On May 21st we have an exhibition opening by Hungarian painter Petra Kovács.
May I Introduce Mafdet?
The paintings in Petra KOVÁCS' series depict the possibilities of the existences of a person known as Mafdet.
Mafdet was conceived as created as a moveable puppet by KOVÁCS at the University of Hertfordshire during her Erasmus
scholarship program in the fall semester of 2021–2022. Made completely of recycled materials, with the exception of her hair crown
(hair extensions) and glass eyes. She gets her clothes from charity stores. Mafdet has a distinct personality and is called after
the Egyptian goddess Mafdet, who was an early goddess of justice who delivered fast judgment and punishment.
Her project, which is continually expanding and growing, tries to examine and depict many elements of Mafdet's life, past, present,
and not-so-distant future, via the use of diverse media. As a result, Mafdet's age is unknown, always changing, and its proper character
depiction is difficult. Mafdet has the same issues as everyone else: traumas, desires, and challanges as you and me.
On February 26th we have an opening for an exhibition of neo-expressionist painting by Jaime Valtierra called 'Sunrise Weaver' showcasing his vivid and bold brushwork.
It does interlock, not willingly, it is a desire, not that you can make a picture of it. It is a quiet murmur, but the sound is not related to anything, it is a wave here and an error there. Then the error is the only thing that stands, the wave goes against a wall and dissolves and then there is nothing. It all begins again. The only thing to do is to remain open, to recognise something tumbling away from you, perhaps it is far away, just a dot in the distance. When you get there it might just be a speckle of dust, or a mirror, or a thing you can’t describe.
The thing to remember is to keep moving. Here or there. It is the same place. Listen, those two lines in the sky never actually meet. You think they do. But they don’t. They keep getting closer and closer but not even at the end they meet. There is possibly no end, not in this case. Still they do interlock, it must be a temporary mirage, an error of the eyes, a misfiring brain. Whatever it is, it takes place at intervals, when you work towards not getting there, when you forget it was even possible.
You must forget everything without forgetting to move, towards the thing without the meaning of the thing. Where is it? If I think about it, it is never there. If I don’t, it is nowhere to be found. If it was a little bell around a cat’s neck it would be easier. Unfortunately most things are not attached to a bell. A face has a voice, if I listen closely perhaps I could draw you in your sleep.
I was meant to be talking about painting here. Every time I sit to write I do about painting. A whole life dedicated to painting. Sometimes it does get a bit pointless. But it is the least pointless of all of the other things available. Oh yes, let me go back to the beginning of this text, towards nothing, towards a nest. The nest is something. You see, what I mean is: towards forgetting the idea of the nest. All ideas must be forgotten.
For November, we have an exhibition by John Franklin Higgins whose work traverses sculpture painting and photography, emerging from an attention to the relationship between production, and the consumptive norms through which we process our information environment. His studio process embraces chance and humour, playing with the idea of artist as agent through which desire and meaning are materialised.
This September, we host a new installation by Mary Yacoob - metallic vinyl artworks inspired by diagrams of surgical instruments from the Wellcome Collection. Mysterious and biomorphic abstractions emerge from the visual legacy of the history of medicine.
This August we are exhibiting a series of drawings by E.L Campbell.
The work in the show is drawn from both the observation of natural forms and growth combined with intuitive drawing to create hybrid ambiguous images reflecting on light, space, fragility, movement and change.
In June we have an exhibition of Wojciech Rusin's 3D printed pipes. 3D printing technology reflects the surface of the mind, as in an alchemical laboratory the processes of chemicals, of material transmutation, reflect the processes of the alchemist’s mind. The spools of plastic are full of endless potential and can be transformed into ‘buckets’ or ‘jewels’ at any point. 3D printed plastic fuels the Deleuzian ‘desiring machine’.
In April we have a new exhibition called 'Managing Expectations: Lockdown Easel', which will take the form of a collection of Oliver Baggott's small-scale anthropomorphic faux naïf abstractions and death stare-down phantascapes.
All the paintings were created in a subterranean studio in the basement of a church on top of the Penton mound close to the rumoured location of Merlin's cave.
The inaugural show at SURGERY.GALLERY will take place early December 2020 featuring an installation by Christos Fanaras called
Wall (Disturbed Meditation). It started out as some theraputic doodling on his kitchen wall which over a number of years grew to encompass a very large area. Recently during renovations builders tore the wall down, fortunately however Christos was able to rescue parts of the demolished wall. What we have on display are the surviving pieces of plasterboard, with the accompanying doodles.
Christos Fanaras is also a accomplished musician; currently a member of the psychedelic drone duo
Elephant House, as well as the bassist in
Tim Burgess and
Daniel O'Sullivan's groups.
is a pandemic friendly display window art gallery located in a former Doctor's Surgery on Pitfield Street in Hoxton, which is itself nestled atop one of London's largest plague pits dating back to the Black Death (1665-1666).
All enquires should be sent to Bjørn Hatleskog.
79A Pitfield Street,