All profits will be divided between the charities participating.
Raising funds for a ceramic workshop and exhibition in collaboration with London charities who help refugees, asylum seekers and migrants.
by Nicholas Sanderson in London, England, United Kingdom
All profits will be divided between the charities participating.
I firstly want to start by thanking all the amazing artists that have been so generous donating their work! There are some real steals here so please grab them while you can through the rewards on the right. You can also donate without selecting a reward, all donations will be massively appreciated.
History Of A Future is a community project hosted by artist Nicholas Sanderson. This project homes in on the archaeological culture of The Beaker People named after the ceramic vessels buried with the folk of that period (2800–1800 BC). The beaker phenomenon first appeared in Iberia then across mainland Europe, its people bringing new technological advances where they settle.
The focus within the workshops will be based around recreating the ceramic artefacts of the ‘Beaker culture’. Collaborating with London refugee and migrant charities the aim is to rebirth the Beaker culture into a current context. Historically, if done humanely, migration has only improved our society bringing in new culture, arts and ideas, the beaker folk exemplify this ideal. As Britain continues to isolate itself these ceramic beakers symbolise a hope for a freer, more liberal and less restricted future. The public recreating these anachronisms will act as a stance against Britain’s strictures on migration and the closure of boarders.
As well as the introduction to ceramic vessel building participants have the chance to exhibit the work made during the workshop period - hoping to push integration and expand the participants networks.
Where the money will go:
- Transport for participants to both the workshops in July and exhibition in August £10 per head.
-Materials for workshops (clay and sculpting tools).
- Kiln firing costs.
- Food and drink for 'Peckham Community Kitchen' (they will be cooking for the exhibition in august).
This is a completely non profit project so all left over money will be divided between the participating charities:
-Micro Rainbow https://microrainbow.org/
- WOMEN FOR REFUGEE WOMEN www.refugeewomen.co.uk
-Create Without Boarders https://createwithoutborders.co.uk/
For all works bought that cannot be posted, I will arrange a collection date at Avalon Cafe in September or the buyer can arrange a courier service with the artist.
Thank you for taking the time to read this and I hope to see you all during the exhibition period 31/08/21 - 05/09/21, private view TBA.
Maya Shoham: Number 3, 2021/ Dibond, 95x142Iron, printing on canvas, paper.
Maya Shoham is an artist based in London. Shoham moves between various elements and materials, creating installations by combining photography, sculpture, sound and performance. Currently studies at the MFA Fine Art program in Goldsmiths, University of London. Participant of various solo and group exhibitions such as: upcoming group exhibition "HDL" Xxijra Hii, August 2021, London curated by Ema O'Donovan. "Radical thoughts", 2021 Mocan Nashville U.S, curated by Brooke Hoffert. “Like a Machine” 2020 solo exhibition, curated by Amnon Ron. Participant of a one-year artist residence program at Yafo Creative (2019-2020), which included a residence, production support, studio, curation and a solo exhibition show. “50 Shades Of Yellow” 2020 group exhibition at Al ha Tsuk 09 Gallery Netanya, curated by Dr. Guy Morag Tzepelewitz. “Fresh Paint” 2019 The Artists' Greenhouse at the Fresh Paint Fair, Expo Tel Aviv, curated by Yifat Gurion. “The Caged Eagle's Death Dream” 2019 group exhibition at The Refrigerator Gallery Tel Aviv, curated by Iris Pshedezki. “Cube 5” 2018 installation at a multidisciplinary art event at Beit - Ariela Tel Aviv, curated by Blender Group. Shoham was the recipient of the Gilbert Bayes scholarship award 2021, London, UK and of the Yehoshua Rabinovich Foundation of the Arts Grant in 2019.
Lola Pedersen: 'Knuckle Duster'. Ceramic. Size of fist. 2021
Lola Pedersen is a London based artist interrogating how the mapping of scientific knowledge relates to the embodied experience of observing matter. By creating forms that exist both in a state of dissection and transience – Pedersen’s work encourages a deeper sense of ecological thought by questioning the division of living and non-living material. https://lolarosepedersen.cargo.site/
Ludovica Elpidia: 'Brucia oli'. Ceramic.12x19 cm. 2020.
Nicholas Sanderson: 'cahoots'. Ceramic. 10.5inch x 8.5inch. 2020.
Nicholas Sanderson is a London based sculpture and installation artist . His practice involves a range of materials, constructing forms that reference artefacts, architecture and design. Through making and discussion, he vigorously toys between craft and concept. Nicholas seeks to connect with his audience through material culture and engender a tension between the gesture and the monument. Currently his practice homes in on exploring pedagogy within the gallery space. He has a commitment to expand the boundaries of his art through engaging the public as participants and collaborators, thus the work becomes more than an aesthetic practice and a chance for democratic psychoanalytical discussion on topical issues.
Eduard Barniol: 'Bona nit' Lamp. Wood, fabric and bulb. 2021
Eduard Barniol work exists between sculpture and furniture. Using craft and DIY he plays with a variety of materials, wood, fabric, plastics,… His works create a fantasy of the everyday objects but never detached of materiality and construction.
Koa Pham: 'Duckweed Composition'. Watercolour. 59x84 cm. 2021.
The drawing “Duckweed composition” is the starting point of his research on the context surrounding duckweed - a familiar pond and water features. In the Vietnamese ancient folk song “Water-ferns drift, clouds float”, duckweed’s sense of floating metaphorically refers to people who live far away from their homeland with an uncertain future. The value of duckweed itself is debatable, as it’s a healthy source of nutrition for wildfowl and other aquatic wildlife and may help decontaminate water but also potentially cause toxic water conditions. Therefore during the pandemic, the artist connects strongly with the subject, questioning profoundly his life values and position in a falling-apart society. In his drawing, he wants to capture a sense of floating, a sense of multiplying rapidly and quickly filling the drawing surface. Meticulously and therapeutically portraying the free-floating aquatic perennials, the artist becomes one with duckweed, which influences his decisions on vocational pursuits and well-being journey.
Tiffany Wellington: Scarf 1 'Left Bandana' (top), Scarf 2 'Ode to Anansi' (bottom). Acrylic and Wool Thread.140cm x 40cm. 2021.
I am a multidisciplinary artist who works with film, text, collage and painting. My work focuses on themes of false narratives, true identities, and opacity. Through time the work gains and forgets meaning, creating alternating tales that separate off into different timelines of self-discovery. The insertion of my former self within these narratives, provides certain truths that lie parallel with the falsehoods I provide in my narration. I am not creating a lie, but the lie can be seen within.
Jules Labath: 'ni order ni chaos' 21(top) 26 (bottom). Ink on paper. 2021. Generated by feeding a neural network images of micro and macrocosms and plotting the results.
From cell to seed, from stem to tree.
To sprout mid-air and to mold between my feet.
It’s form aided by time yet untouched by greed.
It be shapeless and unrevealed, an unconceivable truth,
so to speak.
And as such, the in’s and out’s have always been
thru vast pathways and canals unweathered.
To flow into rivers of experience, protected by
the ribcage of beings.
So when fruit and flower are turned into soil, so comes with it monsoons of gold.
Its radiance reflected in endless streams and folds.
That when trying to grasp, one unravels one’s dome.
And so from seemingly nothing, you shall create stone.
As a vessel for causality, you shall witness.
That, surrounded by the cloak of nothingness,
that which is undeniably witnessed
shall never seize to be.
Ellie Cotton: Untitled. Matte digital print. A2. 2021
Ellie Cotton: Untitled. A5. Ink on paper. 2021
Ellie is currently working on paper where she is creating an extensive series of female characters resembling bunny rabbits and dogs. Phrases and half finished sentences in bubble writing often appear as well as rainbows, clouds and ‘birthday shits’, thought bubbles and empty speech bubbles. These characters and motifs are also carried across other media, such as iPad drawings and small painterly canvases. She is currently enrolled on the Off-Site Painting Programme with Turps Banana.
Jake Kaye: 'Untitled'. Screen print. 2021. 25 editions available.
Fred Thomson: 'Nitro allegory'. digital print. A3. 2021. 5 editions available.
Nitro allegory is a print edition studying the ever modded 'tools' to accelerate one from point a to b. Within 3D Modelling I may labor over these 'tools'. Stripping them from there material substance to lay focus on the act of extruding its orifices and compressing its edges. This task alters the mechanical construct, slowing it down, relieving it from atmospheric pressure. It becomes a nitro fetish, a meticulous observation of its surface. Yet it further highlights an increased denial of substance responsibility.
Ksenia Burnasheva: 'copper moon'. C-type Matt. 11x14inch. edition of 11.
One early Sunday morning in September 2020 me and my dad set off for a 6 hour drive from our hometown Ufa towards the city of Chelyabinsk - he wanted to show me a unique yet ominous place, a place where an ecological catastrophe took place. It’s called Karabash. Karabash is one of the largest copper-smelting centers in Russia.
‘After a century and a half of copper extraction, plant life in the city has practically died out and the ecosystem of the surrounding area has been destroyed. The city and its outskirts have been subject to acid rain since the 1970s; the copper-smelting process produces sulfuric gases, and no purification of emissions was undertaken. A critical worsening of the ecological situation forced the Karabashmed copper plant to stop work from 1989 to 1998. In 1996, Karabash and its surrounding area were declared an ecological disaster zone by order of the Ministry of Natural Resources and Environment.’ http://www.environmentandsociety.org/arcadia/karabash-city-pollution
Otis Blease: 'The Headache'. Etching on paper. 1/20. 2019.
Otis Blease graduated from the University of the West England with a first-class degree in Drawing and Printmaking. Both mediums continue to form the basis of much of his work. Otis grew up in Cornwall and has been influenced by its rural and isolated habitats. In contrast, whilst living in London he has been inspired by its fluid state of motion and lively connectivity. These opposite experiences combine to create moments of stillness, excitement and angst within his work.
Julian Harold: 'SAGGLIA'. Print edition. Photo 13x18cm sleeve 20x30cm. 160GSM.
Julian Harold (b. 1994, France) is a transdisciplinary artist whose undertaking of subjects such as history of art, mythology, biology and subcultures favors blurring the distinction between photography, poetry, graphic, installation and performing arts. He received his BA in Performance Design & Practice from Central Saint Martins, London, U.K. in 2017.
Tiany Valentine (Land Of Miel): Ring. Solid silver. Made to order.
This project offers rewards in return for your donation.