188 x 173cm
Untitled, 2001-2007. Simon Leahy-Clark. Newspapers.
Purple Conk, 2015-16. Clyde Hopkins. Oil on linen, 30 x 25cm
Trill, 2011. David Theobald. Still image from the video.
That magnificent curation in the rear gallery around John Butterworth's painting of Margate Pier.
Mountain, 2016. Maggie Learmonth. oil on canvas, 40 x 50cm
Gift (Line painters), 2010. Alaena Turner. Line marking paint on rubber, over wood, 24 x 26cm
Perma 3, 2020. Jane Millar. Stoneware and brick, with porcelain slip.
Chris Burden (shoot), 2017. Enzo Marra. Oil wash on panel, 20 x 25cm
Fracture, 2010. Jacqueline Utley. Oil on linen, 18 x 12cm