Access | The Bohemians

53 Deptford Broadway, New Cross, SE8 4PH, London

April 12—18

Monday to Saturday: 09:00— 20:00

Sunday: 10:00—19:00

Yian Chen

Paweł Dziadur

Jean–François Krebs

Iva Laterza

Xicheng Lu

Kirsten Schauser

Diana Zrnic

Curated by

Tamara Admoni

Irene Thiella

After a year of COVID–19, when galleries and museums were mostly closed, we wanted to find new ways to exhibit art. The Bohemians is an important local hub that has a history with supporting the local art scene. This new collaboration between the Bohemians and some of the MFA art students from Goldsmiths University was natural. We wanted to consider new ways to show art in the public sphere, in a safe and accessible way combining art, local business, and community.

The exhibition includes seven artists that deal with different issues and various media. All the works are new and were created in the past year.

Yian Chen

Ashes, Acrylic & oil on canvas, 100 x 130 cm

Dust, Acrylic & oil on canvas, 100 x 130 cm

Yian Chen is a painter who deals with questions of identity recognition and personal connection with nature and society. He explores the existence and different processes of life and growth, focusing on emotion and loneliness. He maintains an emotional extension between different works while avoiding fixed narratives. He is constantly dealing with the relationship between himself and the world around him.

Paweł Dziadur

Sunrise Labour Sunset (2020)

Agrounia1: Traitors of the Countryside (2020)

Paweł Dziadur is a multi–disciplinary artist born in Krakow, Poland, currently living and working in London. His practice tends to juggle humour and and critical commitment and his main line of work involves new media art and technological art installations, often joined together by custom programming. His recent series of artwork and research went into interrogating a few topics: the theme of labour under post-Fordism relating to debate relevant in renegotiating the position of the artist today, relationship between technology, individuation and power; post–truth and the rise of the far–right.

Jean–François Krebs

Grand–Mère, 2021

Grand–Mère, 2021, is a piece collecting (almost) every occurence of floral patterns and flowers of Krebs grand-mother Yvette’s flat. He started collecting these botanical details during a self–organised grandma residency in Strasbourg. The colourful patterns on towels, plates, tea cups, curtains, carpets, were in great contrast with traumatic memories his grand–mother was sharing with him at the time. This digital collage condenses the symbolic healing and protective energy of every flower in his grand–mother’s life. It is part of a larger body of work exploring the relationship between transgenerational trauma, flowers and queerness.

Iva Laterza

Integrated Shadow, Acrylic on canvas, 100 cm x 100 cm

Her work evolves across the fields of paintings and photography by developing a visual language of abstract forms found in elements of architecture and graffiti. Her paintings are inspired by the urban environment and investigate the visual experience of colour, light, space and architecture. The work deals with the exploration of colour through continuous repetition and experimentation, and how colour changes through placement, juxtaposition and interaction with other colours.

Xicheng Lu

How about Swimming Inside?, Video, 2min08sec

The video is about the experience of falling into a bottomless space between online and offline during the lockdown. Through the artist subconscious, drifting from digital screens to reality, she is searching for stimulation and therapies. She is asking, according to the satellite, if she is walking from Brockley to New Cross, or is it just an event on google map?

Kirsten Schauser

Eidola 34, oil on canvas, 95x70cm, 2020

Eidola 35, oil on canvas, 95x70cm, 2020

In the Eidola series, Schauser uses sections of photos as reference and focus on mediation, scale, with an element of a perceptive delay. The series explores figuration and abstraction. The discussion happens in the tension between painting and photography — subjects are studied in close–up and blown up as to capture a glimpse of the universe.

This series is the beginning of translating science into classic painting: scientific modelling works with scale, space and time, and models a kind of behaviour.

Diana Zrnic

Space Between Us, digital print on paper, 70x90cm

Space between us suggests certain distances. Is it about those among people; mutual detachment and separation with the breezing feeling of void and emptiness intensified by the ongoing pandemic, or between the physical and the digital features? Perhaps it speaks of a distinction between hand–made paintings and mechanically produced prints or of an actual distance between two people having a long–distance relationship. Whether the artwork alludes to a literal or metaphorical gap is the viewer’s decision to make.