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: email@example.com m: 07946554574
no format Gallery, Studio NF01, Casting House, Moulding Lane, Deptford SE14 6BN
on the road
What happens when painting begins to contaminate reality and to model it, when it anticipates it to the point that the real no longer has time to be produced? The abstract painting in this exhibition displays a reality - the artistic process connecting
the viewer to the physicality of the studio. The brush marks, cuts and joins all reveal a world of ideas and decisions, successes and failures, and impose a personality. There is no illustrative nature in the process, nothing being depicted, instead a creeping
of reality from the world around us.
This presentation highlights a connection with the material nature of painting, a sensitivity towards its fundamentals and the fabric of our surroundings. Embracing subtle incidental marks, chance spills, imperfections in the materials and in their
handling, every nuance becomes a vital element in the charged field of the surface. Intuition plays a crucial role in the image-making process, with moments of unmediated action interspersed with periods of contemplation. The gesture becomes the dominant and
controlling force both in the generation and conceptual structure of the work. Embodying the artist's immediate response to the material, it sets in motion a sequence of marks and countermarks that can't be predicted or repeated. The resulting artworks act
as traces of activity, exposing modes and systems the artists utilise to connect with subject and object.
Struan TeagueUsing extremely simple pictorial materials and media, Teague delves into the unexplored possibilities of their combinations in large and small formats. Teague’s works originate as intuitions that come to him
in a state of free- floating attention and meditation and take shape in the plastic materialisation of unconscious flows, in an unpredictable creative process marked by the clear-cut absence of predetermined methods. He creates self-referential visual languages
where the automatism of the lines, the doodles, the gestures, the small dabs of colour on textured grounds and the off-centre compositions open up spaces of physicality and possibility that defy critical dogmatism, conceptual rationalism and language as mere
communication, occupying its fringes to maintain an inexhaustible poetic unfolding.
Oliver GuyonGuyon makes work that explores the materials of painting, in all its facets. With the application of process-specific methodologies, the works expose the nature of painterly materials. They are surfaces that
bridge the gap between artwork and wall, through an exploration of the tension between two-dimensional image and three-dimensional object. Gesture is used as a device to amplify the tactility of the subject matter, be it through the gesture of an object or
paint itself. Informed by the values of integrity surrounding minimalism and monochromatic painting, the works examine the relationship between support system, ground, surface and colour. Deconstructing painting into its retrospective parts, he challenges
the preconceived notion of what a painting can be.
Frederic AndersonAnderson's work captures the immediacy and nuance of quick sketches and annotations in large-scale abstract paintings. Sparse, dissonant arrangements of sprayed lines over saturated colour fields operate
as speculative observations. From a distance the paintings resound with emptiness yet close inspection reveals an active surface filled with subtle deletions, different registers and indexical traces of their construction. Sinewy scrawled lines recede back
through layers of adaptation and censorship, shaping an idea as yet unformed. Anderson engages with a fragmentary process that echoes the weathered urban environment, in which the quick expressionistic gestures of graffiti are constantly erased, revised and
Tim RalstonRalston’s paintings are concerned with our connection to the landscape, the ideology of looking and our relationship to and augmentation of our surroundings. They aim to develop a relationship to the specious
nature of landscape painting throughout art history and examine what it can be now. Tim Ralston makes large oil on panel paintings that are informed by the construction process of the wooden support and the preparation of the grounds. The works are built site-specifically,
informed by the context of the exhibition. Acting as an abstraction of the landscape through an open engagement with making. The urban environment is not superficial subject matter but inspiration in the form of energy, an immersion in the lived experience
of the city.
SFSA Painting Open
no format Gallery closes for 2019 22nd of December. Re opening 13th January 2020.
Thank you to everyone who has exhibited, visited and been involved in some way with our gallery over 2019.