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23 June 2017
Nicholas Dietrich - It’s like trying to describe an elephant by only looking at its tail @noformatgallery 12 - 22/7… https://t.co/Ocy6xsSuwM

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Three100 Fundraising for permanent, affordable studio provision in London

100 artists and makers are offering 100 pieces for sale to 100 buyers. Artists and makers of London are coming together to support the purchase of permanent studio provision. They are weary of the closure of their workspaces and are taking a stand to support studio provider Second Floor Studios & Arts in creating 80 permanent studios in Deptford.

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Richard Proctor

Richard Proctor


I've had a slightly erratic career, embracing advertising, art college, painting, picture framing and mount cutting, working in museums and graphic design. I went to Plymouth College of Art and...

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Kate Khoury

Kate Khoury


Although I do try to work in the medium an idea suggests to me, I return regularly to glass work which is an ongoing passion of mine. I also develop English language teaching materials and will...

no format Gallery


SFSA curate and programme no format Gallery. From November 2016 the gallery has a new home in a railway arch at Anthology Deptford Foundry.The gallery programme supports artists, craft makers and designers, curators, students, local schools and colleges, and other arts organisations through exhibitions, talks, studio visits, and other events.

If you would like further information or interested in submitting a proposal please contact: Matthew Wood
studios@secondfloor.co.uk Tel: 07946554574
no format
Gallery, Arch 29, Rolt Street, Deptford, London, SE8 5JB

Image: no format Gallery, Painting Open 2016


Nicholas Dietrich
It’s like trying to describe an elephant by only looking at its tail

12 - 22 July 2017

Wednesday - Saturday 12:00 - 6:00pm

Private View Sat 15 July, 6:00 - 8:00pm

500 word stream of consciousness philosophy written on a train. 

I am not interested in theory or intellectual self-indulgence.  I am interested in my experience of the world and the thinking that arises from it:  hope, expectations, failure, winning, never feeling that you have arrived, neurosis, dissatisfaction, the feeling of sun on your body, walking through the forest, riding a motorbike, love, feeling others’ pain, aches and pains, delicious pleasures, jealousy, feeling hopeless, feeling confident, restricted, free, not wanting anyone near you, wanting people near you, not wanting an online presence, wanting to work, but only exactly how you want to.  Every real thought, feeling and emotion that is happening all the time, right now.

How can an artwork embody everything at once?  It can’t, it can only reflect back, maybe that’s why there are so many mirrors in art.  As soon as something specific is presented, it vastly narrows down possible interpretations, unless the forms you use are signs for something else.  If it’s about everything, it’s probably about nothing and that’s ok.  Something universal, like the colour green.

The man-made form is a symbol for production, for striving and purpose giving.  Endeavour not only to literally keep you alive, but providing a reason to be.  Dedicating yourself wholly to something has a positive and negative side.  You have justification, but you’re missing out on everything else, like the classical musician or the surgeon are totally consumed by their practice.

For me, the mechanical form is the best example of a man-made form: extracted from the ground, the material re-shaped for a specific purpose.  Designed, experimented upon, built on other people’s achievements, one mechanism upon another, like a watch.  A production line is built up on incredible scale, working in harmony to produce, just like we do, to produce everything we have, everything we use.  For me it represents the process, not the end product as the significant part, as that is daily life, running forward, for better or worse.  The end product is too static, too limited and ordinary - our usual experience of an object.  I want objects that change, I want motion, to capture something in mid-process; it’s more poetic, transitional, free, floating, ungraspable.  That’s why I draw it from video.

I first became interested in industrial buildings in Hull, carcasses of what once was.  Exploring, photographing, experiencing, no paintings needed to be made (the moment was enough), but I didn’t know that then.  Old industry that got us to where we are now, I don’t care about the specifics of it, only how it can be experienced now.  I don’t care about technology now, as I use it every day, I don’t need to know what’s inside a laptop, it’s a tool, you don’t think about it once you have the right tool.

Because I’m interested in process, I need to keep changing what I’m doing, the subject matter must be different every time, the emphasis different every time, the mood, energy.

As a painter you are constantly wrestling with nothingness and inevitably end up getting pulled toward the ether.

It’s like trying to describe an elephant by only looking at its tail.

­­Nicholas Dietrich  May 2017












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What's on - no format Gallery
What's on - no format Gallery

New no format Gallery / project space.
Arch 29, Rolt Street, Deptford

Anthology Deptford Foundry
Anthology Deptford Foundry

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Three100 Fundraising

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