Current Exhibitions, Press and Talks
Rosalind Davis and Justin Hibbs in collaboration.
The Sevenoaks Kaleidoscope Gallery, BUCKHURST LANE SEVENOAKS, TN13 1LQ
Exhibition: 7-24th November 2018
Monday to Friday (except Thursday) 9.00am to 6.00pm | Thursday: 9.00am to 8.00pm | Saturday: 9.00am to 5.00pm
More info coming soon...
Current Curatorial Project at Collyer Bristow Gallery
Collyer Bristow presents Rules of Freedom, Curated by Rosalind Davis
“For to be free is not merely to cast off one’s chains, but to live in a way that respects and enhances the freedom of others.” Nelson Mandela
"Rules and freedom are not mutually exclusive. As a matter of fact, the opposite is true. Rules provide freedom.” Tim Challies
Juan Bolivar, Carla Busuttil, Simone Bynoe, Paula Chambers, Alice Cunningham, Ana ?vorovi?, Kazz Douie, Lucas Dupuy, Alastair Gordon, Kirsty Harris, Justin Hibbs, Andrea Jespersen, Evy Jokhova, Peter Kennard, Peter Liversidge, David Lock, Alex March, Megan McLatchie, Vanessa Mitter, Hugh Mendes, Judith Tucker, Toby Ursell, Virginia Verran, Ben Woodeson.
11 October- 13 Feb 2019
Collyer Bristow Gallery, 4 Bedford Row, London WC1R 4TF
Rules of Freedom - a rhetorical oxymoron or fact? Freedom requires rules, laws and clear parameters of some sort - transparent systems; a democracy where people have free speech, where people can protest / vote or strike about the issues that matter to them. After so many years of both women and men working to build a civil society that seeks to make the world freer, fairer and more progressive, whether through the vote for women and the working classes in the People’s Representation Act 100 years ago, the civil rights movement, political freedoms, LGBTQ+ rights or the freedom of movement, the world now seems to be questioning the very rules of freedom. Where are we now?
Full press release here
Rosalind Davis and Justin Hibbs in collaboration.
no format gallery, Arch 29 Rolt St, London SE8 5JB
Open Friday 21st 2-8pm to coincide with Deptford X Launch night.
Sat 22nd, Fri 28th & Sat 29th September 2-7pm. Or by appointment.
Saturday 29th September Closing event - Artists in Conversation with Richard Ducker 6-8.30pm.
‘Artistic production is nodal, networked, and a perpetually unfinished project, things nudging each other, domino effects transpiring. The real-world analogue of this is that in an artist’s studio, it’s always a transitional moment: the detached artwork as standalone statement is a falsity, a piece of theatre. In reality, one thing leads to another, all kinds of ambient forces shaping what’s made’ (Martin Herbert from the text ‘Between Before and After’ to accompany Justin Hibbs Exhibition ‘Alias Re-Covered’ Carroll/Fletcher 2015).
Within the shadow of increasingly restricted borders and political control, regarding migration and the increasing isolationism seen both here in the UK (with Brexit) as well as the wider geographical concerns in Europe and America, Border Controls is an exhibition featuring two artists who engender a sense of permeable boundary and threshold. The personal and political dimensions of art-making and authorship can be seen as pertinent to wider social concerns and questions that address the dynamics of power, autonomy and control:
Does power reside in imposing control or is it defined by allowing other voices in?
Can ceding control to plurality of authorship become generative / empowering?
Where and how do we draw boundaries and what might constitute a border less work?
Can an enriched society exist within a context of fixed boundaries, confines and limitations?
Davis and Hibbs are artists who have collaborated informally for several years. These collaborations have centred around shared themes, overlapping research interests and ongoing conversations into one another’s practices and curatorial projects. Both have independent careers but also are a couple who share a studio, where the inevitable questions arise about how and where to set boundaries. For their exhibition at no format gallery, Davis and Hibbs create an installation that brings together multiple strands of their practices into direct dialogue with one other. Within the parameters of the gallery neither artists work can be negotiated without experiencing reflections of the other within them.
More info here.
ASSEMBLAGE INTERVIEW WITH ROSALIND DAVIS
Megan Elliott, December 2017
Rosalind discusses art, art education, exhibitions, Collyer Bristow Gallery. What They Didn't Teach You In Art School and advice for artists
Read the in depth interview here.
Secondary Structures. Wall Street International Article
Definitely Uncertain Sculpture
by Jillian Knipe
An article about Rosalind Davis' work as Curator and Artist, Andrea Madjesi-Jones, Silvina Soria and Andrea V Wright.
"These four artists broaden what was once referred to as "form" into "formation". From a singular shape to an emergence of bringing something or some things into existence. As a result, their work becomes a little more difficult to interpret than their predecessors but is all the more liberated and democratic for it. They have progressed from the mantra of the minimalists who insisted on dealing with only what was in front of them, or, in the words of Frank Stella, 'what you see is what you see', to acknowledging the body, the present.unseen and personal histories. These are all arguably and equally what is there in the moment alongside the materials for making...
Rosalind Davis also observes this tension between the personal and the order, beginning with a focus on public housing. Aside from her curatorial work, she is a published author and an artist in her own right. Her practice has developed from an exterior view of buildings to stepping inside the room and exploring the space within. 'Haus Constructiv' 2017 is a modular structure of steel, perspex and thread. It plays off last century's constructivist and concrete artists to create a transformative piece which looks to fold, shift, disassemble, lean and reconfigure itself with endless possibilities. Rosalind relates this to her earlier paintings of brutalist and modernist buildings as if she's 'taken the structure and pulled it out and turned it into a sculpture'. Read the full article here
Rosalind Davis talks about the process and ideas behind her work in Make_Shift at Collyer Bristow Gallery with dateagleart.
Art Side of Life Interview on YouTube
Davis talks about her art education and subsequent career as an artist and curator, fab mentors and collaborations, time, organisation, valuable experiences and exhibitions and great advice she was given... and building your own art world...watch it here.
Book now available!
‘What they didn't teach you in Art School'
written by Rosalind Davis and Annabel Tilley
What They Didn’t Teach You in Art School:
Rosalind Davis and Annabel Tilley (Octopus Books)
A comprehensive introduction to how to survive and succeed as an artist, artist-curators Rosalind Davis and Annabel Tilley have created an easy to use guide that draws on the advice and experience of over 30 contributors, including artist and a-n contributor Alistair Gentry, curatorial duo Day+Gluckman, and painter Graham Crowley.... what is new and hugely worthwhile is the way they have been brought together in a practical and accessible format. There’s much here that will be helpful for artists starting out, and possibly some useful tips for more established practitioners too.
Chris Sharrett, a-n.
' Essential Reading for Artists' The Observer.
'What they didn't .....' reads beautifully. It's thankfully free of jargon and there's also no arts-speak - that's not only refreshing but essential in a book designed to demistify and enable. The style is both accessible and intelligible. The balance of lucidity and (raw) information is a hell of an achievement. The 'voice' of the writer(s) is authoritative and generous. Instead of dictating to the reader you offer them a range of strategies. I was very glad to see that you've avoided giving undue credence to the business of celebrity, 'success' and fame. Your book allows the reader to address their needs in a purposeful and intelligent manner. I also enjoyed the way in which you've managed to encourage the reader to reference their own values and needs. You've resisted the temptation to impose a template.'
Order your copy here
Also available in the Tate, the Barbican, Waterstones, Saatchi Gallery, ICA, Baltic, National Gallery at Guardian Books and many more