The future can wait 2015

The future can wait is one of my favourite annual events.

Curated by Zavier Ellis and Simon Rumley, this year the exhibition was held at:

SE1 3UW 

13 – 17.10.2015

I have added photographs I took from this particular show, but also extended with more images I have found from the artists’ website as a way of understanding more about their motivations and inspirations. Generally, the first image appears in The future can wait and subsequent images are ones that I am intrigued by.


Alexandra Berg

I thought I would begin with Alexandra Berg’s graphite drawings. There were two in the exhibition and I have included another  from her website, all of  which can be viewed in full here.

I was interested to learn that her images are mainly sourced from the internet. She captures through drawing, all the nuances of the found photographic image, encompassing the physical texture of its previous lives and therefore its deterioration,  but rendered with exactitude and ultimately with supreme perfection. The physicality of the artwork appears soft and gentle, concealing any specific mark making or stroke of the pencil. They are instead diffused and almost blurry. I am of course left to wonder about the individual narratives and personal history of the figures, to question the time and place and the reason why these photographs were taken.


‘Double Enstasis’, 2015. Pencil on Paper Alexandra Berg


‘Sameness’, 2015. Pencil on Paper with Collage


I  move on to the artist Andrew Salgado, with his oil and pastel on canvas, entitled ‘for you.’ His work seems fast paced and expressive, sort of like punky/street art, as I could imagine coming across his paintings on a dirty wall in a city. The backgrounds in other examples, remind me more of torn and layered paste ups. Sometimes the canvas looks stained as the oil seeps out on to unprimed canvas. The marks are like shards of sliced up sweets, with candy floss pinks and baby blues. The overall compositions have elements of colourful textiles, reminiscent of Odilon Redon’s blended abstract shapes and a softer, gentler fauvism with  an illustrative/graphic undertone.andrewsalgado

Here is an example from his website which you can view here.

Andrew salgado

Andrew salgado


Next up is an installation by Beatrice Haines, of clay impressions from shrapnel holes.
beatrice haines

In the past, Beatrice Haines had undertook in a residency at Marlborough college, where she documented the graffiti underneath school writing desks, which in a way echos the piece above; by enhancing  random traces of events from history and preserving them.  Another similar artwork, ‘when you swallow, it wraps around your heart‘ appears to be casts in bronze of chewing gum globules.

Beatrice Haines

Beatrice Haines

I believe she took a residency working with forensics and grew interested in the scientific methods used to solve crimes. However, she re-appropriates these materials to create beautiful, and unexpected  art works.

Screen shot 2015-10-14 at 21.04.12

zhuTian The artworks above and below is by the artist Zhu Tian. The installation above is entitled, A partner, a half lover, another half lover. When I was walking around the exhibition, I had not noticed the title of this piece and so now I study the work with this in mind, it does somewhat sexualise it, as if the tubing eludes to a love triangle; Where ‘desire’ is fed into each physical shell and creates a reaction, depicted by coloured light, so the ‘physical’ becomes a mental process or an electical pulse.  They kind of remind me of a balloon and a pig, or a dismembered torso, although I did not find it unsettling, which is often how her work is described. Perhaps the lighting from within the polyester resin made the pieces aesthetically pleasing to behold. To find out more, I had a look on the Catlin Prize 2014 page, as she had won that year.

Quoted from the Catlin website below.
Zhu Tian (RCA, MA Sculpture) 

Q: I’ve heard you describe your work as a ‘hiccup’. What do you mean by that?


A: It means my work is an interruption: something to disturb the automated behaviour of robotic individuals. I’m always attempting to interrupt spectators’ life routines. I want to shift their attention and rupture their ideological habits. Part of that motivation is derived from my general frustration with how modern society is far too explicitly categorised.

The image below is a photo from her film, entitled cling to a curator, where she is bound to two male figures with some kind of plastic wrap which is shiny and black in colour. I did find  unsettling, as the plastic caused each person to sweat profusely. They were bound so tightly together it became claustrophobic to watch, but their expressions remained completely neutral and patient. They were also wrapped into the space so only their heads appeared, and it reminded me of a mixture of being submerged in oil and when old T.Vs were not tuned in properly, as the plastic material glittered and shimmered in the light. Finally, the figures were unwrapped and so the heavily damp patches upon their clothing acted as evidence for the uncomfortable situation they had been in.  To be wrapped to a curator, is an interesting idea; where their bodily functions can not be controlled and the intimacy of such close contact makes me question the usual relationship of curator and artist. An art object is usually at least one step removed from the physical body of the artist, and is a separate entity, such as painting or sculpture.  Here, there is no separation but a merging and combing of artist as an artefact and in addition the curator also becomes the artwork, no longer free to curate and restricted entirely.

zhu tian1


A sugar lift etching by Oliver McConnie, entitled Requiescat in Pace, green and Pleasant Land. McConnie’s work reminded me of the spirituality of William Blake, the ghoulishness of Goya and of  Bruegal, capturing the peasants of the 1500s. I find out that he wants to make the grotesque humorous, by portraying carnivalesque compositions and so yes, I think Bruegal’s depiction of humans being  foolish or in his recreations of allegories could also be applied to McConnie’s imagery. However, the latter work is either much more fragmented and ambiguous, or stylised and symbolic, almost masking and concealing the darker side of things so that the impact is not as severe and therefore lighter in tone.


His blog:

matthew gibson

The above oil on panel artwork is by the artist Matthew Gibson and is entitled Desktop. Looking at other examples from Gibson’s website, I see the Escheresque, but more muted and gloomy spaces, painted with the loneliness and expansiveness of what may come after Hopper dusks. Within the artworks, artefacts and architecture are repeated with unsettling conformity. There are sometimes figures, but often, there is an absence of life and so the ‘system’ has overwhelmed or pushed aside the more humanising and therefore more personal and intimate side of these spaces.  The result appears  cold and clinical, a dictatorship, or a scene from 1984. The chilling title of the work below, is called checkpoint.

checkpoint-2014-medium IMG_0417_11

Lisa Wright’s Biting on a button, next to Eliza Bennett’s  sculpture, made from Walnut, jelutong, leather thread, tacks and wadding resting on the floor, entitled  Le Grande Bourgeois.


Lisa Wright

I discovered that Lisa Wright uses her family as models, but the time period she evokes of her most recent work seems set in the past, such as a Velezquez  lady in waiting or courtier as opposed to a contemporary figure. There is a also a sense of the dreaminess of  Pre Raphaelite but without the sentimentality.


Lisa Wright

Her website

Lisa Wright

Lisa Wright

Eliza Bennett stitches the human body, both literally and symbolically. The sewing into her own hands is the most shocking and controversial.  Her taught sculptures equally stitch into skin, but the canvas is instead leather and has been processed to form a material as opposed to the raw state of human flesh.


Eliza Bennett


Eliza Bennett

Eliza Bennett

what has she done Eliza Bennett

what has she done
Eliza Bennett

Skin and flesh are definitely a preoccupation for Bennett. The works seem to explore the idea of protection and vulnerability, concealment and exposure. The wearing of clothes, creates an expression of the personality of an individual. The skin, the physical and naked form, is more ambiguous, so is Bennett grappling with how she can give a sense of the individual through flesh alone? In her sculptures, the ‘outer garments’ are literally pinned down, seeming unbreathable, melded and taught upon the contours of the physical body so that there is no separation. In her photographic work, instead of clothing stitched to fit loosely the contours of the body, her stitching of hands penetrates the contours and creases, so there is not let- up, no reprieve.

Kate Lyddon’s sculptures are immediately comical, structurally they take me back to a piece of Chris Offili’s elephant dung and his preoccupations with embellishment. Lyddon seems to embellish or disrupt through the use of expanding foam and lurid colours. The foam is  indeed tricky to control  and this ‘intentionally’ messy quality also reminds me of a Franz West sculpture. The work is definitely playful and carefree, ridiculous and phallic.

katelyddon2 kate lyddonkate Lyddon

Kate Lyddon

Kate Lyddon

Bella Easton had these three paintings in the exhibition.

 Entitled Congregation, the paintings did look like audiences in a theatre, illuminated with dramatic lighting, except the figures are sculptural, unidentifiable, geometric forms. Looking at her other work, these bright circles of ‘lights’ against a night-time diorama, become abstracted due to the intensity of pairing these two contrasts together. The work has a spiritual sense, cathedral like, becoming a place of worship and a place of marvel.

Bella Easton

Bella Easton

The scene below is of the urban city, intricate and overwhelming; the  architecture fills much of the composition and the skyline is cropped out, so that you feel fully immersed in the experience.

Bella Easton

Bella Easton


Her work is simply quite gorgeous, romantic and heavy with atmosphere. Realism and abstraction hover perilously so that what you understand for a moment, quickly melts away into a sea of beautiful  light.


Ben Spiers work is incredibly slick with its tight and sharp edges and perfectly blended gradients of tone.  It reminded me of Yves Tanguy’s surrealist work using clearly defined sculptural contours and shadows. These two images to me are paintings about sculptures that could actually exist.


He seems to fuse together past traditions and styles of artists to make new artworks, but it is so closely connected to the past, it feels that the sculpture he has painted is an accurate study of someone else’s artwork, such as a Picasso or a Moore.



Henry Moore

Henry Moore

I’ve copied a statement from the James Hyman Fine Art Gallery that Spiers has created to describe his motivations.

For me art is about one’s immersion in culture. There is a choice about the nature of this immersion, about how one responds to precedents and propositions. So much is compelling that it’s limiting to be aligned to a single current. I want to extract what’s useful to me. So it’s a combined vision. This collaging of elements is, for me, the point of creativity. I seek to bring together, seamlessly, different philosophical as well as visual traditions to create something new exploring the rupture between inner experience and outer representation. I love the idea that I can take a body that is absolutely burdened by a kind of overwhelming corporeality and yet simultaneously invest it with an empathic, complex, perhaps even beautiful inner life. Ben Spiers, interview, December 2010

Ben Spiers

Ben Spiers

Dale Lewis’ painting in the front Gallery space at The Future can wait.dalelewis

Dale Lewis

Dale Lewis


Finally, I have added two images not in the exhibition, by Dale Lewis. A Lowry/ Grayson Perry mash up? of street scenes, the city and of class? Violence appears to be made comical by the elongated cartoon like limbs. Is this a civilised society allowed to go to seed and why has it happened? If the figures were wearing war regalia then this scene would not be comical and would make more sense. So it is a way of exposing the nonsensical acts of violence that occur so readily in our world, but often we do not notice, or we choose not to notice. The image above, is this some kind of orgy, or a night club gone wild? The paintings are like a contemporary Garden of Earthly delights, but without heaven and only hell where people do terrible things to one another.


RCA ART 2015

I went to the end of year  RCA show at Battersea and took photos of ceramics, painting, sculpture and print, but failed to make a note of the artist names, so I have been trying to identify what work belongs to who. Thinking it would be easy just to consult the online catalogue and match up the art, but no, some work is radically different or unique to the show. I have added the photos for the time being and will try to add names..RCA2015 JULIA VARELA- RCA2015-69 JULIA VARELA- RCA2015-70 RCA2015-3 RCA2015-4 RCA2015-8 RCA2015-9 RCA2015-10 RCA2015-11 RCA2015-12 RCA2015-13 RCA2015-15 RCA2015-17 RCA2015-18 RCA2015-19 RCA2015-20 RCA2015-21 RCA2015-22 RCA2015-24 RCA2015-26 RCA2015-27 RCA2015-28 RCA2015-29 RCA2015-30 RCA2015-31 RCA2015-32 RCA2015-34 RCA2015-37 RCA2015-38 RCA2015-39 RCA2015-40 RCA2015-41 RCA2015-42 RCA2015-44 RCA2015-46 RCA2015-47 RCA2015-48 RCA2015-49 RCA2015-50 RCA2015-51 RCA2015-52 RCA2015-53 rca2015-54 RCA2015-55 RCA2015-56 rca2015-58 rca2015-59 rca2015-60 rca2015-61 rca2015-62 RCA2015-63 RCA2015-64 RCA2015-65 RCA2015-68 RCA2015-72 RCA2015-73 RCA2015-74 RCA2015-75 RCA2015-77 RCA2015-78 RCA2015-79 RCA2015-80 Ruozhe Xue-RCA2015-25.jpg015-25 SAM TIERNEY- RCA2015-16 SUSAN EYRE-RCA2015-5 SUSAN EYRE-RCA2015-6 SUSAN EYRE-RCA2015-7 tessa eastman VALENTINA PINI- RCA2015-66 VALENTINA- PINI-RCA2015-67 WEI ZHU- RCA2015-2





I just made it to the Contemporary British Abstraction – Group show on the last day of its opening. I drove there via Bromley on Saturday morning to St Thomas More Catholic Comprehensive School in Eltham. There is plenty of parking outside and the Gallery is just on the right of the school main reception.  I have only visited Eltham once before to see Eltham Palace and Bromley was also a first. The gallery space is still really fresh, having recently opened in Nov 2014 and have what seems to be a continuous programme of events, such as exhibitions and residencies.

Ralph Anderson

Ralph Anderson



 The gallery space is only open on Saturdays to the public but there is a good length of time to see the artwork, as this ran from Saturday 28th February 2015 – Saturday 11th April 2015  and the gallery opening times are between 11am to 3pm
Andrew Bick and Susan Gunn
I was intrigue to see the show, drawn by Julian Brown’s work who I have reviewed in the past and to see Andrew Bick’s paintings, as well as to find out about new artists I had not heard of.
My review of Julian Brown’s artwork can be found here.
Juilian Brown

Juilian Brown

Artists include:
David Ainley, Ralph Anderson, Chris Baker, Dominic Beattie, Andrew Bick, Katrina Blannin, Claudia Boese, Julian Brown, EC, Ben Cove, Clem Crosby, Pen Dalton, Lisa Denyer, Andrew Graves, Terry Greene, Susan Gunn, Alexis Harding, Sue Kennington, Sarah R Key, Phoebe Mitchell, Matthew Macaulay, Ellie MacGarry, Katrin Mäurich, Sarah McNulty, Mali Morris, Andrew Parkinson, Aimee Parrott, Marion Piper, Clare Price, Geoffrey Rigden, Gwennan Thomas, Trevor Sutton, David Webb, Mary Webb, Gary Wragg,
This painting by Claudia Boese was rather beautiful. The yellow edging looked like gold from a distance which only changed when you approached the work. It reminded me of  a garden.
Claudia Boese

Claudia Boese

Gary Wragg and Dominic Beattie

Gary Wragg and Dominic Beattie


Katrin Maurich and Clare Price

Katrin Maurich and Clare Price

SE9’s blurb about the exhibition from their website.

‘Contemporary British Abstraction’ is a group show including thirty-five artists all working in the United Kingdom. Selected by artists Matthew Macaulay and Terry Greene, this exhibition has been brought together to highlight how active and vibrant abstraction is today with multiple lines of enquiry being opened and explored.

Sarah R Key

Sarah R Key

New contemporary artists move in and out of abstraction easily, unlike the mid-20th century artists who were forced to take sides between abstraction and representation.  The new generation of artists seem increasingly motivated to create work that sustains and creates new dialogue over the non-representational.

David Ainley

David Ainley

The show brings together artists who have been creating abstract work in the United Kingdom over the last two years. This exhibition includes many important works that have been created by painters with different levels of experience ranging from those who are new to the medium to those who are well-seasoned lifers. The exhibition moves radically between innovative use of geometry, intuition, hard-edge and the painterly.

Andrew Parkinson  andTrevor Sutton

Andrew Parkinson andTrevor Sutton

This exhibition is only a glimpse of the current abstract scene and the range of painters who are working in the United Kingdom at this point in time. By hanging these painters it will be interesting to see the structure that holds their difference together and whether it offers the viewer a coherent offering.’

 Another favourite of mine, was this painting by Phoebe Mitchell. I am not sure exactly why I liked it. Perhaps the delicacy of the lilac and the sense of air and light captured my attention.

phoebe Mitchell copy

phoebe Mitchell

A favourite of Jon’s was this one on the left, by Sarah McNaulty.

 Sarah McNulty, Andrew Graves Lisa Denyer

Sarah McNulty, Andrew Graves Lisa Denyer

The exhibition was really interesting with a very diverse range of approaches, although a lot of the work was a similar size. In a way this was good, as more could be hung on the walls. The space itself is bright and feels spacious, but there is not a great distance to view the work. Large scale abstracts would not have worked well at all. Small and intimate artworks definitely suit the space more.  I really enjoyed visiting the gallery and will be going to the next exhibition which also looks very exciting too.

Natalie Ryde- ‘The Way’

Saturday the 18th of April – Saturday 30th May 2015


Maxine Sutton in Margate

I visited Margate yesterday to see the Self exhibition at Turner Contemporary. On my way there with Hannah Williamson, we stopped off at Maxine Sutton’s shop. 



Here is a link to her website.

2 Market Place




The shop features mainly her work, which is hand screen printed and embroidered onto lampshades and cushions. The items were beautifully simple and elegant.

One of my favourite items was this lampshade for £82.

“single colour, hand screen print. Olivey green on grey marl organic cotton with hand governed Irish machine embroidered details worked in pink natural dyed wool yarn. Each is a one off item, therefore the print placement and embroidery may vary slightly from shown.



Maxine also runs workshops in her studio upstairs.


The show has closed, but I caught it on the last day.

The exhibition included work by these artists.

Pawel Althamer, Frank Benson, Huma Bhabha, Maurizio Cattelan, Urs Fischer, Katharina Fritsch, Ryan Gander, Isa Genzken, Rachel Harrison, Georg Herold, Thomas Hirschhorn, Martin Honert, Pierre Huyghe, Jeff Koons, Paul McCarthy, John Miller, Cady Noland, Ugo Rondinone, Yinka Shonibare MBE, Thomas Schütte, Paloma Varga Weisz, Mark Wallinger, Rebecca Warren, Andro Wekua and Cathy Wilkes.

Whilst looking for images from internet I came across this blog, which also begins mentioning the difficulty in recording the exhibition. Their photo below of Pawel Althamer is also a found image. Here is a link to their review of the exhibition.

Pawel Althamer


Pierre Huyghe’s freeform beehive

The Human Factor at Hayward Gallery, London. Photo by Linda Nylind. 14/6/2014.

Martin Honert


A sculpture of himself from a photo, capturing all the light/tone/qualities of the photo but in a 3-dimensional form. It was an interesting experience to go around the back of the sculpture.

Ryan Gander

06_drawingasexploring hornet-1 Ryan-Gander-Tell-my-mother-not-to-worry-ii-2012-Photo-Linday-Nylind-1280x849-1024x679

Katharina Fritsch

The Human Factor at Hayward Gallery, London.  Photo by Linda Nylind. 14/6/2014.

photo by Linday Nylind