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Past Exhibitions 2016





Past Exhibitions   2016

APT Shots 2016 :
MIND OUT : Manufactured Space and Constructed Transformations

Neil Ayling
Luke Burton
Marcus Cope
Minae Kim
Lee Marshall
Helen Rousseau
Amba Sayal-Bennett

29 January to 21 February 2016

APT Shots is an annual exhibition inaugurated to develop a focused identity and vision for the A.P.T Gallery programme.  For APT Shots 2016 the curatorial team is Dexter Dymoke, Rachel Russell and Véronique Chance.

"A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of  mobile elements. It is in a sense actuated by the ensemble of movements within it. Space occurs as the effect produced by the operations that orient it, situate it, temporalize it, and make it function in a polyvalent unity of conflictual programs or contractual proximities ".  Michel de Certeau

Initially referencing relationships between art and architecture in current art practice, this exhibition aims to examine the imaginative, constructed and performative nature of space and how art works can illuminate the phenomenon not only as subject matter but also by experimenting with unfamiliar modes of display.
The audience is invited to enter a ‘treated’ space, both in the works themselves and through the agency of the artists’ speculative presentations of the works in the show and their response to the exhibition space. In this way the show will raise questions about the formal aspects of exhibition making and challenge received ideas of static display. The starting point is an exploration of architectural idiom – the subsequent journey is an ongoing examination of the transformative potential of space.

The nature of space is considered not only as something that changes with the addition or position of the objects/artworks placed within it, but also in relation to the social interaction with these elements of those moving inside it. As such the show will suggest an evolving space, contingent on the activity, orientation and time spent within it of the visiting audience.

Each of the artists in the show rises to the challenge of the potentially fraught introduction of the object/artwork/body into space through an acknowledgment of space itself being integral to the viewing outcome.

In Lee Marshall`s paintings smooth gradients and vectorised objects vividly suggest a digital yet organic landscape in which exaggerated effects heighten the sense of perspective, bringing a unique physicality to the flat environment of the picture plane. Conversely, in his sculptures Neil Ayling cuts and folds architectural images, looking for ways to restore three-dimensionality to the 2D image. Using photography to capture specific vantage points of architecture he fragments and reassigns the imagery into a new sculptural setting.

Perhaps acknowledging that all space is mediated space Philip Cornett and Paul Kindersley infiltrate themselves guerilla-like into the formal setting of the gallery, taking full advantage of its neutral embrace to develop a social platform of enquiry regarding the assimilation of queer culture within a neo-liberal, suburban society. Lotusland IV is the latest iteration of this dedicated space that hosts the themes and ideas that the artists will share with the public. This structure within a structure will also host special performance happenings with performance artist Richard Dodwell.

Structural doubling forms part of Marcus Cope`s examination of the construction of memories. Places are re-imagined or re-invented as in the logic of a dream. This sense of place within the boundary of the canvas is enhanced by the sense of occasion in its presentation – fitted flush into a constructed wall as though part of, or projected onto it. Layering is also a feature of Amba Sayal-Bennett`s deconstruction of the common conventions of visual communication in which she creates ‘drawn spaces that fit within dominant symbolic and linguistic structures yet which temporarily suspend their organizing processes’.  A provisional approach to line, colour and shape within her projections emphasizes the shifting nature of space itself.

Luke Burton adopts a contrarian position within our constructed places, in which he plays out a series of personal, impersonal, intimate and estranged interactions with architectural flourish and detail. His films record these playful encounters with the built world, an off-hand `flaneur` nevertheless delighted with, and highly cogniscent of, the modern cityscape and its genesis. A questioning approach also characterizes Minae Kim`s dialogue with location, unearthing and exploring the invisible boundaries that seem to reflect the nature of larger social and cultural systems through site specific installations and interventions. Working predominantly with sculpture and drawing Helen Rousseau is similarly engaged in the articulation of edges and territories in relation to space and the presence of the viewer, and through the processes of making looks for a network of logic particular to the work itself.


Neil Ayling lives and works in London and graduated from the Royal College of Art in 2010. Solo exhibitions include Facet, Project 78 Gallery, St. Leonards,  Construct, Berloni Off-Site Frieze Project, London (both 2015), Composite Order, Berloni Gallery, London (2014). Group exhibitions include Triangle Workshop Show, Salam Art Works, New York (2015) and Volta 10, Basel (with BerloniGallery) (2014).

Luke Burton graduated with an MA in Sculpture from Royal College of Art in 2013. He has recently showed work at Bosse & Baum, London; National Gallery of Modern Art, Edinburgh; Tritongaten 5, Gothenburg; 3 137 Athens (all 2015); Technopolis Museum, Athens; ICA, London (both 2014); Vitrine, London; MK Gallery, Milton Keynes; Carroll/Fletcher, London (all 2013). Forthcoming projects include a solo show with Yarat Centre, Baku, Azerbaijan, following a three month residency.

Marcus Cope lives and works in London and gained his MA from Chelsea College of Art in 2006. Solo shows include All the chairs are broken, Studio 1.1, London (2015); Made in Lempa, Studio 1.1 (2014); My First New York Show Looked good on Paper, Neue Froth Kunsthalle, Brighton (2013). Group shows include Drawing Biennial, The Drawing Room, London (2013, 2015);  Art Converters, Studio 1.1, London (2014, 2015). He is co-founder of the Marmite Painting Prize.

Minae Kim gained her MA in Sculpture at the Royal College of Art in 2011. Solo shows include Conditional Drawings, Doosan Gallery, New York (2015); Black, Pink Balls, Doosan Gallery, Seoul (2014); Thoughts on Habit, Hada Contemporary, London (2013). Group shows include Artspectrum, Leeum, Samsung Museum of Art, Seoul (2014); Young London, V22, London (2012); New Contemporaries, ICA, London (2011). She lives and works between Seoul and London.

Cornett / Kindersley : Philip Cornett lives and works in the UK and recently completed an MA at the Cambridge School of Art – he also has an MA in Sound Arts from the University of the Arts London (2010). His practice explores the vast notions of identity, gender, sexuality and normativity through various combinations of sound, video, installation and performance.
Paul Kindersley graduated from Chelsea College of Art in 2009. He is an artist, makeup enthusiast and video broadcaster based in London. His work explores and blurs the boundaries between fantasy and reality, the personal and the public, suggesting a fluid involvement with mythologized filmic experiences and the identity troubles of post internet life.

minor literature[s]

Lee Marshall lives and works in London and gained his BA from Norwich School of Art and Design in 2008. Solo shows include Salutations!, Outpost Gallery, Norwich (2009). Recent group shows include Cybernetic Meadow, The Averard Hotel (with Slate Projects), London (2016); Autocatalytic Future Games, No Format Gallery, London, (2015); In Schonheit Auferstehen, Galerie Patrick Ebensperger, Berlin (2015).

Helen Rousseau gained an MFA in Sculpture from the Slade in 2005. Her work has been exhibited in the UK and abroad including The Extractor Space, Deptford, London (2014, 2015); Artists Association MAERZ, Linz, Austria (2011); Respond/Reply, Wysing Arts, Cambridge, (2010) and Outpost, Norwich (2007).

Amba Sayal-Bennett lives and works in London and gained an MA in History of Art from the Courtauld Institute in 2013. She is currently studying for a Phd in Art Practice and Learning at Goldsmiths College. Selected solo exhibitions include WW SOLO Award, WW Contemporary Art, London (2015); Users and Borrowers and Keepers, Mallorca Landings, Palma de Mallorca, Spain (2014). Group shows include Uk/raine: Emerging Artists from the Ukraine and the UK, Saatchi Gallery, London (2015); Xenotopia, Gibberd Gallery, Harlow, UK (2015); Avant-Craft, Pal Zileri, London (2015); Twentieth, APT Gallery, London (2015); Old Rope, Pippy Houldsworth Gallery London (2014).       

Patrick O’Sullivan Paintings and other Constructions
25 February to 13 March 2016

Patrick O’Sullivan

What is the difference between a sculpture and a painting? Must a painting have a frame? When is a frame not a frame? At what point does a painting become three dimensional? Questions beget questions as the inner pedant is revealed, yet as with most theoretical discussions the answer is elusive, often dependant on the tenacity of the person arguing their point.

Patrick O’Sullivan is too shrewd an artist to take a side in this argument, preferring (wisely) to allow his work to speak for itself. O’Sullivan takes his unique understanding of both painting and sculpture, and combines it with his sharply observed understanding of viewing behaviour to create works that move with prepossessing ease between both mediums. The works are confident in their hybridity, defying us to deal with them rather than pander to any convention. When confronted with these predominantly wall-based works we’re initially struck by their precariousness and the random layering of shapes. Yet as we look further, a considered and precise composition becomes apparent. It is as if these MDF components have been drawn into life on an engineer’s or architect’s table, each part designed to appear to be doing something it has no physical right to do whilst simultaneously basking in its own physicality. O’Sullivan teases us with illusion and reassures us with fact in equal measures.

Inherent in these works is a streak of humour borne from the quasi-absurd approach to making – O’Sullivan seems to delight in the pointlessness of the engineering involved. He respectfully alludes to architectural motifs such as shelves, door frames, buildings and so on, before seeking out a solution to a problem that never existed before, and that these decontextualized objects have no business in trying to solve. In doing so, the solution creates the problem, which then solves itself in a strange and surreal tautology. Of course, as we all know (and here the pedant returns) art does not necessarily need a function other than confirming its own existence, and these works certainly do that. And yet, such is the clarity of intent involved in the process of their making, and the instinctive familiarity of the domestic shapes before us, we find ourselves almost in awe of their independence as they wilfully stand before us, content to keep us guessing.

Hywel Livingstone February 2016



Paul Ridyard  |  Nicki Rolls  |  Jacqui Wedlake Hatton  |  Andy Clemson

17 March to 3 April 2016

A.P.T. Gallery in collaboration with four artists invites you to Colliderscape. In addition to paintings and large-scale drawings, the exhibition will include assemblages, soundscape and multi media installation.

Colliderscape brings together the work of three visual artists and one sound artist, who explore, in different ways, the various intersections of physical nature, technology, simulation and culture. Each artist is interested in the impact of culture, in one form or another, on our relationship with landscape, whether virtual, imagined or real. The potential of technological processes to replicate nature and mediate in its representation is one strand of this enquiry. The dichotomy of pairing authentic with synthetic and handmade with computer generated is another. A third strand explores the cultural meanings placed on sites of nature.

The work of each artist weaves through these three strands, opening out visions of both past and future, whereby an enigmatic entity emerges between authenticity and imitation. This enigmatic entity is the focus of the work presented in the show.


Artists’ statements

Paul Ridyard’s work explores the confines and interrelationships between nature and the visual conventions of its history and representation in a theme he calls ‘The Wildernesque’, his interpretation of the mediated landscape. Ruskin’s idea of ‘pathetic fallacy’ is of particular interest to him as it attests to our tendency to project images and ideas onto nature that are the result of underlying cultural constructs.

Paul Ridyard studied at Wimbledon College of Art (2011), Chelsea College of Art (2004) and De Montfort University (1992). He has participated in numerous group shows in the UK. Between 2011 and 2013 he was represented by London Gallery Bearspace and exhibited in their show Form vs. Form (2012). Other shows include RHS Chelsea Flower Show (2013), Himalayan Gardens, Riverhill House, Kent (2013), New landscape, St Georges Art Gallery (2011), Futura Bold, The Nunnery, London (2011), Monster, 242 Gallery, London (2010), Moribund, Forge, London (2008) and Fresh Art, Islington, London (1992)

Nicki Rolls works with film, painting, drawing and installation to produce works which explore cinematic and virtual worlds, and the tension which arises between the natural world and its appropriation by technological process. She seeks to interrupt and break down this process, attempting to wrest the image from the grasp of new technology.

Nicki Rolls graduated from Central Saint Martins College of Art and Design in 2005 and in 2011 she completed her MA in Fine Art at Wimbledon College of Art.  She has exhibited throughout the last 10 years including a solo show at Hayward Gallery’s Concrete Café (2012) and participation in a collaboration at Late at Tate Britain (2014). She won the Jerwood Drawing Prize student award (2011) and was shortlisted for the Jerwood Moving Image Prize (2008).  Other shows include her solo show, Animation Flatlands, at ArtLacuna (2015), We All Draw @UAL at Bargehouse (2015), 360 Degree Cinema Dome, Weymouth (2012), Moving Image South at HMV Curzon (2011), Futura Bold, The Nunnery, London (2011) and Deptford X at Arthouse, Deptford (2010).

In Jacqui Wedlake Hatton’s representations of woodland, the inaccuracies of visual memory and the unreality of photographs are made evident, together with further distortions arising from the physical and emotional sensitivity to being in a wood. In parallel to those distortions, deliberate inconsistencies, particularly in her paintings tease the viewer – testing expectations of what the work is.

Jacqui Wedlake Hatton studied for her BA in Fine Art at Falmouth University (2001) and completed an MSc in Urban Studies at UCL (2011). She has exhibited widely in the UK including Mall Galleries (2010), Dipper at ArtsArk, Butlers Wharf(2008),  Max10 at Newlyn Gallery(2004) and Mostyn Oriel at Mostyn Gallery (1996). She had a solo painting exhibition at Bear Steps Gallery, Shrewsbury (1997). She also participated in 'You Are Here' (Project Boondock live forums) for '4 Days' at Arnolfini (2013) and Jugular at The Pigeon Wing (2013).

Andy Clemson’s initial recordings adhere to basic phonographic values, which are then abstracted by superimposing synthesized sounds within the field recording. The use of binaural microphones achieves “distorted proximity effects and haphazard directionality”. This process produces multi layered, multi-faceted soundscape with many sub-categorisations metamorphosing into one another.

Andy Clemson has spent many years working as a musician and producer. Since obtaining his music degree at University of Surrey, he has gone on to work as a composer for film and television as well continuing his work as a producer. Works include soundscape to artwork by Chris Hawtin in Predator at Canvas and Cream (2012), contributing composer to The Hour (BBC, 2011), commission to compose music for The making of Shackleton (BBC, 2001).


<Both Ends of Madness>

An exhibition on the effects of wellbeing on contemporary visual arts practice
curated by Angus Pryor

John Brennan, Richard Brooks, John Butterworth, Anjula Crocker, Mandakini Devi, Dom Elsner, Jez Giddings, Lucy Gresley, William Henry, Mark Howland,
Emma Moody-Smith, Angus Pryor, Mike Walker & Heidi Yssennagger

7 to 14 April 2016

Plastic Propaganda presents Both Ends of Madness, an exhibition on the effects of wellbeing on contemporary visual arts practice, curated by Angus Pryor.

Throughout the History of Art, madness and an associated range of pathologies, creative and otherwise, have informed and often accompanied the execution of artistic practice. Since antiquity, thinkers have associated creativity with psychopathology—the classic idea of the “mad genius” with stereotypes taken from both mass culture and fine art traditions.  Examples include, for example, the manic pursuit and creation of the perfect artefact or object to the recognition of creative practice per se as a displacement from trauma, addiction and illness or indeed as a therapeutic and reflexive response to such.

Plastic Propaganda (PP) was established in 2009 by William Henry, a UK-based installation artist and sculptor and by Angus Pryor, Reader & Head of the School of Art & Design, University of Gloucestershire. 

A free public symposium will be held during the exhibition which will explore and discuss some of the issues and themes suggested by the exhibition.

SYMPOSIUM | Thursday 14 April 2016  

This interdisciplinary symposium will explore and discuss some of the issues and themes suggested by the exhibition, including the iconography and content of specific works on display. There will be an open Q&A session with participation warmly invited from the audience and members of the general public. 

The panel will be made up by Janet Sayers, Emeritus Professor of Psychoanalytic Psychology at the University of Kent at Canterbury where she works as a Clinical Psychologist for the NHS, Angus Pryor, co-founder of Plastic Propaganda and curator of the exhibition, Tony Gammidge, artist and filmaker and lecturer at Brighton University, and Dr Grant Pooke, Senior Lecturer in History of Art at University of Kent.



29 April to 15 May 2016

Cassiopeia is Hannah Rae Alton (London), Catrin Morgan (Nottingham),
Amy Goodwin (Cornwall), Irene Vidal Cal (Galicia, Spain),
and Anne Harild (Copenhagen)

Cassiopeia: Hip is the second part of the Cassiopeia project.
As a set of collaborators who not only share research interests but also
particular research methodologies, the exhibition is an opportunity to develop
new ways of communicating these to the public.

Cassiopeia is a constellation of five stars which form an M shape during certain times of year and which, at other points in the year appears as a W. This constellation was one of 48 first described by Ptolomy. Cassiopeia contains Tycho Brahe’s supernova, which flared in 1572 and is still a source of radio signals today. After his death, Tycho Brahe’s body was exhumed twice. Firstly, to discover the circumstances of his death and secondly to find out the material his artificial nose was made of. Cassiopeia is named after a queen in Greek mythology, the mother of Andromeda, who Poseidon tied to a chair and placed in the heavens as a punishment for boasting of her beauty (as she circles the earth she spends half of the year upside down). During World War Two, Cassiopeia was a cargo ship serving the US navy. She received one battle star for her service.

Cassiopeia are Hannah Rae Alton (London), Catrin Morgan (Nottingham), Amy Goodwin (Cornwall), Irene Vidal Cal (Galicia, Spain), and Anne Harild (Copenhagen). Named after a constellation in the Northern hemisphere composed of five stars, the project aims to explore and foreground the importance of research. Taking as our starting point Kenneth Goldsmith’s suggestion in that artists show their research material as work instead of the work itself, this is a show which foregrounds our research prac­tice, using it to demonstrate links between our studio pieces that would not otherwise be immediately apparent. Cassiopeia is a snapshot of our working practice at a particular moment in time, it is a crystal­lisation of our interests which will be visible only for the duration of this exhibition.

As a group of collaborators our interests are in systems of knowledge, particularly those relating to communication and architectural structures. Our work forms a constellation around various research interests. These include:
1. Rulemaking and constraint
2. Modular images
3. Misdirection and cryptography
4. Scientific discovery
5. Radio
6. Hidden histories
7. Narrative
8. The built environment
9. Military history

All of the artists taking part in this exhibition have backgrounds in visual communication and we are all concerned with the way that our images communicate in a range of contexts. We are all at different stages in our careers and we all create works on and with paper. We have different working relationships with each other; both collaborative and educational. Some of us have only encountered each other’s work through research, others have been working closely together for many years.

Cassiopeia: Hip at A.P.T Gallery in Deptford is the second part of the Cassiopeia project. Cassiopeia will continue throughout 2016. In November there will be an exhibition at Guest Projects in Hackney and we are planning to document the year in a publication. Each part of the project is a development of and a response to the last one.



Friday 27 May to Sunday 29 May 2016


We are six art students, working across painting, sculpture, photography, video & performance. The idea for Spa for Dogs came up from a shared curiosity to bring our works together within a framework that could somehow break from the academic, the self-generated and the overly theorised. Through this first 'get-together' as artists, we want to treasure the spontaneity, silliness and escapism that always comes up in our random conversations on our coffee breaks, walks and slow studio-practice days. Spa for dogs is therefore both the idea of a work, but also the idea of a practice. 

Through this project we want to test our collective capacity to orchestrate a situation, an immersive environment, an event that could both recontextualise our individual work and most importantly celebrate the much needed and often neglected component of making : fun.

Spa for dogs will be based upon combining our current personal work through additions, arrangements and alterations based on the given space. So in this sense it is a site-specific project. We are also working on ideas of live action components for the opening or closing nights, such as a themed dj set and in-situ generated video works based on interviews and sound recordings. 'Spa' and 'dog' function as both names and metaphors since The central elements of the project evolve around ideas of play, luxury, agility and training environments rendered through the beloved figure of the dog.


cardinals, gardens, fishtails and a mermaid

Chris Marshall and George Percy
An exhibition of painting and sculptural installation

Card for show

A.P.T Gallery
Thursday 23 June to Sunday 26 June 2016  |  Open Thursday to Sunday 12noon to 5pm

This exhibition brings together two artists who share an intensity of approach to their practice. Although employing very different methodologies, the work of Chris Marshall and George Percy is steeped in a background of research that forms the central focus to their output. This research can be sensed when experiencing the work in its final state. George Percy's history of transcribing through a love and knowledge of the history of painting is crucial to his practice. Chris Marshall's research is rooted in a genuine concern and sensitivity towards the environment, which reveals itself in the form determined by his discovery and use of unusual materials.

Central to the works shown by George Percy is a series of paintings inspired by El Greco's portrait of Cardinal Don Fernando Nino de Guevara. The fusion of psychological depth and the representation of the sumptuous richness of the Roman Catholic Church in El Greco's work stimulated him to make works that pay homage to the painting. The works explore the dynamics of the original composition and provide an opportunity to indulge an extravagant use of red. Another series explores the topography of both private and public gardens. Responses to Matisse can be traced in the fragmentation of the picture surface.

Achieving a similiar level of intensity Chris Marshall's installation exposes 'A lyrical tribute to the meeting of land and sea'. A landscape of transition, a marginal landscape, a nervous fretful landscape, an edgeland. Anxious materials, invasive, unsound, hostile, negative materials. Their anxiety revealed by juxtaposing and mixing them with sublime, absurd, frivolous materials and substances. A garden of dancing fishtails. A mermaid washed up on the beach, fabricated from industrial clay and kelp. Fabrications from pillows encrusted with dried mud. Shredded and lacerated paper seascape with popcorn and icing powder foam.

George Percy

George Percy | Cardinal after El Greco

Chris Marshall Colossal Squid 4

Chris Marshall | Colossal Squid 4

Chris Marshall-blower

Chris Marshall | Blower




Curated by Jennifer Harding

Thursday 30 June to Sunday 10 July 2016 
Open Thursday to Sunday 12noon to 5pm

→ Artist in focus: Geoff Rigden

by David Buckman



A.P.T 2016 Curatorial Fellowship

Ingredients, Method, Serving Suggestion
Curated by Alaena Turner

21 July to 11 September 2016

The exhibition explores the ways in which contemporary artists have engaged with the format of the recipe, questioning the relationship between process and product, and testing the potential of the recipe as a model for collaboration and sharing of knowledge.

The exhibition features new work by 18 emerging and major UK visual artists, including contributions by Dan Howard-Birt, Katrina Blannin, Jane Bustin, Kieran Drury, Eddie Farrell, Ben Jenner, Sarah Kate-Wilson, Natasha Kidd, Jo McGonigal, Sarah Mcnulty, Sarah Pettit, Robert Rivers, Damian Taylor, Alaena Turner, Gary Woodley, Susannah Worth, Jack Vickridge and Jo Volley.

Dan Howard Birt

Ingredients, Method, ServingSuggestion  brings together an intergenerational group of artists to explore the relationship between contemporary art and the everyday, through the conceptual framework of the recipe. The instructive form of the recipe enables material knowledge to be shared through collective acts of repetition and interpretation, situating the recipe as the historical precedent for open-source models of knowledge distribution. The notion of the recipe is expanded by asking how an artwork itself may function as a recipe, engaging with the history of conceptual art made through instruction.

Central to this exhibition is a series of paintings made by 14 artists in response to a Yoko Ono score, 'Time Painting', "Make a painting in which the colour comes out under a certain light at a certain time of the day. Make it a short time. (1961 Summer)". Whilst working from the same conceptual starting point these paintings display a diverse range of creative interpretations, utilising phosphorescent pigments, reflections, light-sensitive emulsion, and shadows, and referencing imagery of lenses, windows and sun-dials. As a collection of responses these paintings both host and inhabit the original Yoko Ono score, drawing out the poetic quality of the original linguistic gesture, and challenging the apparent opposition between conceptual art and painting practice.

Sarah Kate Wilson

To complement this collection of paintings new works which frame production processes have been generated by Natasha Kidd and Bruce McLean (working in collaboration with Eddie Farrell). These works have been developed to present the 'live' moment of a creative practice, positioning painting as verb rather than noun. Natasha Kidd's work proposes a system for a painting that makes itself, encouraging the aesthetic contemplation of the routine application of paint on a surface. Bruce McLean offers a re-enactment of his 1969 work 'Underwater Watercolour', which has been produced into a film by Eddie Farrell, making visible the narratives that emerge through the act of repetition, and signalling the absence of the original artwork.

Bruce McLean

Gary Woodley has been commissioned to produce a 'Mobile Kitchen Workstation', adapted from a 1963 design 'Kitchen Box' by Italian designer Joe Colombo (1930-1971). This artwork will facilitate the re-enactment of artist recipes and presentations using food during the program of events.

Over the course of the exhibition period a series of 15 'Do It' Instructions from Han's Ulrich Obrist's ongoing global project will be realised in the exhibition space. These instructions have been selected for their innovative propositions of how to use everyday materials, and it is intended that this ongoing activity will frame A.P.T Gallery as both exhibition and work-space.

Alaena Turner


A Threshold

15 September to 9 October 2016
Exhibition open Thursday to Sunday from 12noon to 5pm

The threshold is an interface; the point at which two systems meet. This portal can manifest in innumerable ways; a window, a door, a wormhole between universes, sometimes even an artwork. In the instance of this exhibition those two systems are; what might be thought of as objective reality and each artist’s own subjectivity. Reality rubs up against the creator’s imagined realm and the nexus point that it produces is an artwork. In this manner, all artworks are thresholds and all artworks are liminal. The artwork and its formative processes are gateways to exploring different ways of being, other possible worlds, alternative forms of knowledge and nonstandard ways of knowing. The diverse works and non-works presented propose a mapping of intensities; rigorous practices that weave these explorations into matter.

A Threshold exhibition

As the prelude to APT’s Open Studios APT LIVE (23rd - 25th September), signalling the forthcoming throwing open of doors, A Threshold brings together an array of new and old works by A.P.T artist-members alongside incidental studio artefacts. As well as showcasing the wealth of talent that brews beneath the studios' brick and mortar skin, the exhibition provides a glimpse behind the building’s 42 studio doors, which conceal the idiosyncrasies of each practice.

By placing CD collections, seaside windmills and customised caps on display, A Threshold considers
objects that are integral to each practice which often remain out of sight, invisible behind closed doors.

Many of the items present form part of a daily studio routine which might involve; thinning paint, working stone or staying hydrated. Then there are the silent witnesses – objects left untouched for years, maybe even decades, forever watching over the successes and frustrations that occur within the space. All of these artefacts are born of the artistic practices which A.P.T is home to.

The annual A.P.T members group exhibition has been selected and curated by the A.P.T Graduate Studio Award 2016 holders; Chris Alton, Svenja Bühl, Finlay Forbes Gower and Jack Otway.

Chris Alton is a multidisciplinary artist, whose practice often brings together distant, yet connected cultural phenomena. Whether deploying disco music against fascism or playing table tennis in competition with aggressive architecture, he utilises seemingly incongruous juxtapositions to address the multi-layered nature of prevailing social and political conditions. 

Jack Otway’s paintings examine the superficial as a site for invention and often employ unbroken ‘skins’ of transparent acrylic pigments tonally gradated across glassy surfaces. Drawing upon inorganic structures found in Black Metal logos, B-Movie blood splatters and terrain simulations Otway’s monochromatic meshes present arrangements of fluid woven strokes. His paintings are products of rigorous, rhythmic gestures and place emphasis on haptic speed and direction.

Finlay and Svenja collaborate through mediums of sculpture, performance and film. Their work is often site-specific relating to their interest in unusual spaces through sensitive explorations of physical movements with and without constructed props. Their works are often participatory requiring the audience to become performers and vice versa.


A Face Like Yours

13 to 16 Ocotber 2016
Exhibition open Thursday to Sunday from 12noon to 5pm

‘A face like yours’ brings together paintings, installation and video work by Jack Bodimeade, Xenia Bond, Lewis Henderson, Jamie Jacob, Tash Mok, Francesca Mollett and Felix Treadwell



An exhibition of original images captured by Thomas Wing-Evans and Michael Perkins during their research expedition across Iceland, supported by the James Phillips Foundation.

Thursday 27 October to Sunday 30 October 2016

Project talk | Saturday 29 October 2pm to 3pm


Across the breadth of our short existence, humankind has forged relationships with ice in the name of adventure, wisdom, conflict and religion. Present-day geology has enabled us to examine these frozen giants, but failed to dislodge our unshakeable awe in knowing the natural and phenomenal moving landscapes that existed long before humankind. Glaciers, defined by being able to move under their own weight, are flowing timelines; a transparent archive of past, present and future territories. Now, more rapidly than ever, they are transforming.

Michael and Thomas undertook a photographic exploration of Iceland to reveal new topographies created by shifting ice. Thematically exploring the remoteness, scale and migration of the glaciers meant the pair adopted a nomadic attitude, sleeping in bivouacs and carrying all supplies and technical equipment on foot.

The resulting exhibition interweaves these two narratives into a dyad at opposing scales; the human and the geological. Using both digital media and print, MOVING, MELTING, MOUNTAIN investigates these separate characters against themes of transformation, migration, and eventually extinction.

Exhibition kindly supported by Yeti Screen Print, Essex / Fotospeed, Corsham / Make Architects, London / James Phillips Foundation


Memory and Movement

Part of UrbanPhotoFest 2016

3 November to 13 November 2016

Exhibition open Monday to Sunday from 12noon to 5pm

Exhibiting artists  |  Stefano Carnelli, Pablo Conejo, Kevin Fitzgerald, Paul Halliday, Mattias Malk, Tanya Houghton, Silvia Sosaar, Mari Volens

Artists' Talk | Monday 7 November 3pm to 5pm

Memory and Movement is a feature exhibition of the Urban Photo Village and part of
UrbanPhotoFest, an international urban photography festival exploring contemporary visual practices focusing on urban life.  For further information, please visit the website at: www.urbanphotofest.org   



17 November to 11 December 2016

Day Bowman, Dan Coombs, Marguerite Horner, Barbara Howey, Lee Maelzer, Sean Williams,
Lizzi Kew Ross & Co, Michael Berkeley, Iain Sinclair, Nick Papadimitriou

 'In Conversation' evening with Iain Sinclair and Nick Papadimitriou
Thursday 24 November from 5.30pm to 8pm  |  Ticketed event  |  Please email day@daybowman.com for details

As London property development continues to edge out to the very margins of our urban wastelands an exhibition of painting, dance, music and spoken word celebrates these forgotten corners of our landscape.

Building upon the success of last spring’s event Edgelands, an exhibition by members of the Contemporary British Painting Group - Day Bowman, Dan Coombs, Marguerite Horner, Barbara Howey, Lee Maelzer and Sean Williams - sets out to explore and document the wastelands and neglected environs found on the fringes of urban living.

Creekside in Deptford can still be said to be on the edge of London’s urban wastelands - but not for long. The cranes are working over-time and the wharves, vacant lots and back-yards that have housed traders and dealers for centuries are being erased and given over to developers. It is fitting, therefore, that an exhibition that addresses these landscapes is taking place in the wonderful spaces of A.P.T Gallery that has, for some years, been a beacon of contemporary art.

A.P.T Gallery is delighted to stage an evening of dance and spoken word on Thursday 24 November, 5.30 to 8.00pm. A dance performance, choreographed by Lizzi Kew-Ross, accompanied by Michael Berkeley’s powerful edgy soundscape Odd Man Out, is a realisation of the visual artists’ work through three dimensional form and content. This will be followed by a discussion with Iain Sinclair, author of London Orbital and Nick Papadimitriou, author of Scarp, when they will highlight their experiences of the changing face of inner-city wastelands.

A fully illustrated catalogue accompanies the exhibition with an essay by Andrew Lambirth.

Edgelands will tour the following galleries during 2017: Aberystwyth Arts Centre, Hartlepool Art Gallery, ARB University of Cambridge, Beverley Museum and Art Gallery and Gloucester City Museum and Art Gallery.

Barbara Howey

Dan Coombs

Day Bowman

Lee Maelzer

Marquerite Horner

Sean Williams

Tuesday 20 December 2016

Stephen Bochonek will be exhibiting some recently completed drawings at
A.P.T Gallery in Deptford for one evening only on Tuesday 20th December 2016,
6:30 - 9pm.

The exhibition is being supported by A.P.T Projects, an education programme which enables artists to develop their artistic practice and release their potential.