December 3 - February 13, 2021
Enclave 9, 50 Resolution Way
London, SE8 4AL
Zoë Carlon, The Blue Bar, 2020. Oil on board, 30 x 38 cm
Ficus Interfaith, Winged Genie with Sacred Tree, 2020. Cementitious terrazzo in oak frame, 123.2 x 35.6 x 3.2 cm
Ficus Interfaith, Winged Genie with Sacred Tree, (detail) 2020. Cementitious terrazzo in oak frame, 123.2 x 35.6 x 3.2 cm
Simon Linington, Souvenir, 2020. Acrylic, chalk, clay, pigment and plaster in acrylic display case, 32 x 26.5 x 1.5 cm
Charlotte Edey, Altar, 2020. Woven jacquard tapestry, silk, cotton, freshwater pearls, walnut frame, 24 x 47 cm
Zoë Carlon, Window in Spring, 2020. Oil on board, 20 x 27.5 cm
Charlotte Edey, Tear, 2020. Graphite pencil, Hahnemühle cappuccino 120gsm paper, 13.5 x 18 cm / 25.5 x 30.5 cm (framed in a walnut box frame with museum glass)
The exhibition presents work that evokes ideas of the home from various perspectives — the emotional, historical, geographical, material, and architectural — and borrows its title from a chapter of the Poetics of Space by Gaston Bachelard. This defining text of French thought explores small and not so small spaces in and around the home — rooms, dens, huts, nests and cupboards — in order to understand ideas of selfhood and identity. In particular the book considers how the recollection of these spaces shape our minds. This text is as resonant in 2020 as it was when it was first published in 1958.
Zoë Carlon’s paintings draw inspiration from spaces that are both public and private. Functional and transient, waiting rooms or cruise ship bars induce a sense of isolation and solitude. Working from observation and memory, she creates a relationship between the interior and the exterior (or the reverse), exploring surface, depth, figuration and abstraction. Succinctly composed, these paintings respond to the changing light and the cropped view makes us aware that we only have a partial, limited view.
Charlotte Edey explores themes of femininity and identity. She does this across a series of drawings and uses the traditionally gendered mediums of embroidery, weaving and textile; which throughout history have had a recurring presence in domestic spaces. In contrast to the expansive wall tapestries that may come to mind, her meditative and intricate work suggests a spiritual destination that invites one to come closer and look at every individual woven thread or pencil mark.
Simon Linington remembers his grandfather filling glass tubes with coloured sands and selling them as souvenirs to tourists. Early encounters with these objects, composed of the principal materials of his birthplace (Isle of Wight), established a meeting point of material and place. It is this collecting and classifying of material debris (and sometimes studio detritus) that form the core of his practice and exploration of personal and collective memory.
Ficus Interfaith combine individual and shared interactions with natural history and traditional craft. They apply terrazzo, an ancient and contemporary technique of creating floors, for the purposes of sculpture. The framed sculptures are formed from pulverised material, overlaid with cement aggregate, and take a traditional motif of Mesopotamian culture — in this case a bucket and cone, an image often found at ritually significant areas of the home.
Matthew Peers's sculptures are composed of familiar, everyday materials. Elusive in their architectural references, thoughts of habitation come to mind, from the past or the future. Though the structures are worked on simultaneously in the studio, forming converging or diverging dialogues in response to one another, they have their own unique character and energy. They are a step away from a world of excess; recognisable materials are transformed and reconfigured into new possibilities and narratives.
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Zoë Carlon (b. 1993, Wakefield, UK) lives and works in Wakefield. Recent solo exhibitions include The Near and Elsewhere, South Square Centre (Bradford, 2018) and Paintings and Drawings, Emmaus Rooms, St Helens Church (Wakefield 2018). Selected group exhibitions include Prosaic: Generous, Globe Arts (Slaithwaite, 2020), Club Editions, Index Festival (Leeds 2019) and The Art House Micro-Commissions, The Art House (Wakefield 2019).
Charlotte Edey (b. 1992, London, UK) lives and works in London. Recent solo exhibitions include Echolocation, Public Gallery (London 2019) and Flowers Gallery (London, 2018). Selected group exhibitions include: Ancient Deities, Arusha Gallery (Edinburgh 2020), Small is Beautiful, Flowers Gallery (London 2020), This Tragedy, Ginny on Frederick (Leipzig 2020) and Great Women Artists, Palazzo Monti (Brescia 2019).
Ficus Interfaith live and work in New York and is a dual research and sculptural practice between Ryan Bush (b. 1990, Denver, CO) and Raphael Cohen (b. 1989, New York, NY). Recent solo exhibitions include, Lazarus, Deli Gallery (New York 2020), Incident Report, Hudson (New York 2019), Jack Chiles (New York 2019) and Interstate Projects (New York 2019). Selected group exhibitions include: From the Desk of Lucy Bull (Los Angeles 2020), In Practice: Total Disbelief, Sculpture Centre (New York 2020), Banquet, in lieu (Los Angeles 2019) and Pendant, Lubov (New York 2019). This is their first presentation in Europe.
Simon Linington (b. 1983, Isle of Wight, UK) lives and works in London. Recent solo exhibitions include More Home Ideas, Calle Tajín (Mexico City 2020), La La Land, William Benington Gallery (London 2019) and In From The Light, Castor Projects (London 2018). Selected group exhibitions include: Under the Volcano, Brooke Benington (Mexico City 2020) and Habitual, Castor Projects (London 2020).
Matthew Peers (b. 1991 in Manchester, UK) lives and works in London and will receive his post-graduate Diploma with the Royal Academy in 2022. Some recent solo exhibitions include rough-cast, SpazioA, (Pistoia 2018), Be-ThenChinge, GAO Gallery (London 2018) and Karst, Recent Activity (Birmingham 2018). Recent group exhibitions include Sky-blue and green, VO Curations (London 2020) and Glass Houses, McBeans Orchids (Lewes 2020).