https://brookewilsonstudio.com Brooke Wilson Tue, 04 Nov 2025 09:03:05 +0000 https://brookewilsonstudio.com en https://brookewilsonstudio.com/MENU-NAV-DESKTOP Mon, 29 May 2023 15:45:37 +0000 Brooke Wilson https://brookewilsonstudio.com/MENU-NAV-DESKTOP Brooke Wilson Information Selected 2026 + ‘11 Unmissable Exhibition Openings in 2026’, frieze magazine&nbsp;(Opinion) 2025 +&nbsp;Lukas Luzius Leichtle, ‘Eindringling’, frieze magazine&nbsp;(Review) + ‘Berlin’s Artist-Run Spaces Push Forward Against the Odds’,&nbsp;frieze&nbsp;magazine (Opinion) + Pol Taburet, ‘The Burden of Papa Tonnerre’, frieze magazine&nbsp;(Review) + Marcus Nelson &amp; Magnus Westwell, ‘WEIGHT’, Number 1 Main Road, Berlin (Curation) 2024 + Ivana Štulić for Nightworks Residency&nbsp;(Essay) + Sebastian Jefford for émergent magazine (Interview) + Danielle Brathwaite-Shirley, ‘THE SOUL STATION’, frieze magazine&nbsp;(Review) + Tra My Nguyen, ‘Fallen Angels’, Grotto, Berlin (Exhibition Text) + Catinca Malaimare, ‘Jinx, Nevesta!’, EIGEN + ART Lab, Berlin (Curation) + ‘Construct’, Cob Gallery, London&nbsp;(Curation) 2023 + Harlesden High Street, Frieze London&nbsp;(Curation) + Anousha Payne, ‘Tender Mooring’, Deli Gallery&nbsp;(Exhibition Text) + J D Rooney for émergent magazine&nbsp;(Interview) + J D Rooney, ‘formed in water’, Cob Gallery, London&nbsp;(Curation) + Consume, ‘Finding Family’ Publication, Foundling Museum&nbsp;(Essay)+ Liz Magor for Issue 9 of émergent magazine (Interview) +&nbsp;Rafa Silvares’ for the ‘Peres Projects at 20 Years’ monograph&nbsp;(Essay) + Dominic Watson for Curatorial Affairs (Interview) + Dominic Watson, ‘God Bless Strawberry Jam’, Cob Gallery, London&nbsp;(Curation) + Harry Hugo Little, ‘don’t leave’, The Bomb Factory, London&nbsp;(Curation) + Anne Tallentire for Curatorial Affairs (Interview) + Hunter Potter, ‘A Little North’, L21 Gallery (Exhibition Text) 2022+ Jack O’Brien for émergent magazine (Interview) + Julie Curtiss, Maguerite Humeau &amp; Loie Hollowell for émergent magazine&nbsp;(Interview) +‘Noontime Ghosts’, Eve Leibe Gallery, London&nbsp;(Curation) + Natalia Gonzalez Martin for DATEAGLE ART (Interview) + Rafa Silvares, ‘Airbag’, Peres Projects&nbsp;(Exhibition Text) + Marcus Nelson, ‘Lost Boys’, Eve Leibe Gallery (Exhibition Text) Boys Don’t Cry UK&nbsp;+ ‘Behind The Glass’, Museum &amp; Study Collection (Curation &amp; Workshop) + ‘Standing Men’ in Collaboration with Voice Box Theatre&nbsp;(Curation &amp; Workshop) EmailInstagram https://brookewilsonstudio.com/Information Mon, 29 May 2023 15:45:37 +0000 Brooke Wilson https://brookewilsonstudio.com/Information Information I am a curator and writer based in London. I have curated several exhibitions in various site-specific, white cube and institutional settings, including&nbsp;EIGEN + ART Lab,&nbsp;Cob Gallery,&nbsp;Frieze London with Harlesden High Street, The Bomb Factory Art Foundation and the Central Saint Martins Museum &amp; Study Collection.&nbsp; In addition to curation, my writing has been published in print and online by a variety of publications, including&nbsp;frieze,&nbsp;émergent Magazine, DATEAGLE ART and Curatorial Affairs. I have also been commissioned by numerous artists and international galleries on exhibition and publication texts. In 2018, I co-founded Boys Don’t Cry UK – an art collective and platform raising awareness around male mental health, where as a group we have led numerous multi-disciplinary projects around London. Previously, I have worked as a tutor and educator alongside the Outreach Team at the University of the Arts London and led curated workshops for a number of institutions and charities, including Kings Cross Academy and charity, Portugal Prints. https://brookewilsonstudio.com/Marcus-Nelson-Magnus-Westwell Sun, 04 May 2025 09:44:43 +0000 Brooke Wilson https://brookewilsonstudio.com/Marcus-Nelson-Magnus-Westwell Curation / WEIGHTMarcus Nelson &amp; Magnus Westwell&nbsp; &nbsp;22 March - 20 April 2025Number 1 Main Road, Berlin <img width="7543" height="5029" width_o="7543" height_o="5029" data-src="https://freight.cargo.site/t/original/i/03729f782ea23477be1e4f412336ec79c6d28c283875e43fb9df5cc7370807ab/2025-03-29_Forthcoming_Installationview_6-Final.jpg" data-mid="232757584" border="0" src="https://freight.cargo.site/w/1000/i/03729f782ea23477be1e4f412336ec79c6d28c283875e43fb9df5cc7370807ab/2025-03-29_Forthcoming_Installationview_6-Final.jpg" /> <img width="7553" height="5035" width_o="7553" height_o="5035" data-src="https://freight.cargo.site/t/original/i/b6a0940eb34c51b4a881bef5decdba6d5cbc078c876bbdb7b8ad62facd64c87f/2025-03-29_Forthcoming_Installationview_2-Final.jpg" data-mid="232757580" border="0" src="https://freight.cargo.site/w/1000/i/b6a0940eb34c51b4a881bef5decdba6d5cbc078c876bbdb7b8ad62facd64c87f/2025-03-29_Forthcoming_Installationview_2-Final.jpg" /> <img width="4905" height="7357" width_o="4905" height_o="7357" data-src="https://freight.cargo.site/t/original/i/1aad17e7a265ac83e9f549302997a1840931a606fa3c118b61883c87ce316f11/2025-03-29_Forthcoming_Installationview_8-Final.jpg" data-mid="232757587" border="0" src="https://freight.cargo.site/w/1000/i/1aad17e7a265ac83e9f549302997a1840931a606fa3c118b61883c87ce316f11/2025-03-29_Forthcoming_Installationview_8-Final.jpg" /> <img width="4235" height="6352" width_o="4235" height_o="6352" data-src="https://freight.cargo.site/t/original/i/8171622ed13a46a1778357ea3ba845590ffa4b25d0db524dc8ac5955a8ca4216/2025-03-29_Forthcoming_Installationview_3-Final.jpg" data-mid="232757588" border="0" src="https://freight.cargo.site/w/1000/i/8171622ed13a46a1778357ea3ba845590ffa4b25d0db524dc8ac5955a8ca4216/2025-03-29_Forthcoming_Installationview_3-Final.jpg" /> <img width="4550" height="6825" width_o="4550" height_o="6825" data-src="https://freight.cargo.site/t/original/i/8d8bded1688ff76f047a5f8f36c187cd827015f00a9a413182d7d38da21a6cc7/2025-03-29_Forthcoming_Installationview_4-Final.jpg" data-mid="232757589" border="0" src="https://freight.cargo.site/w/1000/i/8d8bded1688ff76f047a5f8f36c187cd827015f00a9a413182d7d38da21a6cc7/2025-03-29_Forthcoming_Installationview_4-Final.jpg" /> <img width="4905" height="7357" width_o="4905" height_o="7357" data-src="https://freight.cargo.site/t/original/i/1aad17e7a265ac83e9f549302997a1840931a606fa3c118b61883c87ce316f11/2025-03-29_Forthcoming_Installationview_8-Final.jpg" data-mid="232757587" border="0" src="https://freight.cargo.site/w/1000/i/1aad17e7a265ac83e9f549302997a1840931a606fa3c118b61883c87ce316f11/2025-03-29_Forthcoming_Installationview_8-Final.jpg" /> <img width="7308" height="4872" width_o="7308" height_o="4872" data-src="https://freight.cargo.site/t/original/i/43227a8f8b4f8330942251198770798f527dffa9912ceba78f7c42e35ee5ab67/2025-03-29_Forthcoming_Installationview_7-Final.jpg" data-mid="232757586" border="0" src="https://freight.cargo.site/w/1000/i/43227a8f8b4f8330942251198770798f527dffa9912ceba78f7c42e35ee5ab67/2025-03-29_Forthcoming_Installationview_7-Final.jpg" /> Installation View: Marcus Nelson and Magnus Westwell,&nbsp;WEIGHT, 2025, Number 1 Main Road, Berlin. Courtesy: the artists; photograph: Johannes Kremer In an exchange of artistic vocabularies, ‘WEIGHT’ brings together a new suite of paintings by Marcus Nelson and a debut film and sound piece by Magnus Westwell. Uniting their independent vernaculars of dance and painting, a dialogue of diverse artistic experience coalesces in a singular installation in which representations of the self come to multiply. Rhythmic movement and repetitive forms construct the multifaceted landscape in which this installation sits. Percolating amongst the dual mediums, the individual becomes the plural in a group submerged by hypnotic influence. Forming a continuous wave of movement, free-flowing corporeal forms expand and pulsate, dissolving into one unified organism, blurring the boundaries between paint and moving image. This dissolvement illustrates the body's duality as both a personal site of expression and a conduit for shared experience and emotion. In Westwell and Nelson’s work, the body becomes a medium for nonverbal communication, translating complex internal states into tangible movement.For Westwell, absence and liminality are embodied in visceral crowd choreography and regenerative motion, where individual and collective tensions collide. And Then Gone (2025) evokes a perpetual flux of existence - fractured, entwined, and endlessly looping. Westwell’s ensemble of dancers surge through shifting synchronies, their bodies caught between order and unravelling, precision and abandon. In this, the unconscious mind surfaces, revealing a delicate tension between autonomy and belonging, fragility and force. The score, resonating throughout the gallery, holds stillness and weight in balance, unfolding in layers of orchestral ambience and fragmented decay. This work is a pivotal moment in Westwell’s practice, born from an ongoing dialogue between movement and sound, where choreography and composition merge and evolve - reflecting cycles of memory, time, and transcendence within an ephemeral, fleeting landscape. Reflecting these ideas, Nelson’s large-scale paintings – Crowd (2025) – disrupt the body and its subsequent movement into rhythmic bars, breaking the format of the composition into smaller panels, which can be rearranged into new sequences by the audience. By inviting the spectator to become an active part of the work, Nelson opens a dialogue around autonomous movement and the authoritative modes external influence can have over our psyche, referencing crowd dynamics. Reinforcing this, his loose application of paint represents the psychological dissolution of the self: figures, no longer distinct or isolated, fall into one another, reflecting how individual identity can become blurred amongst collective forces. In a direct exploration of performance, the compositional arrangements in Nelson’s quadriptych are inspired by Westwell’s choreography. Reinterpreting the varying shapes produced by the dancers, Nelson uses his own body as a medium to explore ideas of self-representation, offering a fluid and non-linear way to communicate internal experiences, emotions, and perceptions of identity. Loops of movement, multiplicity and sound echo throughout this exhibition, changing hands and shifting between artist, audience, dancer and painter. Set within a dark void, both artists's shared interest in theatrical scenery is reinforced by their mutual treatment of light. With all figures emerging from the darkness, limbs are illuminated by subtle lustres and cast shadows amongst the dense figurative landscape, where the audience, too, becomes part of the crowd. With thanks to Sunken Lane.&nbsp; https://brookewilsonstudio.com/CONSTRUCT Fri, 23 Feb 2024 15:51:16 +0000 Brooke Wilson https://brookewilsonstudio.com/CONSTRUCT Curation / Construct&nbsp; Emma Adler, Bobby Dowler, Sylvie Hayes-Wallace, Ali Glover, Dux Pacifico, Anne Tallentire and Charlotte Thrane &nbsp; 23 February - 23 March 2024Cob Gallery, London <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/e546353b76ddf57057d99f96872f325df5fd5e46538fea59d727bdc0bc48008c/Ali-Glover--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery.jpg" data-mid="205315142" border="0" src="https://freight.cargo.site/w/1000/i/e546353b76ddf57057d99f96872f325df5fd5e46538fea59d727bdc0bc48008c/Ali-Glover--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/10830f2e3a20d302c9fc9642a58190df211414b6c5d5d6dab0822ad581604d23/Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery.jpg" data-mid="205313811" border="0" src="https://freight.cargo.site/w/1000/i/10830f2e3a20d302c9fc9642a58190df211414b6c5d5d6dab0822ad581604d23/Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3a65223e8ba9c316c7473a88830ca910a4e7e03f689217fb126316e2ab4fb83f/Anne-Tallentire--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery-.jpg" data-mid="205315152" border="0" src="https://freight.cargo.site/w/1000/i/3a65223e8ba9c316c7473a88830ca910a4e7e03f689217fb126316e2ab4fb83f/Anne-Tallentire--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery-.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/fced25721254cbf86b3e75750a970d7a554ef8a3f7e629cca8046e719c6cd086/Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery-4.jpg" data-mid="205315168" border="0" src="https://freight.cargo.site/w/1000/i/fced25721254cbf86b3e75750a970d7a554ef8a3f7e629cca8046e719c6cd086/Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery-4.jpg" /> Installation View: Construct, 2024, Sylvie Hayes-Wallace, Charlotte Thrane, Ali Glover, Anne Tallentire and Dux Pacifico © the artist courtesy of Cob Gallery. Examining object biography, material manipulation and the process of building meaning, Construct is an exhibition exploring the very essence of its definition. The term construct defines the act of building or uniting materials to formulate a second structure, a second meaning. Through the lens of various materials and methods of assemblage, this exhibition examines the purpose of construction as a means of communication. + The new series of works by Anne Tallentire offers an intricate profiling into the outline of a found object. At first glance, the works look reminiscent of a floor plan, a subject of interest to Tallentire’s extensive practice. Here lines of vinyl tape continue her investigation into materiality and the space that exists around an object: in this case, a small broken-off corner of a pallet found on a London street. Often associated with makeshift dwellings and the transportation of goods, in this context, this fragment is used as a source material for a new depiction of space - the outer edges. Engaging with the potential of our urban surroundings and architectural detritus, Tallentire asks us to reconsider our immediate environment, the objects that populate our streets and their ability to produce new meaning. Tallentire’s works on paper speak to a similar visual language. However, these works, zoom into the domestic space, specifically her own home. Overlaying the floorplan with cropped paragraph-sized cards taken from specific passages of text referencing her reading material at the time, the experience of her building is reimagined. Made during the pandemic, these works interrogate the space within which we find ourselves confined, and where we let our thoughts linger. + Bobby Dowler’s work is one with multiple surfaces. Working with offcuts from his artist friends, associates, or even strangers that have been accumulated over many years. In these works, Dowler analyses, dissects and removes the subject from their original narrative to form a new visual object, one reinvented to suit the artists' desires. Dowler’s work is methodical, it engages with various modes of making whilst resisting a prescribed notion of ‘painting’ or even ‘sculpture’, which can be seen in his systematic naming of them such as Painting-Object_01(c05-17). Hanging somewhere in between these known entities, his work is a playful investigation into surface, subject and the process of construction. Endowed with their hidden narrative, each original painting - either gifted, donated or purchased by Dowler - becomes a source of inspiration, a catalyst in which new meaning can be explored to comical effect. Whilst experimenting with the painted surfaces, Dowler searches for potential subject matter to stimulate creative action, often with physical gestures of stapling, glueing, cutting, and tearing. Incorporating all the properties of his subject material Dowler strips them down to their raw materiality, where they remain ready and waiting until the artist is prepared to build a new narrative, and above all, a new object. + The work of Emma Adler pays homage to art history, dualism and concepts of authenticity. Working with pre-existing objects, Adler removes assigned notions of the object's biography by reimagining form and methods of replication. In her Softshell sculptures, mundane objects of domesticity are paired in a new configuration, symmetrically balanced and otherworldly - where form is recognised but altered. There are certain methods which Adler follows to achieve these subtle interventions, like colour-matching the original sink. Often sink surfaces are left raw and unpainted and through a process of imitation, Adler colour matches to the original pigment to wrap the whole entity of its form. By removing these known associations Adler questions the artificial, originality, and themes surrounding reality. + Central to Charlotte Thrane’s practice is material exploration. Engaging physically with our perception of space, large mattresses and soft bedding materials stack on top of one another to create a new iteration of Big Body, an installation which she previously exhibited in Århus, Miami and Frankfurt. The simple act of stacking provides a striking visual language to the viewer. The aesthetics of these stacked mattresses which depict coffee marks, yellowing stains and minor discrepancies in the fabric are purposefully imitated by the artist to question the construction of narratives. Playing with history - these marks, although artificial - explore the manipulation of time, penning new stories around these objects, to allow questions of their origin to arise. Juxtaposing these soft materials, Thrane creates a tension between their material properties and the site in which they are installed. Working within the physical space of the gallery, Thrane pushes, squeezes, and crams malleable materials into the solid structure, to create an illusion of uncertainty, one located amongst feelings of comfort and discomfort. Grappling in this tension, Big Body explores the stories embedded within the ordinary object and offers a sensitive reimagining of space and the materials we seek to comfort our bodies. + Measuring the size of the artist's head, Sylvie Hayes-Wallace’s, Cage Head series encapsulates the physical presence of her immediate environment and the miscellaneous ephemera that gets stuck in her head. Health insurance forms, junk mail, notes to self and receipts are some of the few materials used in the construction of Cage (Head) #1, whilst Cage (Head) #2 or Love consists of fencing wire, linen thread and floss. Assembled from mediums of varying nature, these works document a moment in time and become a portrait of the artist’s interiority, one that precariously begins to define our existence through materials; paper collected and documents preserved. Mirroring physical and psychological surroundings, Hayes-Wallaces’ diverse practice showcases the relationship between her internal space and the external world. In her works on paper, these themes are further explored; showcasing an image of a car with an assortment of bumper stickers produced by the artist and a note to self. Delicate in their presentation, but at odds, with the forceful compression of glass, these two pieces work together to deconstruct ideas around gender and the pressures of social conformity. Multiple voices can be heard amongst the manipulation of language, personal tones interrupt one another and language becomes the material in which to interrogate the self. + Engaging with his direct environment, Dux Pacifico’s latest works reflect the corporate structure of the city, and question how these material components begin to infiltrate our daily movement. Contradicting our usual understanding of such objects, roller shutters, which once denoted a closed space, now operate as paintings- free-standing and colourful, removed from their natural habitat. Translated into the artist's distinct visual language; these works become poetic musings on the mundane, where urban development is transformed into artistic mediums. From subtle interventions, like the gentle draping of fabric in Metropolis, to the heavy dissection of steel in Business as Usual, Pacifico can build a space for discussion with materials often associated with a different vernacular, one heavily reliant on functionality. Through both works, Pacifico is challenging the value of the objects, throwing caution to their assigned purpose and therefore challenging the nature of their materiality. Often found wandering through his urban environment; the city is Pacifico’s main source of inspiration, echoing the method of his process, these works, although static, move through spaces. + The newest iteration of Ali Glover’s When the Seeping Starts (II) leaves us suspended in a state of poetic possibility. Normally concealed behind the uniform hang of a dropped ceiling, here suspension strings, cable wiring, and ceiling fixings are exposed for closer observation. Working with the properties of his chosen material, Glover highlights the fragility of infrastructure and the intricacy of its construction, both psychically and metaphorically. Laden with associations and due to their frequent visibility in public buildings, ceiling tiles carry a clinical quality, where activities of care and waiting often occur beneath. In this new installation, contemplation from below is impossible and instead flipped on its head, giving visibility to the other side - the wrong side, perhaps. Contributing to this non-sensical thread of looking up, but in this case, looking down, one ceiling tile is replaced by a black steel square, made to resemble a constellational pattern in the night sky - one which would normally be viewed from below. Challenging the purpose of these structures by re-articulating their form, Glover plays with location and liminality. To accompany this installation, an audio piece newly edited by the artist plays on a loop. Composed of sound clippings of footsteps on a pebbled shore, these sounds belong to another moment, another space. Feelings of uncertainty begin to arise in our experience of the installation; there is a precariousness that the work embodies, a feeling that can only be described as something on the brink of falling. + By removing objects from their natural state and transforming them, domestic materials begin to comment on social infrastructure; found detritus sparks conversation around our object-fascinated culture, and reused canvas challenges the norms of conventional fine art materials. Revelling the tension between building and breaking down personal and collective narratives, Construct displays the materials artists excavate, appropriate, manipulate and collect in order to decode the world around them. <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3bf2d81dd958650d11c2e24cb9b9811d0fe85618a2baa4c24bd22c25afc0ff73/Bobby-Dowler--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery-2.jpg" data-mid="205315158" border="0" src="https://freight.cargo.site/w/1000/i/3bf2d81dd958650d11c2e24cb9b9811d0fe85618a2baa4c24bd22c25afc0ff73/Bobby-Dowler--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery-2.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3759eb949abf32923637334225bcb8d879650fa64e0a8d771ecb28a9b10ff0bf/Anne-Tallentire--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery-2.jpg" data-mid="205315153" border="0" src="https://freight.cargo.site/w/1000/i/3759eb949abf32923637334225bcb8d879650fa64e0a8d771ecb28a9b10ff0bf/Anne-Tallentire--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery-2.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/fc49b558c372467eca10adbbe76325bdc015ed1134bc28c646b9b174e0aadc2e/Emma-Adler--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery.jpg" data-mid="205314279" border="0" src="https://freight.cargo.site/w/1000/i/fc49b558c372467eca10adbbe76325bdc015ed1134bc28c646b9b174e0aadc2e/Emma-Adler--Construct--2024--Installation-view--the-artist-courtesy-of-Cob-Gallery.jpg" /> Installation View: Construct, 2024, Bobby Dowler, Anne Tallentire and Emma Adler © the artist courtesy of Cob Gallery. ︎ Selected Press: The ‘how’ of ‘what’: Construct at Cob,&nbsp;Curatorial Affairs ︎ Selected Press: A Walk Through Cob Gallery’s Construct with Curator Brooke Wilson ︎ Selected Press: Construct: Cob Gallery, émergent magazine ︎ Selected&nbsp;Press: Hunger’s MVP of the Week, Hunger Magazine&nbsp; ︎ Selected Press: A Walk Through Cob Gallery’s Construct with Curator Brooke Wilson, Sleaze Magazine ︎ Exhibition: Cob Gallery&nbsp; https://brookewilsonstudio.com/BOYS-DON-T-CRY-UK-Behind-the-Glass Mon, 25 Aug 2025 15:40:18 +0000 Brooke Wilson https://brookewilsonstudio.com/BOYS-DON-T-CRY-UK-Behind-the-Glass Workshop / Behind The Glass&nbsp; Boys Don’t Cry UK&nbsp; &nbsp; 10 May – 11 June 2021Museum &amp; Study Collection, Central Saint Martins&nbsp; <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/33102bae034da62ad771905968f63dc5de8397b9808cc70e5975493380f8abaa/9BD72E7E-B95B-405D-9878-E077DE7C1AE3.JPG" data-mid="237445659" border="0" src="https://freight.cargo.site/w/1000/i/33102bae034da62ad771905968f63dc5de8397b9808cc70e5975493380f8abaa/9BD72E7E-B95B-405D-9878-E077DE7C1AE3.JPG" /> <img width="5903" height="3935" width_o="5903" height_o="3935" data-src="https://freight.cargo.site/t/original/i/c487a7083dd23df8a25c6c940e3e7b04b3c501f724bc963eed584ed14751bf32/5B6620F0-704E-4A87-82E3-156AE535F30B.JPG" data-mid="237445660" border="0" src="https://freight.cargo.site/w/1000/i/c487a7083dd23df8a25c6c940e3e7b04b3c501f724bc963eed584ed14751bf32/5B6620F0-704E-4A87-82E3-156AE535F30B.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/0d85aa77dc7746b6a835ec2e6142d7e6f14a642cc975e17686483c4b5518ad91/EF377452-5775-434D-BCDC-96F3D268F989.JPG" data-mid="237445670" border="0" src="https://freight.cargo.site/w/1000/i/0d85aa77dc7746b6a835ec2e6142d7e6f14a642cc975e17686483c4b5518ad91/EF377452-5775-434D-BCDC-96F3D268F989.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/1d0ed30c8dae069f9e349374b9054e1af6df15c219745222565fc40a2fe3f860/72129A2F-B228-447C-B388-D5822996E48C.JPG" data-mid="237445668" border="0" src="https://freight.cargo.site/w/1000/i/1d0ed30c8dae069f9e349374b9054e1af6df15c219745222565fc40a2fe3f860/72129A2F-B228-447C-B388-D5822996E48C.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a4ad7efc8a87603142588c6f7517c74dcef7aeeba55942beeb3002d18b4f0a29/436EA582-ED79-44D9-B581-A7DC3D40ED54.JPG" data-mid="237445666" border="0" src="https://freight.cargo.site/w/1000/i/a4ad7efc8a87603142588c6f7517c74dcef7aeeba55942beeb3002d18b4f0a29/436EA582-ED79-44D9-B581-A7DC3D40ED54.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e480e256b8222385a135e9ab8f47f6e4c6245fc9da582786d5de6759c563cee9/26ED6462-2A8E-4ED1-B0AB-382ACEB8E86B.JPG" data-mid="237445664" border="0" src="https://freight.cargo.site/w/1000/i/e480e256b8222385a135e9ab8f47f6e4c6245fc9da582786d5de6759c563cee9/26ED6462-2A8E-4ED1-B0AB-382ACEB8E86B.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/8a3fb355a36366bc146ba299f4a0f3af963f4f7a399de43632cb54c006bb9117/3ECD2156-6CFE-4D59-A7ED-41CD4B21FAC3.JPG" data-mid="237445663" border="0" src="https://freight.cargo.site/w/1000/i/8a3fb355a36366bc146ba299f4a0f3af963f4f7a399de43632cb54c006bb9117/3ECD2156-6CFE-4D59-A7ED-41CD4B21FAC3.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/6fb0b923683a3d52d5bdb88eb36b1cd10f479f1904624b6b88a64de959ca578f/3FDAD426-635F-481C-9A2E-F8753E8CB220.JPG" data-mid="237445661" border="0" src="https://freight.cargo.site/w/1000/i/6fb0b923683a3d52d5bdb88eb36b1cd10f479f1904624b6b88a64de959ca578f/3FDAD426-635F-481C-9A2E-F8753E8CB220.JPG" /> Workshop Documentation: Behind The Glass, 2021, Museum &amp; Study Collection, Central Saint Martins, London. Courtesy: Boys Don’t Cry UK; photograph: Tom Willis&nbsp; Behind the Glass was a project exploring mental health by Boys Don’t Cry in collaboration with the Museum &amp; Study Collection. Launching in Mental Health Awareness Week, the exhibition showcased new work created around the theme of male mental health, inspired by the artworks and stories in the Museum &amp; Study Collection. Artists included: Marcus Nelson, Mitch Vowels, Corbin Shaw, Jack Rooney, Jewel Kaye, George Richardson, Joshua Buckingham, Morgan Williams, Rys Laird, Mathew Dommet, Brian O’Callaghan View Artwork&nbsp;Catalogue&nbsp; Selected Press ︎ The Art’s Collective Getting Lads Talking About Their Feelings, 10 Magazine (2022) ︎ Behind the Glass by Boys Don't Cry, UAL Central Saint Martins (2021) ︎ Boys Do Art so Boys Don’t Cry, The Face Magazine (2020) https://brookewilsonstudio.com/BOYS-DON-T-CRY-UK-Standing-Men Tue, 04 Nov 2025 09:03:05 +0000 Brooke Wilson https://brookewilsonstudio.com/BOYS-DON-T-CRY-UK-Standing-Men Performance &amp; Workshop / Standing Men&nbsp; Boys Don’t Cry UK&nbsp; &nbsp; February 2019&nbsp;In collaboratin with Voice Box UK <img width="5979" height="3986" width_o="5979" height_o="3986" data-src="https://freight.cargo.site/t/original/i/a91bc0a438c35f6771983fcd99972f5cfb68f9690a73a3664f7fbe7a75a2d798/_DSF6348-2.JPG" data-mid="240227744" border="0" src="https://freight.cargo.site/w/1000/i/a91bc0a438c35f6771983fcd99972f5cfb68f9690a73a3664f7fbe7a75a2d798/_DSF6348-2.JPG" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/e7cf5af3c6ae468e279b2eb1c7be6975f0fee19a70251bc534d5f92c4fe7c54f/_DSF6359-2.JPG" data-mid="240227753" border="0" src="https://freight.cargo.site/w/1000/i/e7cf5af3c6ae468e279b2eb1c7be6975f0fee19a70251bc534d5f92c4fe7c54f/_DSF6359-2.JPG" /> <img width="5274" height="3516" width_o="5274" height_o="3516" data-src="https://freight.cargo.site/t/original/i/5cb44aa164eca85717253ab4a8ab8eb351923f5b770270c891d89941431f7c45/_DSF6304-2.JPG" data-mid="240227746" border="0" src="https://freight.cargo.site/w/1000/i/5cb44aa164eca85717253ab4a8ab8eb351923f5b770270c891d89941431f7c45/_DSF6304-2.JPG" /> <img width="3687" height="5530" width_o="3687" height_o="5530" data-src="https://freight.cargo.site/t/original/i/a390c415b67d3ae88a229a2daeb23811037455a0b3342f409ed8f8bd59f7bcc0/_DSF6308-2.JPG" data-mid="240227747" border="0" src="https://freight.cargo.site/w/1000/i/a390c415b67d3ae88a229a2daeb23811037455a0b3342f409ed8f8bd59f7bcc0/_DSF6308-2.JPG" /> <img width="3911" height="5866" width_o="3911" height_o="5866" data-src="https://freight.cargo.site/t/original/i/6695dc45d172ed0f3a57221eab6e6fd7cd9bf2dbe4c4adf16a3200664bdc7736/_DSF6329-2.JPG" data-mid="240227749" border="0" src="https://freight.cargo.site/w/1000/i/6695dc45d172ed0f3a57221eab6e6fd7cd9bf2dbe4c4adf16a3200664bdc7736/_DSF6329-2.JPG" /> <img width="3797" height="3052" width_o="3797" height_o="3052" data-src="https://freight.cargo.site/t/original/i/55a0d904e500076ad916c245d7fe4e4f077312ba678f429587c2ce6e15370ecf/_DSF6281-2.JPG" data-mid="240227745" border="0" src="https://freight.cargo.site/w/1000/i/55a0d904e500076ad916c245d7fe4e4f077312ba678f429587c2ce6e15370ecf/_DSF6281-2.JPG" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/5a999860e5d15804662ecb663122622f28336672188bd8cb2a4074852535d873/_DSF6319-2.JPG" data-mid="240227748" border="0" src="https://freight.cargo.site/w/1000/i/5a999860e5d15804662ecb663122622f28336672188bd8cb2a4074852535d873/_DSF6319-2.JPG" /> <img width="5274" height="3516" width_o="5274" height_o="3516" data-src="https://freight.cargo.site/t/original/i/5cb44aa164eca85717253ab4a8ab8eb351923f5b770270c891d89941431f7c45/_DSF6304-2.JPG" data-mid="240227746" border="0" src="https://freight.cargo.site/w/1000/i/5cb44aa164eca85717253ab4a8ab8eb351923f5b770270c891d89941431f7c45/_DSF6304-2.JPG" /> Performance Documentation: Standing Men, 2019, in collaboration with Voice Box Theatre. Courtesy: Boys Don’t Cry UK; photograph: Florian Werner Standing Men was a powerful performance and participatory workshop presented in collaboration with Voice Box Theatre. Featuring five performers, the exhibition invited audiences to confront the often-unspoken presence of male mental health struggles and the discomfort surrounding conversations about them. Upon entering the space, visitors encountered performers silently positioned against walls and in corners – embodying the quiet endurance and isolation that can accompany mental distress. Surrounding them, sheets of paper lined the walls with thought-provoking questions such as “What is your opinion of men?” which encouraged audience members to engage, reflect, and respond in real time. Through this interactive environment, Standing Men challenged the frameworks through which we approach and discuss sensitive social and emotional issues, transforming silence into shared dialogue. Performers included: Edem Kelman, Edward Deney, Jewle Kaye, George Smith, Tjean. https://brookewilsonstudio.com/Catinca-Malaimare Tue, 11 Jun 2024 19:36:02 +0000 Brooke Wilson https://brookewilsonstudio.com/Catinca-Malaimare Curation / Jinx, Nevesta! &nbsp; Catinca Malaimare&nbsp; &nbsp; 07 June - 29 June 2024Eigen + Art Lab, Berlin <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/8deb6045a111921689b17c00931bcbf6ca1ec7361dfc04b421cfc22795626da9/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-6.jpg" data-mid="212724651" border="0" src="https://freight.cargo.site/w/1000/i/8deb6045a111921689b17c00931bcbf6ca1ec7361dfc04b421cfc22795626da9/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-6.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/d0a2a36ba6ac7295458b8e8d809aaf46660c0c128f6128a9ed67449b556ca06d/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-7.jpg" data-mid="212724645" border="0" src="https://freight.cargo.site/w/1000/i/d0a2a36ba6ac7295458b8e8d809aaf46660c0c128f6128a9ed67449b556ca06d/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-7.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/138546cbbcffb0999c90ba4192bbe2b19b42b4444af9c988c1ffb5d3086836d1/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-16.jpg" data-mid="212724676" border="0" src="https://freight.cargo.site/w/1000/i/138546cbbcffb0999c90ba4192bbe2b19b42b4444af9c988c1ffb5d3086836d1/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-16.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/f00aefda32241e4a204bc565a6f5d9864e9041d8db82150768cb3f146eac39db/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-14.jpg" data-mid="212724670" border="0" src="https://freight.cargo.site/w/1000/i/f00aefda32241e4a204bc565a6f5d9864e9041d8db82150768cb3f146eac39db/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-14.jpg" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/580f466d1169ad0bad303893914e1db0a09fe5dda9f15a4901b64014d736344f/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-10.jpg" data-mid="212724653" border="0" src="https://freight.cargo.site/w/1000/i/580f466d1169ad0bad303893914e1db0a09fe5dda9f15a4901b64014d736344f/2024-06-10_E-A-L_JinxNevesta_Performance-pt2-10.jpg" /> Installation View: Catinca Malaimare,&nbsp;Jinx, Nevesta!, 2024, Eigen + Art Lab. Courtest: the artist and Eigen + Art Lab; photoraph: Johannes Kremer We are gathered here today, to witness the joining of a union... Nostalgia lingers in Catinca Malaimare’s latest exhibition - ‘Jinx, Nevesta!’ - where technological objects are reunited with estranged lovers in a durational performance. Dating back to the 90s, the objects employed become emblems of time; their hollowed metallic bodies, at present redundant, remain in existence via the memories they continue to hold. What once were desirable, are now relics of a society in a hurry. Resting patiently in the space, stand four sleepy decommissioned Sea Scooter rides with movement pending; a coin in the past would awaken them but now, an electrical current is needed to stimulate their arousal. Restored to their original beauty a coating of iridescent lustre wraps around their fibreglass bodies, concealing the reality of ageing with a quick touch-up of shimmering gloss. Lightbulbs flicker, bouncing colour off their futuristic forms, and refractions of luminosity come to dance behind the neighbouring walls. A switch is flicked; the performance begins. Bodies poised and in position, a 90s Panasonic SA-AK320 Stereo swallows the first track and an eruption of sound commences on digestion. Created in collaboration with sound artist Chlorys, a symphony of Romanian folk melodies and electronic beats are synthesised to form a hybrid voice of amalgamated sounds; making reference to club culture and the tragic playlist of a confused wedding DJ. An intro of mechanical sounds anthropomorphises the machine, collectively coming to life with the bodies that rest atop the rides. Elongated limbs splay out as an extension of the once-functioning fairground ride, which remains static and uncomfortably still. The track changes, the audience pause, the next movement is queued. Emulating the object’s original movements, the performers rock back and forth around their partnered objects. Guided by their hips, their actions emphasise the aching tension of balance that accompanies the experience of riding - oscillating between close and distant contact. Echoing our daily actions towards digital devices: we are equally attracted to and repulsed by their seduction at alternating moments. Intentionally situated to aid the movement of the performers, the sculptures are fixed on forms suggestive of transportation, a vehicle through which Malaimare’s gestural vocabulary can come to life. Textural bases of soundproof foam and rubber matting only intensify this friction between oppositional movements. Directing the narrative between bodies, both human and technological, Malaimare’s choreography extends the dimensions of time; existing in the future of the past. The performance ends, the music lulls, the audience mingles. Poetically playing with the metaphor of a wedding the performance is sealed with a marriage certificate; a contractual talisman that mirrors the clickwrap terms we digital users marry into regularly. Adding to the evidence of the ceremony, a 90s camcorder sits upon a shelf, plugged in and awake. There to capture the performance in real-time, its compact screen will offer the option to playback a moment expired. Using bodies, both human and non-human, Malaimare continues to expand on her gestural lexicon, tenderly narrating our technological intimacy and thus the vows we take in living with them. I do... With thanks to Hunor-József Varga, Marcos Zoe Nacar, Andrea Bambini, Milena Lui, Orsi Tamás, Chlorys and Helge Fisher.&nbsp; <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/114220bfe4777f181e8ad6bd54c7ef88d32e42ae823ca8715019838a8228c8bc/2024-06-11_EigenArtLab_JinxNevesta_Ansichten-pt1-5.jpg" data-mid="212725566" border="0" src="https://freight.cargo.site/w/1000/i/114220bfe4777f181e8ad6bd54c7ef88d32e42ae823ca8715019838a8228c8bc/2024-06-11_EigenArtLab_JinxNevesta_Ansichten-pt1-5.jpg" /> <img width="5000" height="3334" width_o="5000" height_o="3334" data-src="https://freight.cargo.site/t/original/i/1fc43403f03f64473693db418731fbefa3f30ea2733336e9e4d28cb802fd2f9f/2024-06-11_EigenArtLab_JinxNevesta_Ansichten-pt1-3.jpg" data-mid="212725564" border="0" src="https://freight.cargo.site/w/1000/i/1fc43403f03f64473693db418731fbefa3f30ea2733336e9e4d28cb802fd2f9f/2024-06-11_EigenArtLab_JinxNevesta_Ansichten-pt1-3.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/fa48e494e78e94b6fc0c0385afd332cea8b81ccb92f7d979d8f1de5f80b26372/2024-06-11_EigenArtLab_JinxNevesta_Ansichten-pt1-4.jpg" data-mid="212725565" border="0" src="https://freight.cargo.site/w/1000/i/fa48e494e78e94b6fc0c0385afd332cea8b81ccb92f7d979d8f1de5f80b26372/2024-06-11_EigenArtLab_JinxNevesta_Ansichten-pt1-4.jpg" /> Installation View: Catinca Malaimare, Jinx, Nevesta!, 2024, Eigen + Art Lab. Courtest: the artist and Eigen + Art Lab; photoraph: Johannes Kremer ︎ Exhibition: Eigen + Art Lab ︎&nbsp;Interview: Technological Intimacies: Catinca Malaimare https://brookewilsonstudio.com/Frieze-London Fri, 20 Oct 2023 13:16:29 +0000 Brooke Wilson https://brookewilsonstudio.com/Frieze-London Curation / The Junior Christian Teaching Bible Lesson Program Mattia Guarnera-MacCarthy &amp; Hamed Maiye&nbsp;with special guest David Liebe Hart. Co-curated by Brooke Wilson &nbsp; 11 – 15 Oct 2023&nbsp;Frieze London, Focus Section, Booth H24 <img width="1400" height="933" width_o="1400" height_o="933" data-src="https://freight.cargo.site/t/original/i/8d2b8cb2f1fb2cdd2a30492d7766431a8647b731624f5dbfcac2771a8f894658/_DSC4505LR.jpg" data-mid="194315030" border="0" src="https://freight.cargo.site/w/1000/i/8d2b8cb2f1fb2cdd2a30492d7766431a8647b731624f5dbfcac2771a8f894658/_DSC4505LR.jpg" /> Installation View: Mattia Guarnera-MacCarthy and Hamed Maiye at Harlesden High Street, Frieze London 2023. Photos by Damian Griffiths. The booth will be designed to replicate the set of The Junior Christian Teaching Bible Lesson Show, a public access television show, which aired in the United States from 1988 to 2008, consisting largely of a stage for the puppets and a seat for the host, David Leibe Hart. During the course of the fair, there will be timed performances with Leibe Hart (Live at 5 with David Liebe Hart) as well as recorded presentations of archival footage.Taking reference from Leibe Hart, emerging artists Mattia Guarnera-MacCarthy and Hamed Maiye utilise their individual practices to explore a new religion: one centred on personal experience and storytelling, the other on contemporary fashion and the modern-day aesthetics of religion. Fusing these two styles and opening further discourse into the nuance of religion, a collaborative work by Guarnera-MacCarthy and Maiye will depict David Leibe Hart and his puppet, Chip. <img width="933" height="1400" width_o="933" height_o="1400" data-src="https://freight.cargo.site/t/original/i/f4ebf243fb0972012ab354ec1d4da8c455c3602f07b91252836a71d1d5f30eb7/_DSC4511LR.jpg" data-mid="194315105" border="0" src="https://freight.cargo.site/w/933/i/f4ebf243fb0972012ab354ec1d4da8c455c3602f07b91252836a71d1d5f30eb7/_DSC4511LR.jpg" /> &nbsp; Installation View: Mattia Guarnera-MacCarthy at Harlesden High Street, Frieze London 2023. Photos by Damian Griffiths. The project is part of a series by Harlesden High Street titled ‘Public Access’, taking its name from American public access television of the 1980s and beyond, which offered an outlet for the general public to produce and televise their own content, predating Channel U, YouTube and other forms of social media.Fitting with the gallery’s ethos of providing space to largely underrepresented artists and creatives, specifically those in Black communities across London, we hope to provide insight into those communities through this presentation. This presentation will please people of varying interests and those who above all enjoy counterculture and underground television networks. <img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/58de88c608bb18b93cb7a5f643be37ebee2410b2776c6fa2a28e1be053b29d08/DSC09636.JPG" data-mid="194315184" border="0" src="https://freight.cargo.site/w/1000/i/58de88c608bb18b93cb7a5f643be37ebee2410b2776c6fa2a28e1be053b29d08/DSC09636.JPG" /> Installation View: David Leibe Hart Performance at Harlesden High Street, Frieze London 2023. ︎ Selected Press: The 10 Top Exhibitors at Frieze London 2023, Elephant Magazine&nbsp; ︎ Selected Press: What Sold at Frieze,&nbsp;Artsy (Online)︎ Selected Press: Frieze According to Jonny Tanna, Frieze (Online)︎ Selected Press: Frieze announces new galleries for 2023, Frieze (Online)&nbsp; ︎ Selected Press: 6 of the best young gallery presentations at Frieze London, i-D (Online) https://brookewilsonstudio.com/J-D-ROONEY Wed, 06 Sep 2023 10:37:49 +0000 Brooke Wilson https://brookewilsonstudio.com/J-D-ROONEY Curation / formed in waterJ D Rooney &nbsp; 19 August - 26 August 2023 (Residency 02 Exhibition) Cob Gallery, London <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/844caf9f8a911bff893a5f01ccb26f15e51335fefa660a12ebbeeb72217a3e6c/J-D-Rooney--formed-in-water-installation--2023--The-artist-courtesy-of-Cob-Gallery-5.jpg" data-mid="189924083" border="0" src="https://freight.cargo.site/w/1000/i/844caf9f8a911bff893a5f01ccb26f15e51335fefa660a12ebbeeb72217a3e6c/J-D-Rooney--formed-in-water-installation--2023--The-artist-courtesy-of-Cob-Gallery-5.jpg" /> Installation View: J D Rooney, formed in water,&nbsp;Cob Award, 2023. Image Courtesy of Cob Gallery. formed in water is the title of J D Rooney’s site-specific exhibition representing the culmination of extensive research and development as the second recipient of the Cob Award. This exhibition reflects on past and present Atlantic crossings by the Caribbean diaspora. Through a collection of imagery, sound, and found objects, the installation is shown through the artist's eyes – standing at the ocean shore, looking out towards the country of his family’s origin. The materials collected point to areas of Black study that ruminate on sound's ability to transport, and where it overlaps with our relationship to space, objects, and memory. Perhaps the residues of sound and material, left over by these crossings, allow us to escape to other lands. <img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/96edb0e106de13a0ea9b312bf39a3ebde370f882ce37bec8d1f64d04a570caf5/J-D-Rooney--Space--2023--Akai-4000-DB--1_4-inch-reel-to-reel-tape--take-up-reel--speaker--sound--duration--infinite-loop.-Dimensions-Variable.--The-artist-courtesy-of-Cob-Gallery.jpg" data-mid="189924149" border="0" src="https://freight.cargo.site/w/1000/i/96edb0e106de13a0ea9b312bf39a3ebde370f882ce37bec8d1f64d04a570caf5/J-D-Rooney--Space--2023--Akai-4000-DB--1_4-inch-reel-to-reel-tape--take-up-reel--speaker--sound--duration--infinite-loop.-Dimensions-Variable.--The-artist-courtesy-of-Cob-Gallery.jpg" /> &nbsp; Installation View: J D Rooney, formed in water, Cob Award, 2023. Image Courtesy of Cob Gallery. J D Rooney is a multidisciplinary artist who lives and works in London. His practice explores the complexities regarding feelings of dislocation and reconnection from both his Guyanese and Irish heritage, and the hope for physical and cultural border crossings. His recent work has investigated the historic and ongoing extraction of resources from Guyana, and how these processes overlap with the Afrofuturism theory of Drexciya. This Drexciyan theory has introduced musical influences within his work, which considers how Black Atlantic cultures can give way to the creation of Black radical space. &nbsp; J D Rooney studied Fine Art at Chelsea College of Arts. Recent exhibitions include Unknown Journey, ACAVA, London , UK (2022); Regal Oriental Hotel: AVA, Hong Kong, China (2019); Departed, LOA Gallery, London, UK (2019); Letting objects speak, Set Bermondsey, London, UK (2018). Recent Residencies include&nbsp;Into the Wild, Chisnehale Studios, London, UK (2023);&nbsp;Wysing Residency, Into the Wild, London, UK (2023);&nbsp;Studio 13 Residency,&nbsp;ACAVA, London, UK (2022). ︎ Exhibition: Cob Gallery&nbsp; ︎ Exhibition Text:&nbsp;formed in water https://brookewilsonstudio.com/Dominic-Watson-1 Wed, 06 Sep 2023 10:30:48 +0000 Brooke Wilson https://brookewilsonstudio.com/Dominic-Watson-1 Curation / God Bless Strawberry JamDominic Watson &nbsp; 23 June - 01 July 2023 (Residency 01 Exhibition) Cob Gallery, London <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/0ba9defac016de767045a713cf10e584dbd8f71eca1771778e54623dd3292855/Dominic-Watson-installation-5-2000px.jpg" data-mid="189923522" border="0" src="https://freight.cargo.site/w/1000/i/0ba9defac016de767045a713cf10e584dbd8f71eca1771778e54623dd3292855/Dominic-Watson-installation-5-2000px.jpg" /> Installation View: Dominic Watson, God Bless Strawberry Jam, Cob Award, 2023. Image Courtesy of Cob Gallery. God Bless Strawberry Jam is the title of British artist Dominic Watson’s site-specific exhibition - representing the culmination of six weeks of research and development as the first recipient of the Cob Award. At the heart of the conceptual part of his practice, Watson twists narratives that relate to English histories and mythologies with a visual language that subverts that of the caricature.&nbsp;The exhibition’s title refers to both album name and specifically, a line, extracted from a song called The Village Green Preservation Society by British band The Kinks. The Village Green Preservation Society was an album released by the band as an act of defiance following their controversial ban from touring America in 1965. This deliberate comparison is an insight into Watson’s anarchic take on quintessential ‘Englishness’ - the main field of enquiry across his practice. A sculptural installation will transform the residency studio, referencing elements of the traditional English Country Garden - a site of interest that Watson has focussed on his research during the residency. Using the English garden landscape as an entry point - Watson comments on archaic structures at the heart of English society whilst imbuing his sculptural installation with the anxieties of a post-Brexit society.&nbsp; <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/7677cc7914451a6d5556144c17a0c26d9669100be047e9306d0b7801967b448c/Dominic-Watson--God-Bless-Strawberry-Jam-installation--2023--The-artist-courtesy-of-Cob-Gallery-4.jpg" data-mid="189923538" border="0" src="https://freight.cargo.site/w/1000/i/7677cc7914451a6d5556144c17a0c26d9669100be047e9306d0b7801967b448c/Dominic-Watson--God-Bless-Strawberry-Jam-installation--2023--The-artist-courtesy-of-Cob-Gallery-4.jpg" /> &nbsp; Installation View:&nbsp;Dominic Watson, God Bless Strawberry Jam, Cob Award, 2023. Image Courtesy of Cob Gallery.&nbsp; Life-sized, but redacted figurative sculptures - equally absurd as they are grotesque - sit against a digitally produced backdrop of an 18th-century landscape based upon those designed by Lancelot ‘Capability’ Brown and rendered in the style of painter Claude Lorraine. To enhance this landscape vista, Watson’s sculptures function as water fountains. However, rather than water, Watson chooses to pump English cider between his sculptures - filling the room with an intoxicating scent of English summer whilst satirising the decorative form and idle function of the seemingly superfluous outdoor object. Meanwhile, working with a combination of materials including Terracotta, paper and epoxy clays, Watson explores the visceral qualities of the human body, by way of exaggerating the narratives he builds for his sculptures. An exhibition text written by the artist draws on his experiences visiting Stourhead’s National Trust site. Here, Watson treats the exhibition as if it were an actual historical garden and the text set in the canteen; a place that has been a site of reflection throughout his time on the programme. ︎ Exhibition: Cob Gallery&nbsp; ︎ Press: Curatorial Affairs