PV FRIDAY 13TH MAY 6-8PM
OPEN SATURDAY 14TH MAY 2-8PM
THE RUM FACTORY E1W 2BD
Banal, domestic, crumby, cakey, creamy, patterned, comforting, British, wet, unpopular, round, textured, substantial, dusty, tooth-coating, likeable, physical, good, cheap, dense, polite and often left on the hospitable plate un-eaten. Biscuits are like a symbol on the one hand and on the other hand, a fleshy thing that crumbles.
The idea of Biscuit means something slightly different to each artist and yet, like a variety pack of McVities, there is a mutual base to each of our associations, with the common BISCUIT.
Rhys Thomas’ practice centres around narrative painting. These narratives are not always coherent, but flicker somewhere between the accumulation of lived experience and the absurd. The narratives that surround his encounters become steeped in a kind of cadmium sludge. Honest rogues, and ashy beards, occupy the darkest corners of his paintings. They are the characters you glimpse on the night bus or brush up against in a bar, flashing and shivering within burdened histories.
Lucia Quevedo aims to grasp familiarity and find what connects one stranger to another and how objects and imagery can converse just as much as text. Her obsessions have always been cartoons, adverts, billboards and all kinds of signs. Signs that lead you somewhere, that give you hints or instruct you to something.
Aimee Sawicki’s practice explores the strange nature of objects, and how the application of various materials to form a sort of aggregate, can either animate a form or render it static. Undermining the qualities of more robust or appreciated materials along with glorifying those considered more of ephemera, she tries to play with the speed in which one visually absorbs and acknowledges an object that is in competition with others around it. Often framing made and found objects against flat and abstract space, she intends for the scale to become indeterminable, and oddly misinterpreted by the viewer. This conveys Aimee Sawicki’s critical standpoint regarding seeing and looking at objects in physical space.
Matilda Moors’ work investigates the organisation and structure of the world via cartoon imagery. She presents re-stagings of the complicated and varied visual languages and levels of artifice that make up lived experience, bringing them into focus in a fragmented yet almost diagrammatic way. The bright, pop-ish images she produces sit somewhere between looking hand drawn and fabricated. They often concern touching, gesturing or potential action and celebrate irreverence, fun, novelty, the delusional, the intuitive and the silly. Underpinning all of her work is an interest in the connection between artifice, belief and the human need for symbolic identification.
For Jennifer Campbell, the act of painting is a momentary anchor for an ever-shifting sense of self. Her process is a perpetual reinvention, of the imagery that she has always consumed, from food products to celebrities in magazines. As a group, her paintings map a performing character, flitting from one embodiment to another, never settling, relishing the performance but forever in danger of dispersing and disintegrating. She denies herself the stability of a standard format, such as oil on canvas, instead choosing to work on a variety of surfaces. She exposes the physicality of the painting: its texture and its relationship to space and gravity.
The show takes place as part of an open call to artists to utilise the artist's Project Space in the Rum Factory Studios during the open.