The Kiss or Poison Boyfriend or Jesus’ Blood
Printmaking has long been lionized as a quintessentially democratic art form. Devoid of a unique and uniquely prized object, prints can be produced in multiples and disseminated broadly and at relatively low costs. This wholesome and rose-tinted celebration of print’s virtue is naïve and ignorant. Not only does it presume a sufficiently (but not too) affluent audience to domestically purchase and treasure these inked, stained or inscribed papers. This attitude also, and fundamentally, fails to grasp print’s insidious, corrupting and anarchic technology.
It is the scab of this insidiousness that this exhibition seeks to pick at. And it does so by exploding the traditional forms and distribution strategies of printmaking as metaphor (a symbolic ‘other’), and as synecdoche (complicit and internalized).
A plate, or a block, or a stone is inked and wiped so that an oily pigmented grease remains, fresh and wet. That potent surface – cumbersome and smelling of old machines – is brought slowly into contact with a pristine substrate; a snow-white paper, or a raw canvas, and then pressure is applied. Often very great pressure. The spent plate, or block, is then removed leaving the receiving substrate scarred with an image of this impact.
But, what about that exchange? What about that moment when the coloured mud infected the immaculate page? What is that touch? And, what is that transaction?
Untethered to intaglio print technologies, and unprepared to simply replace them with our own digital surrogates, this exhibition is instead interested in the intimacy and corrupting potential of touch. Touch is an event. It is the coming together of two bodies, and as that event occurs, a causality is set in train – and the toucher cannot get it back. The half-brick has left the hand and is now hurtling toward the window. The rolled-up shirt cuff has fallen unchecked into the bleach bucket.
The Kiss or Poison Boyfriend or Jesus’ Blood snares the moment of influence as a painter thumbs another artist’s monograph in the studio. It freezes and makes conscious the pass of an index finger across the screen of an iPhone, or a Sharpie across a fashion magazine page. It captures the bloom of a saturated dye, staining by capillary action, an unprimed cloth. It enacts the vulnerability of a painting’s constituent parts held in place by the gunky glue of its own paint alone. It traces the golden repair of Kintsugi pottery. It checks the connection of an embrace and mourns the pathos of the unarousable. It celebrates molding and bleaching as creative touches and it forges new forms from the fall of light and the grafting of two apples.
The Kiss or Poison Boyfriend or Jesus’ Blood is curated by Dan Howard-Birt at the invitation of Intercession Gallery whose remit is to explore print in its broadest sense. It will be shown at Intercession Gallery, Northampton, Project 78, St Leonards-on-Sea and Kingsgate Workshop London
Aleana Turner | Mark Siebert | Jacqui Hallum | Hannah Lees | Richard Smith | Lara Davies | The Granchester Pottery | Lucy Steggals | Graham Durward | Alice Hartley | Mat Jenner | Christopher Owen | Anonymous | Rebecca Guez | Dan Howard-Birt |Lydia Brockless | Leonie Nagal | Sean Edwards (Marbled Reams)| Corin Sworn
Also launching at this show at Intercession Gallery will be InCase.3 'After the Party' with Dan Howard-Birt, Francesca Anfossi and Daniel Spoerri
Intercession opening times: 13-28 OCT 2017 Thur-Sun 12-4pm or by appointment PV 12 OCT 6-9PM
Project78 Gallery opening: 5 NOV - 8 DEC 2017 PV 4 NOV 6-9PM
Alaena Turner (born 1984, UK) graduated in 2008 with an MA in Fine Art from the Slade School of Fine Arts and previously studied at Chelsea College of Art and Design. In 2016 Alaena curated the exhibition Ingredients, Method, Serving Suggestion at A.P.T. Gallery, London after receiving the A.P.T. Curatorial Fellowship 2016. Recent exhibitions include; AutoAgents, Bluecoat Gallery, Liverpool, (2016-2017); Seed, Passatge Studio at SWAB Art Fair, Barcelona (2016); Slow, Thick Fingers, Kingsgate Project Space (2016) (curator); and At the Point of Gesture, Wimbledon Space, London (2015). In 2014 Alaena ran a series of interdisciplinary research workshops called Dinner with Picasso, based at UCL, and funded by the Institute of Making.
The Grantchester Pottery
The Grantchester Pottery is a collaboration between the artists Phil Root (born 1984, UK) and Giles Round (born 1976, UK). In 2016 they received the Ceramics Fellowship at Camden Arts Centre, London, which included public programme events and open days such as The Grantchester Photographic Society. In 2015 they curated a Jerwood Encounters exhibition, The Grantchester Pottery paints the stage, Jerwood Space, London, accompanied by a publication from The Grantchester Free Press. Recent exhibitions include; CONDO at EMALIN, hosting Galerie Gregor Staiger (2017); FOLLY: A group show, Emalin, Stirling, Scotland (2016) The London Open, Whitechapel Gallery, London (2015); Pleasure, Devotion, Balance, MEXICO at Eastside Projects, Birmingham (2014) and ARTIST DECORATORS, Fox Reading Room, ICA, London (2013).
Mark Siebert (born 1980, Adelaide, Australia), graduated with a BA in Visual Arts, from the South Australian School of Fine Arts in 2004, and has been based in London since 2010. Recent exhibitions include; Propellor Island Launch, 5 Years Gallery, London (2017); And if a double decker bus…, Kingsgate Project Space, London (2017); Our Apocalypse (solo), Passen-gers, London (2016); Non Plus, Chisenhale Arts Place, London, UK (2015); Pop Living, Schwartz Gallery, London, UK (2015); John Moores Painting Prize, Walker Art Centre, Liverpool, UK (2014) and Yeah Hop! Radio Bushwick, New York, USA (2014). From 2013 – 2014 Mark was a Florence Trust Artist in Residence.
Jacqui Hallum graduated with an MFA from Slade School of Fine Art, London in 2002 and previously studied BA Fine Art at Coventry School of Fine Art (1999). She lives and works in Totnes, Devon and is co-director of LIDO Projects, St Leonards-on-Sea. Recent exhibitions include; JAM: A Spread of Printmaking, Intercession Gallery, Northampton (2017); In This Soup We Swim, Kingsgate Project Space (2016); The Shape of Things to Come, Stour Valley Arts: Cornershop, Ashford (2014); I Cheer a Dead Man's Sweetheart: 21 Painters in Britain, De La Warr Pavilion, Bexhill (2014); Pneu, Electric Studios Project Space, St. Leonards On Sea (2013).
Hannah Lees graduated in 2011 with a Postgraduate Diploma in Fine Art from Chelsea College of Art, London, and previously studied at UCCA, Canterbury (2006) and UWE, Bristol (2004). Recent solo exhibitions include; The Turning of Existence into its Opposite, Kingsgate Project Space, London (2017); Turner Contemporary & the British Museum Commission: Hannah Lees, Turner Contemporary, Margate, UK (2016); The Oldest Thing You Can Hold In Your Hand, Workbench, Milan (2016), and Floated On Foam  Flew With Birds, Galerie Tatjana Pieters, Ghent (2016). Hannah has exhibited in numerous group shows, most recently in The Sleeping Procession, CASS Sculpture Foundation, Goodwood, UK (2017), On Cold Spring Lane, Assembly Point, London (2017), To Hive Mind, The Koppel Project Hive, London (2017), and Is this living? The Approach, London, UK (2016).
Graham Durward (born 1966, Aberdeen) lives and works In New York. He studied on the Whitney Museum Independent Study Programme in 1986 and at Edinburgh College of Art (1978). Recent exhibitions include: Exalted Position, Peter Blum Gallery, New York (2016); Don't Make a Scene, Kai Matsumiya, New York; Drishti: A Concentrated Gaze, 1285 Avenue of the Americas Art Gallery, New York (2016); Graham Duward: Bathers and Others, Michael Steinberg Fine Art, New York (2014); and Newspeak: British Art Now, The State Hermitage Museum, St Petersburg, Russia (2009). Graham has exhibited at The State Hermitage Museum, St Petersburg, Russia; Vox Populi, Philadelphia, USA; Maureen Paley, London, UK; and The Saatchi Gallery, London.
Christopher Owen graduated from St Martins College of Art in 1998. He exhibits infrequently. Exhibitions include We’ve Plumbed This Whole Neighbourhood, LIDO Projects, St Leonards-On-Sea (2011). How Men Are, Sartorial, London (2007) and Modern Love in Dusseldorf and London, hobbypopMUSEUM and VTO (2001). In 2017 he curated the exhibition The Man with Night Sweats at Kingsgate Project Space, London.
Mat Jenner (born 1976, UK) lives and works in London. Recent exhibitions include; Zed Mot, Generation and Display, London (2016); In This Soup We Swim, Kingsgate Project Space, London (2016); aMasS_a_mASs, Bergen Kunsthall, Norway (2016); Dream Times Free, Grand Union, Birmingham (2015) and DAYS, Northern Gallery for Contemporary Art, Sunderland (2015). Mat’s ongoing artwork, FOAM, a peripatetic mass collection of commissioned sounds pieces on record by over 100 contemporary artists, has been part of Wish you were here, ATTIC (2014); Space Time: The Future, arts and music festival, Wysing Arts Centre, Cambridge (2014); and And/Or, Project Number, London (2014).
Alice Hartley (born 1988, Winchester) graduated from MA Printmaking at the Royal College of Art, London in 2013, after having previously studied BA Illustration and Animation at Kingston University, London. Recent exhibitions include Strike Site, PI Artworks, London, (2017), In This Soup We Swim, Kingsgate Project Space (2016); Bloomberg New Contemporaries, ICA, London (2014); and Parallax, CG Projects, London (2013). In 2012 Alice was awarded the Tim Mara Residency at Calgary University, Calgary, exhibiting in It began at the lake, The Little Gallery, Calgary, Canada.
Lucy Steggals is a collaborative visual artist who develops projects directly with people, and explores site and situation specific work. Most recently, Lucy has been working on a project Florulary, as part of her Artist in Residence at Papworth Hospital, led by Wysing Arts Centre. In 2016 Lucy developed new work with Kettle’s Yard, working collaboratively with the surrounding communities, local area and the archive, culminating in a display at Arbury Community Centre. Lucy collaborates with The Saturday Museum, creating events such as Super Cala, BSMT, London (2016) and Entrances and Exits, Leipzig, Germany (2016). Lucy is part of Artist Cabinet, a collection of six artists working on Strandlines, based at the Centre for Life-Writing Research at King’s College London. In 2016 she launched Varosi (with George Moustakas) a space in North London for events to evolve. Lucy’s public projects include; Saturday Socials, Cubitt; Blank Canvas, Turner Contemporary; Creative Connections, National Portrait Gallery; and Play is Free, Gasworks, London. In 2013 Lucy received the Triangle Fellowship for Insakartists Trust, Zambia.
Corin Sworn (born 1976) graduated with an MFA from Glasgow School of Fine Art in 2009 after having previously studied Fine Art at Emily Carr Institute of Art & Design, Vancouver and Psychology at the University of British Columbia, Vancouver, Canada. Corin was awarded the ARC Leeds Fellowship in 2016 and she was the winner of the Max Mara Prize for Women in 2013, exhibiting a large scale installation Silent Sticks at the Whitechapel Gallery, London in 2015.
Recent exhibitions include; The Time of the Foxes, Galeria Arsenał, Białystok, Poland (2016); Corin Sworn, Inverleith House, Edinburgh (2014); 19th Biennale of Sydney (2014), The Rag Papers, Chisenhale Gallery, London (2013); and Art Now: Corin Sworn at Tate Britain (2011). Corin’s film The Foxes (2012) was exhibited at the 55th Venice Biennale in the Scottish Pavilion. In 2012 Sworn’s work was featured in Tomorrow Never Knows at the Jerwood Visual Arts, London, the Glasgow International Festival of Visual Art, and in 21 Revolutions: Two Decades of Changing Minds, Glasgow Women’s Library at Intermedia Gallery. Her work has been collected by the Whitney Museum and the National Gallery of Canada.
Sean Edwards (Marbled Reams)
Sean Edwards (born 1980, Cardiff), graduated with an MA in Fine Art from the Slade School of Fine Art (2005) having previously studied at the University of Wales Institute (2003). . Recent solo shows include; Drawn In Cursive (part 3), MOSTWYN, Llandudno, Wales (2014); Putting Right, Limoncello, London, UK (2014), Drawn in Cursive, Chapter, Cardiff, UK (2013), and Kunstverein Freiburg, Freiburg, (2013) Tanya Leighton Gallery, Berlin (2012); Spike Island, Bristol (2011). Sean has exhibited in numerous groups shows in the UK and internationally, including those held at the The Bluecoat, Liverpool (2016); Centre Pompidou, Paris, France (2015) Transmission, Glasgow, UK (2015) Wysing Arts Centre, Cambridge, UK (2012); Grand Union, Birmingham, UK (2012) and the Zabludowicz Collection (2011).
Marbled Reams is a publishing project established in 2009 by Tom Godfrey. Recent fairs and exhibitions include; Three Letter Words Fair, Rochelle School, Arnold Circus, London (2014); Marbled Reams at The Modern Institute (2013); What We Make With Words, CCA, Glasgow (2013) and Punctuation Programme, Limoncello, London (2011). Other book and zine fairs have included Spike Island, The New Art Gallery, Walshall, and Published and Be Damned.
Rebecca Guez (born 1994) graduated from Camberwell College of Arts in 2016. In 2017 she had her first solo exhibition Gardening at Thames Side Studios Gallery, London. Recent exhibitions include; Home is Where You Park It, Chelsea College of Arts, London (2016), The Hans Brinker Prize, The Hans Brinker Hotel, Amsterdam (2016), Slippers, Copeland Road, London (2015); One Potato, Two, Arch Collective, London (2015); and Unit, CGP Gallery and Dilston Grove, London (2015).
Leonie Nagel graduates from Die Hochschule für Grafik und Buchkunst Leipzig in 2018 where she studies in Peter Pillar’s class. Recent exhibitions include suppose there's right and wrong, it's probably right, W139, Amsterdam and Letters And Numbers 3. Off-Season In St Leoni, 8 Salon, Hamburg. Leonie was artist in residence at Kingsgate Workshops, London 2017.
Dan Howard-Birt graduated with an MA in Painting from the RCA in 2002, and previously studied at Goldsmiths College, London. Recent exhibitions include; LLE at Bay Art, Cardiff; The Good The Bad and the Ugly: 22 Painters, Charlie Smith, London (2016); Ingredients, Method, Serving Suggestion, A.P.T. Gallery, London (2016); and Coffee and Peaches, LIDO at Electric Studios Project Space, St Leonards-on-Sea. Since 2015 Dan has been the Director of Kingsgate Workshops, London, and he is also the ongoing co-director of LIDO Projects.
Recent curated exhibitions include Uncommon Chemistry, Observer Bld, Hastings (2016); Natural Staking, Standpoint, London (2015) and I Cheer a Dead Man’s Sweetheart, De La Warr Pavilion, Bexhill-On-Sea (2014).
Lara Davies (b. 1985, Maestag, Wales) graduated from Cardiff University with a BSc in Mathematics in 2010 having previously studied one year of BA Fine Art at the Ruskin School of Art, Oxford University (2006). Recent exhibitions include; The Reading Room, Rokeby Gallery, London (2017); The Manchester Contemporary with LLE Gallery (2016); Beep Wales International Painting Prize (2016); …a chrefft, National Eistedfod 2016, Abergavenny; FaB Bath Open Art Exhibition, 44AD, Bath (2016) and Pavilion Open Art Exhibition, Penarth Pier Pavilion, Penarth (2016). Lara is an active member of Arcade Studios in Cardiff.
Lydia Brockless (b. 1991, High Wycombe) graduated from Leeds College of Art in 2014. Lydia was recently selected for Every Day is a New Day traineeship at Turner Contemporary, Margate, 2017. Recent exhibitions include; OVADA Seven Counties Open, OVADA Warehouse, Oxford (2017); Draw The Line, Surface Gallery, Nottingham (2017); In This Soup We Swim; Kingsgate Project Space, London (2016); Soft Rocks, Lady Beck Project Space, Leeds (2016); Uncommon Chemistry, LIDO Projects, Observer Bld., Hastings (2016); Bloomberg New Contemporaries 2015, Institute of Contemporary Arts, London (2015); Sense of Feel, Brodsgaard Art Projects (2015); and Small Expressions, Textile Center, Minneapolis MN, USA (2015). She was awarded The Art House Graduate Residency in Wakefield in 2014.
Richard Smith (1931 –2016) studied at the Royal College of Art from 1954 - 1957. Richard represented Britain in the Venice Biennale in 1970, and he was awarded the Grand Prize at the 9th São Paulo Biennial in 1967. In 1975 there was a retrospective of his work at the Tate Gallery. Recent exhibitions include Caro, Denny, Smith, Vaux, Bernard Jacobson Gallery (2017); Colour, Shape, Surface, Flowers, New York (2017); and Richard Smith – Kite Paintings, Flowers, New York (2015). His work is held in public collections across Britain and the United States, including The British Museum, London; Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; Tate, London; Victoria and Albert Museum, London; The Whitney, New York; and the Hirshhorn Museum and Sculpture Garden, Washington, DC.
(see other bio too)
Alaena Turner (born 1984) is currently completing a pHd at University of Leeds, where she received the Arts and Humanities Research Council WRoCAH Studentship in 2015. Alaena graduated in 2008 with an MA in Fine Art from the Slade School of Fine Art, after having previously studied at Chelsea College of Fine Arts (2006). In 2016 Alaena was awarded the A.P.T. Curatorial Fellowship, culminating in an exhibition Ingredients, Method, Serving Suggestion. Alaena was an Honorary Research Associate for the Materials Research Project at the Slade School of Fine Art (2013-2014). Alaena’s published work includes her essay Invisible Seams, in The Suit, Alex Farrar, 7.45 books, Amsterdam (2014); Tilsandede, limited edition booklet of texts and original prints to accompany Tilsandede exhibition (2010) and Paint to Print, limited edition book of prints, Slade School of Fine Art (2008).
Phil King (born 1965, Bristol) graduated with an MA from Goldsmiths College, London in 1993, having previously studied Fine Art Painting at Bath Academy of Art (1987). Phil is Editor of Turps Banana Magazine. Recent solo exhibitions include; Phil King 12.05.17, Three Works Gallery, Weymouth (2015), Sets, Arcade Gallery, Cardiff (2015) and Phil King “RetroSpective.” Vesuvio’s Bar, San Francisco (2014). He has written numerous press release texts and catalogue essays on artists such as Glenn Brown, Rebecca Warren and Fergal Stapleton. Recent texts include The Manifold Nature of the Vulgar Dead. Clyfford Still, Turps Banana Magazine #17, Marcus Harvey Inselaffe, catalogue essay, Jerwood Gallery, Hastings, and Gateaux Anglaises, essay for Observer Show, curated by Phillip Allen and Dan Coombs.
Phil has organised a number of independent art shows and spaces; recently STOKE, Gallery Twenty Two, Bristol (2016) and previously Something’s Wrong with Bob and Roberta Smith, The Tannery, London (1995).
Recent group exhibitions include Only Connect, ELBUTRON Space, Seville, Spain (2017), Thunder and Lightning, Fast and Loose Show, Phantom Projects Contemporary, Troyes, France; The Good, the Bad and The Ugly, Charlie Smith, London (2017); Borderlands: A Painting Survey, Albus 3 Arts, Northampton (2015-16).
Neil Annett graduated with a BA in Fine Art and Art History (1997) and an MPhil in Visual Culture (2001) from Goldsmiths. He is currently studying for an MRes in Philosophy at UEA. Neil has taken part in exhibitions including April is the cruellest month, breeding, LIDO, St Leonards-on-sea (2011) and he is the author of Flour and Water, a website about the art and science of making bread.
Image:Hannah Lees, A Past and a Future I, vegetable dyed felt, beanbag beads, 2014