Curated by Alexander Stavrou
7 March – 9 April 2020
Monday – Friday 10am – 6pm : Saturday 12 – 6pm
The Koppel Project Central
Private View: 6 January 2020, 6-8.30pm
Substance Bundle – a group show bringing together artists working across painting, sculpture, installation, film, and performance – reflects on how containment can be a tool to both enable and restrain. The dictionary definition of containment is ‘an action which keeps something harmful under control or within limits’. What these limits are, however, or what the contained object or entity is, shift constantly depending on context. Language itself not being immune to change, this show temporarily replaces a dictionary definition of ‘containment’ with the nonverbal efforts of the included works.
In Substance Bundle, this replacement is playfully investigated by artworks which become fragmented, occupy pockets of space, or hang over us as we negotiate our way around and through them. Some may appear to be separate worlds into which we peer, while others threaten to engulf us. The array of approaches all point us towards the question:
to what extent is an entity or object defined and shaped by its containment, and is that containment the material reality of objecthood, or is it the perceptual pressure of a context?
Pablo Castañeda Santana
Pablo Castañeda Santana’s practice explores the intersections occurring between painting and the digital media, while reflecting on the materiality of pictures and challenging the way painted images are produced and displayed. His questions around presence and representation in a picture are embodied through the use of acrylic paint sheets, that lack the traditional relief or grounds of conventional painting and distort the relationship between image and support.
Pablo graduated from Central Saint Martins (2017) and Universidad de Sevilla (2014), his work has been exhibited in Spain, UK, Italy and India. He was awarded the First Prize in “Lynn Painters-Stainers Prize” (London, 2018). Additionally, he has been chosen finalist in VIA Arts Prize (London, 2018), “Premio de Pintura Paul Ricard” (Sevilla, 2015, 2016 and 2017) and “Solo Award” (London, 2017); and shortlisted in “Premio de Pintura BMW” (Madrid, 2015 and 2019), “London Contemporary Art Prize” (London, 2019), “WAC Awards”(Wells, 2018) and “XII Certamen de Pintura Fernando Quiñones” (Cádiz, 2012)
Rosalind Davis is an artist, curator and a graduate of The Royal College of Art (2005) and Chelsea College of Art (2003). As an artist Davis has exhibited nationally and internationally. Solo shows include: no format Gallery (2017), the Bruce Castle Museum (2013); John Jones & Julian Hartnoll Gallery (2009); The Residence Gallery (2007). Selected group exhibitions: The Courtauld Institute; Arthouse1, Bo Lee Gallery, Standpoint Gallery, Transition Gallery; The Roundhouse; The ING Discerning Eye; The Lynn Painters Stainers Prize, Sevenoaks Kaleidoscope Gallery and no format Gallery. Her work is held in a number of private and public collections. Davis is the Curator at Collyer Bristow Gallery; a dynamic gallery in a law firm. She previously co-directed and developed two arts organizations; Zeitgeist Arts Projects (ZAP 2012-15) and Core Gallery (2009-11) and co-authored What they Didn’t Teach you in Art School.
Justin Hibbs studied at Central St Martins, London (1991-94) He has exhibited his work both nationally and internationally and has also curated a series of artist-led exhibitions. Solo shows include: Between Before and After at Arroniz Arte in Mexico City (2018), Alias_Re_Covered (2015) at Carroll / Fletcher; PARA/SITE (2013) & Secondary Modern (2010) at Christinger De Mayo Gallery, Switzerland; Altneuland (2007), Lucy Mackintosh Gallery, Switzerland; Metroparadisiac (2006) and I’ll Wait For You (2005) at the One in the Other Gallery, London. Selected group exhibitions: Observation Rooms, Arthouse1, Rules of Freedom, Collyer Bristow Gallery, London, Shapeshifters, Arthouse1 London; Abstraction I, Arroniz Gallery, Mexico, Pencil/Line/Eraser (2014), Carroll / Fletcher, London; Superstructures (2013), Arroniz Arte, Mexico City; Oh My Complex, Kunstverien Stuttgart, Germany.
Control and obsession creates an exterior case, whilst the inside has the potential to explode and pour out.
Through the manipulation of found materials, often industrial and synthetic, Nadine Shaban creates masks to hide vulnerability. These surfaces provide a concrete way to express that which is soft or can’t be articulated. Also their imprint and threat to the natural world combined with their intimate role in human life draws on her attraction to destruction and transformation.
She creates sculptures that have more significance than the sum of their parts by bringing together many individual pieces. It is often through repetitive movements that the structures form, slowly untangling and bringing internalised feelings to the surface. At the same time providing a calm and focused space for an uncomfortable mind.
‘When life around me is falling apart I hold it together with whatever is in reach; glue, tape, thread, and consequently pull it to pieces when I need to; stillness not being a satisfying state.’
Alexander Stavrou’s work acts at the point where painting, digital film and installation meet. He views paint as indiscrete material information which embraces uncertainty and is concerned with how it relates to contemporary society which has become so familiar with information in the form of data. His installations bring both painting and digital film into the same context and physical space where we can find the jagged rhythmic pulses of a digital film next to what is by comparison a stationary painted object.
Currently shortlisted for the Dentons Art Prize 9.0 (2020), Alexander graduated from City & Guilds of London Art School (2012). A selection of recent shows, projects, residences and awards: curated group show No Captcha Thanks, Offshoot Gallery (2019). The Hive Residency, The Koppel Project Hive (2018), Chadwych-Healey Prize for Painting (2012).
Andrea V Wright
Andrea graduated with a BA from Chelsea College of Art & Design in 1994 and embarked on a career in fashion, styling and music working with magazines such as The Face, Arena and Italian Vogue before returning to study at Bath Spa University, graduating with Distinction, MA Fine Art in 2016. Her work interweaves stable and fragile compositions through fabrication, transformation and re-invention. Geometric structures act as substrates for skin-like surface residues, or provide a starting point for temporal spatial drawing installations, where the shadows of these structures are traced onto architectural spaces using tape and threads. Key to all her work is the relationship between the human form and the physical/emotional spaces which we inhabit.
Since graduating she has been invited to exhibit both locally and in London (Arthouse1, Collyer Bristow Gallery, The Koppel Project, ’New Relics’ at Thames Side Studios and Prevent This Tragedy at Von Goetz, Post Institute). She had her first Solo Show this year at Galeria Nordes, Spain and was recently selected for the Ingram Collection Purchase Prize 2019, the PLOP Residency and the Royal Society of Sculptors Bursary Award 2017/18.