So it’s raining and cold, and I’m dodging cars and vans careering around Dalston, the greyness and dark evening winter night is wrapping a bleak wet shroud across my path. It was a massive relief to arrive at the white space at the ASideBSide Gallery in Hackney Downs and to be greeted by the warm enthusiasm of artist Silvia Krupinska who had agreed to guide me around.
“Connect” is a Fabelist Group show which takes its theme from E.M Forster’s ‘Only Connect’ which challenges notions of self perception and identity. Eighteen emerging and established artists, writers and musicians explore how artistic creation re-connects us to our lived experience of the world. The range is interesting and an expressive investigation of relationships, either with their own previous body of work, the tArt movement in New York who they work with collaboratively on an ongoing basis or as a response to other member’s work.
A beautifully cut glass sound installation by Eunsoeg Lee was performed a cappella through strikingly harmonious voices. The piece written in response to Zoe Catherine Kendall’s Dear Diary series, where he transcribes what he saw in the paintings. “Choral work has its own coherent nature” he said, “Words take priority, there are rhymes, half-rhymes, a gentle growth.” Eunsoeg gave me such an inciteful and compelling description of how the explosion in the bottom left of one of the paintings aroused tone clusters which he “saw”. Listening to his work you can feel the emotional, mental and visual journey unfolding through the music. It was the stand-out piece in the show and his career will certainly be worth following.
Hormazd Narielwalla’s Le Petit Echo de la Mode No 6 and No 7 are just that: echoes of a time in fashion. Taken from 1950s Paris tailors’ patterns, he applies acetate, tissue and papers into the intersections creating cubist human forms of delicate latent paper animations. Homi exudes a relaxed creativity and clear vision for his work. Using this paper skin overlay, the figures seem to morph out of and back into the pattern. As an artist he works with Dege and Skinner in Saville Row, and has co-written “Dead Man’s Patterns” which has led to his personal study of these brown silent couture patterns, infusing coloured heart beats onto this otherwise sadness of tan paper.
Abigail Box is a painter, her work is full of energy, on display are two works. “You are here” is a large paper sculpture covered in black gloss paint, creating a reflective map of her earlier work “Kneescape” also exhibited. The pieces are displayed with the sculpture as a direct reference to her painting. “I found it really satisfying,” Abi said, “that it is just paint which can hold paper in that position.”
Nicola Anthony, who is in Singapore currently, exhibited interesting meditative circular ceramics, which seem to be impregnated with references to days of the week, months of the year and are a hypnotic fascination on time.
My lovely pilot around the show, was Silvia Krupinska whose own work includes a-political observations and reporting on environmental change. Her float-mounted “Homage to lichens” is a mixed media suspended blue disc of thick hand made Indian cotton-rag paper, which is like a world infused with salt and oil. She lived in a national park in Slovakia for 18 years, where the mass of mountains surrounding her eventually became the influence on her at Chelsea Art school where she turned to sculpture.
My final word goes to Ashley Fitzgerald whose maquette for a piece he is working on with one of the tArt artists in New York, is crying out to be a dark gothic opera installation. Through careful directioning of sound from the intended human-size sketch book, where little metal wires emanate like neural paths from the pages, firing a confusion of words and visuals to the dyslexic Frankenstein-esque auto-portrait he will have an intense installation. I can’t wait to see it performed!
in their words: “FABELIST is an interdisciplinary platform of contemporary visual art, writing, performance, journalism and debate”
(more images below)
CAMERA REVIEW : FUJI X100
The photographs taken here were all taken on a FujiFilm x100 which I was trialling. I loved the prime lens on the model I had, as I shoot mostly on the move, no extra lighting, I found the quick dial at the top to over and under expose my shots so brilliant, when I went back to my Nikon for a shoot in the studio the next day, I found myself hunting for the button!! I’ve said it before, but I do adore the retro feel of the Fuji range, it’s firm in your hand and feels quality. The images I took in Uganda on expedition at the end of October were high res and sharp. It is easy to flip between video, stills, panorama as well. There are a lot of whistles and bells on the camera, and you can keep the software up to date as well, simply through downloads. And the guys are Fuji are just the nicest I’ve come across. Enthusiastic, knowledgeable and the whole team are genuinely interested in photography and your own work, which means that you’ll know they understand the way you shoot and will help advise you on the camera that will suit you, not just the one they’ve got on special. Have a play with the X series and let me know what you think.