Alex Farrar: Faltering, light under two screw holes…

SE8 Gallery is proud to present the work of Amsterdam-based artist Alex Farrar, in his first solo exhibition in London. The exhibition will be titled after its installation is the result of summer-long residency at SE8 during which the artist produced a group of Sweat Paintings, ‘Umble Prints and Behavioural Residues.

Made by lead casting enlarged drawings of pared fingernails, Behavioural Residues are a series of sculptures that form a visual oxymoron. Their weight and scale counters the doubt and uncertainty associated with the action of biting nails. For the exhibition at SE8, a number of these have been returned to the Rijksakademie where they were first produced in 2015, their toxic surface covered in a metallic paint finish in bright, garish colours commonly used in nail polish.

The Sweat Paintings, begun in 2017, are made with a silicone-based mixture dripped, poured and brushed into organic forms that improvise on the ways in which sweat appears on clothing. By fixing this momentary spillage Farrar captures an expression of discomfort that reveals a tension between our public and private lives, as a form of alienation that produces an abject response.

Much of the content of the new works can be found in an embryonic state in the ’Umble Prints, where a scattershot collection of heads, contorted faces, fingernails, crab shells, and snakeskins amass on a backdrop of open textbooks. Printed in bright, bold colours with a risograph duplicator, their individual titles, ‘Jumble’, ‘Fumble’, ‘Stumble’ etc. belie the fragility of their making and the thread of vulnerability, and precarity that runs throughout the presentation.

Farrar’s exhibition is accompanied by a new publication entitled ‘Wimper’ by Mulberry Tree Press with texts by novelist and artist David Price, and by the curators Nicola Oxley and Nicolas de Oliveira. The book will be launched at the finissage on Saturday the 26th October from 3-6pm.

Farrar is concurrently showing at Bloc Projects, Sheffield and is represented by Dürst, Britt and Mayhew, Amsterdam.

The exhibition is supported by the Embassy of the Netherlands.







SE8 Gallery is pleased to present the exhibition Double/Double by Portuguese artist Nuno Sousa Vieira. For his first solo exhibition in London the artist displays a number of distinct new works made specifically for the space, alongside existing works. Sousa Vieira is an important exponent of site-related art, as the main body of his work is the result of his long-term use of a vast former plastics factory in Leiria, Portugal. The factory operates as the artist’s studio, while opening out the discourse on the demise of manufacture, and providing a commentary on the problematic of mobility from studio, to site, and gallery.

The exhibition Double/Double refers to the long shadow cast by the factory on the exhibition space at SE8, and to the process of duplication that underpins the artist’s oeuvre. Here, all things manifest a relation to others, and their presence restates, repeats or reconfigures an apriori or an elsewhere. In All Colours will agree in the Dark, a series of torn up and recombined paintings the gap between the individual halves remains minimal but important. Similarly, the sculpture Double/Double features two pairs of identical structures, one made from solid wood, the other from particleboard. One set is displayed in the gallery space, while the other is shown in the external yard open to the elements. By the end of the exhibition their different material qualities and weather exposure will result in substantially altered works.

ShutterMyDarkBrownEyes, a macquette encased in a Perspex box, photographically replicates the interior aspect of the gallery. The frontal view presents a series of slim openings in the form of a door standing ajar, and a series of partially open shutters through which the interior of the space can be glimpsed, while lateral views into the box reveal a reconstructed space in which the spectator is faced with an impossible view: to be inside the space looking out, whilst simultaneously looking in.  As in all of Sousa Vieira’s work what is presented as a self-evident truth is eventually revealed as a paradox that questions our spatial and temporal perception.

Double/Double also coincides with the launch of a new publication on the artist’s work by Nicolas de Oliveira and Nicola Oxley on Friday the 25th of May.

The exhibition is supported by Camões Instituto da Cooperação e da Lingua, Portugal, Ministério dos Negóçios Estrangeiros.

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Stale Air, in a Room, before Motion

While their long-standing creative partnership originates in the visual arts, artist duo Paul Good and Kirsty Wood are equally known for their musical output. Though these studio-based and sonic activities are pursued separately, they are here brought together to form a single entity, a sensorium, which stresses the input of different perceptual faculties.

The sculptural tableau depicts two peregrine falcons suspended in flight above a fractured landscape of blue resin shards punctuated with pools of indigo ink. Their conflict renders them oblivious to gravity, as if testing a sublime death drive. The sculpture is accompanied by a score of layered electric guitar chords that plays intermittently, adding dimension, scope and mass – extending the terrain outwards.

The iconography employed in the work for “Stale Air, in a Room, before Motion” recalls the emotional sublime present in works by Romantic and Symbolist paintings from the 19th Century, which continues to exert a powerful influence in the Contemporary; our digital present is supposedly dominated by connective technologies driven by evidence and reason, but it is equally marked by a resurgent interest in hidden practices such as metaphysics, mysticism and the occult, which promote the imperceptible and the unpresentable.

The artists will be in conversation with “Wavelengths” host William English and curator Nicolas de Oliveira on Resonance FM (104.4FM) between 2:30-3:30pm on Friday the 29th of September, and repeated on Monday the 2nd of October at 3:00pm.

The Private View on Friday the 29th of September also features a live sound performance by the artists, and coincides with the launch of the vinyl catalogue featuring the soundtrack from the exhibition and a text by the curators.


Future Nothingness

Portuguese artist João Biscainho’s exhibition at SE8 Gallery works on various levels, from historical and philosophical readings, to predictive scientific theories. He has produced a series of works that question our relationship with the world we occupy and its complexities, that explore our need to question the effects of future science and progress, as we move ever more closer to a world inundated by new technologies. By employing tactics of repetition and demonstration, his use of simple optical devices draws attention to the process of representation.

The main work featured in the exhibition entitled Uncanny River (The Crossing), 2014-2015, a video installation, portrays a voyage across a wide river from shore to shore. The projection shows a continuous image of churning water, made by the turbulent wake of a ship. The horizontal camera position is rotated by the artist so as to present the viewer with a vertical picture, which is then back-projected onto a sheet of black glass, with a mirror, set at a right angle, duplicating the swirling liquid.

The second work Through the liquid, which also moves, (your immortality is the end of democracy), 2013-2015, features a short video loop on a portable vintage television monitor chronicling the life phases of a ‘Medusoid’ or artificial jellyfish. The footage, edited from the internet, shows the creature’s development in a mold, its transfer from the receptacle to moving freely in water.

The third work entitled, The illusion of disillusion, 2013, is a swordfish bill  engraved with the nouns of the title; the words are set against each other, reflecting and opposing in turns. The sculpture plays with the relationship between materiality and language.

The exhibition coincides with the launch of a new limited edition book on the artist’s work, published by Mulberry Tree Press.


Private View/Publication Launch:                   

Thursday, 12th November  6-9pm


Show Runs:    

Friday, 13th Nov. – Saturday, 12th Dec. 2015


Opening Hours:  

Fridays and Saturdays 2-6pm


SE8 Gallery is pleased to present “graft”, an exhibition by the Berlin-based British artist David Edward Allen. His works examine notions of space, contrasting wilderness with managed terrain.

The exhibition consists of two new works that have evolved over several years. Pear tree presents a series of photo-collages and drawings depicting the results of the process of grafting branches from one tree onto another.

The action, however, is an aesthetic one, the trees becoming artworks whose growth is determined through addition and subtraction, forming a living bricolage. Allen describes his methodology as ‘a kind of reversed sculptural process by removing material from the space in which it has formed.’

The distinction between the natural world and cultivated land is reprised in the video harvest, which shows silent footage of a large tree being felled. As the screen fades to black the sustained howl of the chainsaw, produced as a separate audio-track, fills the gallery space. Its tone is aggressive and relentless, rising and falling as it encounters knots of resistance; it upsets the human ear and sentiment, since we reserve special affection for trees.

The wood is in fact a managed resource. Trees are grown in a sustained manner to be harvested and sold, to be turned into furniture or pulp, as required. Shorn of its object status, a tree becomes simply wood, reduced to materiality and commercial gain.

Allen’s work points to a symbiotic relationship between nature and culture, giving equal weight to both. Here, the world as a poetic, unknowable entity exists side-by-side with a prosaic and managed eco-system, sustained by the human hand and guided by the twin principles of aesthetics and capital.


Thursday, 12th November 6-9pm: Launch of a limited edition vinyl publication.


Listen to David Edward Allen in conversation with William English and Nicolas de Oliveira on Wavelength, Resonance FM 104.4 on Friday, 13th November 2:30-3:30pm


David Edward Allen was born in Suffolk, UK, in 1977; since 1999  he has lived in Berlin, Germany. His work has been shown at the Museum of Installation, London, Kunsthaus Baselland, Switzerland, and the Akira Ikeda Gallery and me Collectors room/Olbricht Foundation in Berlin.


what the point is : the end of the line

what the point is : the end of the line is an essay in sculptural form, composed of drawing, video and assembled objects. This new body of artwork develops a chain of analogies between the tip of the pen/cil, the first person singular, the line of sight and the I-beam cursor. It asks: how is the object answered by its representation, and how is the subject consoled by it?

The exhibition is accompanied by a programme of events drawing upon the artist’s parallel writing practice.


Friday 25 September 6-9pm

Opening Event: A screening of short video works with readings of recent texts by the artist, compiled to examine gesture and pictorial figuration in drawing and writing.

Saturday 3 October 4-6pm

Launch of a limited edition publication created as an artwork in counterpoint to the exhibition. The artist book is introduced with new writing by Nico de Oliveira and Nicola Oxley.

Friday 30 October 2-9pm

SE8 Gallery will be open late for a last chance to see the exhibition.


Opening:                         Friday 28th February 6-9pm

Show Runs:                     1st March – 5th April 2014

Opening Hours:             Fridays and Saturdays 2-6pm

Events:                             Thursday 6th March at 7pm,

and Friday 28th March at 7pm


SE8 Gallery is pleased to present the exhibition ‘Habitat’ by the British artist Barnaby Hosking. The new works include a full-sized Kazakh Yurt built outside, and an installation in the gallery that features a sound score of field recordings. Both internal and external spaces function as immersive, hermetic environments and underscore Hosking’s concern with space as lived experience, when ‘no apparent form ever becomes complete but is in a constant process of movement’.

The installations at SE8 Gallery are a direct result of the artist’s embedded experience in the landscape, and comment on the problematic of mobility: from studio – to site – to gallery.


In the late Spring of 2013 the artist constructed a Yurt in the grounds of the Houghton Hall Estate in Norfolk, where he would live until the Winter. Here, the artist presented himself as a modern-day hermit, ensconced in his mobile dwelling. During this period of solitude, he was not especially concerned with representing his surroundings, preferring to show the evidence of the individual’s actions within it through experimental paintings, photographs and field recordings. Instead, the true subject of the adventure was the artist ‘s presence, his embodiment of spatio-temporal perception.


There will be a talk entitled ‘Haystack’ by Hosking and the German artist Kathrin Böhm on Thursday the 6th of March at 7pm, which will be held in the yurt, with very limited spaces available. Please book via email at

The exhibition also coincides with the launch of a new publication on the artist’s work by Nicolas de Oliveira and Nicola Oxley on Friday the 28th of March from 7pm.


The exhibition travels to Judith Charles Gallery, New York in the late Spring of this year.

The artist’s solo exhibitions include Max Wigram, London, Almine Rech Gallery, Paris, Patricia Low Gallery, Geneva, and Statements, Art Basel. His work features in collections such as

The Goetz Collection, Munich, the Rubell Family Collection, Miami, the Saatchi Gallery, London, the Cohen Foundation, Manchester, and the Zabludowicz Collection, London.


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Or an Island or a Boat

SE8 Gallery presents ‘Or an Island or a Boat’, a solo exhibition of the Croatian artist Tina Gverović.

Her works examine the relationships of unstable, transient subjects and the real and fictional topographies they traverse and inhabit; staged here, the exhibition functions as a memory theatre in which the artifacts perform in the context of the gallery, snagging our own recollection of past encounters. Paintings and drawings, depicting partial figures at work and rest, are displayed on structures in new constellations. These supports introduce a classic, serial methodology of display, but also act as spatial divisions, rehearsing Gverović’s concern with territorial boundaries.
Despite the intentional formality of the arrangement, there is no division between object and support structure; every part of the exhibition – a painting, a frame, a beam, a sheet of plywood, a video-image, has a material presence and a sculptural form that melds deliberate action, process and display. Ambient sound, mediated through spoken voice recordings, rolls words around the air, adding yet another layer, an accretion to the space.
The title references an ambivalence between a nautical craft and a place; one refers to transience and placelessness, the other to stability and permanence. Perhaps the metaphor can be extended to the gallery, to be understood as a ship, an ark that contains a collection of things to be saved from the flood, which has run aground on some hard, distant spit of land.

Tina Gverović (1975 Zagreb) works and lives in the UK. Current exhibitions and projects include ‘Travelling South’ at Baltic Art Centre, Visby, Sweden, and ‘Invisible Building’ at the Busan Biennale, South Korea.

The exhibition is accompanied by a 7″vinyl with a new sound recording by the artist. Also forming part of the show are two live events with collaborators Vlatka Horvat on Saturday the 11th of May and Margareta Kern on Saturday the 18th of May, times to be confirmed.

Into the Field

Into the Field is a solo exhibition by David Price that includes the works of others, namely his fellow-artists G.Leddington and Andy Roche, and the writers Koen Sels and Anna Tebelius.

His work focuses on the gaps between things: between an artwork and its representation in another medium, and in fiction. The translation from one idiom to another also signals an exploration of different contexts in which to situate the artwork. His aim is not to make arresting or beautiful images through prints, sculptures or film; instead the work situates unremarkable things in a new light: a smudge left by a stick of liquorice, a sentence written in coffee grains held in cast glass, or perhaps a Super-8 film panning across a range of screen prints.

An eponymous publication accompanies the exhibition, as does a series of events featuring its participants and others still.