December in the Stone Space

3-Dimensional Graffiti 

Lewis Davidson's Exhibition

Lewis Davidson “Tags”

    I first came across Lewis Davidson's artworks in November 2021 during his solo exhibition  in the Stone Space Gallery in East London. He presented a collection of graffiti tags sprayed on various surfaces such as doors, concrete slabs and wooden fencing, cut out of the original backgrounds. Displayed in a pristine surrounding of a white showroom, they resembled abstract sculptures. 

    The change of scenery resulted in a different perception of street art. Depending on the angle, images usually restricted to an urban landscape gained a new context, moving the viewers' imagination in a new way.

    I am particularly fond of street art because of its connection with everyday life and people. It takes a lot of courage to put yourself on the line while creating an artwork in the public space, risking being arrested by the police for vandalism, ready to pay the price for making a wall or a fence your own exhibition room.

Lewis Davidson “Combis”

    Davidson has got more exciting projects in his portfolio. Combis is a collection of colourful and playful ready-made sculptures constructed from tiny scraps of plastic found by the artist on the pavement. 

    Connecting with the legacy of Irving Penn, who found beauty and meaning in rejected pieces of consumerism, Lewis forms a dialogue within the texture of contemporary art. There is a link between his practice, works of Marcel Duchamp and early installations by Damien Hirst - projects "8 Pans" and "Boxes" from 1987-88.

    Davidson's ability to present his works in a professional exhibition environment is impressive. He forms an exciting narrative, reflecting on the relationship between an object and its' audience. I will be looking forward to his future projects, following his promising career with enthusiasm.

    Links: https://www.lewis-davidson.com

Agnes Prygiel, London, 20.01.2022

October in Stone Space Gallery

Geographies of Print 

Victoria Arney - collection of graphics

After sharing my review from Rob Birch's preview in Leytonstone's Stone Space Gallery a couple of months ago, I returned to this elegant window-based exhibition room in East London every month for a new show.

October in Stone Space was dedicated to minimalistic black and white prints by an art collective Geographies of Print, including Victoria Ahrens, Carol Wyss and Vicky Arney. It was a pleasure to meet these highly accomplished ladies during the preview and chat about their process over a glass of wine. Working with traditional printmaking techniques, they create far from conventional pieces. 

The exhibition's centrepiece was a nostalgic graphic by Victoria Arney depicting a sonographic recording of birdsongs. It was produced by a scientific apparatus and turned into an appealing collection of prints pinned up on the wall. 

Arney's work reminded me of Paul Klee, and the phenomenon of synesthesia, where one sense is perceived through another. Artists diagnosed with this neurological condition were known for creating particularly recognisable paintings, illustrating music in a form of abstract configurations.

Carol Wyss' installation and a paper mobile

Carol Wyss built a mini installation in the gallery corner out of black and white paper cylinders resembling a burned down forest or a fallen down city. Her second piece was a mobile paper cutout in a shape of a dandelion. When you looked closer, you could see a collage of human bones. 

Carol's works reflect the topics of death and rebirth in art and one's personal life. The pieces have some hidden energy and radiate strength and perseverance. Presented immaculately, they make a lasting impression. 

Prints by Vicky Ahrens

In her work, Vicky Ahrens drives her energy and inspiration from geology. At the exhibition, the artist presented graphics of caves and shorelines made in the original, distant and hard to get to locations around the world with the use of materials and techniques available on the spot. During a short conversation, she told me about her fascination with volcanos, caves and the meaning of those in our language and symbols. Ahrens also mentioned how the Geographies of Print collective came to life, inspiring me with her enthusiasm and dedication. 

The exhibition "Without Horizons, Without Shore" struck me as personal and very well presented. As always, the preview in Stone Space was delightful and captivating.

Agnes Prygiel, London 22.12.2021