An international residency programme for the creative arts
Lipika Pelham is an author, reporter and documentary filmmaker. In her early twenties, she joined the BBC World Service, working in the newsroom for over a decade and reporting from the Middle East, North Africa and Asia. In 2005-13, she lived in Jerusalem, where she learnt Hebrew, made award-winning films and wrote a memoir, The Unlikely Settler. Her most recent book Jerusalem on the Amstel: The Quest for Zion in the Dutch Republic was published in 2019 by Hurst. Pelham’s broader themes explore the ideas of migration, nationhood and performing identity in relationship to place.
Elisa Schaar is an art historian that specialises in art since the 1960s. Her articles have appeared in publications by the Pinakothek der Moderne and Tel Aviv Art Museum, and in journals, such as Art History and American Art. Among her recent curatorial projects is an exhibition at Cambridge University’s Heong Gallery, titled Do I Have To Draw You a Picture? and Foerg in Venice, a collateral event at the Venice Biennale 2019.
Peter Coffin is a conceptual artist based in New York City. After completing his studies at the University of California, he went on to receive an MFA from Carnegie Mellon University. Coffin has exhibited nationally and internationally, including at The Smithsonian Hirshhorn Museum in Washington DC, the MoMA in New York, and Le Confort Moderne in Poitiers.
Solveig Lønmo is an art historian and curator at the Nordenfjeldske Kunstindustrimuseum (National Museum of Decorative Arts and Design) in Trondheim, Norway. Lønmo recently curated The Hannah Ryggen Triennial ‘New Land’ (2019) that places the Swedish-Norwegian artist’s political tapestries in dialogue with six international contemporary artists. She also curated The Logic of the Local. Norwegian and Polish Contemporary Design in 2017. Before Lønmo’s institutional affiliation in 2014, she worked as a freelance writer and art critic.
Nicola Brandt is an artist, writer and filmmaker. Her work explores innovative documentary practices in relationship to the role of memory, narrative and positionality. Her book Landscapes Between Then and Now: Recent Histories in Southern African Photography, Video and Performance Art will be published by Bloomsbury Press. She has presented her work internationally, including at the MAXXI Museum in Rome, Yale University, and the Würth Museum in Germany.
Frances Whorrall-Campbell is a writer and artist based in London. Her writing has been published by the Oxonian Review, AnotherGaze, Arteviste and Art Review Oxford, amongst others. She is currently working with Banner Repeater on their Digital Archive of Artists’ Publishing, and with the Tate Modern to develop their ‘Tate Exchange’ programme.
Lorenzo Nassimbeni is a South African architect and artist, based in Johannesburg and Cape Town. He works across drawing, printmaking, mural and sculpture. He has exhibited at the 54th Venice Biennale, the 14th Venice Architecture Biennale, and the New Biennial for Art and Architecture in Stockholm. He recently had a significant solo exhibition entitled ‘Polygraph’ at David Krut Projects in Johannesburg.
New York based artist, Johnny Abrahams, is well-respected for his exquisite attention to detail and erudite sense of balance and tension within his paintings. Abraham’s earlier optical works employed an intense additive pattern making strategy, which would act to stretch and unsettle the gaze. These were paintings full of the hustle bustle of the city his fresh oeuvre, he has succeeded in experimenting with an elegant rhythm, a fuller shape and a more formal, minimalist language. Interestingly these new paintings are derived from zooming in on the complicated patterns of these previous optical works, spotlighting fragments of these earlier illusions. By magnifying and subtracting pattern until a composition is rendered, Abrahams reveals an opportunity to celebrate the negative space both equally and simultaneously as a secondary image. The practice has gone from techno to contemplative. Appreciative of his own space, these meditative works more accurately reflect the artist’s natural character and speed whilst still satisfying his sense of meticulous work practice.
These slow, still, totemic- almost calligraphic forms fleet between their modernist simplicity and a subtle investigation into the effect of light on perception. The paint is applied with a palette knife, causing ridges to form, effecting the interplay between light and composition and inviting them tentatively in the realm between sculpture and painting. Abrahams is exhibiting works with hues of dark grey and dark blue, alongside those that he considers ‘beyond black’, slightly slowing and softening the speed at which we read the image. Whilst one cannot help being seduced by the implied movement and sculptural, almost architectural imposition of the composition, these paintings also operate on a subtler level, the softness of blurred reflection following one’s movement around the work in a quiet yet elegant fashion. Contemporary yet at the same time archaic and elemental these paintings satiate the desire for a calm contemplation whilst working on a primal visual level.
Daniel Crews-Chubb’s paintings combine powerful visual archetypes, familiar throughout human history; Gods, mythical characters, nudes, beasts, trees and chariots. The characters are rendered in his large-scale, mixed media works that typically incorporate drawing, collage and painting.
They embody a search for the authentic, the raw and the unrefined, and are subtly influenced by consumer culture, Modernist painting and the history of mark-making, from cave painting to expressionism and neo-expressionism.
His repetition of figurative motives becomes a vehicle for exploring the act of painting itself, utilizing a repertoire of seemingly casual marks that are, in fact, worked and reworked to create hard won, layered paintings. He uses oils, acrylics, spray paint, sand, charcoal and pastel with abandon on rough, stretched and re-stretched canvases that he often scrapes back and over-paints many times. Corrections are brutal, collaging further canvas and assorted material on top of past imagery to edit and proceed quickly, retaining spontaneity in the development of his ideas. His characters are introduced and reintroduced into the paintings, one feeding the next. Ancient gods and goddesses, mix with Yetis, and Belfie girls from Instagram -abstracted yet realist, false yet real.
Crews-Chubb’s employed methodology involves using his canvas structure like an ever-evolving collage both conceptually and physically, the architecture of which if dissected, would reveal numerous iterations, thoughts and actions that led to the final state of rest. If the artist dislikes or wants to change something it is covered with linen, clothing or whatever material is to hand, allowing him to adjust and proceed quickly. Thus, he is capable of making paintings that feel at once the product of their own layering and time worn history whilst remaining truly dynamic and gestural. So, whilst these works are ‘new’, they are also laced with both the history of their making and a patinated record of progress and recession. In this way, Crews-Chubb gives us something we crave – the new fresh and organic with a sense of time, history, patina and physical progress. This is combined with his ability to trigger displaced memory through reference to historical figurative parallels and abstracted homage to his inspiration both in terms of art and artefact.
Daniel Crews-Chubb was born in 1984 in Northampton and lives and works in London. He completed the Painters Studio Programme at Turps Art School in 2013, having previously received his BA from Chelsea College of Arts in 2009. His work is in public and private international institutions and collections including Denver Art Museum, The Bunker Art Space in West Palm Beach, The Saatchi Gallery and the Hall Foundation in New York. He has had notable exhibitions with Vigo Gallery, Saatchi Gallery, Roberts Projects and Galerist and residencies in Bali, LA, Denver and Istanbul.
Tim Hopkins works as stage director, scenographer, film maker, creative director, theatre maker and creator of audio-visual projects, often exploring opera and the digital realm.
As director, commissions include productions for Opera North, ENO, The Royal Opera, WNO, Staatsoper Hannover, Munich Festspiele, Teatro Dell’Opera Roma, Theatre Basel, Bühnen Graz, Almeida Opera, Aldeburgh Festival, South Bank Centre, BBC Symphony, BBC Proms, Alternative Lyrique Paris, Glimmerglass, Wexford Festival, Dublin, BCMG, Batignano Festival, Channel 4, Aurora Orchestra, and London Sinfonietta.
Tim also makes performance pieces, often with composers, responding to themes such as architecture as social vision, scientific objects, horror fiction, the Victorian creative imagination, Russian folk performance, migration, the sound-world of WWI, and social media. His projects are often meeting points for a range of artistry in creative teams, often connecting traditional and contemporary ideas. He has worked with many composers including Lionel Bart, Luciano Berio, Harrison Birtwistle, Mira Calix, Tansy Davies, Dai Fujikura, Elena Langer, Claudia Molitor, David Sawer and Judith Weir.
Tim was awarded a NESTA Fellowship in 2001, an AHRC Fellowship in the Creative and Performing Arts in 2007, and has a Research Fellowship at the University of Sussex.
Tim and Robert Thomas are currently working on Empathy Machine, towards a participatory opera in Virtual Reality designed to address conflict.
Robert Thomas is a composer based in London UK. His work often explores the possibilities of music adapting and changing in realtime to the listeners situation.
He uses a range of techniques and approaches from conventional composition to graphic / rule based scores, adaptive systems, algorithmic, generative, stochastic composition, procedural generation and machine learning / artificial intelligence. He composes and programs bespoke experiences for each project.
Recent commissions include The Barbican, Los Angeles Philharmonic, Google, Boiler Room, the BBC, Sky and National Geographic. Robert has also collaborated with Massive Attack, Imogen Heap, Hans Zimmer, Junkie XL / Tom Holkenborg, Carl Craig, Air, Ben Burtt, Richard King, Bookashade, Jimmy Edgar, Mel Wesson, Little Boots, Chiddy Bang, Console, Sophie Barker (Zero 7) and Kirsty Hawkshaw (Opus III, Orbital, Tiesto).
Lynne Page is a choreographer who works in Film, Tv, Music, Musicals, Plays and Opera. In 2010 she was nominated for a Tony award, a Drama Desk award and an Olivier award for her work on the West End and Broadway’s La Cage Aux Folles. In film she has worked for Warner Brothers and Working Title as a movement director and choreographer. On stage, credits include extensive work for London’s West End, the Royal National Theatre, The Royal Shakespeare Company and Broadway, where again in 2010 she had two shows playing opposite each other.
Dan is an award-winning social artist, writer, and speaker living in Margate.
His work is about people and places, and the stories that connect them. He is interested in the creation of social capital, in activating abandoned or underused spaces, and in DIY approaches to art, culture and social action. Dan often starts work with a crowdsourced exploration of a place, or with archives or collections relating to a place or topic. His work often touches on themes of migration in the UK.
Current & recent work
With five artists, he is exploring connections between the Lochnagar Crater on the Somme battlefields and TS Eliot’s time in Margate writing The Waste Land.
In an ongoing collaborating with Dawn Cole, he’s exploring the archives of two Margate printing companies. And he is ghost writing a series of short history books about Dreamland, Margate with a woman who’s lived in the town since 1700.
Dan has recently programmed The Troublemakers’ Festival for From The Station To The Sea in Swansea. He has also working with the Southampton Cultural Development Trust to map creative use of space across the city. He has also just written a number of documents making up a successful £1 million bid for Heritage Lottery Fund money to reopen Margate Caves.
In 2016, Dan made new work for the first Estuary Festival (exhibited at Gravesend, Tilbury and Margate) and in 2015 published a complete history of Stoke, from the Ice Age to thirty years in the future, told through stories he collected on one road.
Dan was the founder and director of Revolutionary Arts (2000-2015) and author of Pop Up Business For Dummies (2012). In 2012, he was included in the Time Out and Hospital Club’s Culture 100, a list of the most inspiring and influential people in the UK’s creative industries.
Dan has used empty shops for 13 years, and he is now a recognised expert on the reuse of empty shops, and on how to create a pop up shop, and runs the Empty Shops Network.
He also started #riotcleanup, after the August 2011 riots in London. That project inspired the Nesta-funded #wewillgather, which uses social media for social good. For this work, he has been singled out by David Cameron as an example of great British leadership.
Dan has provided advice and support to projects across the UK, and spoken at workshops, festivals and seminars across the country, and in Holland, Italy and Australia. He has worked for Unilever, RIBA, Renew Australia, the Transported Creative People & Places programme, Place NI, vInspired, University of the Arts, Spacemakers and Yell.
He is the author of Pop Up Business For Dummies, published Oct 2012, and has previously written the Empty Shops Toolkit for the government’s Living Places programme. In 2012, he authored and published Pop Up People, the first study of pop up urbanism, which has been read by government ministers. Mary Portas referenced his work in her High Street Review.
Dan has written for The Independent, the Daily Express and The Guardian. Other media includes The Sunday Times, Evening Standard and The Stylist, and he has also been featured in news reports on BBC News, Radio 4, Sky News, ABC and CNN.
As well as his Culture 100 award, Dan made The Independent Happy List 2012, the BBC Radio 4 iPM Alternative New Year Honours 2011, received a Team London Award from the Mayor of London, was named in GQ’s 100 Most Influential list and was winner of the Coast Awards 2011 ‘Unsung Hero’ trophy.
Fred Cuming is a Senior Royal Academician and, when elected RA in 1974, was the youngest member to be elected to the Royal Academy of Arts. His artistic career has spanned over sixty years so far, and he has created (and sold) a body of work of some 5,000 paintings. Particularly fascinated by the observation and depiction of light and atmosphere, Fred Cuming is now one of England’s foremost and best-loved contemporary landscape painters.
Fred has exhibited widely, for many years, and has work in private and public collections internationally. In 2001 he was given the honour of being the ‘Featured Artist’ by the Royal Academy and honoured with a one man show and whole gallery, coinciding with the RA Summer Exhibition. In 2004, he was awarded an Honorary Doctorate of the Arts at the University of Kent in Canterbury, in recognition of his status as an artist and his lifetime contribution to the Arts.
The East Sussex coastline, in particular the area around Camber and Rye, has provided the backdrop for much of Fred’s work. The tonal and pictorial values in his oil studies are true to nature achieved by his distinctive technique of quickly layered colour resulting in a sensitive and unique rendering of light and mood. His trademark palette, indicative of the Camden School Group, is refreshingly limited, making his paintings definitively ‘Cuming’.
Joe Sweeney works with a visual language created through British idiosyncrasies, everyday references and the banal, commenting on our fast changing times by elevating the throw away. Through quick observation, the artist encourages a pause for thought on the daily interactions that we don’t always pay attention to. Playing with Britain’s passion for nostalgia, he often creates morbid but humorous work through sculpture, print and installation.
“Some of the best art work is made from junk. Or is it the other way round? Anyhow I forget… Joe Sweeney takes his chalice and dips it in the spastic colon of Britain’s large intestine, the gutter. He holds it above his head and allows the neon lights of every takeaway Sign refract and abstract through his malignant melting pot of half submerged spanenglish. For Joe, beauty at this point lies somewhere in between the kebab fat, mushy peas and Monosodium glutamate. Joe thinks to himself. “We are all in the gutter, but some of us are looking up at the kebab sign”. – Henry Hudson
Joe Sweeney (b. 1991 lives and works in London) graduated from Chelsea College of Art in 2013. Recent solo exhibitions include ‘Loose Change’, Cob Gallery, London (2017); and ‘Take Away’, Cob Gallery, London, UK (2016). The artist has also participated in numerous group shows including ‘An Exquisite Mess’, curated by India Dickinson, London (2018); ‘FOURTH’, London, UK (2016); and ‘Quality Produce’, London (2016).