The Tricycle Gallery
7 November – 10 December
269 Kilburn High Road, London, NW6 7JR
www.tricycle.co.uk
Broken
an artist needs to break a material in order to make an artwork
A group show by Brent Artists’ Resource members
Open: Daily, 12 – 10pm (Sundays 3pm – 9pm)
Private View: Monday 7 November, 6pm – 9pm. Performance by Javier Calderon at 7.30pm.
Brent Artists’ Resource in collaboration with The Tricycle is proud to present Broken curated by Lorenzo Belenguer. Broken: an artist needs to break a material in order to make an artwork. It concentrates on new ways that current artists respond to the use of materials and ready-made in their practice. Artists seem to use found or ready-made objects in a more subtle way. Perhaps the current socio-economic situation allows them to take it to the next step. The curator has invited artists from Mexico, Spain, Saudi Arabia and England.
Lorenzo Belenguer’s work straddles the realms of sculpture, painting and drawing. In one area of his practice, he transforms metal objects into sculptures that evolve from the visual rhetoric of Minimalism and double as ‘canvases’. Javier Calderon will give a performance titled Body Paint, which is a participatory performance, where the artist gives the public various cleansing products for the body. The results would be a collection of geometric minimalist works, which would be on display for the duration of the exhibition. Hadil Moufti is an abstract painter working predominantly in oils, depicting eternal themes of the natural landscape. Fiona Quadmani have been working on a body of work that looks at transition, residue, something found, precious, using a simple symbolic structure such as a cone as a vehicle of experimentation.Pete Webster has photographed for this show Jantar Mantar, a site in India where scientific instruments were constructed in the early 18th Century to determine the exact alignment of the sun, moon, planets and stars to assist in making predictions
Brent Artists Resource (BAR) was founded in 1984 and is based in Willesden Green Library Centre. The leading forum for contemporary visual art in Brent, selected last year by the BBC as one of the top community galleries in London. The organisation has a large group of keen and committed members and volunteers; both practicing artists and those interested in the arts. The gallery presents a rolling programme of exhibitions in a purpose-built gallery: a mixture of community open shows and shows by invited artists that cover a wide range of artistic practice. BAR supports art workshops; artists residence programmes; peer-group training and development; mentoring of artists; dealing with interested members of the public, and is a leading presence in key community events such as Black History Month, Brent Respect Festival and other artist-focused projects such as Emerge and Bounce.
The Tricycle Gallery
269 Kilburn High Road
London NW6 7JR
Pebbles & People
A group show by Brent Artists Resource members
26 September to 6 November
Open: Daily, 12 – 10pm (Sundays 3pm – 9pm)
Brent Artists Resource in collaboration with The Tricycle is proud to present Pebbles & People curated by Lorenzo Belenguer. Pebbles & People explores the idea of how we view landscapes and people, and as with a pebble dropping in water, wonders which elements and features ripple in our memories and which get lost.
John Blandy combines an abstract style of painting with a constant alertness to change, mood and movement in landscape. Ida, Ivanka Kubler: the primary motivation behind her work is the curiosity to apply materials that may be more or less available to her because of “situationism”. She discovers their multi-faceted potential and manipulate their initial form. Cinnamon Heathcote-Drury, says: “To me, the tufty clumps of land resemble animal fur, and the earth of Northern Ireland itself has a raw pulse, like the feral presence of a huge dormant beast”. Christine Warrington: The three lithographic works proposed for the exhibition came from the library of my mind and were lifted from a shelf of emotions that rose and fell in the crescendos of time and place. Diana Wolzak: My work relates closely to place. The immediate architectural environment is often the setting for a sculptural, painting or photographic installation. Lorenzo Belenguer is an artist and a curator. He has been involved in many arts projects and has successfully run BAR with the involvement of the Board of Directors for over five years.
Brent Artists Resource (BAR) was founded in 1984 and is based in Willesden Green Library Centre. The leading forum for contemporary visual art in Brent, selected last year by the BBC as one of the top community galleries in London. The organisation has a large group of keen and committed members and volunteers; both practicing artists and those interested in the arts. The gallery presents a rolling programme of exhibitions in a purpose-built gallery: a mixture of community open shows and shows by invited artists that cover a wide range of artistic practice. BAR supports art workshops; artists residence programmes; peer-group training and development; mentoring of artists; dealing with interested members of the public, and is a leading presence in key community events such as Black History Month, Brent Respect Festival and other artist-focused projects such as Emerge and Bounce.
For further information please contact the artist or the curator directly on:
www.lbelenguer.com / www.johnblandy.co.uk / www.idaworkbox.com / cinnamoninfo@gmail.com / christinewarrington2@yahoo.co.uk / www.dianawolzak.com
FURTHER INFORMATION
Lorenzo Belenguer is an artist and a curator. He has been involved in many arts projects and has successfully run Brent Artists Resource with the involvement of the Board of Directors for over five years. Many of his projects have been selected by the BBC, The Guardian and Time Out magazine as one of the top projects in London including the Minimum: After Minimalism and Brent Art Fair. A practising artist, his new series of drawings were selected for a group show at the Tate Modern in May 2010. Currently, Testimonies, a project for the Cultural Olympiad, will be broadcast in different venues during the London 2012 Olympic and Paralympic Games. www.lbelenguer.com
John Blandy combines an abstract style of painting with a constant alertness to change, mood and movement in landscape. The aim is to give a feeling of being there, in a collection of moments. The work in this exhibition comes together in a storybook of change, highlighting the difference while reinforcing the constant cycle of growth and decay.
John Blandy was a founder member of BAR and is presently the chair of the board of directors. A graduate of the Royal College of Art, he was represented by Cassian de Vere Cole Fine Art (2001-3) and the Francis Kyle Gallery (1985-95). His work is part of the permanent collections in Hammersmith Hospital and St George’s Hospital, Tooting.
www.johnblandy.co.uk
Ida, Ivanka Kubler: the primary motivation behind her work is the curiosity to apply materials that may be more or less available to her because of “situationism”. She discovers their multi-faceted potential and manipulate their initial form. Thus she’s able to create “being” or “thingness” (physical presence). For it is more often than not that things are parts of other things and that purity is rare. Resulting from distraction, her work represents the crossover of disparate areas. It creates links (i.e. the “blurred object”) and formulates scenarios. With the latter she wishes to nurture the creative power in individuals and allow for moments of unique emotions and unforeseen encounters. www.idaworkbox.com
Cinnamon Heathcote-Drury: There’s something mystical and archaic about Dunluce Castle. Surrounded on 3 sides by the North Atlantic Ocean, this view was obtained from a parallel promontory, with sheer cliffs crumbling to the rocks that wrecked the Spanish Armada below. Whereas many castles are signposted along the track from Belfast to Portrush, the grandiose suggestion of ‘fortress’ is in reality a pitiful smattering of boulders, ravaged by the winds, and centuries of Celtic war. Dunluce is the exception, emerging out of the land mass like a wisdom tooth, ancient and integral to the land itself, perfectly balanced against the muted greys and greens of sea, sky and land.
The original negatives were shot in colour, but on return to London I found the blend of nature and stone so unique I opted for a monochromatic end result, honouring the simplicity and dominance of the structure, like a 3-dimensional etching. Also, the negatives were square, and needed to be stitched together like a tapestry, to create one seamless collage. This minor intervention felt in keeping with subtle man-made netting, visible to the right of the bridge, which is cast over the coarse grass to prevent further drag away from the stone. Lacing the surface together, and attached like a cobweb, or epic crochet, it still cannot contain the power of cliffs. To me, the tufty clumps of land resemble animal fur, and the earth of Northern Ireland itself has a raw pulse, like the feral presence of a huge dormant beast. cinnamoninfo@gmail.com
Christine Warrington: The three lithographic works proposed for the exhibition came from the library of my mind and were lifted from a shelf of emotions that rose and fell in the crescendos of time and place. Beneath the fleeting feet of memories, my work became and reflected a particular inner calm, the antithesis of the contemporary events leading up to and around the making of the images. Working on the principle of oil and water resist, the essence of my thoughts became grounded and registered on stones and over a period of slow time were transferred on to the dry bones of paper over a period of time. I am from the Caribbean where I was born and where I still have most of my extended family. London is where I live now and where I work. The rub and exchange of many people and cultures as well as the tooing and froing across the Atlantic Sound has had a major influence on my work. Always playing catch up, my thoughts keep abreast of immediate situations but dart here and there in an attempt to focus on current affairs. So the questions, where is the past? and, why slow lithographs in a computer era? has been a challenge. For me, it has been a medium of choice for this particular body of work that draws on the similarities between us so as to heighten one’s ability to empathise with others. The work is not an academic or art theory exercise or a research paper but an artistic attempt to stand on the threshold and to open up some new doors. christinewarrington2@yahoo.co.uk
Diana Wolzak: My work relates closely to place. The immediate architectural environment is often the setting for a sculptural, painting or photographic installation. Drawing, painting, photography and making are all explored in an often impulsive and spontaneous way, but the process by which the work develops is painstakingly obsessive, adding density and complexity to an initial gesture. Colour, pattern, surface and texture form a mapping out of territory, from the known to the unknown and visa versa. The real and abstract converge. In my sculptural installations, discarded domestic objects are collected for their materiality, history and lost functionality. My intervention, of repetitive wrapping, tying and colouring, transforms their identity.www.dianawolzak.com
The Tricycle is supported by the Brent Council
