Owing to the sad loss of our nation’s Queen, we are pausing our programme. We will resume normal activities in due course.
As a result, Karen Piddington’s exhibition will be extended through to October, and Barbara Beyer’s from October through November 2022.
A lot more Small House Gallery artist opportunities will open up very soon…
Big plans are afoot to big-up the whole small gallery movement! A GUILD-WIDE SHOW, + many invited guest micro-gallerists in Summer/Autumn 2023!
And Small House Cottage will take up residency in its new Grimsby ‘home’ within Turntable Gallery!
So incredibly pleased that Barbara Beyer is up for making new work for exhibition in Small House Two, opening mid-October and running through to the end of November…
“Sculpture is a powerful medium to explore elementary themes concerning our human experiences in regard to our environment and in regard to our own sense of bearing and balance.
“Reflections on themes of landscapes and our perception and interference with our environment, kept bringing up the question where the urge to interfere with the material world comes from. What is the urge to do, to make, to change? Where does this need come from. Is it destructive or creative? Are we restless or just curious? Can making be a meditation or is it by definition quite the opposite?”
~ Beyer, from her statement on the Royal Society of Sculptures website
Photo of recent ‘Give and Take sculpture sketches’ by the artist 2021 for All & Some, a pop up group show in November, in London.
See more of her work here:
The Cottage is going on another British adventure – this time to Grimsby, East Lincolnshire (near Hull).
Dale Christopher Wells will be hosting Small House Cottage in his Grimsby based Turntable Gallery for the duration of his show, ‘Sackgassen’… and beyond!
A direct translation of Sackgassen could be ‘dead end’, cul-de-sac or impasse, but it also could mean ‘Blind Alleys‘ “which provide a sense of terror, uncertainty, cruelty, and disability, all present in the Tales from the Crypt comic story of the same name, and the 70s Hammer film,” remain inspirations for this ever-expanding body of work involving an artistic ‘dystopianisation’ (not really a word, but it’ll have to do) of ‘Britains’ agricultural models & toys.
There’s much to say about this work, and so much more to see, but you’ll have to wait patiently for October 2022! If you are lucky enough to be in Grimsby around then, you will be able to see the show in person. If not, you’ll see it here and on the socials with the rest of us.
So pleased to say that Dale is going to be co-curating subsequent Small House Cottage shows for the Small House project for the foreseeable future! Artists wishing to site their work in the Cottage will simply be able to post their shows to East Lincolnshire rather than South London. Exhibitions will be posted online as per usual, AND, BONUS, people will be able to visit those shows in ‘real life’ too if they’re feeling adventurous, or happen to live closer to the North East than the South East. It’s nice that a part of the project isn’t so London-centric.
The Turntable Gallery, co-curated between Dale Wells and RCA trained artist Darren Neaves will be the perfect home for Small House Cottage, offering many varied locations across its three floors, and artists showing in the main spaces will also have the option of showing in the micro gallery space, or a small scale work by an emerging artist might be exhibiting concurrently with a more established artist under the same meta-roof.
(Turntable is currently showing works by Jake Chapman, and is about to host Jeremy Deller. You get the idea.)
Thank you Dale & Darren! Looking forward to these collaborations with you!
But first: Sackgassen in October. (It’s going to be bloody amazing!)
“Brian Dawn Chalkley (b. 1948, London. Lives and works in London) is a visual and performance artist, storyteller and teacher. Formative in the trans community since the early 90s, the artist is known for their performances as Dawn a leading role in London’s underground trans clubbing scene in the 1980s and 90s, a time when it was deemed unacceptable and perverse. Now in their 70s, Brian Dawn Chalkley has been exploring gender, sexuality and identity for more than four decades, first in private and then in their art.” ~ directly from: https://www.davidandyukojudaartfoundation.com/the-grant
Read this article written by Christiana Spens for Studio International about Brian Dawn Chalkley’s work ‘The Untold Depth of Savagery’ from his solo show in Lungley Gallery last year, and touches on his work in the show about the Colony Rooms,
Sandra Lane is going to occupy one of the bigger Small Houses over the Christmas months. Her playfully experimental sculpture practice is materials-based and process-oriented, seemingly riffing on exuberant 80s graphics done in Miami Vice pastels and MTV neons, and is as unpredictable as puffy paint doodles on denim in a summer camp crafting session, except Sandra’s offerings are drawn in space, using clay and wire and foam and plaster, cartoony ceramic high-heeled sandals, and hollow socks, or weirdly elongated Shrigley-esque toes with colourfully painted toenails (and other, naughtier body parts). The point of bringing up the puffy painted denim is the explosive adolescent energy of the work, but no, your kid could not do this – well, not without a slew of tech support, experimental fearlessness, a whole lot of trial and error over the course of a decade, and a significant art education (Camberwell and Slade sculpture degrees in Sandra’s case).
Sandra’s work changes scale from show to show, and is exuberantly playful – this is why [April 2021’s Small House artist] Johanna Bolton recommended Sandra for a Small House show when she was introduced to Eldi at Johanna’s Royal Sculpture Society ‘Gilbert Bayes Award’ show, March 2022. (CONGRATS JOHANNA!) Johanna had a hunch that they’d be kindred art-souls.
Photo is of Sandra Lane’s delightful ‘Mini Gallery’ – a maquette of tiny sculptures and drawings from 2015 – taken from her website:
Emmely Elgersma is a football coach for Tottenham Hotspurs FC. Yes, you read that right.
Emmely Elgersma is also a sculptor specialising in papier maché who did her MA Fine Art at Chelsea College of Arts. She is also a ceramicist. She has taught art, and been an academy specialist at Elephant Magazine.
Her competitive streak led to her attempting to break the world record for the biggest papier maché sculpture in 2019! (The record is still held by a Mexican artist from 2017, but still! She went for it!)
Her papier maché sculptures have even been featured at the Tate Britain (via Art Untamed for Splash: Ode to Hockney), and her yellow-and-pink-polkadot-wearing gnome was an RA Summer Exhibition highlight. She has covered pianos in papier maché (for End of the Road Festival) and made fully functioning lamps our of papier maché. As well as showing extensively around both the traditional and much hipper hotspots in London and the UK, she has shown in Portugal, Russia, and her native Netherlands.
No one knows the material better. She brings both humour and utter seriousness to every sculpture she makes. Just look at this shark she made for Delphian Gallery <<< if you need proof.
Image of ‘Yves’ – a papier maché book (sculpture) on Yves Klein, from the product pages of her website
In the 2023 lineup we have a new show by the sculpturally-minded fine art photographer Florencia Durante, an exhibition of 60s hair style drawings and press-on nail sculptures by Chrissie Stewart, the postponed ‘Two for Joy’ show with Liz Honeybone & Pia Goddard, and an exhibition of charming (and really rather very good) daughter-daddy collaborative drawings by Dr Joshua Y’barbo & toddler, Darren Neaves is will install a surprise exhibition of his own work in Small House Cottage during its residency at Turntable Gallery, Grimsby… and much more!
Plus, a Guild-wide Guild of Micro Galleries exhibition is in the pipeline for Summer/Autumn 2023 (London? Grimsby? Both?) – SO MANY OPPORTUNITIES FOR ARTISTS TO SHOWCASE original small-scale contemporary artworks in the various Guild members’ and invited guest curators’ micro galleries, FINALLY TOGETHER in an in-person show, in one space*
Dates & the rest of the year’s lineup TBC, especially the GUILD-WIDE GUILD OF MICRO GALLERIES SHOW and the Small House Cottage/Turntable Gallery co-curation project’s line up – this shizzle is going to be exciting AF!
New CuratorSpace OPEN CALL links for various projects COMING SOON.
*Considering that two of our micro galleries are virtual only, two are in the US, one is in Norway, one in Lithuania, one in Australia, and four are fixed in place by their very natures – one is on top of a post in the ground of someone’s front garden in Michigan, one exists as a display cabinet built into a brick wall on a street corner in Adelaide, one consists of two repurposed phone boxes in a Regency Square in Brighton, and one exists within a permanent display case in a fence along a path outside an old school building on an island halfway between Norway and Sweden, some of these spaces couldn’t travel to London even if their curators wanted them to, so they will participate from the places they are, and we will figure out a way to bring them into the gallery where the physical group show is taking place. No micro gallery left behind!
We ALSO need to consider that even some of the more mobile UK-based galleries may not be able to physically come to London because of economic reasons. These micro galleries, which are so often the side-practices and passion-projects of artists who already may not exactly be financially flush, means that we will have to come up with ways of either displaying their galleries within the context of a ‘phygital’ group show based in London, or of finding ample funding to cover the costs of transporting the artist/curators, their galleries and their invited artists’ work down south! We would ideally want to tour the group exhibition to a gallery in the North of England (Turntable has already offered) so that more people will get a chance to see it in person. Obviously this would be pending funding for the transportation costs of that, too… we can but apply for these things, and keep our fingers and toes crossed. It may be necessary to show in London as the show is attached to SHG curator Eldi’s MA Curation programme at Chelsea College of Art. But we are looking into the possibility, if logistically necessary, of planning for the groups show to take place in Turntable Gallery, Grimsby only (should the MA course’s London-based assessors be okay with that arrangement).
A meeting with the founders of the Guild of Micro Galleries will be taking place soon, and all Guild members will be consulted to hatch a collective plan, pending UAL tutor advice. Updates here, as and when things are more fully developed.