The Cello Factory
Wednesday, January 6, 2021
Wednesday, January 13, 2021
The Cello Factory, 33-34 Cornwall Road, London, SE1 8TJ
The London Group

Subject to Change presents new works by the joint winners of the prestigious President’s Prize, awarded to Paul Bonomini, Maybelle Peters and Linda Simon for their submissions to The London Group’s 2019 Open Exhibition. The London Group is the UK’s longest-running artists’ co-operative, founded in 1913 with the aim of creating an independent artist-led exhibiting body to counterbalance institutional biases.

While the three artists have diverse individual practices, for this exhibition, they each present work that responds to the unique architecture and physical structure of The Cello Factory, forming a connective dialogue not only between themselves, but with the building itself.

 Paul Bonomini’s site-specific installation, Remnants, re-purposes materials that once formed the fabric of a house, interweaving and suspending them within a tensioned elastic framework. The individual components were discovered by the artist through skip-diving, a process that is referenced and reflected by the abstracted images of skip contents that are projected onto the installation. Bonomini’s work is primarily guided by the nature of its material, often evolving organically from a single encounter, and, as in Remnants, returning to the source.

Maybelle Peters’ installation, Ground Provisions, expands the artist’s ongoing explorations of identity and the African diaspora beyond her traditional digital media of film and animation, into sculpture. Peters used a circular knitting loom for the crocheting process, allowing its form to be determined solely by the supply of yarn, and the availability of African-Caribbean food from her local greengrocers. The resulting installation weaves its way to the full height of the building, simultaneously malleable and monumental.

In Linda Simon’s work, digital and analogue processes inform and infuse one another, reflecting her interest in the relationship between women, technology and textiles. Simon’s sculptural intervention, Limbo, is rendered through sheets of overlapping mesh, creating a mesmerising moiré effect. This playful approach to perspective and perception can be further observed in a series of cyanotypes, on which are encoded the names of individual wildflowers observed by the artist in her garden during lockdown.