Group Residency

19 June – 11 August 2017

The Koppel Project Hive

The Hive is pleased to announce its Summer Residency program running from 19th June – 11th August 2017. Twelve artists from the 70+ studios at The Hive are invited to create artworks inside the gallery for visitors to experience first hand.

The gallery will be open from Monday to Friday, 10am – 6pm.



Resident Artists have the opportunity to work in a new environment within the gallery space as a conducive to creativity, inspiration and cross-pollination.

The aim of this program is to reinforce the bridge between The Hive artist community and the local area.


Resident Artists can transform their designated spaces to either create new artworks or work on their on-going projects. No tangible outcome is expected, but all are required to self-document their art making progress and use this space and time to contemplate, research, and experiment with their practice.


The ground floor of the gallery is exposed to the street level of Holborn Viaduct, while the lower ground floor offers a vast, functional space for large-scale works.

This residency brings a public audience into the creative process through informal conversations that provide context to the Resident Artists’ work.

Over the course of the residency, the gallery supplies access to materials and tools as well as advice and guidance throughout their creative process.

Artists can work across a wide range of media, from painting and sculpture to sound, video and performance: truly reflecting the transdisciplinary attitude and explorations undertaken by The Hive.

Resident Artists Summer 2017

Paresha Amin

Frederic Anderson

Katerina Barampouti

Molly Rose Butt

Daniel Curtis

Oli Epp

Chris Farrell

Gwil Hughes

Anna Klimentchenko

Natalia González Martín

Harriet Middleton Baker

Harrison Pearce

Fiona G Roberts

Nadine Shaban

James Tailor

Lamia Veerasamy

Artist biographies


Paresha is a MFA graduate from the Slade School of Fine Art. She lives and works in London.

She makes paintings which reference genre painting especially Still Life and Landscape. She is particularly interested in 17th century Dutch Still life painting as the themes explored therein are immensely relevant to the 21st century. She is fascinated by the messages conveyed by the genre. On one hand, there is the beauty, diversity and variance of the colours, shapes, sizes and richness of the plants that make up these magnificent pictures; on the other hand, the warnings about the brevity of human existence and the inherent greed, violence and temptations offered. She admires the way these paintings simultaneously seduce and chastise. Her inspiration comes from the landscape she travels through and the impermanence of life she experiences daily as a keen gardener. The time it takes to make paintings reflects the time the flowers take to transform from fresh, animated creatures to the dried up, desiccated objects.



Born in 1973, lives and works in London.

Frederic’s practice is firmly rooted in the act of drawing itself, in how objects are broken down into abstract forms and translated into marks on the page. In a process of sustained phenomenological enquiry, things and places are treated according to a flat ontology, reduced to edges, planes, shapes and contours – the sparkling lines where positive and negative space collide. This is the sharp edge of ‘from life’ engagement free of the closures of representation. It is a process of decoding and translation, of mining the rift between essence and appearance, the space in which things begin to fall apart.



Katerina graduated with a MA in Performance Making from Goldsmiths University of London in 2011. Recent group exhibitions include 16 Artists 16 Days at The Koppel Project Hive (2016-17) and Childhood The Real Event / Life Snap at Kids Company and the Royal Academy (2015).

“My work is concerned with real people and ordinary life and is crossing art forms: I use the human body, colour, video and light, matter and sound to share stories. I wish for my works to be transformative experiences that may challenge or shift human perception. I do not want to impose an idea but rather to start a conversation and keep it going. In the end, myself and the audience shall be inspired.”



Molly graduated from Wimbledon College of Arts in 2016 with a Masters in Fine Art, having completed her BA at Kingston University in 2013.

Her practice stems from painting, though she incorporates sculptural elements into her pieces to create installations and expanded paintings. Interactions between the material and the natural world inform the abstract aesthetic of her work, which is deeply rooted in concerns for colour, composition, texture and form. She develops scenes from encounters with her surroundings to create parts of a constantly shifting landscape.



Daniel graduated with a degree in Fine Arts from Wimbledon College of Arts. Recent exhibitions include Interventions at Lewisham Arthouse, In the Shadow of a Subterranean River at The Crypt Gallery London, and 1 at Chelsea College of Arts. He is a member of the ‘Wednesday’ collaborative awarded Studio4 Residency at Chisenhale Art Place in 2016.

“My work is driven by form. I fabricate and compose shapes, colours and surfaces until there is a charged relationship between them. Like characters in a play, I form structures to be in active conversation with one another, their dialogue held in a frozen tableau. I make in response to the muddled memories of things I catch out of the corner of my eye – the end results are often strange resemblances of something half recognisable.”



Born in London in 1994, he graduated from City & Guilds of London Art School with First class honours. He lives and works in London.

Oli’s paintings are informed by his observations of living within contemporary consumer culture. They are autobiographical, confessional, irreverent and frequently handled with a humorous pathos. He draws from public and private moments that pass by as unnoticed or unremarkable and from these he points out the absurdity of certain shared rituals and behaviours – a desperate state of affairs in which we are defined by our consumer choices. He creates simplified humanoid characters, which lend a sort of parody of the real world in the way that cartoons do. These ‘avatars’ have oversized heads and are hermetically sealed by an absence of facial features. They appear idiotically isolated, but adorned with earpieces, brands and ‘things that trend’. His use of the visual language of advertising and the interplay between graphic and painterly surfaces aims to create optical confusion, echoing the way that our real and digital lives are merged.



Born in London in 1971, he graduated in 1993 with a first class Honours degree in Visual Arts from De Montfort University, graduated in 1997 with a Post-Graduate Degree in painting from the Royal Academy School of Art. Christopher won the Young Artist of the Year Hunting Prize and was invited to attend a reception by the Queen to recognise the achievements of young adults from throughout the UK.

Christopher combines the latest digital technology with historical materials and techniques, working with Photoshop, Oil on copper and gold paint on gesso as well as oil and acrylic on linen. Old masters are among his influences, specifically Canaletto whose celebrated views of London have inspired Christopher’s new paintings, drawings and digital artworks. The fast evolving London skyline with its dynamic mix of contemporary and period architecture provides the basis for his work.



His work has been included in private collections in the UK, Netherlands, France and United States, and in permanent collections of Banco Itaù and Somerville College, Oxford. Since completing his BA in Modern Languages at the University of Oxford in 2014, he has been developing an autodidact practice, for the most part painting and drawing on a range of media, from canvas to salvaged stone and metal. He is interested in the character of place, in liminal spaces and how to convey individual experiences of the physical.



Born in Russia, Anna lives and works in London. Studied at the Slade School of Fine Arts and the School of the Art Institute of Chicago.

Anna derives her inspiration from old postcards, photographs and other childhood memorabilia objects. Her paintings are about what it feels like to remember, and her works become self-portraits of her psychological state at the moment of painting. Anna works with unprimed fabric and canvas. Exploring different types of wet and dry painting/drawing media and developing a printing method akin to monotype, Anna combines watercolours, inks and acrylics to create subtle shifts of euphoric or meditative hues.



Born in Madrid, Natalia lives and works in London.

Natalia’s practice has been primarily concerned with matter and the need of humanity to preserve it from the decay of time. Throughout the creation of fictitious organic and archaeological-like objects and their arbitrary classification, her work questions the precariousness of the established value given to objects. Questions around the ethics of ownership and collecting become palpable in her practice.

Her research includes looking at the ways in which cultural artefacts are framed by institutions. This has involved thinking about museology, the methods of display and the ways in which information in delivered. Looking at specific objects merely on a physical level, she reinterprets them erasing this way any symbolic value from them, leaving the primal source unrecognizable. Due to their abstracted quality, the attention swifts from the object displayed to the action of displaying.

The process loads her work with historical, cultural and iconographic references that might necessitate deciphering. The resulting organic-like artefacts hint allegories to the human body, resulting into a depiction of ‘vanitas’ and ‘momento mori’, themes inherent and inescapable to the human condition.



Harriet’s work tampers with the research methods and display techniques of museum culture. Trained in architecture but focusing on research, text, collage and film, her work finds parallels between structural economic, political and historical peculiarities and her own experiences. She is currently working on a film that explores the birth of twentieth century contemporary dance and its relevance in contemporary art and culture today. Recent shows include Touch Sensitive at Guest Projects and The Sit In at The Depot. She lives and works in London.



Harrison is a multidisciplinary artist, living and working in London. He graduated with an MA in Fine Art from City & Guilds of London Art School in September 2017, and holds an MA in Philosophy.

His works come from autobiographical events and he draws from these to explore philosophical ideas, with an emphasis on the mind, body, language and experience. His practice combines sculpture, engineering, coding, sound and music to make large-scale installations. Stemming from the mind-body problem his works look at contemporary belief systems in which scientific or technological evidence can determine first-hand sensation. These often-industrial looking apparatus behave in uncanny ways, shifting unpredictably between the mechanical and the bodily, making them simultaneously comical and threatening.



Fiona is a recent graduate from the MA Painting programme at the University of the Arts London, where she was a recipient of the Vice Chancellor’s Scholarship. She lives and works in London.

Her work has been selected for the Ingram Collection’s Young Contemporary Talent Prize exhibition and Painting [Now] exhibition (a survey of contemporary practice), the ING Discerning Eye Exhibition, the Lynn Painter-Stainers Prize exhibition, the National Open Art exhibition and the New Georgians exhibition.



As an artist, James’ main concerns are how he negotiates his practice and life experiences within his chosen mediums. He believes that a work of art should have the ability to communicate for itself without the viewer being directed towards a specific understanding. He finds the self-categorisation of work to be problematic and restrictive. This organic approach results in a body of work that takes painting off the wall, utilises the materiality of paint itself and inventively combines with assemblage to create the basis for an ongoing conversation. Although he sometimes deals with an undercurrent of dark issues, he maintains a playful approach to make his work as accessible as possible. Whether the viewer considers the final work to be an installation, a sculpture or a painting is down to themselves but the artist states that there is a constant and everything has been considered from the starting point of colour, balance and composition.

James won the Helen Scott Lidgett – Acme Award for 2017-18 at University of the Arts – Central Saint Martins and was graded with a Distinction.



Lamia’s work gathers several recollections of her country of origin (Mauritius) that span from early childhood to present day. The sceneries she explores are drawn from private personal experiences or public scenarios. The narratives in the mixed media drawings are composed intuitively and whimsically with reference to a melancholic and infantile vision of a dormant paradise. She resorts to an informal language of mark making influenced by local and traditional craftsmanship such as weaving, printing, and dyeing, in the hope of bringing to light the primal quality of many day-to-day situations encountered in Mauritian life. The visual lexicon used, also largely inspired from Mauritian fauna and flora, addresses certain ironical discrepancies between the country’s glowing aspirations of modernity and democracy and the realities of its societal and cultural makeup. Her work is pertinent to themes such as women’s status in society, religion, the environment, and questions of nationality and identity.