With support from The Heritage Fund, these are the first large outputs from a project to unearth the hidden histories of the Aberfeldy Estate in Poplar, beginning when the area was first developed in the mid 14th Century up to the 1970s, when this first series of exhibited prints from photographs were originally created.
This parade along Aberfeldy Street was organised by local resident Tommy Shotter, whose family loaned us the original prints that feature many people who still live on the estate or who return regularly to visit friends and family.
‘Unearthing the Hidden Histories of Poplar‘ continues throughout 2020 and we are asking for more contributions of archival photographs of the area, from personal collections, to offer an alternative view of heritage to those held in official archives.
Preview 06/02/2020 5pm-10pm
Opening reception with Nicholas Joubinaux in attendance.
We’d be delighted to be able to digitally scan other photographic prints or related ephemera on the history of the Aberfeldy Estate, if any visitors owning such items would like to contribute. All originals will be returned directly after being scanned.
By setting up a portable furnace upcycled from a shopping trolley and other discarded items, installed in the backyard of 50 Aberfeldy Street from 21st-24th November, we started with a demo and open registration for the weekend workshops. Professional glassmakers Tom Chadwin and Freya Bernard guided participants through the process of blowing and shaping molten glass, each piece designed to be part of a larger construction now exhibited for a week in early December. A previous work with some similarity can be seen here https://vimeo.com/148330720
The resulting collaborative chandelier is made from individual pieces created by participants, to be exhibited in the front of the next door unit at 48 Aberfeldy Street, with a public opening on Thursday 5th December from 4-9pm as part of east London’s ‘First Thursdays’ initiative organised by Whitechapel Gallery. The chandelier will be installed for a week, after which participants can collect their individual pieces to keep, by visiting The Tommy Flowers between 5-11pm from Thursday 12th- Saturday 14th and from 3-7pm on Sunday 15th December.
The Thames Plate Glassworks was a large manufacturer on the nearby River Lea in the 19th Century, linking into the industrial heritage of Poplar.
Project made possible with a Culture Seeds grant from the Mayor of London with continuing support for 50 Aberfeldy Street, from Aberfeldy Big Local and Poplar HARCA. Special thanks to glassmaker Jon Lewis for providing much support, who runs regular workshops from his studio at Parndon Mill, Harlow.
Exhibition opening – 4pm - 9pm
Opening reception with artists and participants in attendance.
The chandelier will be suspended on a mirrorball motor, to slowly rotate in the front room of 48 Aberfeldy Street E14 0NU, a former post office currently being refurbished by https://volunteerityourself.org/about
giving opportunities for young people to learn new skills.
We’re asking local people what they would like to see in a proposed ‘Culture Kitchen’ where we’d like to offer experimental cuisine, drawing on the immediate cultural mix, becoming a new place for people to dine and socialise.
So far on Aberfeldy Street, Graham Carrick and Manuel Sanmartin have collaborated on painting an abstract on the shutters of No.43, Part2ism has begun a large piece on the facade of No.48 and CizeOne is planning series on other shutters along the street.
CizeOne will be leading youth workshops from late October.
Over the coming months, more of the empty units on the street will showcase abstract and futuristic imagery, creating an outdoor gallery to accompany the exhibition space inside The Tommy Flowers itself at 50 Aberfeldy Street
Join us at The Tommy Flowers supported by The Mayor’s Office, Volunteer it Yourself and Wickes. We’ll be exhibiting a selection of street art from our collection and that of the participating artists.
The Tommy Flowers was recognised as a national exemplar of creative practice in the community on 15th October 2019 through invitation to a reception at The House of Lords, hosted by The Plunkett Foundation.
Keith Hopewell AKA Part2ism‘s multidisciplinary practice is focused on the utilisation of public space, and the understanding of how work can communicate in such ever-shifting environments. His paintings on canvas however, incorporate the same approach to his work in the public sphere, with the use of gestures, repetition, ritual and performance to create a language of the senses. Projects this year include a new collection of large scale canvas paintings, created at High House in Norfolk. As a resident at the house for 5 months, Antony Gormley gave Keith full licence to work outdoor anywhere on his 1000 acre grounds.
Manuel Sanmartin and Graham Carrick have worked together on a number of projects including a large scale collaborative piece for the foyer of Christies London, installations at Museo Alejandro Otero in Caracas, and empty spaces ranging from a 13th Century French chateau, to a disused Tyneside pithead.
For Aberfeldy Street, they’ll collaborate on a ‘live’ painting on 28th September, to accompany Part2ism‘s work at numbers 48-50 and CizeOne‘s upcoming shutter series in October. CizeOne will be leading youth workshops from mid-October.
This High Street Works series is facilitated by Meanwhile Space and Jan Kattein Architects, working with commissioning agency Fitzrovia Noir.
Opening reception with artist’s work visible on outside of The Tommy Flowers and 29 Aberfeldy Street
On 3/10/19 we’ll keep the shutters closed on 48 Aberfeldy Street space, currently undergoing refurbishment. This will allow viewers to see the whole of Part2ism’s work that stretches over to the facade of The Tommy Flowers next door.
Over the coming months, more of the empty units on the street will showcase abstract and futuristic imagery, creating an outdoor gallery to accompany the exhibition space inside The Tommy Flowers, where Chris Campbell’s exhibition continues until 20/10/19.
Campbell explores the urban landscape, a subject that is a recurring thematic to his practice. However in this latest body of work, Campbell looks to seek out beauty in our everyday items. Divine subject matter is elevated, viewed as art, as sculpture. Benches and fences become more than their functions. They are a comment about the aesthetic of our constantly changing landscape. The emphasis on the man made is also commented on by observing littler and waste. The discarded became a vignette of British still life. These paintings are a celebration of ignored artefacts of design and purpose. In the act of painting these objects take on a new narrative and context of visual language.
The paintings are of a photographic quality, yet retain the qualities associated with more traditional figurative movements. Whilst the subject matter is variable, the paintings have a distinct affirmed identity. They convey a sense of emotion and meaning as well as a dedication to paint and surface.
Siger Gallery was established in 2012 to promote and sell a broad range of emerging UK and international artists. Siger is a dynamic platform for a range of art practices including: painting, performance, sculpture, photography, printmaking and animation. Siger Gallery exhibits internationally, past shows include London, Hong Kong, Singapore and Milan.
For Siger’s exhibition at the Tommy Flowers a selection of the gallery’s artists present a bit of international flair along with a dash of homegrown talent. With artists from as far flung as Mexico and from Gateshead closer at home, Siger’s eclectic mix brings the dynamism expected of the gallery. Bringing together the artists interpretations of the body in their own unique styles we present a body of works that blurs between the untruths of an Instagram age and the internal struggle of self-perception. Are we ever what we think we are and will what we strive for ever be achievable?
Works include the delicately formed and exquisitely executed ethereal hair drawings of Alexandra Buhl of Denmark. Mexican Guillermo Monroy’s found objects reimagined and given new life as a menagerie of new creatures. Paul Robinson’s Pink Bear lives a life of highs and lows in beautiful technically intricately produced paintings and prints. Graham Carrick’s paintings writhe at the notion of what we perceive to be attainable goals. Alex Allmont provides the rhythm of the show with a previously commissioned drum machine with an unlikely twist.
The Tommy Flowers welcomes Siger Gallery’s exhibition by introducing a few friends to the exhibiting artists list in a coming together of old friends and new. This fusion of artistic output adds to the melting pot of collaboration that breeds new exciting exchanges of ideas.
Exhibiting Artists: Alexandra Buhl, Manuel Sanmartin, Gary Carter, Graham Carrick, Alex Allmont, Linda Lieberman, Guillermo Monroy, Paul Robinson + Special Guests
As The Tommy Flowers previews its new neighborhood unit, we've invited Gaz Evans to present Drawing Flowers the inaugural residency. Gaz explains how his practice has evolved:
I first started drawing at an early age. My brother and I would set up a grid and copy from Marvel Comics. I have continued to draw throughout my life. I draw spontaneously. I make the drawings using an ink pen so I can't make any mistakes.
I never use a pencil first and go over the drawing in ink. I give myself one shot at producing a drawing. I used to go to galleries to get my inspiration. With the advent of computers I started drawing from an almost limitless supply of images. All the drawings are copies of images drawn from the internet.
I worked as a producer for some well known names like Dianna Ross and Charlton Heston and made my first music video The Payback Mix with James Brown. I set up my own editing company and worked with John Lydon and Leftfield for Open Up, Depeche Mode for Barrel of a Gun and The Young Gods for Gasoline Man. I became known for my scratch editing techniques and MTV gave me my own show, Crash TV with lots of refilming and jump cuts. It was the dawn of the digital age and they were amazed with what I could do with a computer.
I took to writing poetry as a way to maintain my sanity during the heady days of the 1990s and my new poems work in tandem with my drawings.
Hope you like this exhibition and can draw your own inspiration from the drafts shown here. Grab a pencil, find an image you like and start sketching!
An award winning contemporary art photographer based in London, Nicholas Joubinaux has photographed a number of high profile people including the late Roger Moore, as well as places and products around the world.
His work comprises expert skill in image processing and manipulation of natural light sources as well as composition. Interested in the public's perception of the medium of photography, Joubinaux's ongoing series of work 'Camera (Regarder)' allows the viewer an insight into how a camera works. Also it shows the beautiful process of manipulation of light that the camera lens and eye share.
Joubinaux has taken part in two art residencies the first was with the University of East London at Trinity Buoy Wharf in Poplar, the second in Baku, Azerbaijan with The No Collective, where he emulated a camera in 'large scale' by setting up the spaces as a camera obscura. This is where light is projected from the external images of the skyline, landscape and vista, which then develops onto the internal surfaces of the space and light-sensitive photographic paper.
To record these effects Joubinaux had been experimenting with different photographic papers and light sensitive materials. These captured images will show the changing light conditions over time documenting a 'live', fugitive phenomenon.
Regular Pub Opening Times Thurs / Fri / Sat 4 pm-11pm with earlier opening / extensions for special events.
First shown at Médiathèque Le Teil in 2009, with the support of the Ardèche-Rhône Cultural Dept., south-central France, a selection of these photographic works are exhibited to commemorate the 75th anniversary of D-Day, alongside ephemera including British and German newspaper headlines of the day, barbed wire recovered from Gold Beach and a metal-faced watch belonging to a young British soldier who never returned from Normandy. Exhibition runs until June 22nd, open Mon-Wed 10 am-2pm and Thurs-Sat 4 pm-11pm.
Tommy Flowers' codebreaking machines, Colossus I & II were key in the Normandy campaign, speeding up to real-time, the deciphering of Lorenz, 'Hitler's email' giving the Allies the locations and battle plans of the German military in Europe.
Photographers showing a small selection of their work in this exhibition are Peter Mackertich and Garry Hunter. Mackertich's Blockhaus is a long term project beginning in the early 1980s, to document the Atlantic Wall, using 5x4 "plate film in a mid-20th century Speed Graphic camera, all processed and printed by the photographer. Works from this series are in the collection of The Imperial War Museum and have been exhibited from Canada to Poland, with a special site-specific installation in a subterranean 1940s military bunker in the heart of Berlin.
'Thousands still litter the coasts of Europe and its cities, with their concrete malevolence and like Crusader castles they will endure as salient talismans' - Jonathan Meades, writer and presenter of the BBC series Concrete Poetry, quoted from the foreword to Blockhaus.
Name, Rank & Serial Number is Hunter's homage to the last journey of the great uncle he never knew, John Gaffney, killed in action in Normandy on 22nd June 1944, aged 19. His only possession to return home was a metal faced military watch. Using a 120 film format toy camera that leaks light, the motif of fogged edges gives an ethereal feel to images of lost youth. The 19 neon in the back room was created with students at The Academy of American Studies in Long Island City.
They demonstrate the most moving aspect of that Normandy experience [-] that of a rustic countryside, albeit sewn with deadly fortifications everywhere'
- David Holbrook,
D-Day veteran and Emeritus Professor of English at Downing College, Cambridge, in Name, Rank & Serial Number.
Coloured People is an iterative series based on the lived-experiences of the construct of race; within an inner-London borough in the UK. The series currently comprises of seven pieces.
Each piece attempts to capture a stage in the artists own constructive development. A Social Constructionist perspective was taken to produce these artworks.
Included in the evolving aims of this series are:
- To aid the reconstruction of the phrase ‘Coloured People’ through the use of online search browsers
- To provide an opportunity for discussion within the context of a hyper-diverse ward within a Major city
A solo show by Graham Carrick.
In Graham Carrick's paintings aspirational products rot in a neon palette of dreams that were never really ascertainable. In a era of the unsustainable myth we view a reality more peculiar than the lies.
Regular Pub Opening Times Thurs / Fri / Sat 4 pm-11pm with earlier opening / extensions for special events.
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