SFSA curate and programme no format Gallery. 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 have interest to submit a proposal please contact:
Matthew Wood e: firstname.lastname@example.org m: 07946554574
no format Gallery, Studio NF01, Casting House, Moulding Lane, Deptford SE14 6BN
OUR NEW SPACE, integral to our 85 strong, Deptford Foundry studio project.
“No, identity will always be something that must be created. What we have on our hands is something that is essentially unfinished. Instead of looking for repose, instead of looking for some collective or individual ‘end of gay history’
in the complete and full adequation of oneself, we had better accept the inevitably provisional unforeseeable character - on both the individual and collective levels - of what it means to be gay.”
Didier Eribon, Insult and the Making of the Gay Self
Taking their cue from Didier Eribon’s text, Gavin Maughfling’s recent works roam across the contingency of queer experience and our need continually to re-evaluate this experience as we construct ourselves. The passing on of essential knowledge
from one generation to the next, and our imagining of future possibilities, float across these paintings, to slide, co-exist, merge, reform and rebound.
The paintings of Le Guo and the sculptures of Jonathan Roson are products of organic geometrical processes which depend not only on the different modes of sensory perception of their bodies of the unambiguous (i.e. explicit and literal) and ambiguous (i.e.
implicit and metaphorical) processes and events taking place in their multisensory perceptions of the sensible world; but also on the individual (mental and bodily sensory) and collective (cultural) memory-images they derive from both these different modes
of perception and their diasporic experiences. The processes of production of such a mythopoetic artwork may be conceived in terms of life-cycles in which the geometrical figures of the organic shapes and forms of an ‘artificial life’ that was previously unknown
– and therefore ‘alien’ – to the artist become known, only to become partially/totally unknown to him again as these figures are partially/totally replaced by other geometrical figures which were previously unknown to him. Le Guo and Jonathan Roson use their
artworks to explore the unstable boundary distinctions between the human ‘subjective self’ and the non-human ‘objective other’ materials of Nature with which they conjointly produce these artworks. A viewer of such an artwork may experience both an enhanced/impaired
distinction between his/her ‘self’ and the profane/sacred ‘other’ figures in a (sub)liminal ‘zone’ of perception that was previously forbidden to him/her; and a dynamic balance between the unstable states of ‘discordant harmony’ and ‘harmonious discord’ in
this artwork that encourage this viewer to attribute mysterious, enigmatic and unfixed meanings to it. (text © Stephen Baycroft)