News

Pending San Mei Gallery, Brixton

Pending  

San Mei Gallery Winter Fundraiser    1 December 2020 - 31 January 2021

Showing online and in the gallery window

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Guston's Brush 2020  Ceramic

 

 

A Personal Perspective A choice of work by Liz May at APT

Liz May : A Personal Perspective
An exhibition of artworks chosen by Liz May to celebrate 18 years at APT : 2002 to 2020
5 to 8 November 2020

Peter Anderson  |  Charming Baker  |  Cuillin Bantock  |  Dominic Beattie  |  John Butterworth  |  Gill Capewell  |  Eileen Cooper  RA  |  Tori Day  |  Bea Denton  |  Sarah Durham  |  Fred Gatley  |  Tricia Gillman  |  Oona Grimes  |  Clyde Hopkins  |  Kabir Hussain  |  Matthew Krishanu  |  Simon Leahy-Clark  |  Maggie Learmonth  |  Sara Lee  |  Wayne Lucas  |  Enzo Marra  |  Liz May  |  John McLean  |  Jane Millar  |  Lisa Milroy  RA  |  Barbara Nicholls  |  Jayne Parker  |  Kasper Pincis  |  Joanna Sands  |  Patrick Semple  |  Keir Smith  |  Chris Sowe  |  Christine Stark  |  David Theobald  |  Alaena Turner  |  Annie Turner  |  Claire Undy  |  Jacqueline Utley  |  Virginia Verran  |  Ben Woodeson  |  Maike Zimmermann

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Fuzzy Objects San Mei Gallery

Fuzzy Objects
Janet Currier | Article ImageNicky Hodge | Jane Millar

12 - 29 March 2020

Extended: 1 - 5 July

 

Fuzzy Objects is a moment in an ongoing conversation between Janet Currier, Nicky Hodge and Jane Millar. An installation of paintings, ceramics and soft sculpture, Fuzzy Objects evolves from rolling studio visits with the artists bringing their latest works together, creating new assemblages, seeing what comes to the surface and disbanding to make more work; the threads of their findings then weaving back into the next round of making.

Although their interests and approaches are diverse, the artists share a preoccupation with exploring a kind of transitional zone – the space between things – where objects are coming into being or in a state of flux, shifting from one form into another. In all the work there is a focus on the edges: of the canvas, paper and glazed clay, and a constant re-examination of where things start and finish. There is a picking away at the surfaces and skin that form the boundary between the inside and outside, the public and private, the self and the world. These surfaces are often disrupted by leaking drips of paint, fuzzy brush marks, punctured with holes or by dissonant forms that seem to erupt out of the flatness of wall or paper.

The works are arranged and selected in response to the gallery space creating new correspondences between the three artists’ works. Resisting a traditional narrative structure the works cannot be read like a story. The installation plays with the allusive and contingent power of the works, allowing meaning to change and transmute through the different combinations, opening up a dialogue with each other and the viewer.

When Fuzzy Objects reopened for five days on July 1st - 5th the writer Roxy Walsh had responded to the exhibition with a publication Amitie. To read this click here: https://www.sanmeigallery.co.uk/s/Amitie_Roxy_Walsh.pdf

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New Doggerland Part Two Thameside gallery

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new doggerland : future imaginings of place, ecologies and culture

Thames-side Studios Gallery

Curated by Jane Millar

Exhibiting artists:  Fran Burden | Clare Burnett | Alison Cooke | Richard Ducker | Elaborate Kingdom | Deborah Gardner | Oona Grimes | Sula Hancock | Nicky Hodge | Melanie King | Sarah Kogan | Jo Lawrence | Jane Millar | Stephen Nelson | Freddie Robins | Sarah Sparkes | Virginia Verran  

'In a sense, if you're not getting it wrong really a lot when you're creating imaginary futures, then you're just not doing it enough. You're not creating enough imaginary futures.'  William Gibson

 

 

For a full set of installation images click on the link below

https://www.thames-sidestudios.co.uk/news/exhibitions/thames-side-studios-gallery-new-doggerland-1-16-february-2020

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Jane Millar Test Beds 2019 Wall based ceramics

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Creekside Open 2019 Selected by Brian Griffiths

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Sculptor Brian Griffiths selected my piece Crush and Fold for the Creekside Open 2019 (part one)

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New Doggerland Lumen Gallery London

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new doggerland : future imaginings of place and culture

Lumen Crypt Gallery: 200 Cambridge Heath Rd, London E2 9PA  

30th May to 9th June

Exhibiting artists: Frances Burden |Deborah Gardner |Jane Millar | Sarah Sparkes

'In a sense, if you're not getting it wrong really a lot when you're creating imaginary futures, then you're just not doing it enough. You're not creating enough imaginary futures.'  William Gibson

New Doggerland is a new multi-disciplinary artists project for a future imagining of physical and cultural re-connection between Britain and the European mainland. Doggerland is the name given to the ancient landmass, now submerged, that once connected Britain to Northern Europe. What if a new land mass rises up and we become physically part of the mainland again?

 New Doggerland is a project about future land and humans. It asks questions to which the exhibitors and participants will respond with different ideas and answers. Who will be living there and how? It may evoke a Ballardian dystopia, or ideas of possible Utopia. Or could New Doggerland be the heterotopia where we go to experience 'other' selves, a place of becoming? 

'Ceramic artist Jane Millar envisions a future crisis of lost knowledge. Her Orrery attempts a narration of origins and contingencies, while a Werkbund type traveller's display case of wave forms triggers unrecovered memories and soothes future human survivors' feelings of loss.'

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Teaching Case  Jane Millar 2019  Fired ceramics, wood, blanket, foam and plastic

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Article Image Orrery  Jane Millar 2018 - 2020  Fired                                                                                              ceramic and movable steel structure

SLOW LIFE at Coffee is My Cup of Tea, Hackney

Slow Life  Curated by Richard Ducker

1st Nov – 5th Jan, 2020

A solo show of ceramic works by Jane Millar

Coffeeismycupoftea Space

Hackney, London E8 1NH

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Space Shift APT Gallery Curated by Sarah Kogan

Space Shift      Curated by Sarah Kogan

Guest art critic: Richard Dyer

APT Gallery, Creekside

19 October – 4 November 2018      Private view 18 October 6–9pm

Wendy Anderson | Neel Bakhle | Jeremy Bubb | Maria Chevska | Richard Dyer | Adam Gray |

Sarah Kogan | Enzo Marra | Jane Millar | Galen Riley | Susan Sluglett | Rachel Warriner

The structure of APT Gallery lends itself to an interrelated reading of the works, in that as we move through the three spaces, views of work sited in diagonal aspect to each are glimpsed through the architectural space and lead us towards an unfolding combination of image, object or screen. The gallery itself is presented as a single artwork with interconnecting elements placed within it. The aim is that this may direct the gaze of the viewer to new horizons and interiors or shift them into an aerial and psychological free fall.

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At the invitation of artist and curator Sarah Kogan, I created the installation Grip for Space Shift, APT Gallery, 2018: 

'Grip used the gallery space to create an installation of ceramic foot or hand 'holds' which were installed to the full interior height of the gallery. Climbing walls in indoor sports centres work our bodies upwards through strength and stamina, they offer no natural vista.  Installed in a white cube space, the holds that made up Grip scaled the walls, reaching beams, with ladders or scaffolding, alluded to and questioned artistic aspiration, even privilege which a position of height can assume. The footholds presented approximations and mockeries of natural forms, with the seduction and longing; materiality and fragility of ceramics.'

 

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'Ghost Tide' Curated by Monika Bobinska and Sarah Sparkes, Thameside gallery, Woolwich

The Ghost Tide, curated by Monika Bobinska and Sarah Sparkes

Exhibition Dates: 20 October-3 November 2018
Preview: Friday 19 October 2018, 6.30-8.30pm with Gen Doy performance 7.30pm
Curators' Talk: Saturday 20 October 3-4pm
Day of the Dead Closing Party: Saturday 3 November 2-7.30pm

The Ghost Tide - coinciding with the festivals of Hallowe'en, All Souls and the Day of the Dead - takes as its starting point the perspective that ghosts exist as an idea, or as part of a belief system, across cultures, across national borders and throughout recorded history. Most languages contain words to describe the ghost, spirit or immaterial part of a deceased person. Often, these words - like the type of ghost they describe - have traversed borders and been assimilated across cultures.

The exhibition, situated next to the Thames Barrier in South-East London, evokes ghosts as a migratory tide, washed up along the shore of the Thames their historical baggage in tow. It also explores the presence of artists in this part of London, as a migratory tide of creative fotsam and jetsam which ebbs and fows as the city gentrifes and develops. Featured works include sculpture, installation, flm, sound, performance and wall based works. The exhibition will include installations and outdoor interventions, as well as public events.

The Ghost Tide features works by over 30 UK and international artists. Artists featured: Andrea G Artz, Chris Boyd, Davies, Monaghan & Klein, Gen Doy, Sarah Doyle, Graham Dunning, Diane Eagles, Andrew Ekins, Charlie Fox, Katie Goodwin, Kio Griffth, Miyuki Kasahara, Calum F Kerr, Rob La Frenais, David Leapman, Liane Lang, Toby MacLennan, Laura Marker, Joanna McCormick, Josie McCoy, Jane Millar, Output Arts, Miroslav Pomichal, Brothers Quay, Anne Robinson, Edwin Rostron, Matt Rowe, Sarah Sparkes, Charlotte Squire, Sara Trillo, Yun Ting Tsai, Kate Walters, Patrick White, Heidi Wigmore, Neale Willis, Mary Yacoob, Neda Zarfsaz.

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Much of my work is concerned with the presence of a spirit or energy within the unseen interior of a ceramic object. I am a ghost story addict since childhood and still occasionally terrified of the dark. Ghosts may be parts of ourselves, cast out in fear, that then inhabit a space or object, and then haunts us back. A thread in my ongoing ceramic pieces explores the notion that a ghost haunts us so, that it is trapped within an object, and revered, or feared and abandoned. I am experimenting with ceramic mirror glazes to conjure a dark reflection, or vision, of another within. Dr Dee's spirit mirror in the British Museum, a scrying mirror made from polished obsidian, and the Pitt Rivers collection of pre-silvered mirrors are objects of reverence. But I want the pieces I am making to be a future imagining of mirrored objects as ghost vessels: washed up, captured and transformed into objects of transference and power, functioning as carriers of trapped selves or ancestors, as a potency to be consulted and placated.

Jane Millar Ghost Tide 2018

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'Cosmic Perspectives' Lumen Group Open, Ugly Duck, Bermondsey 2018

My piece Orrery was also selected for the Lumen Group Open Cosmic Perspectives, at The Ugly Duck exhibition space, Bermondsey, London.

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Creekside Open 2017

My ceramic installation Four Planets was selected by Alison Wilding for the Creekside Open 2017.

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40 Celsius The ASC Open 2018 Selected by Tabish Khan

My piece Orrery was selected by art critic Tabish Khan for 40 Celsius, the ASC Open 2018, at the Grafton Quarter exhibition space, Croydon.

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Votive The Associated Union of Clay Workers Thames Festival 2018

Jane Millar – London Infants
"The small clay objects I have made as an offering to the River Thames represent the multitude of infants born in London, and their reliance on human care, past, present and future. I have made a series of clay and ceramic feeding-bottle teats inspired by the throwaway modern silicone ones, as well as the older versions, some of which can be seen in the Wellcome Trust collection. These were made from less forgiving materials; from glass and tin, as well as ceramic.
In Dicken's novel Great Expectations, the apparently cold-hearted lawyer Jaggers describes the abandoned street children of London as 'so much flotsam', evoking a tragic tide of unwanted infants washed up on the river bank. However, visiting the Foundling Museum, the small tokens that mothers left with the children there reminds us of each unique child and their potential, and the love that may go with them. Each piece I have made is an attachment made, then broken, either naturally or traumatically, between parent and child. In offering the unfired clay dummies as votives to the Thames, I send a wish for the care, nourishment and protection of London's children and their families."

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Jane Millar  Votive Dummies 2018 Unfired clay Approx 7cm height

VOTIVE

A project exhibition at Southwark Cathedral for the Thames Festival from the 1st to the 30th September 2018

A performance of gifting was made on the Thames foreshore at 12.15 pm at low tide. Gifters: Duncan Hooson and Stephanie Buttle  

‘Votive’ is a ceramic exhibition and public performance, engaging visitors with the river Thames' ancient importance as a place of offering and hope. It will link the river with the spiritual significance and place of Southwark Cathedral and its historical association, by location, to the river Thames, through the making, offering and dissolving of clay votive objects.'

The Associate Clay Workers Union (ACWU) are a group of artists who work on site responsive projects. ACWU, alongside students from Morley College ceramics department, produced work around the theme of votive offerings, which was displayed in the cabinets in Southwark Cathedral, in the Lancelot link space, from 1- 29th Sept.

The final day, Sunday 30th Sept, was a public performative event, when the artists took the unfired ceramic votive objects from the exhibition down to the Thames foreshore, at the Bankside Pier Ferry terminal. Visitors were invited to join the artists on the beach at low tide, to witness the clay votive objects being offered to the river. 

The act of offering precious hand-made objects as Votives into a river is known in many cultures and throughout history from early Neolithic times. The Museum of London has a display of votive objects - finely cut and carved spear and axe heads - that were placed in the Thames. Water is seen as life giving and curative, it has a liminal capacity, connecting one realm with another. Votive offerings may be for commemoration and remembrance, linked to death and departure, they can also be for cleansing and disposal, a ritual act to engender change and hope for the future. Votives are often given in dedication or as a consequence of a vow, a performance undertaken in uncertain times and in thanks for subsequent relief.

Visitors to the exhibition and performance were encouraged to personally engage and reflect upon their own experiences of ritual and belief, with their own wishes for change and their relationship to the Thames in this ‘liquid hope’: an act with the power to bring us all together for change.

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More In Common

APT Gallery, Creekside  2018   

Deborah Gardner | Jane Millar | Harriet Tarlo | Judith Tucker | Louise K. Wilson | Paul Wilson

Curated by Deborah Gardner

More in Common presents diverse work from site responsive projects around the U.K. including audio-visual work, assemblage, painting, photography, poetry, sculpture and typography from Cumbria, Yorkshire, Lincolnshire, and London. 

"More in Common considers a new post Brexit national landscape, questioning communal and societal belonging and identity and what might be a divided, tumultuous political geography. This exhibition proposes to bring together four related projects all of which directly address these issues through the creative arts. These projects are ongoing or very recently undertaken. Geographically they span much of the UK, from Cumbria to Yorkshire, from Lincolnshire to London. They all engage with those voices that are less heard. They all respond to political and cultural places and spaces, and between them consider systems of language and communication. This stimulated multivalent considerations on societal spaces, aspirations and how behaviours might co/operate now. These distinctive places, under investigation were reconfigured in the gallery, so becoming a productive space for new dialogues and meanings to emerge. The exhibition included audio-visual work, assemblage, painting, photography, sculpture and typography.
Gardner and Millar exhibited work from their site responsive project Conway Actants at Conway Hall, Holborn. Conway Hall is one of the oldest international societies for freethinking with a rich history of radical thinking, social political activism and currently claims one of its main visions is for radical ideas to inspire social and community improvement. More in Common exhibited an assemblage of manipulated photographs of leading figures from Conway Hall’s history alongside images, assemblages and sculpture which explore spaces and structures propagated by human and non-human agency and which point to collective endeavour." Deborah Gardner 2018

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'Either Side'  shown in More in Common Jane Millar 2015 Acrylic, pastel and seed beads on Tyvek 125x125 cm

Discerning Eye 2017

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I am delighted that two of my ceramic sculptures 'Dark Meteor' and 'Unexploded' have been selected for The Discerning Eye exhibition, opening in The Mall Galleries, London on 15th November.

Small Worlds in MANIFEST

Planet 7 was selected by Manchester gallery PS Mirabel for their wonderful show Small Worlds. This was part of the Manifest arts festival across Manchester in the summer 2017

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CONWAY ACTANTS

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‘Looking Out’ D.Gardner and J.Millar

A Site-Responsive art project at Conway Hall, Red Lion Square

13 November 2015 to 26 March 2016
www.conwayhall.org.uk/conwayactants

  • A unique art project which responds to the actants, spaces and archive of Conway Hall, home of the Conway Hall Ethical Society
  •  Works are installed around the building, allowing visitors access to this unique site
  • Monday 18th January, 6.30 – 8pm: artists’ tour and talk (FREE)
  • Thursday 3rd March: an evening hosted by Club Critical Theory (FREE) Radical Critical Spaces

https://clubcriticaltheory.wordpress.com/
 

Download the Conway Hall Press release

An artistic and curatorial collaboration between Deborah Gardner and Jane Millar, 'Conway Actants' is a visual art project in Conway Hall that directly responds to its ethos, activities, history and archive. Photographic collaboration revealing the more hidden spaces of Conway Hall, and its library at dusk, hang both inside and on the outside facing Red Lion Square. Hexagonal structures suspended from ceiling windows will link the bee hives on the roof with the collective interior space, mixed media paintings explore spaces and structures propagated by human and non-human agency and a series of assemblage works respond to archive portraits of key figures in the history of Conway Hall. Composers Cynthia Millar and Roly Porter collaborate on a sound work in a response to the
‘piano auctions at Conway Hall and the itinerant nature of the objects and music.
Conway Actants is a project that aims to make Conway Hall accessible for artistic intervention and therefore ultimately aims to increase awareness of an organisation with an extraordinary history of ethics and freethinking in Britain

Listings Information:

Title: Conway Actants
Address: Conway Hall, 25 Red Lion Square, London, WC1R 4RL
Dates: 13 November to 26 March
Opening times: 9am to 9pm daily
Admission free ‘Bismuth Two’, J. Millar 2015
Phone: 02074051818

Web: www.conwayhall.org.uk
Twitter: @ConwayHall Jane Millar@sitecurious
Press contact: janemillar93@gmail.com     07817906204