The Secret Life of Stuff | ARTHOUSE1
Group show | 2020
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Bernice Donszelmann 'The Secret Life of Stuff' at Arthouse1 Gallery London. Curated by Catherine Ferguson and Della Gooden
Bernice Donszelmann
John Gibbons, sculptor in 'The Secret Life of Stuff' at Arthouse1 Gallery London. Curated by Catherine Ferguson and Della Gooden
Foreground: John Gibbons | Background: Eileen Agar
Rock Painting by Eileen Agar in 'The Secret Life of Stuff' at Arthouse1 Gallery, London. Curated by Catherine Ferguson and Della Gooden
'Treaty' by Della Gooden in 'The Secret Life of Stuff' at Arthouse1 Gallery, London. Curated by Catherine Ferguson and Della Gooden
Della Gooden
Catherine Ferguson
Bernice Donszelmann in 'The Secret Life of Stuff' at Arthouse1 Gallery London. Curated by Catherine Ferguson and Della Gooden
Bernice Donszelmann
'Egg and Spoon' by Della Gooden in 'The Secret Life of Stuff' at Arthouse1 Gallery London. Curated by Catherine Ferguson and Della Gooden
Della Gooden
Rock Paintings by Eileen Agar with John Gibbons 'Altar' in 'The Secret Life of Stuff' at Arthouse1 Gallery, London. Curated by Catherine Ferguson and Della Gooden
Installation shot
Artists Eileen Agar, Catherine Ferguson and John Gibbons in 'The Secret Life of Stuff' at Arthouse1 Gallery London. Curated by Catherine Ferguson and Della Gooden
Installation shot

The Secret Life of Stuff at Arthouse1 Gallery

‘The Secret Life of Stuff’ 2018

Eileen Agar | Bernice Donszelmann | Catherine Ferguson | John Gibbons | Della Gooden

at ARTHOUSE1 Gallery
London

Curated by Catherine Ferguson and Della Gooden

In the summer of 1936, Eileen Agar took a trip to Ploumanach in Brittany. Fascinated by rock formations which seem to exist with more meaningfulness than geology can quite explain, she took numerous photographs and painted a watercolour called ‘Thumb Rock’.

Decades later in the 1980’s and towards the end of her life Agar turned again to these natural motifs to make her ‘Rock Painting’ series. It was a return not so much to the subject matter of landscape itself, as to the strange anthropomorphic or animalistic hauntings which she first caught glimpse of in Brittany all those years before.

Inspired by her photographic endeavours of 1936 and propelled by the inconsistencies of memory and the subjective nature of her imagination, she foregrounded new meaning into a notable series of paintings on canvas. Many have not been seen in public since they left Agar’s studio on her death but their making inspired the curators, and drives the premise for this exhibition.


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