Studio Enquiry

Looking for an affordable studio or workshop space? Complete our quick contact form and we will get back to you. All viewings are by appointment.

Featured Member

Kim Vousden

Kim Vousden


Kim Vousden has worked as a freelance designer and illustrator since graduating in Graphic Design Communication from the Chelsea School of Art & Design in 2007, followed by a post-graduate cert. with...

Featured Member

Amy Oliver

Amy Oliver


My work is based mainly around my own experiences and focuses on mental health, women’s rights and identity, and social and political conditions. I use mannequins, my own sculptures and digital...

Latest Blog Post

Site Visit for SFSA at Anthology Deptford Foundry

It was an exciting time last week for SFSA Director, Nichole Herbert Wood who was visiting the construction site of Anthology’s Deptford Foundry 316 unit development scheme, Arklow Road, Lewisham, and home to Second Floor Studios new 80 + purpose built studios due to open late autumn 2018.

no format Gallery Past Exhibitions & Ethos



Places, Faces, Things as a premise willingly generalises the notion of *subject* (the great vessel of meaning; i.e.: what's it about?) playfully undermining their promise of significance in order to focus instead on the poetics of making, not making, remaking and revisiting, being too busy, doing what you can; the vitality of the daily practice that can sometimes seem to play a risky game of undoing between the heady demands of *ideas*.


Uncommon Ground

A group of 7 graduates from Plymouth College of Art will be exhibiting their award winning work from their final year degree show 




A group of 7 graduates from Plymouth College of Art will be exhibiting their award winning work from their final year degree show between 9th November to 12th November 2017 at No Format Gallery, Deptford. 

The graduates studied a BA Hons programme in Painting, Drawing and Printmaking at Plymouth College of Art, which is one of only two independent art colleges in the UK. The College is playing an increasingly important part in showcasing Plymouth as a centre for art and culture, not only in the South West, but also nationally and internationally. This new BA programme which has only been running for four years, is one of the few courses in this country that offer a materials based and process-driven education, leading to graduates that are not only academically qualified, but also practically experienced. Through this dynamic programme of study of both materials and techniques the students are encouraged to develop professional practice that includes specialist technical and critical study across a wide range of painting, drawing and printmaking.

The BA Programme culminates in a final year degree show that celebrates three years hard work and showcases the emerging talent to the wider art world. The graduate show took place at Plymouth College of Art 9th-22nd June this year and will be coming to Deptford in November, with the long-term aim of forming new collaborations and future project exchanges between artists in London and the South West.

Exhibiting Artists: Marie Taylor / Amelia Webster / Jane Pine / Alex Lee / Michelle Burns / Natalie Rawling / Terry Channell


Jenny Wiggins

Land Marks 3rd to 5th November 12 to 6pm
Preview Thursday 2nd November



Land Marks

The focus of my work has long been the ‘land’ both in terms of its representation in maps and more recently the evidence left on it by living forms such as snails, plants and insects.  

no format Gallery has given me the opportunity to experiment with themes that have been running through my work for some time.

This particular show is about the changes we make, and the marks we leave on the environment around us.


Duart Bel Silva
12th- 22nd October.
Preview 12th October 6-9pm
Open 12-6pm all dates except 16th and 17th when by appointment.


Above: Detail-Serpentine #1 & 3.

:and Repeat. Line and colour. Duart Bel Silva

Exhibition of mixed media and acrylic works, exploring  line, placed in colour, and the relationship between them that marks out sensation and animates the picture plane.


[ALLOY] Supposedly Predictable Phenomena
Wed–Sun 12.00–18.00 
Opening Event: Thu 21 Sep 18.00–21.00 
SLAM Fri 29 Sep: open late

New work from a shifting collective of artists with overlapping concerns. Supposedly Predictable Phenomena looks at themes of sequence and consequence. Apparently linear processes; geological, psychological and physical, that are rendered unpredictable and essentially chaotic due to their inherent and entangled sensitivity.

  




Haus Konstructiv
Works by Rosalind Davis
Opening night: Tuesday 12th Sept 6-8.30pm 

Wednesday 13th to Friday 15th September. General Opening times, 1-6.30pm or by appointment 

Saturday 16th September: Special event = Artists talk and in conversation with independent curator and former gallerist and Writer Laurent DeLaye, 5.30-6.30pm, followed with a buffet and drinks to 8pm. 



Rosalind Davis is an artist whose central concern is the transformation of space through the disciplines of drawing, painting, sculpture and installation. 

For her solo show at no format Gallery, Davis will create a series of flexible spatial architectural installations; reconfiguring and re constructing modular steel forms, creating a multi-dimensional material built environments incorporating thread, luminous perspex sheets and painted canvases. Playing with the modular nature of the work and the temporal aspects of transformation the installations create illusions within the space which the viewer can both navigate and compose for themselves.

Biography 
Rosalind Davis graduated from The Royal College of Art (2005) and Chelsea College of Art (2003). Davis has exhibited nationally and internationally in a wide range of galleries and has had a number of solo shows in London: the Bruce Castle Museum (2013); John Jones Project Space; Julian Hartnoll Gallery (2009); The Residence Gallery (2007) and The Stephen Lawrence Centre. Selected group exhibitions have been at the Courtauld Institute; Arthouse1; Standpoint Gallery; Transition Gallery; The Roundhouse; Phoenix Brighton; APT Gallery; the Lion and Lamb Gallery; The ING Discerning Eye; the Lynn Painters Stainers Prize. Her work is held in a number of private and public collections.

Davis is the Curator at Collyer Bristow Gallery and has co-directed and developed two innovative arts organizations; Zeitgeist Arts Projects (ZAP 2012-15) and Core Gallery (2009-11,) based in South East London.  Previous co-curatorial projects have been at Standpoint Gallery, Arthouse1, Geddes Gallery and with ZAP at Bond House Gallery (ASC).  Davis is co-author of ‘What they didn’t teach you at art school’ commissioned by Octopus Books which is internationally distributed and she lectures at universities, galleries and organisations across the country. 

For more information please email Rosalind.davis@network.rca.ac.uk
www.Rosalinddavis.co.uk           
Please share your thoughts and images with us using #RDHK 
Twitter: @rosalinddavis  Instagram: rosalindnldavis  & @noformatgallery


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


Drawing Connections






Daniela White







Derval Tubridy
Adjacency [the quality or state of being adjacent, or of lying near, bordering]





What are the implications of a Hard Border for Northern Ireland? How will increased border controls affect the peace process? Adjacency takes materials from the Saville Inquiry into the events of Bloody Sunday 1972 to examine contested spaces in the context of ‘adjacency’ understood as ‘lying near, bordering’.

In a series of paintings and mixed media works Adjacency examines the uncertain relation between topography and cartography, between narrative and the event, within contested boundaries and identities destabilised by an uncertain Brexit.

www.dervaltubridy.com



 Jose - Photography Solo Show






December 2016 



[ALLOY] 
Nov 2016




 





Subscribe to our e-newsletter / bulletins

Keep up to date with everything going on at SFSA


 

Follow and Support Us

Studio Enquiry

Would you like to be part of SFSA? Make a studio enquiry

More
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

SFSA acquired 250 year leasehold for 80 new purpose built artists' and craft and designer maker studio workspaces at Anthology Deptford Foundry

Three100 Fundraising
Three100 Fundraising

Fundraising for affordable, permanent artist's studio provision. Be involved, work from £40-£3,500