ACCORDION – Laura Bartlett Gallery

Caroline Achaintre, Nina Beier, Anna Betbeze, Sissel Blystad, Sol Calero, Christopher Kline, Fay Nicolson, Alek O
Laura Bartlett Gallery, London, 08 June — 27 July 2014

Installation View with Sissel Blystad

Installation View with Caroline Achaintre and Sissel Blystad

Installation view with Fay Nicolson, Nina Beier, Anna Betbeze

Installation view with Sol Calero and Fay Nicolson

Installation view with Sol Calero, Fay Nicolson and Nina Beier

Installation view with Caroline Achaintre and Alek O.

Installation view with Christopher Kline, Nina  Beier and Caroline Achaintre

Installation view with Alek O.

Installation view with Fay Nicolson

Installation View with Nina Beier and Christopher Kline

Installation View with Caroline Achaintre, Nina Beier, Alek O. and Sol Calero

Installation View with  Nina Beier, Caroline Achaintre and Alek O.

Installation View with  Christopher Kline, Nina Beier, Caroline Achaintre and Alek O.

Installation View with Alek O.,  Nina Beier, Sol Calero and Fay Nicolson

Installation View with Nina Beier, Fay Nicolson and Anna Betbeze.


Fay Nicolson A P E L (I) 2013 Digital print on silk, 230 x 136 cm


Fay Nicolson We exist! We have the will! We are producing! 2013 Digital print on silk, 172 x 122 cm


Fay Nicolson At the moment we prefer cleverness to beauty 2012 Digital print on silk, 175 x 124 cm

Kaleidoscope Blog – MEET Fay Nicolson


Fay Nicolson, P A R E, installation view at West Lane South, London
Courtesy of the artist. Photo by Jack Hems

Fay Nicolson is a restless artist, working nomadically across print, photography, sculpture, performance, writing and curating. Nicolson combines a research-based approach alongside a formal and abstract sensibility. Her work relies on an economy of forms that are recursively applied to a range of materials, including clay, paper and fabric. Often, her practice recalls historical antecedents across design, art and radical pedagogy. Ultimately—whether it is giving a lecture, making a sculpture, or curating an exhibition—Nicolson’s work is pervaded by an interest in the possibilities of play. There is a dialectical quality to much of the work—hard against soft, straight lines on draped fabric, smooth alongside rigid. Caryatid Variations (Orange) (2014) is typical, incorporating repeated geometric forms screen-printed onto a long sheet of cotton. The artist’s hand is evident in the printing slippages; the autographic mark is continually processed through reproductive technologies. The fabric is draped over the light fixtures and hangs down in to the space dividing the gallery. Alongside her independent practice, Nicolson also collaborates with Oliver Smith, exploring experimental forms of display and dissemination. Recent projects include the group exhibition “Tokyo in the Fall” (2014) at Gerald Moore Gallery, London. Nicolson will be participating in a number of upcoming exhibitions including “Foam,” a peripatetic project curated by Mat Jenner; “ACCORDION” at Laura Bartlett Gallery, London; and “before breakfast we talked about the furthest visible point before it all disappeared” at Tenderpixel, London. (George Vasey)

foam – launch at P/N London 24 May – 15 June

Agata Madejska, Alice Theobald, Alistair McClymont, Anna Barham, Anne Hardy, Asterism, Aura Satz, Benedict Drew, Berry Patten, Bevis Martin & Charlie Youle, Brian Moran, Bronwen Buckeridge, Cally Spooner and Peter Joslyn, Candice Jacobs, Cecile B Evans, Charlie Woolley, Charlotte Prodger, Christopher Kulendran Thomas & Amnesia Scanner, Chris Rawcliffe & Andrew Bunsell, Connie Butler, Killian Immervol & Sophie Lee, Daniel Keller, David Raymond Conroy, Dawn Scarfe, Diana Policarpo, Erica Scourti, Fay Nicolson, GandT, Giorgio Sadotti, Hannah Black, Hanna Schwarz and Phillip Sollmann, Haroon Mirza, Hayal Pozanti, Holly Slingsby, Ian Whittlesea, Jaakko Pallasvuo, Jack Brindley, Jack Stokoe, James Prevett, Jess Flood Paddock, Jesse Darling, Jimmy Merris, Joey Holder, John Lawrence, Juneau Projects, Kevin Clarke, Kirsty Harris, Koudlam, Larry Achiampong, Lars TCF Holdhus, Lucy Clout, Lumpen Noblemen, Maria Theodoraki, Marie D’Elbee, Mark Dean, Mark Vernon, Mary Hurrell, Matt Golden, Matthew Noel-Tod, Mike Harte, Euan Rodger & Jamie Shovlin, Mikhail Karikis, Naive Set & Marijn Van Kreij, Neil Taylor, Nikolas Mohanna, Nicole Bachmann, Nina Wakeford, Octagon Court, Oliver Sutherland, Olivier Castel, Patrick Coyle, Patrick Staff, Paul Purgas, Philomene Pirecki, Picana Electrica, Pil and Galia Kollectiv, Piotr Łakomy & Filip Kaniecki, Plastique Fantastique, Prem Sahib & Richard Lockett, Rachel Cattle & Steve Richards, Rebecca Lennon, Richard Bevan, Richard John Jones, Richard Sides, Rob Chavasse, Rob Lye, Rowena Harris, Ruth Barker, Salvatore Arancio, Sam Belinfante, Sarah Jones, Seb Patane, Skye Chamberlain & Max McFerren, Sophie Michael, Squares and Triangles, Steven Dickie, Stewart Home, Stuart Bannister, Tamarin Norwood, Tellervo Kalleinen, Thrape, Tim Pratt, Will Holder, Yuri Pattison

Foam is an on-going peripatetic project by artist Mat Jenner. Conceived as both a platform for experimental commissioning and an expansive artwork, Foam explores the condition of the contemporary art object and its problematized relationship to spectatorship, dissemination, presence and display.

At the heart of Foam is a growing archive of dub plates, one-off 12” records commissioned from over 100 invited artists. The archive is presented within strict parameters that emphasises the record’s collective status as art objects and their potential as a performative body: - records are unique, they can only be listened to in situ within P/N’s physical location and are not replicated, broadcasted or digitally disseminated.

At P/N the archive will be installed in the gallery space. To provide a visual counterpoint to the audio pieces, Jenner will present a new wall based work and undertake a treatment of the street facing light-box, continuing P/N’s on-going series of light box commissions.

During the exhibition audiences are encouraged to have an immediate and direct relationship with the archive through selecting and playing individual records. Listening experience is social, with audio contents filling the gallery via a displayed record player and speaker system.

Participating artists in the foam archive have been selected in collaboration with guest curators, artist and venues. A series of live events devised in collaboration and taking place at P/N and across participating venues accompanies the Foam project. For further details about the Foam project, the on-going programme and works in the archive:

Tokyo in the Fall

Jonathan Baldock, Richard Forbes-Hamilton, Sophie Michael, Fay Nicolson, Christopher Orlando Page, Henrik Potter 

Gerald Moore Gallery, 10 – 24 May 2014

1 (2) 2 (2) 3 4 5Jonathan Baldock, The Player, felt, silk thread, foam, sculpey, acrylic on canvas, doll’s eye, wood, 2011; Henrik Potter, Any port in a storm, or The Stutterer, or I will help you with this, or, perspex, marks, fixings, 2014.

6Fay Nicolson, Caryatid Variations (orange), screen prints on polycotton, dimensions variable, 2014.

7Jonathan Baldock, Regality (The Seaside), felt, ceramic, thread, fake pearls, foam, shells, synthetic hair, 2010.

8 (1)Richard Forbes Hamilton, Kimono (black and blue), Kimono (yellow and blue), Kimono (violet and red), all oil on linen, 50 x 40cm, 2011.

9Christopher Orlando Page, Tokyo in the Fall, oil on canvas, 85 x 165 cm, 2014.


Jonathan Baldock, The Player, felt, silk thread, foam, sculpey, acrylic on canvas, doll’s eye, wood, 2011; Henrik Potter, Any port in a storm, or The Stutterer, or I will help you with this, or, perspex, marks, fixings, 2014.

11 (1)

Henrik Potter, Any port in a storm, or The Stutterer, or I will help you with this, or, perspex, marks, fixings, 2014 (detail).

12 (1)

Sophie Micheal, Astrid’s Masks, 16mm film transferred to Video, 4:3, single screen, sound, 2013. Installation shot.



Gerald Moore Gallery

10 - 24 May 2014

Jonathan Baldock, Richard Forbes-Hamilton, Sophie Michael

Fay Nicolson, Christopher Orlando Page, Henrik Potter


Dear H,

…a quick mail before I head out for the day to explore. The room’s nice, familiar, even generic. I feel as if I’ve slept in this bed before, stared at these magnolia walls, hung my coat in the same Ikea wardrobe in London, Rome, Seoul, Tokyo. Yet the scent is different, Jasmin? And as I write, the shadow of a cherry tree falls across the room. Wish you could be here to see this.


Hey F,

I think I have, but I’m not sure when, or even how. Have you read Your Face Tomorrow by Javier Marias? The first one…Fever and Spear. Problematic, but I think there’s a line that is really important.

“(I had to train my memory to distinguish what was true from what was imagined, what really happened from what was assumed to have happened, what was said from what was understood)”

Do you understand? I don’t think I do. I’ll lend you the book when you get home.



In Tokyo in the Fall we set the scene; a distant context that takes its name fromChristopher Orlando Page’s work. In this painting, a wardrobe is realistically rendered and affected by fictional shadows. Its title ignores the artwork as object and instead positions it (as well as the artist and viewer) as subjects within an imagined and exoticised context. A scenario subject to myth, conjecture, stereotype.

We are now in a space with multiple functions and histories - like a stage or film set. We can entertain our desire to escape, and fool our eyes into reading images and objects as moments in another narrative. This space acknowledges a Western wistfulness for theorient, a history of appropriation. We feel a closeness to something we have never even seen or experienced, as distant cultural codes are copied, mutate, circulate, become vernacular.

Richard Forbes-Hamilton’s paintings abstract the form of the Kimono, reducing the qualities of this ceremonial Japanese garment into an image; a geometric delineation between pattern and colour, positive and negative space. These works emerge from Forbes-Hamilton’s interest in the significance of traditional Japanese art (particularly ukiyo-e) to certain European painters in the mid-late 19th century, and in turn negotiate his own relationship to both of these visual histories.

Within this scene a roleplay begins; the making of identities through separating pieces of a larger cultural edifice from their whole, stitching them into new composite characters.Tokyo in the Fall brings together two sculptures by Jonathan Baldock, originally made for different installations. Both works are reminiscent of figurative sculpture (from classical bust to modern abstract nude), but each uses a different material language; the soft patchwork felt of The Player (2011) sits in contrast to the synthetic hair and fake pearls ofRegality (The Seaside) (2010). At once bizarre, humorous, grotesque and melancholy, these works are like masked performers in a commedia dell’arte.

The mask as a prop and visual strategy is also explored by Sophie Michael. In Astrid’s Masks the artist and her young collaborator demonstrate decorative mask making and experiment with camera masks using a matte box. Filmed over a weekend, the script is written as they go along and authorship is shared, as direction comes from in front of and behind the camera. This is the 4th film in a series that uses Astrid as a subject. Michael’s 16mm films animate constructed spaces, referencing early visual music and 1970s educational films. The medium and atmosphere of her work stir up anachronisms and skip generations, embracing nostalgia as a tool for exploring the now.

Henrik Potter and Fay Nicolson are interested in the mask and screen as a structure, and have both created site-specific pieces that augment the gallery’s existing interior architecture; works that are object and image, background and setting.

Nicolson’s Caryatid (variations) are long, repetitive screen prints draped over the existing lighting rig. Caryatid (variations) developed from an interest in renaissance and modern art education, architecture and textiles and continue Nicolson’s fascination with the interplays between surface and structure, image and pattern. A Caryatid is a sculpted female figure that acts as a column or a pillar to provide architectural support. These were common in Ancient Greece and revived in the design of renaissance and early modern buildings.

Henrik Potter’s piece Any Port in a Stormor The Stutterer, or I will help you with this, or, is a subtle intervention into the experience of the gallery space. Potter’s interest in the everyday generation of importance and meaning is here used in service to the work of others, and to serve his own interest in gestures of usefulness and significance.


Tokyo in the Fall is an exhibition that grew out of conversations between Fay Nicolson and Henrik Potter.

Fay Nicolson is Artist in Residence at Gerald Moore Gallery / Eltham College.


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