Subject Platter I - IV was a series of exhibitions upon a table designed by Gary Woodley, painted by Rose Davey,
with stools made by Francesca Anfossi
Subject Platter I - IV ran from 30th November 2024 - 28th February 2025
The project invited four artists in turn to each create bespoke works for the table.
The table and the artworks it displayed played host to various events over the course of the exhibitions
with stools made by Francesca Anfossi
Subject Platter I - IV ran from 30th November 2024 - 28th February 2025
The project invited four artists in turn to each create bespoke works for the table.
The table and the artworks it displayed played host to various events over the course of the exhibitions
Subject Platter IV - Cloudy
by Lisa Milroy
28th February 2025
by Lisa Milroy
28th February 2025
Cloudy is a painting performance created by artist Lisa Milroy for four performers, with original music by John Harding.
The performance pictures aspects of the weather and focuses on transformative change, generating a bid for hope and celebrating the joy to be found in art and nature, while acting as a metaphor for the act of painting itself.
Time: 4 minutes 48 seconds
Performers:
Cloud – Minyoung Choi
Rain – Remi Ajani
Sun – José Sarmiento
Rainbow – Antonia Caicedo Holguín
Original music by John Harding
The performance pictures aspects of the weather and focuses on transformative change, generating a bid for hope and celebrating the joy to be found in art and nature, while acting as a metaphor for the act of painting itself.
Time: 4 minutes 48 seconds
Performers:
Cloud – Minyoung Choi
Rain – Remi Ajani
Sun – José Sarmiento
Rainbow – Antonia Caicedo Holguín
Original music by John Harding
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Subject Platter III - Bodies
by Gabriele Beveridge
07.02.25 - 16.02.25
by Gabriele Beveridge
07.02.25 - 16.02.25
Bodies includes four works from Beveridges Cords series - tri-coloured sculptures made entirely of glass and positioned on a mirror. The sculptures tenderly explore the spatial and temporal boundaries of their high-risk surface expansion; beguiling wirth the hardened presence of glass while subtly pointing to the absent fluidity of their creation.
On the occasion of Subject Platter Beveridge has also manipulated glass for the purposes of drinking. Created at the National Glass Centre in Sunderland, a series of vessels have an otherworldly feel, embedded with the knowledge of their material, which up until now, has never been used for practical means. The art object becomes a thing of function, and yet the enduring, ethereal quality of the sculptures remain, as you hold it in your hand and put it to your lips.
On the occasion of Subject Platter Beveridge has also manipulated glass for the purposes of drinking. Created at the National Glass Centre in Sunderland, a series of vessels have an otherworldly feel, embedded with the knowledge of their material, which up until now, has never been used for practical means. The art object becomes a thing of function, and yet the enduring, ethereal quality of the sculptures remain, as you hold it in your hand and put it to your lips.
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Subject Platter II - The Best Leftovers
by Iain Hales
17.01.25 - 02.02.25
by Iain Hales
17.01.25 - 02.02.25
The Best Leftovers revisits some of Hales’s most favoured reference points and motifs: the grid, layering, the classical ruin or fragment, notions of museum display, dislocated in time and context, and the combination of minimal gridded forms and hand moulded material. The work is clearly contemporary, but in observance of the past as broken architectural fragments and half-burnt candles continue the artistic tradition of memento mori. We too must die and what we scatter behind must also fade.
Subject Platter II - Dinner (Among the Ruins)
by Iain Hales
with food by Francesca Anfossi
24.01.25
On a dark January evening Dinner (Among the Ruins) was served. Taking inspiration from the texture, shape and palette of Iain Hales's sculptures, Francesca Anfossi created a menu that could be consumed straight off the table. This included salmon mousse served within plums, pink quails eggs upon beetroot, anchovies and mozzarella aboard purple endive, and an artichoke dip placed directly onto the table, which was mopped up by blocks of focaccia.
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Subject Platter I - Table Baroque
by Laura White
29.11.24 - 20.12.24
On the occasion of Subject Platter I Laura White presented new works in dough; a humble, sustainable and biodegradable material for sculpture. The works White produced folded in and away from the surface of the table, like gritty tongues that have encountered synthetic sweets, they streaked with colour.. Their fluid form organic and in motion, but their surfaces redundant of moisture - reminiscent of a life preserved, rather than a life present.
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Subject Platter I - Bread and Butter
by Laura White
13.12.24
For one night only ceramic works made at neighbouring Rochester Square studio, carried delicious accompaniments to sculptures made in bread. Sliced by a knife or broken by hands, the bread revealed a marble interior of turmeric swirling shades, reminiscent of the Baroque sculpture White became fascinated with whilst in residence at the British School of Rome in 2022-23.
White encourages a visceral experience of inside and outside the body, on this occasion taken quite literally as the sculpture is observed, touched, tasted, digested, and expelled.
White encourages a visceral experience of inside and outside the body, on this occasion taken quite literally as the sculpture is observed, touched, tasted, digested, and expelled.
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