NEXT ON

DEPTFORD DEPOSIT RETURNS | PAUL HAYDOCK-WILSON

Show: 16-19 January 2020

Open Evening: Friday 17th January 7-10pm

Film Screenings + Talk: Sunday 19th January 2pm

(‘It’s Not Bleak Up Deptford Creek’ and ‘Into The Creek’ followed by Q&A)

Local Artist, Paul Haydock-Wilson, returns to his roots by showing fine art prints from his renowned Wilderness–Eroded Suite and Deptford Deposit Project. A life-long engagement with Deptford Creek and a background in geography gives him a unique perspective on an ever-changing environment.

Context and Process

“Deptford Creek is a tidal waterway. Once the site of King Henry VIII’s shipbuilding and slaughterhouses, it’s now home to wildlife, people, industrial estates, artists’ studios, a dance school. It is an open space in a crowded city. Open to the elements, wind, rain, tide, sun, and air, with big skies, full of planes, helicopters and commuter trains as they pass over the lifting bridge, a sublime industrial structure.

To represent this landscape, I deposited prepared etching plates, which are crude recording devices. It was a geographical experiment but with connotations of alchemical rites. In fixing the plates firmly in place with copper wire, to a liminal, marginal and transitional space, it became a ritual of sacrifice.

The decision-making process of how to etch and print these plates forced me to develop new ways of working. The first plate was deposited with rivulets of silt. The silt was baked on by the sun and slow etched in acid. Subsequent plates have literally been ‘creek-etched’.

Digital scanning and printing made it possible to faithfully represent the visual qualities of the surface. It also opened up opportunities to resize, manipulate and distort. By enlarging the image, scale and perception shifts dramatically. The microscopic becomes macroscopic and it becomes possible to negotiate the landscape as a surface map. The local tactile and kinaesthetic features of the surface which were previously invisible are now perceptually clear. It turns the viewer into explorers, roaming visually and creating their own cognitive trails.”

paulhaydockwilson.co.uk

@deptforddoesart | deptforddoesart.com

MAKING SENSE | Goldsmiths Visual Cultures Society

‘MAKING SENSE’

A multi-sensory exhibition curated by Goldsmiths Visual Cultures Society. Featuring artists:

ASHLEY LI | LOUISA STYLIANIDES | MH SARKIS | RAHMAN ZADA | SONIA ARLO | TOM ABDULHADI

Show: 22-26 January 2020
PV: Friday 23rd January 7-10pm (fully licensed bar on site)
Opening times: Thursday to Sunday 10am-6pm* (*5pm on Sunday)

Art is no longer limited to the visual. Art can also be perceived by the body, through touch, hearing, taste, smell and other senses yet incomprehensible. It is these very physical and expressive reactions that this exhibition seeks to explore.

Featuring works from a selection of artists, using a variety of mediums, the exhibition explores the bodily relation to art through visceral and felt response. The audience is invited to interact with each work, exploring their individual response and note how this may differ from others, in tune with their own lived experience ‘Making Sense’ will be running from 22nd – 26th Jan 2020 at Deptford Does Art (28 Deptford High St, Deptford, London SE8 4AF, United Kingdom).

For more information, please contact Goldsmiths Visual Cultures Society at visualculturessociety@goldsmithssu.org or Deptford Does Art at deptforddoesart@gmail.com.

WHO TOOK MY LEGS

An exhibition by FREYA JONES BARLOW | LAILO HO | YULA KIM | CHIN YUQIN | | NIHARIKA PORE | MEDA POVILONYTĖ | CARLY CHENG | KC POH | KRISTINE HILLQUIST | BEN NIXON

Curated by Meda Povilonytė & Niharika Pore 

30 JANUARY – 2 FEBRUARY 2020

PRIVATE VIEW: FRIDAY 31ST JANUARY 7-10PM

This exhibition is a coming-together of ten artists, all presently studying, as they employ explorations of the non-human within their practices. New interpretations of human identity, and its many proliferated forms, have become increasingly relevant in our current times. The anthropocentic body takes on its surroundings, and as we shift to fit the ever-changing, post- humanist attitudes towards societal conditions, perhaps the non-human speaks more to Us than ever before.

We consider the anthropomorphic, the animalistic, and their relations to our own, human identities; speculative zoologies interact within distant fictions, navigating through alternate dimensions while grounded in our own. Ghost towns and homes for cats: we explore infrastructure of domesticity, and animal-human relations within that, as well as the abandon of architecture, imbued with life once again through art-making.

What, after all, is the presence of the body? Does it require permanence to be permitted? Is this a gendered requirement?

Objects, too, are non-human. How can an object, a being, produce its own creations? Each takes its own space, becoming an organism in its own right. Narratives persist and grow, their coming-to-life an act of resistance against mundanity.

Who gets a body? Who gets a home?

Can we ever truly represent that which lies beyond our peripheries?

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