ACAVA Limehouse studios
Saturday, October 13, 2018
Sunday, October 14, 2018
1 Towcester Rd, London E3 3ND
Krasimira Butseva

The group was created as a result of Artquest’s Lifeboat award– a year-long studio residency, peer mentoring and career development opportunity for MA* postgraduates from University of Arts London. Formed by the artists Sabrina Fuller, Davide Meneghello, Jojo Taylor and Mētra Saberova and joined by Daria Blum, Krasimira Butseva, Sarah Carne, Mark Goldby, M.Lohrum, Margaret Leppard and Andrew Rickett.

The artists from BLUNT collective will exhibit past and ongoing works at Limehouse Open Studios on the 13th and 14th of October between 12:00pm and 6:00pm, revolving around themes of queerness, feminism, trauma, carnival/vaudeville and new materialism with the use of performance, participation, still and moving image, sound, sculpture, drawing, writing, body art, painting and the archive.

Limehouse Studios

Built originally as Poplar Technical College, this four-story building has been used as artists’ studios since 1994, ACAVA assuming management with a 21-year lease in November 2013. It has been converted into 60 studios and workshops of various sizes, has a spacious car park and overlooks the Limehouse Cut, a straight, broad canal which links the lower reaches of the Lee Navigation to the river Thames.

Closest tube station: Broomley-by-Bow



Sabrina Fuller is interested in how groups and individuals respond to society’s expectations: how objectification and exclusion from mainstream society can give license to chart other ways of being and develop the language of difference and form unlikely alliances.

Davide Meneghello investigate meaning and ideas concerned with social change, historical narratives and political possibilities as also notions of memory and materiality, re-contextualisation and installation practices allowing the proposition of an altered path of thought and interpretation.

Jojo Taylor works within the boundaries of performance, film, sound and singing. The focus of her work lays within altered states of consciousness, she works with stories of others, exploring what we encounter as mysterious and unusual.  Sticking to her new rule to work on a new idea every visit to the studio for one year, she is exploring moments when we lose our sense of self.

Mētra Saberova uses her own orchestrated experiences of medical tourism procedures as a public platform for discussion of the cultural, political and social meanings assigned to the female body, approaching these morally and ethically charged issues from a comical perspective.

Daria Blum scrutinises habitual behaviours to demonstrate their relevance in inherited and acquired trauma, overturning power relationships, proposing weaknesses and vulnerability as tools for empowerment, and suffering and distress as the driving forces in (re-)generative processes.

Krasimira Butseva employs different media to tell stories exploring trauma, personal and collective histories to bring back the voices of the past, particularly in relation to Eastern European history, politics, culture and memory.

Sarah Carne’s ongoing research interests are concerned with perceptions of status and authority and in exploring how confidence impacts on our access to opportunities and spaces. She is interested in devising ways to counteract and subvert structural privilege with a particular focus on gender and age.

Mark Goldby makes work that looks at the intersections of mind and body, perceiving them as separate entities that are intent on becoming one. His objects are totems of childhood, full of dark subconscious desires and curious states of mind.

M.Lohrum’s practice is inspired by the uncertain nature of our social/political context and artistic creation. Her creative process is an oscillation between pairs of opposites such as intuition-reasoning, personal-universal experience, figurative-abstract, presence-absence, exploring the possibilities in between these concepts.

Margaret Leppard looks at how language develops, distributes and helps us understand power; at how a position as ‘other’ can both aid and frustrate an ability to be understood, and what we can learn from creating our many selves.

Andrew Rickett re-works the experiential vitality and affective qualities of material and object-hood by building coalitions of data, image, histories, scale, utility, reality and myth.