Watch when you want
Cathie Lomax & Cathie Pilkington at Bow Skills, Bow (Availbale soon)
Althea Greenan & Barby Asante at The Lightbox, Woking
Melanie Jackson & Erika Tan at Stanley Picker Gallery, Kingston University
Cathy Lomax & Eleanor Moreton at Block 336, Brixton
Laura Moreton-Griffiths & Laura Lancaster at South Hill Park, Bracknell
About our speakers
Althea Greenan and Barby Asante at The Lightbox, Woking
Dr Althea Greenan is a curator and archivist and Barby Asante is an artist, lecturer and educator. Greenan has an encyclopedic knowledge of female art practice and Asante uses archives to explore the legacies of the past on the present. Their curatorial intentions share an interest in untold histories and an understanding of what working with archives can effect. In different capacities, both are involved with The Women’s Art Library.
About Althea Greenan
Dr Althea Greenan works in Special Collections and Archives at Goldsmiths University of London and curates the Women’s Art Library (WAL) collection there. Her work with the collection began in 1989 as a volunteer with the Women Artists Slide Library, the artists’ organization that became the Women’s Art Library in 1993. She remained with the collection when it was gifted to the Library at Goldsmiths University of London. She works with artists and academic researchers to help realise new projects based on the Women’s Art Library collection, in particular those that position the collection in contemporary practices. She has written on the work of women artists since the 1980s and her doctoral research at the University of Brighton considers the Women’s Art Library slide collection as a feminist post-digital space. She has published reviews, interviews and creative pieces in a range of publications from art magazines to academic journals.
About Barby Asante
Barby Asante is an artist, curator and researcher based in London and Amsterdam. Her work creates situations and spaces for dialogue, collective thinking, ritual and reenactment. Using archival material in the broadest sense, she is interested in breaking down the language of archive, not to insert or present alternatives to dominant narratives but to interrupt, interrogate and explore the effects and possibilities of the unheard and the missing. Over the last 20 years of artistic action she has created projects that have explored, liveness, performativity and sociability, to think about issues of place, identity and belonging, critically reflecting on race and social justice. Coming from the feminist position of the personal is political Barby’s artistic journey travels through her own experience of coming from a Ghanaian migrant family growing up in the UK, institutional interventions, working with people, thinking about ways to create/ occupy space, unearth un-constituted archives and un-accredited knowledges to articulate perspectives that reflect on the histories and legacies of slavery and colonialism that inform our present.
Barby has shown work and developed projects nationally and internationally. Her work has been included in Untitled, New Art Exchange, Nottingham (2017); The Diaspora Pavilion, Palazzo Pisano Santa Marina, Venice (2017); Who’s Urban Appropriation is This? TENT, Rotterdam (2017); and Starless Midnight, BALTIC Centre for Contemporary Arts, Gateshead (2017/18). Her on going project, As Always a Painful Declaration of Independence: For Ama. For Aba. For Charlotte and Adjoa, brings together groups of womxn of colour, to explore social, cultural and political agency, through collective actions that attempt to collect and tell stories of living and forgotten womxn and the everyday political actions that do not get articulated in narratives of social, political and cultural change. The project is developed in a series of chapters, with new chapters being presented as part of And Still I Rise, Nottingham Contemporary and at BALTIC Centre of Contemporary Arts in 2019. Barby is also a PhD Candidate, CREAM University of Westminster, co founder of the collaborative project, agency for agency and on the advisory board for the Women’s Art Library.
Cathy Lomax and Eleanor Moreton at Block 336, Brixton
Cathy Lomax, artist and curator and Eleanor Moreton, artist, are similarly fascinated by the constructed allure of culture. Lomax works with cinematic and narrative devices used in film and the media. Moreton reworks well known mythologies, history paintings and personal narratives. To different effect, they both employ painterly melodrama to explore the psychology of image making.
About Cathy Lomax
Cathy Lomax is a London based artist and winner of the 2016 Contemporary British Painting Prize. On completing a MA in Fine Art at Central St Martins in 2002 she set up Transition Gallery in East London. She also edits two art and culture magazines, Arty and Garageland. In 2016 Lomax started a PhD at Queen Mary University of London, researching the role of makeup in the creation of the female film-star image. Her artwork assimilates the seductive imagery of film, fame and fashion and juxtaposes it with personal narratives and the everyday. Her resulting paintings and installations play with history by combining influences from disparate sources to form new groupings and categories.
About Eleanor Moreton
Eleanor Moreton studied painting at Exeter College of Art and Chelsea College of Art, and Art History and Theory at the University of Central England. Her work explores ideas around gender, sexuality, love, psychological theories, and history. She also appears from time to time as a musician and musicians often feature in her paintings.
Her solo show A Cold Wind From The Mountains at the Phoenix Exeter in 2017, was recently included in the Anomie Review of Contemporary British Painting by Matt Price (Anomie, 2018). Other solo shows include the Ceri Hand Gallery in Liverpool and in London, Canal, London and Jack Hanley, New York. She has taken part in group exhibition in the UK and abroad. She was a Durham Cathedral Artist in Residence. Her work also features in Picturing People by Charlotte Mullins (Thames and Hudson 2015).
Melanie Jackson and Erika Tan at Stanley Picker Gallery, Kingston University
Melanie Jackson, artist and lecturer and Erika Tan, artist and lecturer awarded the Stanley Picker Fellow in Fine Art 2018-2020 both have research based practices that resonate with shared commonalties, including postcolonial and diaspora politics, capitalist critique and interrelated modernities.
About Melanie Jackson
Melanie Jackson is a tutor in sculpture at the Royal College of Art. Her multidisciplinary practice involves modes of non-fiction storytelling – through space/objects/text/moving image and sound. She works with the sensorial and affective capacity of the material, and the inventive ways we reconcile or resist living with the technologies around us – produced as they are in conditions of extraction capitalism. She engages with stories of excess and the absurd imbricated in the production flows and networks of the biotechnocapital, and their ‘ur’ formation in other times and places. Jackson has recently completed a practice based PhD at the University of Reading. Her forthcoming work Hellmouth – a speculation on toxicology, will take the form an animation, a public sculpture and a lecture. It starts with mercury, dental amalgams and the origins of money.
Solo exhibitions include Deeper in the Pyramid at Grand Union, (Birmingham); Primary (Nottingham) and Banner Repeater (London all 2018); The Urpflanze Part 2 (2013) and The Urpflanze Part 1 (2010) at the Drawing Room and Flat Time House, (London). She was awarded residencies in Shanghai and Hong Kong (British Council); Mauritius (Gasworks); and in the UK (University of Bristol, The Mothership). She has been shortlisted for the Whitechapel Max Mara Art Prize for Women and was a winner of the Jerwood Drawing Prize. She has work in the Tate and Government Art Collections, and in Private Collections.
About Erika Tan
Erika Tan’s practice as artist, lecturer and curator is primarily research-led and manifests in multiple formats: moving image, publications, curatorial and participatory projects. Recent research has focused on the postcolonial and transnational, working with archival artefacts, exhibition histories, received narratives, contested heritage, subjugated voices and the transnational movement of ideas, people and objects. Future projects point towards the digitization of collective cultural memory and cloud architecture through the prism of ruins, hauntings, and mnemonic collapse.
Tan’s work has been exhibited, collected and commissioned internationally including: The Diaspora Pavilion (Venice Biennale 2017); Artist and Empire (Tate Touring, National Gallery Singapore 2016/7); Come Cannibalise Us, Why Don’t You (NUS Museum, Singapore 2014); There Is No Road (LABoral, Spain 2010); Thermocline of Art (ZKM, Germany 2007); Around The World in Eighty Days (South London Gallery / ICA 2007); The Singapore Biennale (2006); Cities on the Move (Hayward Gallery, London). Recent curatorial project: Sonic Soundings/Venice Trajectories http://www.sonicsoundings.com.
Laura Moreton-Griffiths and Laura Lancaster, South Hill Park, Bracknell
Artists Laura Lancaster and Laura Moreton-Griffiths are similarly interested in the forgotten stories. History, memory and imagination.
About Laura Moreton-Griffiths
Moreton-Griffiths is a histories painter working with the limitless possibilities of science fictions. Her practice calls on many historical, cultural and personal references, theoretical ideas and art criticism. Her themes include moral panic; ideologies; conflict and control. With wry humour. The narratives are often too contradictory for one painting hanging on a wall, so my work is realised across disciplines, in a range of media: drawing, painting, objects, photography, digital collage and film, performance via a cast of characters and research published as zines.
London-based, she curates, teaches, writes and programmes artist talks. Studies include: Royal College of Art. MA Contemporary Art Practice, Critical Practice (2019-2021); The Royal Drawing School Drawing Intensive Scholarship Programme (2019); Turps Correspondence Course (2016-2019); Camberwell College of Arts BA Painting (2005-2008); Interactive Multimedia at the ARTEC (1993); Foundation at St Martins School of Art (1986). Her work is held in private collections in the UK and internationally.
About Laura Lancaster
Laura Lancaster’s practice uses painting to re-contextualise found anonymous analogue imagery, unlocking the latent psychological charge of potentially mundane subjects. Through paint handling, shifts in scale and obfuscation these images take on otherworldly uncanny qualities. In this ambiguous liminal space the slippage of the meaning and identity of the subject is explored and manipulated. Lancaster graduated from Northumbria University, Newcastle Upon Tyne and lives and Works Newcastle Upon Tyne. Her work is held in public and private in the UK and internationally.