16/15 Exhibition

“Exhibition review”
12th February – 1st March 2015
Thursday – Sunday 12-6pm or by appointment
269 Portobello road, London, W11 1LR

Private View: Wednesday 11th February 2015, 6.30-9pm
Artist Talks: Sunday 15th February 2015, 3pm onwards


The Muse is pleased to present 16/15, an exhibition of sixteen postgraduate artists from City & Guilds of London Art School. The show marks an extension of the group’s mutually informed studio-based practice, as the first formal curation of the artists work in a single exhibition space. Though ideologically and materially distinct from one another, the MA Fine Art course provides the unifying philosophical context for the group as a whole; embracing tradition alongside contemporary theoretical and material practices.

The exhibition presents myriad explorations at the intersection of historic processes and new technologies. Painted works challenge conventional notions of display and question the material hierarchies that accompany such assumptions. Works on, and using paper continue to explore and blur the distinctions between drawing, painting, printmaking and collage whilst instating their relevance to current-day discourse. Sculpture and installation punctuate the wall-based works, affecting one another by prescribing a new contextual environment. The exhibition challenges the viewer to take an active role in deducing the ideas presented by each individual, whilst another layer of meaning can be interpreted from the dialogue created within the space.

The group’s commonality is willingness to stretch the boundaries of their practice through rigorous studio immersion and research, continually testing and searching for new ways of pushing their artistic method. In light of these theoretical and material discoveries, The Muse will host several artist talks over the duration of the exhibition; acting as a chance for individual artists to explain the process and intellectual context for their work, and for further audience participation and response.

The exhibition is an important marker of the artist’s achievement to date and an invitation to witness each individual’s practice transform to a resolved body of work at the MA show in September 2015.

Celia Scott, House of Memory, gloss paint on birch plywood, 2014

I had a kind of longing to be somewhere I’d been happy in my childhood and the
meandering line draws through the dim mists of time into that space.
The upper board evokes for me the memory of the landscape nearby.

Celia Scott_House of Memory Dyptych2_2014
Celia Scott_House of Memory Dyptych
Celia Scott_Blocky House of Childhood_2014

The Sixteen

Caroline Jane Harris
Arthur Laidlaw
Katherine Russell
Madeleine Inkin
Zanny Mellor
Celia Scott
Heather Graham
Annie Farrer
Lorraine Fossi
Lynn Krol
Katrina Bovill
Jonathan Armour
Ben Moore
Benedict Hughes
Jane Hayes-Greenwood
Flora Scrymgeour

Zanny Mellor_Memory Ablation_III_2014

Memory Ablation III – © Zanny Mellor (2014)

Benedict Hughes_The Creation of Adam_Detail2

The Creation of Adam (detail) – © Benedict Hughes (2015)

Katrina Bovill_Autumn Leaf_2014
Autumn Leaf – © Katrina-Bovill (2014)


Farrer (detail) – © Annie Farrer (2015)

Lorraine Fossi_Where is Charlie?_2015
Where is Charlie? – © Lorraine Fossi (2015)

Flora Scrymgeour_Portrait Commission_2014

Portrait Commission – © Flora Scrymgeour (2014)

Madeleine Inkin_Heterochromia_2014
Heterochromia – © Madeleine Inkin (2014)

Flora Scrymgeour_Untitled_2015
Untitled – © Flora Scrymgeour (2015)

…The exhibition presents myriad explorations at the intersection of historic processes and new technologies.


Star Painting – © Ben Moore (2014)

Jonathan Armour, Veil, Transmedia, 2014

Veil – © Jonathan Armour (2014)

Arthur Laidlaw_Blow up_2014
Blow up – © Arthur Laidlaw (2014)

Untitled – © Caroline Jane Harris (2015)

..embracing tradition alongside contemporary theoretical and material practices.

Jonathan Armour

Veil, transmedia, 2014.

“Veil is a photographic flaying of the skin of a painted man.
This is part of my on-going examination of the body via its surface, the skin. The non-tabula-rasa nature of the body, feeds the skin painting, perhaps resulting in a portrayal on the surface of that which is within. All of us project onto our skin who we think we are, but yet we also rely on the skin to hide and protect us. This arrangement of the flayed skin was inspired by the frontispiece to Anatomia by Thomas Bartholin in 1651.

Head Studies, Giclee prints on Hahnemuhle Fine Art paper, 2014.

These prints show two sides of the same painted head – that of Roy Joseph Butler. The painting on the second skin which coated the head, was an intuitive response to the person within.

After these images were created, the skin was peeled off. Curation inspired by the profile portraits of Hans Holbein the Younger.

Jonathan Armour, Veil, Transmedia, 2014

Jonathan Armour, Two Head Studies, 2014

Lorraine Fossi

My work explores formal structures in relation to the sensitive area of the reverie – assembling macro and micro elements in work that combines shared territories such as diagram with dislocated moments and visual ‘events’.

From the ‘Hopscotch’ a work which starts from the child’s game to place itself in between the diagram, the map, the surface and the space of reverie.

These two print works, a print and its originating plate explore surface, erasure, and the idea of being in between all perspective.

When I draw a map it becomes a new map… I made the painting consequently to the Charlie Hebdo attack, re-visiting the place of the attack with my imagination. In my painting Charlie escapes… The work has the size of a book and its title refers as well to the comic book “Where is Wally” – “Where is Charlie” in the French version..

Lorraine Fossi_Hopscotch_2015
Hopscotch 8/7

Lorraine Fossi_Brother and Sister_Dyptych_2015
Brother and Sister

Lorraine Fossi_Where is Charlie?_2015
Where is Charlie?


Heather Graham, Cultivation, woven calico strips and found object.

The works are about exploring the landscape of Dartmoor and man’s mark on it – found objects, well trodden paths and cultivation.

Heather Graham_Cultivation_2013

Annie Farrer Arisaema Dried Spathe. Pen and ink, 2012

A plant from the Himalaya where I used to work, and which I love. As it dried contorted to a fascinating shape x8 minutely measured.

AnnieFarrer_Arisaema Dried Spathe_2012

Katherine Russell

My paintings attempt to deconstruct a fraction of the mass media imagery, which we encounter on a daily basis. I look to consider how we as individuals engage with these images on a personal, subjective and emotional level.
I aim to capture a particular moment, more specifically the feeling within that moment which will allow a deeper contemplation and penetration of the inevitable associations, both objective and subjective.

Light Study
Katherine Russell_Light Study_2015

Drive by
Katherine Russell_Drive By_2013

Zanny Mellor

Memory Ablation III explores the natural process of sedimentation, inspired by the suspended rock particles found in glacial rivers and lakes. There is a tension between the accidental and deliberate where chance has been employed, which has been a relatively new and liberating way of working.

Zanny Mellor_Memory Ablation_III_2014
Zanny Mellor_Ablation Experiment_II_framed_2014
Zanny Mellor_AblationExperiment_I_framed_2014

The Muse at 269 Gallery/Studioinfo@themuseat269.com

City and Guilds MA 2015


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