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Bethlem Salon #5, 'Making & Unmaking'
Saturday 12th December from 3 – 5pm.
Studio 288 | Goldsmith’s College | Art Education Building | 288 New Cross Rd.
Dr Deji Ayonrinde, consultant psychiatrist, South London and Maudsley NHS Trust
Nick Gee, artist
I currently earn money by working as a carpenter and have done so intermittently throughout my adult life. This form of income has allowed me to live, pay my rent and sustain an art practice. Since leaving art school I have lived and worked in Paris and London. During my time in Paris I was preoccupied with the question of how to resolve the tension arising from the need to earn money from carpentry which left me with little physical or mental energy needed to meaningfully engage with my art practice. It was during this time that I developed strategies to subvert moments of my economic time in order to continue with an art practice. This involved the production of subjective and objective documentation of my working day.
While living in Paris I developed an interest in other forms of subversive practices of everyday life, most notably the production of informal spaces such as gardens made on wasteland. In 2013 I completed a doctoral thesis that explored questions posed by the production of informal spaces in relation to space produced by the state. What kind of practices produce informal space, and to what extent do informal spaces either subvert or reinforce the order of private property? What was at stake in the thesis was the tension between the production of social space – that is, shared public space or space for society as a whole – on the one hand, and the tendencies and desires of individuals or small groups of spatial users to appropriate and produce their own space, on the other. In the same year, I made a replica of a small room that I rented while I lived in Paris. The low rent of the tiny room was part of the strategy to work less as a carpenter while allowing more time to engage with my art practice. The making of the replica living space was another form of documentation - at the same time it was a way to explore the relationship between a living space, economy and works of art.
Jonathan Lill, artist
Paul O’Kane, artist, writer and lecturer
Paul completed a PhD in History on a theme of 'Hesitation' in 2009.
He published a book 'Where Is That Light Now?' last year (on photography and personal memoir).
His art involves a history of technologies influencing subjective narratives.
He teaches fine art, mainly at CSM, Chelsea and SOAS.
Paul writes regularly for Art Monthly, Third Text, various journals, catalogues etc. and also '750wordsaweek, his weekly Blog on art in London.