Brent Artists Resource in collaboration with The Tricycle is proud to present Pebbles & People curated by Lorenzo Belenguer. Pebbles & People explores the idea of how we view landscapes and people, and as with a pebble dropping in water, wonders which elements and features ripple in our memories and which get lost.
John Blandy combines an abstract style of painting with a constant alertness to change, mood and movement in landscape. Ida, Ivanka Kubler: the primary motivation behind her work is the curiosity to apply materials that may be more or less available to her because of “situationism”. She discovers their multi-faceted potential and manipulate their initial form. Cinnamon Heathcote-Drury, says: “To me, the tufty clumps of land resemble animal fur, and the earth of Northern Ireland itself has a raw pulse, like the feral presence of a huge dormant beast”. Christine Warrington: The three lithographic works proposed for the exhibition came from the library of my mind and were lifted from a shelf of emotions that rose and fell in the crescendos of time and place. Diana Wolzak: My work relates closely to place. The immediate architectural environment is often the setting for a sculptural, painting or photographic installation. Lorenzo Belenguer is an artist and a curator. He has been involved in many arts projects and has successfully run BAR with the involvement of the Board of Directors for over five years.
Brent Artists Resource (BAR) was founded in 1984 and is based in Willesden Green Library Centre. The leading forum for contemporary visual art in Brent, selected last year by the BBC as one of the top community galleries in London. The organisation has a large group of keen and committed members and volunteers; both practicing artists and those interested in the arts. The gallery presents a rolling programme of exhibitions in a purpose-built gallery: a mixture of community open shows and shows by invited artists that cover a wide range of artistic practice. BAR supports art workshops; artists residence programmes; peer-group training and development; mentoring of artists; dealing with interested members of the public, and is a leading presence in key community events such as Black History Month, Brent Respect Festival and other artist-focused projects such as Emerge and Bounce.
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Lorenzo Belenguer is an artist and a curator. He has been involved in many arts projects and has successfully run Brent Artists Resource with the involvement of the Board of Directors for over five years. Many of his projects have been selected by the BBC, The Guardian and Time Out magazine as one of the top projects in London including the Minimum: After Minimalism and Brent Art Fair. A practising artist, his new series of drawings were selected for a group show at the Tate Modern in May 2010. Currently, Testimonies, a project for the Cultural Olympiad, will be broadcast in different venues during the London 2012 Olympic and Paralympic Games. lbelenguer.com
John Blandy combines an abstract style of painting with a constant alertness to change, mood and movement in landscape. The aim is to give a feeling of being there, in a collection of moments. The work in this exhibition comes together in a storybook of change, highlighting the difference while reinforcing the constant cycle of growth and decay.
John Blandy was a founder member of BAR and is presently the chair of the board of directors. A graduate of the Royal College of Art, he was represented by Cassian de Vere Cole Fine Art (2001-3) and the Francis Kyle Gallery (1985-95). His work is part of the permanent collections in Hammersmith Hospital and St George’s Hospital, Tooting. johnblandy.co.uk
Ida, Ivanka Kubler: the primary motivation behind her work is the curiosity to apply materials that may be more or less available to her because of “situationism”. She discovers their multi-faceted potential and manipulate their initial form. Thus she's able to create “being” or “thingness” (physical presence). For it is more often than not that things are parts of other things and that purity is rare. Resulting from distraction, her work represents the crossover of disparate areas. It creates links (i.e. the “blurred object”) and formulates scenarios. With the latter she wishes to nurture the creative power in individuals and allow for moments of unique emotions and unforeseen encounters. idaworkbox.com
Cinnamon Heathcote-Drury: There’s something mystical and archaic about Dunluce Castle. Surrounded on 3 sides by the North Atlantic Ocean, this view was obtained from a parallel promontory, with sheer cliffs crumbling to the rocks that wrecked the Spanish Armada below. Whereas many castles are signposted along the track from Belfast to Portrush, the grandiose suggestion of 'fortress' is in reality a pitiful smattering of boulders, ravaged by the winds, and centuries of Celtic war. Dunluce is the exception, emerging out of the land mass like a wisdom tooth, ancient and integral to the land itself, perfectly balanced against the muted greys and greens of sea, sky and land. The original negatives were shot in colour, but on return to London I found the blend of nature and stone so unique I opted for a monochromatic end result, honouring the simplicity and dominance of the structure, like a 3-dimensional etching. Also, the negatives were square, and needed to be stitched together like a tapestry, to create one seamless collage. This minor intervention felt in keeping with subtle man-made netting, visible to the right of the bridge, which is cast over the coarse grass to prevent further drag away from the stone. Lacing the surface together, and attached like a cobweb, or epic crochet, it still cannot contain the power of cliffs. To me, the tufty clumps of land resemble animal fur, and the earth of Northern Ireland itself has a raw pulse, like the feral presence of a huge dormant beast. firstname.lastname@example.org
Christine Warrington: The three lithographic works proposed for the exhibition came from the library of my mind and were lifted from a shelf of emotions that rose and fell in the crescendos of time and place. Beneath the fleeting feet of memories, my work became and reflected a particular inner calm, the antithesis of the contemporary events leading up to and around the making of the images. Working on the principle of oil and water resist, the essence of my thoughts became grounded and registered on stones and over a period of slow time were transferred on to the dry bones of paper over a period of time. I am from the Caribbean where I was born and where I still have most of my extended family. London is where I live now and where I work. The rub and exchange of many people and cultures as well as the tooing and froing across the Atlantic Sound has had a major influence on my work. Always playing catch up, my thoughts keep abreast of immediate situations but dart here and there in an attempt to focus on current affairs. So the questions, where is the past? and, why slow lithographs in a computer era? has been a challenge. For me, it has been a medium of choice for this particular body of work that draws on the similarities between us so as to heighten one's ability to empathise with others. The work is not an academic or art theory exercise or a research paper but an artistic attempt to stand on the threshold and to open up some new doors. email@example.com
Diana Wolzak: My work relates closely to place. The immediate architectural environment is often the setting for a sculptural, painting or photographic installation. Drawing, painting, photography and making are all explored in an often impulsive and spontaneous way, but the process by which the work develops is painstakingly obsessive, adding density and complexity to an initial gesture. Colour, pattern, surface and texture form a mapping out of territory, from the known to the unknown and visa versa. The real and abstract converge. In my sculptural installations, discarded domestic objects are collected for their materiality, history and lost functionality. My intervention, of repetitive wrapping, tying and colouring, transforms their identity. dianawolzak.com
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