Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Sun 17 Mar, 12pm & 3pm
Anna likes to keep things neat and tidy: everything needs to be in order. But her whole world is turned upside down when she is magically transported to the rainforest and she discovers wonders she’s never dreamed of. When danger approaches, can she become the wild Tarzanna she needs to be to save her new home? Watch as the performers climb, jump and swing through the air in this playful, energy-filled aerial theatre show for all the family, featuring buckets of spectacular storytelling, acrobatic brilliance and interactive fun.
Duration: 45m
Age guidance: 3–8
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Wednesdays and Fridays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Weekly drop-in Hatha yoga classes suitable for all levels, beginners welcome. Come and practice some lovely postures in a safe environment that will leave you feeling uplifted and refreshed. I am certified by the British Wheel of Yoga (BWY) and classes include a mixture of pranayama, postures and relaxation with focus on correct alignment. The steady flow of postures will improve your strength and flexibility. Mats, blocks and bricks provided or you are welcome to bring your own.
*Email me to book your place and receive your first class FREE*
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
This is London, October 1987, Black Monday. This is a tale of greed, betrayal and murder. This is Macbeth. In the City, success is all and ruthless ambition is rewarded. The only problem is, how do you control it before it consumes you and your family? Award-winning Proteus Theatre presents a highly physical re-imagining of Shakespeare’s Macbeth as a corporate thriller which explores the pressures faced by first-generation British-born children of immigrants, set against the background of the ‘greed is good’ corporate landscape of 1980s Britain.
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Fridays and Wednesdays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
This is London, October 1987, Black Monday. This is a tale of greed, betrayal and murder. This is Macbeth. In the City, success is all and ruthless ambition is rewarded. The only problem is, how do you control it before it consumes you and your family? Award-winning Proteus Theatre presents a highly physical re-imagining of Shakespeare’s Macbeth as a corporate thriller which explores the pressures faced by first-generation British-born children of immigrants, set against the background of the ‘greed is good’ corporate landscape of 1980s Britain.
Drawing from circus, stand-up and live art, Contra is an autobiographical solo cabaret of contradictions. Using a rope and a roll of cling film, Laura Murphy sets her experiences of her own body amidst an anecdotal tapestry of body hair observations on public transport and dinner table discussions about lesbian sex. Dark, witty and uncompromising, Contra interrogates personal, social and historical occupations with the female body, and explores where such bodies are positioned and how we’re meant to look at them. Expect nudity and explicit references to female sexuality and mythical reptiles.
Supported by Jacksons Lane.
Age guidance: 16+
Sun 24 Mar, 12pm & 3pm
The Noisy Animals can’t wait for their dream holidays. Kid Carpet just wants them all to stick together – but how can he keep everyone happy when he can’t even get them in the car? Kid Carpet, the UK’s finest creator of nonsense music and rock’n’roll theatre shows, mixes live music, theatre, comedy, puppetry, animation, flying tents and diving bears to tell a mischievous and energetic story of going on your holidays.
Duration: 55m
Age guidance: 3+
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Wednesdays and Fridays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Gandini Juggling teams up with breakout stars Chris Patfield and Jose Triguero for Gibbon, a surreal and charming feast of juggling choreography with a wicked sense of humour and a hint of the surreal. Taking inspiration from the worlds of dance and physical theatre, Gibbon perfectly combines technical skill and performance chemistry. Achieving success through failure, two world-leading jugglers cut between the creation and execution of hypnotic patterns and devastatingly slick movement sequences.
Supported by Jacksons Lane.
Age guidance: 8+
Weekly drop-in Hatha yoga classes suitable for all levels, beginners welcome. Come and practice some lovely postures in a safe environment that will leave you feeling uplifted and refreshed. I am certified by the British Wheel of Yoga (BWY) and classes include a mixture of pranayama, postures and relaxation with focus on correct alignment. The steady flow of postures will improve your strength and flexibility. Mats, blocks and bricks provided or you are welcome to bring your own.
*Email me to book your place and receive your first class FREE*
A fast-paced mixed repertory of dance theatre with intricate lyrical choreography, athleticism and wry humour, Mapdance brings together renowned and upcoming contemporary choreographers. Mapdance is an established and exciting company of young, dynamic dancers recruited nationally and internationally. Featuring new works specially commissioned from Company Chameleon’s Anthony Missen, Didy Veldman and Jose Agudo, as well as a restaging of Liz Aggiss’s History Repeating…, the performance will appeal equally to dance aficionados and audiences new to the form.
Age guidance: 10+
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Fridays and Wednesdays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Britain’s leading mask theatre company Vamos returns to Jacksons Lane with its powerful, compassionate production about the life of a soldier after returning from combat. Ryan is in Afghanistan to see the world, learn a trade, get a life. Training is complete, combat is a buzz: he’s part of a team. But on one particular tour of duty Ryan sees things he can’t talk about – and when he returns home, the trouble really begins. Created from two years of research with former and serving soldiers, families and health professionals, A Brave Face explores post-traumatic stress in the military, an unseen and often unrecognised injury of war told through Vamos’s trademark wordless, full-mask style.
Duration: 1h 15m
Age guidance: 12+
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Britain’s leading mask theatre company Vamos returns to Jacksons Lane with its powerful, compassionate production about the life of a soldier after returning from combat. Ryan is in Afghanistan to see the world, learn a trade, get a life. Training is complete, combat is a buzz: he’s part of a team. But on one particular tour of duty Ryan sees things he can’t talk about – and when he returns home, the trouble really begins. Created from two years of research with former and serving soldiers, families and health professionals, A Brave Face explores post-traumatic stress in the military, an unseen and often unrecognised injury of war told through Vamos’s trademark wordless, full-mask style.
Duration: 1h 15m
Age guidance: 12+
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Wednesdays and Fridays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Britain’s leading mask theatre company Vamos returns to Jacksons Lane with its powerful, compassionate production about the life of a soldier after returning from combat. Ryan is in Afghanistan to see the world, learn a trade, get a life. Training is complete, combat is a buzz: he’s part of a team. But on one particular tour of duty Ryan sees things he can’t talk about – and when he returns home, the trouble really begins. Created from two years of research with former and serving soldiers, families and health professionals, A Brave Face explores post-traumatic stress in the military, an unseen and often unrecognised injury of war told through Vamos’s trademark wordless, full-mask style.
Duration: 1h 15m
Age guidance: 12+
Weekly drop-in Hatha yoga classes suitable for all levels, beginners welcome. Come and practice some lovely postures in a safe environment that will leave you feeling uplifted and refreshed. I am certified by the British Wheel of Yoga (BWY) and classes include a mixture of pranayama, postures and relaxation with focus on correct alignment. The steady flow of postures will improve your strength and flexibility. Mats, blocks and bricks provided or you are welcome to bring your own.
*Email me to book your place and receive your first class FREE*
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Fridays and Wednesdays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Jacksons Lane’s Tilted returns following a sell-out show in Autumn 2018, presenting the circus world’s rising talents and accomplished veterans in a raw, energetic and dazzlingly fun scratch night. Catch the early stages of brand new shows by our favourite artists, performing a dazzling array of disciplines in the air and on the ground.
Duration: 2h
Age guidance: 12+
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Rucksack music at Jacksons Lane.
Email: admin@jacksonslane.org.uk
Wednesdays and Fridays 10.15-11.15am.
Come and enjoy a relaxed, interactive guided musical session for children & their adults (parents/carers). Expect nursery rhymes, popular songs & movement, with small percussion instruments to play and live guitar accompaniment. Lots of singing, stomping, clapping, wriggling, just having a good time. Learning through enjoyment. Classes are 1 hour with a break. Tutor is jazz musician Faye Patton.
Suitable for children 0 – 4 years old.
NO NEED TO BOOK – JUST DROP IN!
£5.00 per child/£3.50 siblings
For more information – www.rucksackmusic.co.uk
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Weekly drop-in Hatha yoga classes suitable for all levels, beginners welcome. Come and practice some lovely postures in a safe environment that will leave you feeling uplifted and refreshed. I am certified by the British Wheel of Yoga (BWY) and classes include a mixture of pranayama, postures and relaxation with focus on correct alignment. The steady flow of postures will improve your strength and flexibility. Mats, blocks and bricks provided or you are welcome to bring your own.
*Email me to book your place and receive your first class FREE*