Publication now available:


84pp, black & white, 210 x 145 mm, sewn paperback
Preview coming soon



Guy Gormley 'Vigil' publication, with p&p: £12.50 (paypal)

Guy Gormley 'Vigil' publication, without p&p: £10.34 (paypal)
Collection from Son Gallery

The publication made in relation to Guy Gormley's exhibition 'Vigil': for further details see exhibition text in the next window.

All photographs in the book were originally colour but have been printed black and white.

The images were taken during a walk from South London to the sea over three consecutive nights in October 2012, during which Gormley reversed his sleeping patterns.

The texts printed in the book are notes made by the artist on recollected dreams, dating from March to November 2012.

Design by Thomas Bush, printed by Aldgate Press. Published by Guy Robertson, Son Gallery 2012.

Upcoming:


Opening: 23 November 2012, 6.30 - 8.30pm
24 November - 21 December



Vigil: Exhibition & Publication

Guy Gormley's latest exhibition and publication show a series of images taken during a nocturnal walk from the peripheries of South London to the sea over three consecutive nights. Together they build a picture of the artist's state of mind on this solitary excursion.

The photographs show tunnel-like rural roads, traces of undergrowth or barely seen horizons illuminated by the camera flash or scarce ambient light. They suggest a tense atmosphere; the photographer alert to unknown surroundings.

In the publication, alongside the images, are descriptions of remembered dreams; notes made by Gormley on waking. They depict ill-defined landscapes pervaded by a sense of danger and unrest. The photographs relate to certain aspects of these records and Gormley intentionally blurs the distinction between his own dream and waking lives by photographing at night.

Gormley is conscious of the object-ness of a photograph; exploiting both the papers weight, texture and tone as well as methods of framing. He has a unique method of printing on degraded photographic paper which has itself developed a tone, often pale green or ivory, and influences the underlying cast of the image.

Past Exhibitions: (scroll right and down)


PV 28 September 6pm-8pm
29 September - 3 November



Download exhibition booklet Includes essays by Rye Holmboe and Paddy Langley, texts by Hannah Barry and Guy Robertson, as well as exhibit details and a floorplan.

Rob Sherwood’s exhibition ‘The Warp & the Weft’ presented a cycle of works creating unexpected, sensory experiences out of systematic processes. These are often informed by abstractions found or created whilst using digital media and communications: unnecessary disruptions in otherwise logical and functional environments. The installation involved painting, paper making, sound, video and photography: each media and process being defined by its unique but corresponding system and their different ways of reacting under the artist’s hand.










In Sherwood’s paintings the grid is the underlying structure. He is interested in its role in processing digital light: particularly the organisation of colour into separate entities and the illusion of their togetherness, as made evident by pixellation. The grid is apparent in both Screen No.1, a folding screen that follows a painted algorithmic pattern, and in a video work exploring the colour palettes on painting software.

Elsewhere a sound piece finds harmonies within the falterings of a streamed mp3 file, whilst a photo diptych forces images arbitrarily sourced from the internet into new relationships. Hanging on a panel is a piece of paper: handmade using the pulp of Japanese knotweed, an invasive plant known for its complex, rhizomatic root structures.

As with his grid paintings each of these works tampers with an apparently rigid system and finds creative space in a subjective interference. The suggestion is that models which appear strict or sterile can combine meaningfully with subjective fields of feeling, whether in the algorithms of the internet or those of a painted pattern.

Rob Sherwood (b. Bristol, 1984) is a London-based artist who studied at Chelsea College of Art, graduating in 2008. He exhibits in London with the Hannah Barry Gallery and in Rome with the Federica Schiavo Gallery. He has worked on exhibitions with the curator of ‘The Warp & The Weft’, Guy Robertson, in both the UK and Italy. Robertson, also a Director of Son Gallery, pays particular attention to Sherwood’s work exploring digital media. Recent exhibitions include ‘New Work’ 2011, Hannah Barry Gallery; Palazzo Collicola d’arte Visive, Spoleto, 2011; ‘Prosthetics: Painting & Photography’ 2010, Son Gallery; ‘Synthetic Symphonies’ 2010, Federica Schiavo Gallery.

'The Garden', Son Gallery
19 - 23 September, screenings every half hour



'The Garden' is a short history of the future, beginning with the privatization of the Large Hadron Collider in 2012.

The project was developed over two years, taking the form of a performance with live music at the Serpentine Garden Marathon 2011 and as a trailer with a script reading at The Gate Cinema. The exhibition at Son Gallery, as a science fiction film and installation, is perhaps the works final and most ambitious manifestation.

Sophie von Cundale (b.1987) is a video artist who lives in Peckham and is currently studying at the Slade School of Fine Art. Recent work has been shown at The Hannah Barry Gallery, The Serpentine Gallery Garden Marathon 2011, Sketch London and published in The White Review.

PAMI is the Peckham Artist Moving Image festival. The gallery will be open from 12 - 6 on all days of the festival.

Across three screens at the Peckhamplex Cinema, London
Friday 21 September, from 11am to 3pm



Son presented the premiere of a new video trilogy by Cecile B Evans across three screens in the Peckhamplex cinema in South London. The videos and their components are as follows:

Straight Up
Paula Abdul, Straight Up (1988); Pina Bausch, Nelken (1984); White Wine; Sign Language; Stars and Bubbles

Music w/ Mati Gavriel
Effects w/ Ed Brown

Countdown
Beyoncé, Countdown (2011); Anne Teresa de Keersmaeker, Rosas Danst Rosas (1983);
Tear sticks; AURA; Mr. Wizard's World experiments; animated Asparagus

Music w/ Mati Gavriel
Effects w/ Daniel Swan

I Have Nothing
Whitney Houston, I Have Nothing (1993); Lucinda Childs/Philip Glass/Sol Lewitt, Dance (1979); Sleeping Pills; Semaphor; The Fountain (2006); Ghosts, Smoke, and Static

Music w/ Mati Gavriel
Effects w/ Harry Sanderson







Cécile B. Evans (b. 1983, Belgian-American), lives and works in Berlin, Germany. Her work explores the way emotions are valued in contemporary society. She recently received the Emdash Award 2012 which will culminate in a project at Frieze this year. Recent exhibitions have included How to Eclipse the Light curated by Karen Archey, Wilkinson Gallery (London), Spencer Brownstone Gallery (NY, Solo), Bergen Art Museum (NO), E-vapor-8 curated by Francesca Gavin, 319 Scholes (NY), De Joode & Kamutzki Auction (Berlin), and ReMap3 (Athens). Upcoming projects include a performance at Palais de Tokyo Contemporary Art Museum (Paris), and a residency at CCA Andratx (Majorca).

22 June - 28 July 2012



Lovelace’s photographs of industrial materials poised in temporary compositions present unusual shifts in function and aesthetic value whilst evoking complex relationships with histories of sculpture and performance.

In the photographs the industrial materials are carefully positioned, drawing attention to their sculptural attributes: varying degrees of tension, balance and weight creating dynamic portraits. In some of the photographs a person, perhaps the artist carrying out a performance, is partially seen engaging with the objects.

Some of the objects which the artist photographed, as well as one which the artist fabricated himself, were also exhibited in the gallery space. This cross referencing of image, object and intervention creates a cyclical relationship between sculpture, photography and performance. These are interests that underpin Lovelace’s practice.

The meeting of industry and art is also a principle theme. The raw materials that Lovelace draws our attention to are normally functional apparatus used in construction. In Work Starts Here, however, these materials enter the realm of art and immaterial ideas – conceptualised, often in a playful manner, and revealing disparities and dependencies between both worlds.







Artist Biography:

Tom Lovelace is an award winning artist living and working in London and exhibiting across Europe. He studied Photography and Art History at the Bournemouth Arts Institute and Goldsmiths College, London. Recent solo exhibitions include Gouge (Galleri Image, Aarhus, Denmark, 2011) and Object Anonymous (Son Gallery, London, UK, 2011). Recent and upcoming group exhibitions include ProjectB Gallery (Milan, 2012), Flowers Gallery (London, 2012), and Oriel Davies (Newtown, 2012). His work has been selected for the Terry O’Neill Award, published in Source Photographic Review and featured in the book New Danish Art 11. Most recently he has been awarded an Anna Mahler Residency in Spoleto, Italy, where he will engage with the legacies of David Smith, Sol Lewitt and Italian masters such as Giotto in the process of making a new body of work.