The first opening show Past and Present will showcase an exciting group exhibition.

 Opening 15th June, 6-9.30pm + afterparty

Exhibition continues to the 15th July.


In the painting Past and Present, No. 3  1858 by  Augustus Leopold Egg
 1816-1863set under the Adelphi arches, by the River Thames. . The
woman shelters a young child, the result of her affair. The posters
behind her advertise two plays – Victims and The Cure for Love – and ‘Pleasure excursions to Paris’. These are ironic comments on her situation. This is a social moralist series of paintings but it is
left to the viewer to decide whether the woman is to be pitied or
condemned. The Art Journal described them as ‘the lowest of all the profound deeps of human abandonment in this metropolis’
These scenes depicting the moralist story of past and present have
been used as a metaphor for the group selected for PAST AND PRESEN 2012.In a contemporary time when these scenes should be viewed as Dickensian we are left to wonder whether the  current  economic and political climate has left our society in a moral panic where the underclass can now be found to encompass a wide range of anabandoned demographic from across the class divide. Where difference is deemed on the outside and conformity the only way forward towards a clear successful future.
We have a society that celebrates the under deserved and the
untalented and purpose is in the pursuit of power.
PAST AND PRESENT 2012 explores the celebration of freedom, where judgement is not judgmental. It explores a new direction away from the everyday bombardment of the mundane. Using the dictionary definition of PAST AND PRESENT and using Egg’s 1858 interpretation artists have been invited to make work that explores our endurance fortitude and resilience for our existence.

Shona Davies and Dave Monaghan   Andy Wicks, Mark Bell,Leanne Bell Gonczarow Ian Gonczarow, Jonathan Airborne, Alexander Small, Marianne Walker, Bea Denton, Patrick Stpaul, Jessica Piddock, Owen Bowden, Maslen and Mehra, Greg Rook, Alessando Columbano and Sophie Hamer, Annabel Tilley,
Raimi Gbadamosi, Sara Bevan, Barbara Dean and Sue Cohen.

Private View: 15th June  6.00-9.00pm
Sound Art by Thomas Cohen from S.C.U.M
Performance: Barbara Dean
Fabulous Celebration Fantasy Cakes supplied by Kitsch In Sync

OCCUPY MY TIME is part of Enclave, SLAM and Last Fridays.

Andy Wicks Maria Oil on Polyester 2011
 Andy Wicks Maria Polyester on Canvas 2011 
Andy Wicks’ paintings depict objects that might initially appear otherworldly or imagined, but are in fact real structures for mooring boats that can be seen – should you look – dotted along the River Thames. Existing some place in the no-man’s land between improvisation and ordinary functionality, they appear alternately too decrepit for use, or else modern, robust and sturdy. These mooring stations are called ‘dolphins’, an appellation that seems arbitrary given their utter lack of physical resemblance to the marine creature. Also seemingly arbitrary is their ad hoc composition and materiality: they can be built out of anything from pressure-treated pine to hardwood, reinforced concrete, or steel girders and tubes. Here, form follows function – but there is also a unity to their robust armature and tide-washed weathering, rusty iron, and agglutinated patches of algae fronds. Wicks’ paintings have a striking figure-ground contrast: the backgrounds are often rendered with a muddy-watery effect created by mixing resins, thinned oil paints and other mediums, which the artist agitates into eddies of bare canvas and coagulated paint – a process that echoes the flow of the river itself.
Colin Perry, 2011 Published in Florence Trust 2011 Catalogue

Annabel Tilley
Title: Re-drawing No.1 'Henry VIII on his death-bed, Edward VI and his council and the Pope'. c. 1547 (original artist unknown)
Medium: Ink on paper, 44x36cms [framed] 2011
This drawing is from a new series where I am drawing my way through the history of English painting, based on old black and white history of art guides from fifty or sixty years ago. I have started with the Tudors and a classic painting of Henry VIII on his death-bed.
Barbara Dean The Shelter Oil on Canvas 2011 
Barbara is a North London based cross-disciplinary artist currently making work within a socially engaged practice. She has appeared nationally and internationally in events, exhibitions and platforms, working collaboratively and individually, with culturally diverse communities and audiences.
Her live work discusses the ‘body’ as site of representation and uses the body as a vehicle to explore the boundary between artist and audience. Her work often develops from themes surrounding ‘domesticity’, because it is out of an experiential notion of  ‘home’ in any given location, that communities engage with each other or become bound to one another.
In my paintings I am concerned with the 'liveness' or 'freshness' of the mark, and for that reason I probably rarely use a paint brush. I tend to use domestic objects like J-clothes, scourers, tea cups or even empty spray bottles; these require a particular 'action' in order for the mark to exist. In this 'liveness', I suppose I am trying to suggest a kind of 'presence', a 'performative' mark, if there is such a thing...
Barbara Dean will be performing  In Your Dreams at the Opening Evening on the 15th June. Barbra performed this piece at Late at the Tate in 2011. If you wish for a preveiw open:

Bea Denton Penance 2011 
Bea Denton is an artist whose interests focus largely on the notion of spirituality, religion and faith in a contemporary context. Her work incorporates aspects of her personal experience, beliefs and observations, although a participatory aspect is implicit in the work, and outcomes are reliant upon the input of those whose opinions are sought.
Denton's work is about storytelling, although truth is not the issue - these are stories simply told which express recognition of something intangible in the way of things. They are told as they were received, and a curious bond is created between the storyteller and the listener.
We live in a society whose newfound religion is self-worship and whose headline news is a celebration of public suffering and testimony. But despite this spiritual poverty it seems that we have a need for hope that is as great as our need to tell stories.
Her work is about Faith, Confession, Pilgrimage, The Soul, Lost Souls, The Afterlife, Miracles, Hope. It tells a story about hope born of the fragile human condition, and our consequent pursuit of faith, however illusive.
Penance is an Artist’s book in an edition of 50. 
(Screen print, rubber stamp, hand-rolled scrolls)
The work is a means of transformation from one self to another. It sits between our judgements on the past and our hopes for the future. In our largely secular world in which Faith seems to be focused on the self, Penance offers a self-administered daily prescription for relief from our sins and our failings. Unroll a handy hint for absolution. Freedom lies around the corner!
Marianne Walker Municipal Voids and Chasms (2) 2011
My work lies directly on the intersection between drawing and sculpture. I use drawing to test the appearance and substance of the world around me, attempting to recreate lived experience in real time and space. I’m a student of reality, and drawing represents a physical embodiment of the learning process for me. Frequently graphite is employed as a physical tool, marrying the process of representation to the idea and action of making and building.
Although the motivation for the work comes from a desire for understanding, the finished pieces remain paradoxical. No conclusions are ever offered up, only further instability and uncertainty. This tension is amplified by the treatment of the subject matter around which the works are built.  Vehicles are rendered static, technology is under threat from nature, municipal architecture represents danger. As with so much of life, things are not what they seem. This neither one thing not anotherness, its paradoxical balance, is a characteristic of all my work. Even the shadows, which are usually employed in drawings to illustrate form, engulf my work and undermine their subject.
The nature and perception of darkness has been the focus of my work for some time. I am attempting to understand how something that only exists as an absence can have such an effect on our perception of the world. Darkness does not exist in a physical sense as it is only the absence of light, and yet it destabilises our perception of reality as it obscures our view. My studies attempt to recreate shadow both visually through representation and physically by the slow, gradual build up of graphite. 

Johnathan Alibone Gone to the Woods Oil on Paper 2011 
'Augustus Leopold Egg's 'Past and Present' triptych depicts the fate of a fallen woman in Victorian society.  Whereas Egg portrays the
consequences of the oppressive morality of his time, my work offers a critique of prevailing attitudes towards female sexuality.  The piece I have submitted is a diptych called 'Gone to the Woods' (the title is a wartime expression that once referred to the act of leaving the community to join the resistance movement).  The image on the left is a found 'glamour' photograph from the 1940s or 50s, and the image on the right is a framed oil painting derived from Van Gogh's 'Girl in the Woods'.  On the trunk of the foremost tree I have added the name Johnny', referencing Marlon Brando's character from the film 'The Wild One'.  The juxtaposed mediums and content are here deployed as metaphors for freedom and constraint.  This strategy encourages associations to be made between the problematic sexual aspect of the glamour photo, and the symbolic potential of the woodland scene, and allows meaning to be extended beyond what is depicted in either.'

Alexander Small  Dance of Death (Fiscal) Series web[1]
My work occupies the space between ideas of the Dionysian and the Absurd, moving from one to the other exploring themes of futility, pointlessness, hopelessness, nuisance, de individuation, death, rebirth and the irrational.This activity becomes a strategy for affirming life in the hope of building links between individuals by examining and questioning moments of extremity and stagnation experienced in the everyday. Remnants of events that could be termed dionysian are represented, located, exposed and injected into its opposite. The dionysian becomes the  counter subversion to the inert false economies of the apollonian and it is hoped that this dialogue will reinvigorate, create new meaning and affirm life.Working with a range of media systems including drawing, installation, sculpture, sound and video these ideas are examined through a gentle kind of system mocking, where the system is form such as image, object, machine or event the dionysian manifests in some way as disorder, noise, glitch, corruption, dis function, dissipation, fragmentation, displacement disintegration or de individuation. This process on many levels could be termed as tragic giving birth to the next dialogue of meaning and through this change or end a new beginning is born.
Maslen and Mehra  Impermanent Collection (British 1720-30) 2011 

Impermanent Collection comprises a series of photographs and sculptures based on historical objects
found in museums in London, Toronto, New York and Istanbul. Multiple visits to the Victoria & Albert and
British Museums, the Metropolitan Museum, the Archaeological Museum and the Turkish and Islamic Art
Museum have resulted in the study and documentation of particular objects. 
Key to our collaborative practice is our determination to work with different media and materials,
combining them in unexpected ways. The photographs in this series expand on our previous work:
creating temporary interventions with mirrored sculptures. Having worked extensively with mirrored
silhouettes, we are now exploring the use of drawing on the mirrored surfaces before photographing
them. Impermanent Collection (La Négresse, Pourquoi! Naître esclave?) features a mirrored sculpture
based on a bust by Jean-Baptiste Carpeaux. Staging the scene in Epping Forest, we placed the mirrored
sculpture in an unusual root formation and captured the intervention with a medium format film camera.  

Jessica Piddock  2011 
During the last year I have begun to develop a decorative visual language to provide juxtaposition to the more challenging aspects of the content of my work. For me this contrast is a way to present the contradiction that exists because violent actions can be so distressing that our focus on the terrible consequences can have the effect of blinding us to the underlying problems that are contributing causes.
In 2009 I began writing to men on death row in the USA as part of a series of paintings. I remain interested in the use of the death penalty; because I think it demonstrates an unresolved tension in the human psyche. Depending on its context, violence can be the most complete rejection of our social norms, and yet also some societies also use it as the ultimate enforcer of those norms. This disjunction is for me most clearly represented at executions themselves. These events are often witnessed by two opposing parties, those there on behalf of the person being executed and those there on the behalf of the original murder victim. They may be only metres apart but the subjective experiences of the phenomenon of violence are completely different, to one justice, to another loss. This duality is explored in my work.

Shona Davies and David Monaghan Lullaby 1 and 11 Mixed Media and Found Objects Animated Film 2012 
The work explores ideas around confinement, abandonment and primal fears. Inviting viewers to enter their disquieting worlds, Davies & Monaghan  explore feelings of claustrophobia, anxiety and eventual resignation when the inevitability of the fate of the occupants becomes clear.
Two boxes contain images of submerged environments referring to maritime misfortunes. In one box the past is evident in the calamitous remains of the interior while the viewer is offered tantalising glimpses of the present through the window of the wrecked vessel.
 The second box enables the viewer to register the absence of any means of escape. This stricken vessel evokes the ghost of a myriad of submarinal disasters. A film flickers and replays a series of flashbacks and the viewer is privy to some of the context of the life of the lone inhabitant of the craft.

Mark Bell abracadabra 2012 Stainless steel  
Flexing like a creature falling writhing to the floor tricking you and me waiting in the shadows speaking of senseless things the script is you and me our home for four point five billion years a year here is not a year there we can imagine the beginning and we can imagine the end accelerating at different speeds slithering on the ground and curved into space laughing at you and laughing at me we’re the delicate wanderers we’re drinking horizon’s fluid line
Owen Bowden Phone Sound  Installation. 2011 
An interactive audio installation. The piece consists of a vintage rotary telephone connected to custom electronics and software. The telephone will ring when a viewer is in close proximity to the work. If the viewer (now listener) picks the phone up they will be presented with an audio piece based on the theme Past and Present.

Greg Rook Ploughmail 2011 
I've been looking at survivalism in its modern context, in terms of families choosing to disengage and act 'as if', culture-crafting and story telling – anticipating collapse and constructing their lives ‘off grid’ according to this narrative. There is a link between this survivalist culture-crafting and Levi-Strauss’s idea of 'bricolage', and a parallel with the position of a contemporary painter working in a baroque pluralism.
In fear of the future, and of our inadequacy, we tend to look back at the past in the search for answers or advice, or role models. In this instance, the American dream of the early settlers is seducing: discovering new territories, a wild nature, men executing precise tasks with essential meanings, based on a system of strong moral and religious beliefs. Yet, the cynicism of a European, seems to crack at the surface.
In my practice I’m looking for ways of presenting an idealised fiction, and then disrupting this in order to remind the viewer of the artifice of the constructs. The painting’s come across in equal measures as both idealistic and realistic. Their stupid honesty is always undercut by an awareness of their making. Just when the viewer starts to believe in an image, and its earnest symbolism, the processes bring us back to the ‘here’ and ‘now’ of the room in which we stand and the physicality of paint on canvas.

Sarah Bevan Soul House 2010 
Originally made for  The Petrie Museum of Egyptian Archaeology, London,
Soul House is a term coined by the museum's original curator, William Flinders Petrie, to describe the miniature “houses” that the Ancient Egyptians would build in order to provide a place for the soul of a deceased loved one to spend to afterlife.
Bevan found a parallel between these Soul Houses and the museum's cabinets, which contain thousands of years of history, dating from pre-dynastic Egypt to modern Islamic times. The collages feature Bevan's interpretation of the museum furniture as “homes for souls” in the form of stylised illustrations of objects clearly derived from the cabinets, but with the homely additions of roofs and windows.
Bevan brings to life the Petrie's eerie, authentic atmosphere, which is enhanced by the antique looking cabinets and haphazard layout.

Patrick Stpaul Once Upon a Time  2011
Once Upon a Time, a fairytale.
In fairytales little girls usually turn out to be old ladies and rabbits run amok and tend to come to a nasty end.
The girl is my great great grandmother and the rabbit is a self portrait.
Leanne Bell Gonczarow Time Trickles Here 2011 
Leanne Bell Gonczarow's practice considers narrative construction and suggestion in relation to time-based phenomena. A driving force of the practice is an exploration of light, particularly our relationship with the sun and our emotional responses to how its light passes over the earth. Light is subject and material in works which utilise digital photography, video, projection, installation, online platforms and the book form. During an MA Book Arts (Visual Arts) at Camberwell in 2007 an interest was developed in the book as a construct or site in which time can be highlighted and controlled through an engagement with the book’s inherent qualities ie. page, order, sequence and through these, contained duration. Post MA the book form has become less of a focus in the practice, but the installations she constructs use these qualities as a kind of architecture to articulate time and space. Current work is focused on the creation of zones of contemplation in which the sculptural and photographic conspire to create suggestions of spaces at once real and fictive.

Janus I, Janus II
 Janus, respected as the god of beginnings and transitions, thence also of gates, doors, doorways, endings and time. He is usually a two-faced god.The piece explores this duality – focusing on transitions through time, physical thresholds, space and light. A threshold is a curious architectural transitory notion; one which can provide tension and anticipation; it can mark a change in atmosphere or spatial quality as you move through one space to the next.An architrave is a curious architectural device; one to delineate a threshold but never to define one.  It functions as a mask for material junctions, but with a delicate form. Its style relates to the architectural language of a room.These elements are now manufactured, not crafted. Increasingly, this delicacy is being lost in our everyday construction of places.

Ian Gonczarow Visitors Welcome 2012. 
My continued research into drawing and painting explores methods to reduce selected elements of visual language beyond their primary function. The focus at this time is to engage with open-ended narrative structures, through the juxtaposition of disparate imagery and painterly techniques. Potential narrative is opened up, whilst simultaneously closed down or limited by inclusion of graphic language and text. The accumulated languages belonging to both texts and particular types of imagery (Gestural mark or sampled graphic) are used to negate each other, in an attempt to offer a transcendence from their particular associated or accumulated histories. I aim for a new space to explore my personal dialogue on current social, economic, art world and political situations.



23rd July-31st August 2012


Ian Gonczarow and Leanne Bell Gonczarow

 During the end of July and through to the end of August Ian Gonczarow and Leanne Bell Gonczarow will be taking up residency in the gallery. Ian and Leanne have been living and working in Moscow for the last three years and this residency brings them together for their first joint event since their return back to the UK.

Ian explores methods in drawing and painting which research visual language to its prime function. He engages with open ended narratives through juxtapositions of disparate imagery and painterly techniques. Potential narrative is opened up, whilst simultaneously closed down or limited by inclusion of graphic language and text. The accumulated languages belonging to both texts and particular types of imagery (Abstract or sampled) are used to negate each other, in an attempt to offer a transcendence from their associated or accumulated histories. Ian’s aim is for a new space for dialogue on current social, economic, art world and political situations that brings in less tight lipped reference points.


Ian graduated from Goldsmiths in MFA Practice in 2009, and he gained hi BA HONS in Fine Art from University of Northumbria  Newcastle in 1996.


Leanne Bell Gonczarow's practice considers narrative construction and suggestion in relation to time-based phenomena. A driving force of the practice is an exploration of light, particularly our relationship with the sun and our emotional responses to how its light passes over the earth. Light is subject and material in works which utilise digital photography, video, projection, installation, online platforms and the book form. During an MA Book Arts (Visual Arts) at Camberwell in 2007 an interest was developed in the book as a construct or site in which time can be highlighted and controlled through an engagement with the book’s inherent qualities ie. page, order, sequence and through these, contained duration. Post MA the book form has become less of a focus in the practice, but the installations she constructs use these qualities as a kind of architecture to articulate time and space. Current work is focused on the creation of zones of contemplation in which the sculptural and photographic conspire to create suggestions of spaces at once real and fictive.

Leanne gained a distinction from Camberwell College of Art in MA Book Arts in 2007

During their residency they will be exploring their own practice and the interaction between the gallery space with reference to the local political and economic environment and its affiliation with their experiences while living in Moscow.

Open Studios from 12-4.00pm 4th & 17th August during Deptford X.

Private View 6.00-9.00pm 24th August.

Exhibition continues until 31st.August

Last Fridays 31st August 6.00-8.30pm


OCCUPY MY TIME GALLERY is part of Last Fridays, SLAM, South London Art Tours.



Impermanent Collection

1st-29th Sept 2012


MASLEN & MEHRA www.voidgallery.com/omt.htm



Impermanent Collection comprises a series of photo-sculptures and documented temporary installations based on historical and contemporary objects found in museums across the globe. Multiple visits to the Victoria & Albert and British Museums, London; the Metropolitan Museum, New York; the Archaeological Museum, the Turkish and Islamic Art Museum, Istanbul; and the Asian Museum of Civilization in Singapore have resulted in the study and documentation of particular objects. Historical, cultural, political, technological, environmental and scientific references, alongside themes of natural history, all inform this work. References which allude to a conflicted existence on earth faced by cultures today: on one hand an appreciation for the natural world and on the other an unsustainable rate of consumption. These transformed museum objects offer some disturbing thoughts about the legacy of current generations. They suggest a connection between civilizations ‘progress’ and the unsustainable structures we impose to gain it. At the same time the Impermanent Collection series imbues optimism: Imagery which celebrates diverse cultures and creativity with the hope current and future generations will learn from the past.


Works by MASLEN & MEHRA are included in collections such as Tattinger Switzerland, Art Es Collecion Madrid, numerous international private collections and more recently the Altered Landscape Collection, Nevada Museum of Art which includes artists such as Bernd and Hilla Becher, Lewis Baltz, Edward Burtynsky, Amy Stein, David Maisel, and Fandra Chang. Solo exhibitions have been staged in New York, London, Paris, Rome, Barcelona, Dubai, Istanbul, Sydney and Berlin. A monograph titled MIRRORED is dedicated to two major series of work, the Mirrored and Native series and was published by Verlag für moderne Kunst Nürnberg with support from the Arts Council Of England with texts by art historian Edward Lucie-Smith and Eugen Blume, curator at the Hamburger Bahnoff Museum Berlin. In 2011 there was a solo presentation of work from these two series for the Scotiabank CONTACT International Photo Festival, Toronto and in addition a commissioned public installation of lightboxes was commissioned for Halifax Ferry Terminal. A solo exhibition for Art Month Sydney took place at Conny Dietzschold Gallery in March 2012.



                                                                             Greg Rook


6th October- 10th November 2012    


Link to further information on Greg Rook www.gregrook.co.uk

"Is that what life's worth nowadays. Fifty gallons of petrol? God help us all" - Greg

‘Survivors’, Series 1, Episode 12 (1975)

In 1975, when Britain was seemingly grinding to a halt, with political upheaval and economic gloom threatening financial and social collapse, the BBC broadcast the incredibly successful series ‘Survivors’ (1975 -77). Based on the premise that a global pandemic could leave only a few thousand survivors in the UK, it explored the practical and political implications for a group of individuals attempting to survive and ultimately rebuild society. The concepts of self-sufficiency and commune living were extremely current both in the UK and in the US, where there are still survivalist groups and families who choose to disengage with contemporary aspiration and act ‘as if’, culture-crafting and story telling – anticipating an imminent collapse of society and constructing their lives according to this premonition.

New paintings by the artist Greg Rook explore the historical stasis brought on by the post-apocalyptic scenario depicted in the TV series 'Survivors', and the chasm left by potential futures once imagined. In his work, the English landscapes depicted are corrupted by the post-apocalyptic imagery rooted in us by twentieth century history, and the literature, television and cinema influenced by this two-way slipstream of history and fiction. His practice explores the politics of apocalypse: the right focuses on the battle and the final show down that will, in the final triumph of the conservative impulse, return the earth to the state it occupied at the beginning; the left focuses on a New Age, where there will be no final battle, only a glorious transition to a future of sheer bliss. In this system there is no evil, only the perception of evil and therefore perception is all that there is to change. The right wing imagines perfection only in the past, the left in what’s to come.

Much like the idealistic satire of self-sufficiency and sustainability presented in ‘The Good life’ (1975), broadcast in Britain at the same time as ‘Survivors’, Rook's work invites us to question our own position in relation to the fragmented realities of his paintings. Borrowing from historical aspects of landscape painting and shared fears of post-apocalyptic narratives, Rook, not only reminds us of the lives we dreamed of in the 60’s and 70’s, but also the undetermined future unfolding in the pastoral lands of his works.

“You realize that our mistrust of the future makes it hard to give up the past.”

― Chuck Palahniuk, Survivor 

Greg Rook was born in London in 1971. He studied at Chelsea School of Art 1997-2000 and Goldsmiths College, University of London 2000-2002. He is currently programme leader of Fine Art BA for the University of Kent. Rook has exhibited widely in Europe, America and Asia in both solo and group exhibitions. In 2009 he completed a two year commission for a solo project with The David Roberts Art Foundation. Recent exhibitions have included solo shows in London and Tokyo. 

An Archive of Questionable Value

16th November -8th December 2012

Air is thick with persuasive rottenness. Stirring dust spirals from hands keenly advancing through packaging stuffed boxes. Labels read:
Tin Can Research, Roman Chariot Papier-mâché, Plastic Cartons 1971-(Domestic), Skulls etc New Cross Courthouse, Dumpy Bottles and
Swan Red Ink. Cracking tape cuts through bristled silence whilst fingers close around an object tepid and coarse. Fingertips are marked

An Archive of Questionable Value takes a collection of mining ephemera left gathering dust and relocates it into the pristine space of the
white cube. Planned as an exhibition, but never realised, it remained recorded, wrapped and packaged in an archive under the New Cross

In our relocation and repositioning of this exhibition we encourage critical engagement with how notions of value are constructed and
maintained. What value is sentimental and what is rarefied? How does the privileging of certain cultural spaces affect the value we ascribe
to objects? Does the value of objects change by relocating them?

After An Archive of Questionable Value closes, the exhibition will return to its wrapped and packaged state once more.

Please check website for gallery talks and other events taking place during the exhibition.

An Archive of Questionable Value is conceived and curated by MAAP47, a

group of Goldsmiths University Art and Politics students. 




Festive Frolic: Arts for life not just for Christmas


Exhibition from Dates: 11th -22nd December 2012.


 Festive: Celebratory, cheerful, merry, jolly.

Frolic: Play, skip, leap, cavort, kick up your heels.

 OCCUPY MY TIME GALLERY presents Festive Frolic: Arts for life not just for Christmas a celebration of all things jolly. This open aims to present work which celebrates the jovial time of Christmas. The gallery will open its doors to sell work that is aimed at the Christmas art market, for those who want something more original and different.






FROM 10.00AM-5.00PM

 Mulled wine, hot chocolate, coffee, teas, home made minced pies, Christmas cakes and biscuits will be available from Kitsch in Sync Café from 10.00am-5.00pm. 


February 22nd- 23rd March 2013

Private View February 22nd 6.00pm-9.00pm

SLAM Evening 22nd February.






 OCCUPY MY TIME GALLERY  presents Cold Climate a group show that explores the many interpretations of the phrase. Love in a Cold Climate the 1949 novel written by Nancy Mitford explores the mystery of sexual attraction. Environmental issues in contemporary society often discuss some of the worlds most awe inspiring and desolate environments and how these are changing through Global Warming and effecting the worlds climate. The cold war political climate was conceived by the situation between Russia and the United States: Communism verses capitalism. This can also translated as Good verses Evil.OCCUPY MY TIME GALLERY has selected 15 Artists who produce work in a range of different medias that investigates this diverse theme, which covers the emotional, environmental and political  issues in all our lives.


 Ben Walker / Lorraine Robbins / Tania Diniz / Ashley Fitzgerald / Lili Phelouzat /John Adams / Catherine Jacobs /Joss Cole / Angela Summerfield / Christopher Bond / Karin Janssen / Simon Farid / Axel Bottenberg / Eliza Bennett/ Jochen Klein


Prize Award.

One artist will be chosen from the exhibition and will be awarded their own solo show at OCCUPY MY TIME GALLERY in November 2013. Selection will be made by the guest selectors, curator and a public vote. 

The artist awarded the forthcoming show will be announced on March 30th.

                                                                    OCCUPY MY TIME GALLERY


All Your Dogs Are Dead.

Shona Davies and Dave Monaghan.


Exhibition Dates:  March 29th – 2nd May

Private View: March 29th 6.00pm-9.00pm

Slam Dates: 29th March & 26th April.

Shona Davies and Dave Monaghan represented OCCUPY MY TIME GALLERY at the London Art Fair in January 2013 we are delighted to present their solo show All Your Dogs Are Dead’ in the gallery this April 2013.

Davies & Monaghan are interested in exploiting the sense of unease generated through distorted perspective and aim to create a sense of disquiet by positioning the viewer as an illicit voyeur, peering at scenes through various manipulated viewpoints and warped perspectives. They create miniature worlds into which are woven some form of narrative, working with animation and 3-D installations.

 They are particularly interested in exploring conflicting themes of integrity and betrayal, power and powerlessness, memory and loss, and notions of truth and morality. 

Shona Davies is  currently based in London, England. Since graduating with First Class Honours from Sir John Cass College of Art, she has been collaborating with Dave Monaghan and has also worked with Keiko Yamazaki and Jon Klein.

Education 2002-2007: BA Honours in Fine Art: First Class Honours

London Metropolitan University Sir John Cass College of Art and Design

Dave Monaghan was born in Liverpool and is also currently based in London , England. Since graduating from Canterbury School of Art and Design in 1981  he has collectively worked with Jon Page and  Jon Klein and has been working with Shona Davies since 2007.

Education: 1978-81 Canterbury College of Art BA Fine Art. 1977-78 Liverpool College of Art Foundation Studies.

Collaborative Exhibitions include:

 Playing with Shadows: Chapel Gallery, Ormskirk January-March 2013 in collaboration with Jon Klein

Macabre Art, Dark Clouds, Worcester Museum and Art Gallery, December 2012  in collaboration with Jon Klein

The London Open Whitechapel gallery, 4 July - 14 September 2012, in collaboration with Dave Monaghan and Jon Klein


Past + Present ,16 June-15 July 2012, Occupy my Time, Enclave 9, Resolution Way, Deptford, London SE8


Awards:Best Installation Award  Persona Art Festival 2011

Visitor’s choice at BHVU Winter Open 2011

Peoples’ Choice at Drink & Dial Show 2010 

Owen Rowley Art Prize: Joint First prize winner: Summer 2007 and Sir John Cass Purchase Prize 2007


OCCUPY MY TIME GALLERY has worked on previous curatorial projects with Shona Davies and Dave Monaghan including Cupboard Love, Greenwich Foot Tunnel 2009, and Police And Thieves The Old Police Station New Cross 2010. Although OCCUPY MY TIME GALLERY does not represent artists we consider it important to establish strong working relationships and aims to present an number of developing ideas and shows with selected artists throughout its programming over the coming period.



                              Sarah Lightman: The Book of Sarah

A Life in Drawings and Animation Films

9th May-1st June 2013

PV 9th May 6.00pm-9.00pm


 My own personal archeology is a balance between creation and revelation.

Sarah Lightman


[In] the compelling still life’s of Lightman, her intensely penciled teacups and benches illustrate themes of longing and disappointment.


"Women Strength", Kerry Politzer

Oregon Jewish Life Magazine, December 2012


Occupy My Time is delighted to present Sarah Lightman’s on-going autobiographical project, The Book of Sarah.


Sarah Lightman is an award-winning- artist, curator and researcher who explores visual memoir. The Book of Sarah is a text/image project that traces the artist’s life through drawings and animation films.  Begun in 1995 when the artist was an undergraduate at The Slade School of Art, The Book of Sarah also references the Biblical silence of her namesake, the Matriarch Sarah, and her unpreserved voice. The Book of Sarah transforms Jewish history into contemporary visual herstory. The exquisite, meticulous and often fragmentary pencil drawings that form the majority of The Book of Sarah transform unhappy experiences into something beautiful. Lightman’s remarkable skill is to distill time and experience into art that, though based on her own personal experience, can also have universal appeal and resonance.


Lightman has been working with filmmaker Conor O’Grady on a series of animation films based on her diary drawings. These will be shown for the first time in a London gallery. Films include Families (2012) about sibling put-me-downs and hand-me-downs, Family Table (2012) about the differing constellation of chairs and people around her parent’s dining table and The Reluctant Bride (2012) that reflects the mixed emotions of the persistent cycle of life - planning her wedding, whilst knowing her desperately ill Grandfather will not live to see her under her chuppah [Jewish wedding canopy]. Sarah’s most recent artwork is Shanah Rishonah [The First Year of Marriage] (2013) and her thoughts on starting a family.




This work was carried out with the support of a grant from the European Association for Jewish Culture.




About the Artist


Sarah Lightman is an internationally exhibiting artist who studied at The Slade School of Art for her BA and MFA where she was awarded numerous scholarships and awards including The Slade Prize, The Slade Life Drawing Prize and The William Coldstream Award for Excellence, as well as an AHRC Award. Lightman currently researches a PhD in “Autobiographical Comics” at the University of Glasgow, and has been the recipient of multiple Research Awards. She has lectured worldwide on her research and has contributed to numerous books and journals. Recent essays have include “Metamorphosing Difficulties: The Graphic Novels of Sarah Leavitt, Nicola Streeten and Maureen Burdock” in Expressions of the Unspeakable: Trauma and Narrative, (Berghahn Books 2013), “Life Drawing: The Visual Autobiography of Jewish Women Artists,” The Routledge Handbook to Contemporary Jewish Cultures (Routledge, 2013), and  “Cartoon Tears in Diane Noomin’s Baby Talk: A Tale of 3  4 Miscarriages,” Trauma, Narratives and Herstory (Palgrave Macmillan 2013).  


Lightman has curated many exhibitions in museums and galleries around the world, most recently co-curating “Graphic Details: Confessional Comics by Jewish Women”, a critically acclaimed touring exhibition. Sarah is editor of Graphic Details: The Book (McFarland 2014) Lightman’s artwork, writings and curatorial projects have been featured in The Independent, The Washington Post, The National Post, The Toronto Star, The Chicago Jewish News, Haaretz, Oregon Jewish Life, The Jewish Week, J Weekly, The Forward, The Cincinnati Review, The Jerwood Visual Arts Blog and many more. Lightman is co-director with Nicola Streeten of Laydeez do Comics, the UK's first monthly comics forum focusing on domestic drama and the everyday.



In Conversation: 30 May 2013 6-7.30pm

Sarah Lightman, Dr Rachel Garfield, and Dr. Nadia Valman


Rachel Garfield is an artist who works with expanded documentary to explore the formation of identity and teaches at the University of Reading. She has exhibited in the UK, US, India, Italy and Canary Islands. Garfield also writes about the formation of identity in texts such as, “A Particular Incoherence: Some Films of Vivienne Dick”, Between Truth and Fiction, The Films of Vivienne DickTreasa O’Brian (ed.), (Crawford Art Centre/Lux publications 2009), “Questioning Perceptions of Jewish Identity in the work of Ary Stillman” (Merrell 2008).

Nadia Valman is Senior Lecturer in English at Queen Mary, University of London. Her research interests include literature, gender and religion with particular interest in Anglo-Jewry and published The Jewess in Nineteenth-Century British Literary Culture (Cambridge University Press 2007). She has also edited a number of publications on Jews and Jewish representation in British and European culture, including, most recently, Nineteenth-Century Jewish Literature: A Reader (Stanford University Press, 2013). With Larry Roth, she is the editor of the forthcoming Routledge Handbook to Contemporary Jewish Cultures.


Curated by Enzo Marra

                                                                                                                              6th June-6th July 2013                                                                                                               

                                                                                     Together is a group show of

12 artists who are all not straight. Their works are not confined or
stereotypically inspired by their differing sexualities, even when the
themes that led to them are socially and politically based upon
pertinent deep felt truths. Curated by exhibiting artist Enzo Marra,
the show is Arts Council funded and runs between the 6th June and 6th
July 2013.

Enzo Marra's painterly and tonally executed work is characterized by
elements of history, mythology, surrealism and metamorphosis, the
subject matter derived from his fascination with the art world and how
it is seen and experienced by observers and the artist's themselves.
He has exhibited in the Threadneedle Prize in both 2010 and 2012,
Gfest in 2010, Charlie Smith Anthology in 2011 and the Open West at
Gloucester Cathedral and the John Moores Painting Prize in 2012. Enzo
is represented by WW Gallery.

The artists included in the exhibition are Christina Berry, Paul
Coombs, Ian Hodgson, Jon Howe, David Lock, Enzo Marra, PatrickO'Donnell, Erin Prior, Jay Rechsteiner, Chris Shoulder, Boa Swindler and Chiara Williams.




9TH JULY- 29TH August 2013

30th August -­‐ 28th September

The Doldrums is the first gallery solo exhibition by Andy Wicks, the culmination of an intense residency within the gallery space over the summer.

For this show Wicks has produced a new body of site responsive work that investigates Deptford and its historic links to the river. Moving away from a studio-based practice, his time in residence offered a unique opportunity to unite a site of interest with a place of making and display.

Wicks describes himself as an “urban walker”; learning about a place by walking, repetition and absorbing the sites, smells and characters that inhabit it. He has taken on the role of the collector; a collector of knowledge, detritus, stories and data. Conceived through a period of heavy research and extensive readings, The Doldrums explores the remnants of the industrial past and its effect on the area today through sculpture, photography and performative expedition.

Jetty is a large-scale installation spanning the 7metre length of the gallery, and offers the viewer a path through the space while at the same time elevating them above it. Built from fast-grown pine, usually associated with the construction trade, each piece has been meticulously hand sanded, transforming the rough grain into something akin to bespoke interior design.

Forged Histories presents us with heavily desaturated photographs of hand forged shipping nails found on the Thames foreshore. The worn and rusted nails viewed in this format begin to take on an anthropological reading. Wood Wharf site housed shipbuilders, barge repairs and sail-makers for over 200 years, while Deptford Docks dates back to 1513; the nails are one of the few remaining memories of the labourers’ livelihoods amongst a newly regenerated riverfront.

Re-rooted draws parallels between Wicks’ own upbringing in suburban London with that of the Pett family, a 16th Century Deptford based shipbuilding dynasty.

The Pett’s rich lineage as master shipbuilders began in Deptford. They leased land in what is now known as Petts Wood (neighbouring Wicks’ hometown) from where they sourced the oak to build ships.

To re-examine this legacy Wicks walked an oak tree sapling 12 miles along the River Quaggy from Petts Wood to the site of their former shipbuilding yard in Deptford retracing the journey of the timber. Replanting the sapling could be seen as a quixotic attempt at reintroducing Deptford’s lost link to the working river.

Andy Wicks was born in Kent in 1983 and now lives and works in London having gained BA Fine Art at Middlesex in 2006. He has exhibited widely in London, co-curated Superunknown at Edel Assanti  in 2010 and completed a year long residency at The Florence Trust in 2011.

Read Andy Wicks interviews taken during his residency at www.omtgallery.tumblr.com

INNER CITY PILGRIM – Marianne Walker

3rd October-2nd November 

Occupy My Time is delighted to present Marianne Walker in her first solo show at the Gallery, exhibiting drawings and films completed over the course of her residency at the Florence Trust during 2012 – 2013.

Walker’s practice evidences a series of experiments with the sculptural and cinematic properties of drawing. Her enigmatic and beguiling drawings are heavily built – the physical properties of the graphite demonstrating the weight of the time taken to make the work. Chiaroscuro and sfumato are employed to heighten the emotional drama of each piece while at the same time demonstrating how immaterial shadow can visually undermine physical forms.  The end drawings are carefully edited into sequences, described as pencil on paper on DVD, and are given soundtracks that influence the emotional and spatial interpretation of the work.

Described as compelling and mysterious Walker’s films are explorations of how the landscape, urban and natural, is mythologised – how the meanings projected onto sites are informed by scale, form, experience, temporality and music. Each piece, whether projected on a large filmic scale or more intimate drawing on paper, is very quiet – regardless of any soundtrack. No conclusions are ever offered up and the work skilfully negotiates the tension between the filmic language of the slow reveal and the viewers own personal narrative.


Raised in Kowloon, Hong Kong and Bridlington, East Yorkshire, Marianne Walker graduated from Wimbledon School of Art in 2002 with an MA in Sculpture. Her graduation piece ‘Evident’ earned her the Observer New British Artist Award and she has since exhibited nationally and internationally in Berlin, New York, California and Montana. Her work is held in private collections in Canada and the U.K.

Part of Art Licks Weekend

Private View 3rd Oct 6.00-9.00pm

Open Thursday-Sunday 10.00am-6.00pm over Art Licks Weekend 4th-6th October


Film Afternoon Saturday 5th October 2.00-4.00pm Artists Film Viewing and Talks+ Refreshments .

 Joss Cole


Poesy Painting. 


n. pl. po·e·sies

1. Poetical works; poetry.

2. The art or practice of composing poems

3.The inspiration involved in composing poetry



Private View 8th November 6.00-9.00pm

Exhibition Continues until 7th December 

SLAM 29th Novemeber gallery open from 10.00am-9.00pm    

This exhibition, 'Poesy Painting', is based on a conceptual link between literature (poetry), visual art and life. I have been looking to make paintings that are connected to poetry which do not follow the often cringe worthy pairing of the adjective, 'poetic', and painting. The works focus on areas such as visual and verbal puns, semantic content, rhythm and the real life ways both physical and visual that poetry can be considered a key discourse in painting.


My paintings are a visual representation of the poetry of epiphany, moments of creative inspiration and a merging of the poetic and artist myth making. In the work there is a visual/poetry element, linking the painting of a scene with the margins of the image where visual debate comes to life. I place quotes and sketches that help to guide the viewers own understanding of text, debate, historical moment and image.


I try to keep in my paintings frayed sections and perforated elements that go against the visual rules of the image. This is to reflect in paint and words the invisible concepts placed upon a place or a moment where creation has occurred.


Joss Cole graduated from Wimbledon College of art and was recipient of the Chadwell Award 2011-12, he works at Acme studios, deptford,







Private View  Tuesday 7th January 6.00pm-9.00pm

Exhibition continues until 15th February

SLAM Evening 31st January 6.00-9.00pm 



 Inline images 1

The suburbs have always fascinated D J Roberts. More varied and surprising than you think, they are a breeding ground for fantasy and anticipation, for dreams fulfilled and dreams yet to be explored. And their mix of the aspirational, the enigmatic and the downright odd encourages a response more than usually conditioned by our state of mind, by what we have seen and experienced elsewhere.


D J Roberts is a graduate of Central Saint Martins College of Art and Design, London. Solo exhibitions include Half built edges, Point Blank andWhat Is It About The Place,  Lounge Gallery. Group exhibitions include New York Art Book Fair, MoMA PSI; The Things of Life, Flowers Kingsland Road; Crash, Charlie Dutton Gallery; Temples 2 the Domestic, Clifford Chance;  Moral Plinth, Beaconsfield; Contemporary British Painting Pt 1, Hastings Museum  and Art Gallery;  Mostyn 15 and 13, Oriel Mostyn Gallery and the Jerwood Drawing Prize, Jerwood Space and tour. Over the next four months his neon installation I'm in love with the modern world will form part of the London Borough of Waltham Forest's public art initiative for the development of Walthamstow Town Centre.

D J Roberts would like to thank James Brooks, Sebastian Sharples and Nick Malyon for their assistance in the preparation of the show.



Aileen Kelly / Antoinette Batey / Ray Brown / Victoria Rance / Heejoon Lee


28th February -29th March  2014


Private View 28th February 6.00pm-900pm

SLAM 28th March 6.00-9.00pm


Tipping point (climatology), in which the system is the global climate

Tipping point (physics), in which the system is the position of a physical object

Tipping point (sociology), is the event of a previously rare phenomenon becoming rapidly and dramatically more common

Planetary boundaries, in which living within the boundaries' stable state retains planetary habitability on Earth / In catastrophe theory, the value of the parameter in which the set of equilibria abruptly change / Angle of repose, the maximum angle of a stable slope of granular materials /In economics, the point at which a dominant technology or player defines the standard for an industry-resulting in "winner-take-all" economies of scale and scope


April 3rd - 3rd May 
Private View 3rd April 6.00-9.00pm
Slam 25th April 

Lizzie Borden took an axe.
Gave her mother forty whacks.
When she saw what she had done.
She gave her father forty-one.

The rhyme gives the impression that Lizzie was a little girl; she was in her thirties. It was her stepmother not her mother. Her father killed her pet pigeons shortly before the murders. Lizzie Borden claimed she suffered from ‘brown-outs’ in which she had no memory of what she had done. These  episodes occurred at a particular time of the month. Lizzie was found not guilty possibly because the jury could not believe that such a respectable young woman could commit such a horrendous act; possibly because they could not discuss the presence of menstrual blood.


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