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Archive for the ‘Stephen Lawrence Gallery’ Category

Solstice Shorts Festival: Time and Tide

Wednesday, December 4th, 2019

Time and Tide Poster

Solstice Shorts 2019 is a festival of live stories, poems and songs about living on & beside the water, and making new lives over the water. How do tides affect our lives? How has that changed throughout history?

Hosted at the Stephen Lawrence Gallery from Nautical Twilight (16.33) until High Tide (21:18), Time and Tide is the Greenwich segment of a larger set of events. The Solstice Shorts Festival is bringing performances in seven port towns on coasts and tidal rivers in four countries: England, Scotland, Wales and Portugal.


16:30 – 18:00 Part 1 — Nautical Twilight

Poems: Emma Lee, JN Nucifera, John Richardson, Laura Potts, Lizzie Parker, Mandy Macdonald, Melissa Davies, Michelle Penn, Nick Westerman, Sarah Tait, Savanna Evans

Stories: Cindy George, Diana Powell, Kilmeny MacMichael, Linda McMullen, Sheila Lockhart,

Readings: Carrie Cohen, Chukwudi Onwere and Saul Reichlin

Music: Kevan Taplin

Poem-film: Philp Hewitson and Susan Cartwright-Smith

18:00 – 18:30 Poetry and Flash Fiction Open Mic

Contact us in advance if you’d like to take part at (Max 100 words of poetry or flash fiction inspired by the sea)

18:30 – 19:00 Interval

19:00 – 21:30 Part 2 — High Tide

Poems: Claire Booker, Emma Lee, Holly Blades, Jenny Mitchell, Melissa Davies, Olivia Dawson, Reshma Ruia, Thomas Tyrrell, Valerie Bence, Vanessa Owen, Vivien Jones

Stories: Diana Powell, Elizabeth Hopkinson, Juliet Humphreys, Maria Kyle, Neil Lawrence, Pauline Walker, Roppotucha Greenberg

Music: London Sea Shanty Collective

Poem-film: Julie Laing

Pay-as-you-feel — there is a suggested donation of £3, but you can support someone needing a free ticket by offering more!

We realise you might not be able to stay for the entire event, so you can book for just the afternoon, the evening, or the whole thing following the Eventbrite links below:

Full Event
Afternoon: Nautical Twilight (including Open Mic) 4:30pm – 6:30pm
Evening: High Tide (including Sea Shanties) 7pm – 9:30pm

BSL Interpreted. This event is supported with public funds by Arts Council England. Organised and backed by private funding from 50 crowdfunders, and Arachne Press.

Arts Council England Logo

Possible Architectures

Tuesday, October 15th, 2019

An exhibition of non-objective, reductive and systems-based art, featuring works by Dominic Beattie, Tony Blackmore, Jyll Bradley, Tim Ellis, Hanz Hancock, Zarah Hussein, Stephen Jaques, Hans Kotter, Patrick Morrissey, Laurence Noga, Carol Robertson, Benet Spencer, Trevor Sutton, Ian Thompson.

The first experience of seeing work and its immediate impact on the viewer within an architectural context has always been a specific consideration for the curators, Patrick Morrissey and Hanz Hancock.

The curators state that the “geometric form is a language that elicits an immediate response whether in relation to work on paper, interior design, furniture design, sculpture or the wider architectural environment. Repetition, pattern and structure are recognisable and identifiable cultural signifiers, universally accessible and familiar across political and social divides.”

Geometric, systems, minimalist and non-objective art have long been associated with and regarded as typifying developments in the design movements of the early to mid-twentieth century. However, the physical, material and creative characteristics contained or displayed by the work in this exhibition – whether intended or by coincidence – reflect qualities or concerns that are still relevant to today’s rapidly changing physical and social contexts. The works chosen for this exhibition reflect these considerations and are by definition both contemplative and conceptual in the broadest sense.

Each work presented in Possible Architectures represents a constant process-led exploration of conceptual space within the developing post-minimalist universal canon and will include contextual information explaining the processes (algorithms, procedures, codes and keys) used to make them.

Private view Friday 8th November 2019, 6:00pm

Artist-curators Patrick Morrissey and Hanz Hancock run Saturation Point, an online editorial and curatorial project space,

Misshapes: The Making of Tatty Devine

Saturday, October 26th, 2019

Misshapes: The Making of Tatty Devine is the first solo show about Tatty Devine exploring entrepreneurship, innovative British making, and the power of creativity. The exhibition features over 100 pieces from the past 20 years, from the early leather cuffs and piano belts to giant two-metre versions of their ‘greatest hits’ including a lobster, their magpies and a huge banana, alongside sketchbooks, photos, flyers, and two newly commissioned films.

Tatty Devine’s founders Rosie Wolfenden and Harriet Vine set up a market stall in Spitalfields Market in the late 1990s. Together they challenged jewellery conventions and in 2001 a trip to New York led them to discover laser cut acrylic. At that point, a disruptive technology laser cutting unleashed a whole new set of creative possibilities and ideas.

On their return to the UK, they invested in a laser cutting machine, going on to create personality-packed jewellery much loved and still culturally relevant 20 years on. Their DIY, unknowingly anarchic approach resonated with industry and public who were hungry for something different from the commercialised, mass-produced products on offer.

Turning throwaway disposable objects like scraps of leather and guitar plectrums into jewellery not only landed the brand in Vogue magazine but also in the hearts of loyal fans all over the world. Creativity, self-expression and hand-making are at the heart of their work. Tatty Devine’s statement jewellery is constantly ahead of the curve—able to tell stories and generate conversation. Collaborations have allowed the duo to become markers of the time they were made in: Tatty Devine have worked closely with musicians, artists, designers and brands from Gilbert and George to Belle and Sebastian—all people they feel closely connected to.

Exhibition Opens

28th February – 31st March

Private View

28th February, time TBC

A Tatty Devine and Crafts Council touring exhibition.

This touring exhibition launched at the Lethaby Gallery at Central Saint Martins, London, and is now on a nationwide tour. See below for venue details and dates:

Tŷ Pawb, Wrexham, Wales (10th July – 13th September 2020)
Hove Museum and Art Gallery, Brighton and Hove (3rd October 2020 – 26th January 2021)
New Brewery Arts, Cirencester, Cotswolds (21th June – 10th September 2021)

Tatty Devine Logo
Crafts Council (RGB) Logo

Understanding the Unspoken Cost of Work in Victorian/Austerity Britain

Friday, July 5th, 2019

Poster of "Keep the Door of My Lips" showing cutouts of mouths from domestic workers alongside moths of characters from Victorian magazines

Join the artists Catherine HoffmanEmmanuelle Loiselle, Sarm Miccichè and ‘Home is not My Home’ by Dr Joyce Jiang, Tassia Kobylinska & The Voice of Domestic Workers, of the exhibition Keep the Door of My Lips, as they discuss the impact of ‘work’ on their own artistic practice and individual identity.

Chaired by Keep the Door of My Lips curators Professor Andrew King and Connie Gallagher this open discussion will follow the many topics that this exhibition covers; including, but not confined to, work, working conditions, the effects of work, escape from work, being without work, gender and work, ethnicity and work, and class and work.

Keep the Door of My Lips is an exhibition curated by Professor Andrew King and Connie Gallagher that explores the continuing influence of Victorian ideas about ‘work’. Displaying images from Victorian periodicals and trade magazines alongside research by Professor Andrew King and featured artworks, this exhibition – by turns beautiful, heroic, shocking, comforting, unsettling – wants to get us to think about what work really means for us.