Welcome to the SLWA Blog

  • pOSTER SOI jpeg


    • Over 20 female artists have their say on a blank canvas on the subject of coercive control and sexual abuse. The canvases will then be assembled into billboards, which serve as a reclaimed space, where the female voice can be heard. 
    • Private View Saturday 30th June6-10pm
  •  My Place poster

    “A sense of place is the sixth sense, an internal compass and map made by memory and spatial perception together'” Rebecca Solnit

    In July 2017 South London Women Artists were been given the opportunity to respond to the theme of My Place. In this exhibition organised by Bula Chakravarty Agbo, Jennifer Merrell and Valerie Lambert, thirty artists came together at Brixton East to explore their sense of place and belonging. Their wide ranging interpretations are as diverse as geographical location, a return to childhood playfulness or the simplicity of a colour. Karen Livesey showed her film 'The Ladies Bridge' at 2pm on Sunday 9thJuly and The Rye Poets performed at the Private View.

    email:This email address is being protected from spambots. You need JavaScript enabled to view it.    www.southlondonwomenartists.co.uk

                    @ryepoets    www.theladiesbridge.co.uk

    SLWA was established in 2008 to create a supportive community of women artists living and working in the area. Through our exhibitions, performances, educational workshops and publications we aim to raise awareness of our members and women artists generally.


  • CHONG KWAN Gayle Babel 2004

    21st Century Women Artists, InSight talk series at Dulwich Picture Gallery features the New Hall Collection of Women’s Art, with over 450 works, the largest and most significant in Europe.

    Speakers include two artists represented, Eileen Cooper RA, Keeper at the Royal Academy and an established artist with a broad view of the woman’s art movements and Gayle Chong Kwan, Scottish born, London based and an exhibitor in the 2011 Venice Biennale.

    Curator Eliza Gluckman tells the story of the collection through its art which includes works by Paula Rego, Cornelia Parker, Maggi Hambling and Bridget Riley.

    25 January, 1 and 8 February, 10.30 -11.30am . the Linbury Room, Dulwich Picture Gallery. More info and booking at dulwichpicturegallery.org.uk or call 020 8299 8750.

    Image Gayle Chong Kwan Babel 2004, Gayle Chong Kwan © New Hall Art Collection at Murray Edwards College, University of Cambridge.




    A packed issue of interviews, reviews, articles and What's on in women's art - enjoy this fabulous FREE issue featuring a women photographers special edition with ArtVerve's top 20 listing of women photographers.


  • StardustRuins

    Stardust Ruins, The Ruins of Kasch, 2008. Aerogel and rosin on mirror in Perspex case. Photograph:© Liliane Lijn


    We are proud to announce artist Liliane Lijn will be giving a lecture on her artistic practice and influences on Monday 22 February 2016 from 7.00pm at Conway Hallin The Brockway Room, Holborn, as part of our yearly lecture series which highlights and celebrates women artists of importance.


    Lijn is an internationally acclaimed artist who has had a very active and prolific career spanning over 50 years. Working across media - kinetic sculpture, film, performance and collage - to explore language, mythology and the relationship between light and matter. In 2005, Lijn was ACE NASA, Leonardo Network artist in residence at the Space Sciences Laboratory at the University of California, Berkeley. In 2013, Lijn was one of the six artists short-listed to produce a sculpture for the Fourth Plinth in Trafalgar Square. Public commissions include Solar Beacon, a solar installation in collaboration with astrophysicist, John Vallerga on the two towers of the Golden Gate Bridge and Light Pyramid, a beacon for the Queen’s Diamond Jubilee, Milton Keynes. Lijn took part in a recent panel discussion at Tate Modern called The Power of Light with Robbert Dijkgraaf, Director and Leon Levy Professor at the Institute of Advanced Study, Princeton, which explored how light helps us understand space and time. 


    All welcome, £5.00 full price, £3.50 concessions (students/seniors).


    Please book early to ensure entry by clicking this link Eventbrite


  • Invitation to all SLWA Members

    Artist talk & sketchbook workshop with Elinor Brass


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    Gerald Moore Gallery

    Eltham College Grove Park Road London SE9 4QF

    Wednesday 25 November 2015 7-9pm


    We are delighted that Elinor Brass will give a talk about her work and the founding of the TEA Sketchbook Circle with a sketchbook workshop for SLWA artists - please bring your sketchbook for this special evening!

    Elinor Brass is an artist, Head of Art at Eltham College and Director of the Gerald Moore Gallery and is currently studying for a doctorate at the Institute of Education.  Working with photography, drawing, collage, printmaking, sculpture and installation, her work plays with the juxtaposition of objects and textures to create painterly responses to environments.

    Elinor has established a national sketchbook circle, where artists are working using a book to collaborate with other practitioners exchanging ideas monthly.  The circle has been set up in association with the NSEAD and Campaign for Drawing to support art teachers in continuing their own artistic practice.

    Read more about Elinor and the TEA Sketchbook Circle in the current edition of ArtVerve

    Sketchbook Circle

    Sketchbook Circle 2015






    The Gerald Moore Gallery is a modern building in the grounds of Eltham College. There is a car park in front of the school. Turn to the right in front of the school and through a courtyard, following the sign to the Gallery.




    BY CAR

    From the A205 South Circular Once on the South Circular follow signs towards Woolwich and the A20. Leave the South Circular, at Eltham via the roundabout, and join the A20, Sidcup Road (signposted Sidcup, Swanley). After approximately 1 mile turn right onto the A208, Court Road and at the T junction turn right onto the B226 Grove Park Road. Travel straight across two roundabouts and the entrance to Eltham College will be seen immediately on the right-hand side. On Arrival: Car Parking is limited adjacent to the Main Entrance, but more space is available by the Eric Liddell Sports Centre entrance from Mottingham Lane.



    Via Mottingham Station

    10 minute walk

    On the line from Dartford via Sidcup and from Charing Cross/Cannon Street via Lewisham. Trains run every 30 minutes off-peak.

    Via Grove Park Station

    20 minute walk

    On the line from Charing Cross to Sevenoaks via Chislehurst, Orpington and Chelsfield.


  • ArtVerve logo2

    A packed issue of interviews, reviews, articles and What's on in contemporary female art - enjoy this fabulous FREE issue




  •  SLWA have had many celebrations over the last few weeks that we would like to share with you.


    Back, CEO of Conway Hall Dr Jim Walsh, Moira Jarvis, Melissa Budasz. Front, Laura Moreton-Griffiths, Chrissy Thirlaway, Jackie Brown



     The Big Draw Awards, Painters' Hall, City of London

    SLWA TBD Award 1 IMG 3332 IMG 3264 

    On 18 May 2015 we collected The Big Draw Award runners-up prize at Painters' Hall, home to the Worshipful Painter-Stainers in the City of London for our collaborative drawing Hidden Narratives Dangerous Erasions. The artist Jessica Voorsanger created a live drawing installation and there were presentations from the artist Bob and Roberta Smith and the film director Mike Leigh, both advocating the need for drawing in education and throughout our lives. The Big Draw 2014 had over 1800 participating groups, individuals, schools and other institutions who had entered the competition from all over the world. The project, devised by Melissa Budasz and Laura Moreton-Griffiths comprised of 18 storyboards referencing over 30 female artists from neolithic cave paintings to current time - some well known artists, others less well known, connected to and operating at times of influence. Thank you to all the SLWA artists that took part as we drew with sharpie pens over 10 days on our hands and knees in the foyer of the Albany Theatre, Deptford. This project was part of the 2014 Deptford X Festival.

    Participating artists: Julie Bennett, Gillian Best-Powell, Jackie Brown, Melissa Budasz, Liz Charsley-Jory, Robina Doxi, Chantal Gillingham, Margaret Higginson, Moira Jarvis, Beata Kozlowska, Jennie Merrell, Laura Moreton-Griffiths, Lesley O'Mara, Marnie Pitts, Selena Steele, Paula Stevens-Hoare, Chrissy Thirlaway, Mary Thomas-Rodriguez, Eithne Twomey


    The SAF Awards, Unicorn Theatre, London Bridge 

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    On 25 June Southwark Arts Forum hosted the SAF Awards at the Unicorn Theatre, London Bridge. SLWA's Finders Keepers Losers Weepers residency, art-trail, symposium and educational workshops were nominated in two categories - the Community Arts Project Award and the Visual Arts Award. We were honoured to be there, having won the Visual Arts Award the previous year for I'm Inside Ring the Bell, we were shortlisted for the Visual Arts Award once again, but missed out on the award this time. 

    Participating artists: Maria Beddoes, Julie Bennett, Gillian Best-Powell, Kate Bowe, Jackie Brown, Lisa Brown, Melissa Budasz, Bula Chakravarty AgboLiz Charsley-Jory, Leonie Cronin, Karin Dahlbacka, Reema Dreaming, Gin Dunscombe, Edori Fertig, Chantal Gillingham, Pia Goddard, Jane Higginbottom, Moira Jarvis, Pat Keay, Beata Kozlowska, Christine Landreth, Jennie Merrell, Paola Minekov, Carol Mish, Laura Moreton-Griffiths, Jasmine Pradissitto, Marnie Pitts, Lucy Soni, Chrissy Thirlaway, Kim Thornton, Eithne Twomey, Caroline Underwood, Susan Wood


    Conway Hall Time Capsule Installation, Holborn

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    Finders Keepers Losers Weepers marked an exceptional time for SLWA. 34 selected members explored abstract notions around being, knowing, time and space and not only responded to the theme - the archaeology of mind and memory, but also the history and physical space of Conway Hall itself. The exhibition ran around the entire building from the roof to the basement, in walkways, corridors and windows, offering a unique experience to visitors and staff.

    The five curators Jackie Brown, Melissa Budasz, Moira Jarvis, Laura Moreton-Griffiths and Chrissy Thirlaway returned to Conway Hall on 23 June 2015 to install a time capsule that commemorates the four months South London Women Artists artworks occupied Conway Hall and the symposium and educational workshops that took place. The time capsule contains fragments from the exhibition itself which have been placed in a special archive room for future generations to find. 


    Conway Hall time capsule selected contributions:



    Kate Bowe an Angel card from Slight of Handinstallation

    Jackie Brown  human hair, Pia's lasting to the end of time, holding profound knowledge of its identity. Used to weave Hair Brain-Pia

    Melissa Budasz study fragment for States of Consciousness series - collage of wax, milkweed, human hair, textured paper used for Sex My Brain circular painting

    Joan Byrne poem Curating the Laundry read at Symposium Archaeology of mind and memory 20 November 2014

    Pia Goddardmade to accompany the large photographic piece Rocking Horse which was part of the Finders Keepers Losers Weepers show, this little rocking horse is the dream come true, and, therefore, broken

    Moira Jarvisstudy for Composting and Natural Patterns of Thought,small sewn canvas with wire and willow

    Laura Moreton-Griffiths A Hyena in a Petticoat archival pigment print of original drawing of Mary Wollstonecraft, radical, proto-feminist, writer and philosopher

    Eithne Twomeysection of print on vinyl taken from Traces of No 41 Under seat No 12

    Chrissie Thirlaway ivory cow from Consequences installation

    A5 exhibition/symposium flyer Finders Keepers Losers Weepers

    Catalogue Finders Keepers Losers Weepers

    Paper Time Capsule created by a child from an Educational School workshop held at Conway Hall on 27 February 2015



    Celebrating 7 years of SLWA

    Wednesday 8 July 2015  7.00-9.45pm

    Brixton East 100 Barrington Road Brixton London SW9 7JF


    Come along to find out what SLWA have been up to over the last year, plans for the future and to have your say. This is also a great opportunity to meet new members and say hello to old members, to talk about what you have been up to and to get enthusiastic for the next SLWA year ahead.


    We would like to introduce the new Trustees that have volunteered to help advise SLWA on governance and support us as we move forward.  We would like to welcome them to SLWA, you will be able to meet them at the AGM. Here is a little about them below:


    Rosie CampbellRosie Campbell is a South London local art enthusiast, with a Fine Art degree.  A working life spent in qualitative market research and business psychology (now semi-retired) means she brings valuable marketing and communication experience to her Trustee role at SLWA. Rosie has a MSc in Systemic Psychology and ILM Certified Business Coach. Chaired the AQR (2007-2010) 35+ years as co-proprietor of Campbell Keegan Ltd, a qualitative market and social research company; has specialised in many women’s markets and conducted over 150 research projects related to cultural and social policy strands. Rosie’s Clients include (commercial) WeightWatchers, L’Oreal, P&G, Unilever, M&S and (Government Departments) Sports Council, Arts Council, Cabinet Office, NHS, HEA, FSA, DWP. Fellow of the Market Research Society and RSA and one of the founders of Demos, the centre-left think tank. She is also a Samaritan Listening Volunteer and Marketing Support for LGS Samaritans.


    Charlotte ChungCharlotte Chung works in policy, research and campaigns, with an expertise in social enterprise and small business. Having worked for the national body, Social Enterprise UK, for the best part of five years, she has a particular interest in social investment and sustainable business eco-systems. She is a firm advocate in businesses’ ability to be natural drivers in building better, more equal, societies; producing social value in tandem with profit. Charlotte moved on to join the global policy team for ACCA – the Association of Chartered Certified Accountants – as a Senior Policy Advisor, specialising in SMEs (small and medium-sized enterprises).  At ACCA, she oversaw research initiatives covering a diverse range of topics from alternative finance to high-growth businesses. Most recently though, no longer content to watch from the side-lines, she took the plunge to get involved in the 2015 general election,  joining a Liberal Democrat’s campaign team. The best decision she has made in a long time…despite the outcome!


    Martha LeeMartha Lee is the Exhibitions Programmer at Conway Hall. For the last four years she has organized and curated a variety of exhibitions, ranging from art by established artists to artists who are looking to hold their first London exhibition. Martha’s previous experience includes organising an annual art exhibition as part of Refugee Week entitled ‘Art in Exile’, a collaboration of refugee artists whose art interpreted their experiences of exile. Martha also comes from a family of artists and working on art exhibitions has been part of everyday life from a young age. She has been a keen follower of South London Women Artists for several years and had the opportunity to work more closely with us during our four month residency Finders Keepers at Conway Hall between Nov 2014 and Feb 2015. She believes SLWA are doing valuable work in promoting and enabling women in what has historically been a male domain and that women need that space in order to develop and grow as artists.  She is looking forward to becoming more involved with SLWA in her role as a Trustee.


    Penny McLeanPenny McLean is Campaigns and Events Officer at the House of Commons, where she works to inspire and connect people with Parliament and democracy. Before this, Penny worked at the Refugee Council supporting refugee communities across England in the key areas of effective communication, campaigning and organisational development. Prior to working in the voluntary and public sector, she worked in the media/arts industry for a number of years in a variety of creative roles at Films of Record, BBC Radio Times, the Film Council and London Comedy Festival. Born in Scotland, Penny has a Postgraduate Diploma in Television Production from Bournemouth University media school and a BA Hons in French and Linguistics from York St John University. Penny is also Vice Chair of Migrant Voice and is passionately committed to enabling migrants to positively influence issues that affect the quality of their lives and to positively influence the polarised debate on immigration.

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    Gabriel Fine Art Gallery


    Cottage 2 Old Paradise Yard 20 Carlisle Lane Waterloo SE1 7LG
    17 April to 1 May 2015 Tuesday to Saturday 10-6pm

    Private View Friday 17 April 2015 6.30-9.30pm

    SLWA DnT Image

    'First of all learn about death, then about other things'

    Nichiren Daishonin, 13th Century Japan


    Behind St Thomas’ Hospital, and formerly a Buddhist centre, Gabriel Fine Art is situated near an old burial ground and close to the site of the old train station used in 1848 for transporting the bodies of the Cholera epidemic - it is rich with a history associated with death.  

    Death as a subject to shout about is provocative, but it walks with us every day. The three curators Melissa BudaszIlinca Cantacuzino and Yolanta Gawlik question what this final taboo may mean, exploring its finality and the fear it engenders. The result is thought provoking and cathartic. You will find a wealth of drawing, painting, photography, sculpture, time-based media, performance, poetry, and song during the last two weeks of April.  

    The Devil in Shaw’s philosophical play 'Man and Superman' claims ‘This marvellous force of Life of which you boast is a force of Death.  Man measures his strength by his destructiveness’. More than 30 South London Women Artists and friends come together to challenge such a notion by harnessing the force of life, rather than death, through the art process, and question through their work the finality of death. Each artist may have different beliefs and cultural backgrounds but death in the end unites us all.  Confronting ‘the end’ and the darkness of fear or futility can unleash a transition, a liminal state, a courageous leap into something new. 

    SLWA is collaborating with Gabriel Fine Art and Southbank Mosaics who are based in the Crypt at St Johns Church Waterloo SE1 where there will be a FREE event on Saturday 25 April 2015 2-4pm showcasing The Rye PoetsBeata Kozlowska who will create a live performative drawing and the duo Sarah Lloyd and Ian Kennedy will sing songs about death. Come join us after for tea and cake as we host a Death Cafe, a forum for discussion, led by Compassionate Funerals.
    The closing event at Gabriel Fine Art on Friday 1 May 2015 6.30-8.30pm will also offer poetry and performance. There will be a special SLWA publication for sale for £10.00, a catalogue documenting the artwork, poetry and exhibition.


    Exhibiting artists
    Anna Arianova
    Polly Bagnall
    Jacqueline Merry Bernard
    Juliet Blake
    Kate Bowe
    Lisa Brown
    Melissa Budasz
    Joan Byrne
    Ilinca Cantacuzino
    Gin Dunscombe
    Edori Fertig
    Dana Finch
    Sheila Fratini
    Yolanta Gawlik
    Chantal Gillingham
    Pia Goddard
    Camilla Gray
    Moira Jarvis
    Beata Kozlowska

    Ky Lewis
    Wenchi Lucas
    Yoke Matze
    Jennie Merrell
    Marnie Pitts
    Jasmine Pradissitto
    Kate Redfern
    Mary Gordon-Smith
    Selena Steele
    Kelda Storm
    Chrissy Thirlaway
    Caroline Underwood
    Olivia Urquhart

    Kim Winter

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    What is Urban?


    Urban is … ART


    35 Artists from South London Women Artists Collaborative


    Brixton East Gallery

    100 Barrington Rd

    London SW9 7JF


    26 February-11 March 2015 11am-5pm


    Private View

    Thursday 26th February 6:30-9pm


    Curated by

    Kate Bowe, Liz Charsley-Jory, Reema Dreaming, Pat Keay



    South London Women Artists are pleased to announce an upcoming group exhibition at Brixton East Gallery, whose location, planted in the middle of 2 roads with a train line rumbling overhead, inspired the theme Urban.


    Members from our collective were asked to consider the question What Is Urban?  (much as Grayson Perry recently asked Who Am I?) They have responded with short bursts of poetry and an array of visual and aural works.



    What Is Urban?


    …skyglow at night

     …light and life and music spilling out from bars into streets


     …traffic congestion


    …views from bus windows






    …weeds in cracks of buildings and pavements


    …an overworked and overused landscape that bears the scars of centuries of human passage




     Image courtesy Caroline Underwood

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    Space-Time Continuum, Finders Keepers Losers Weepers

    at Conway Hall


    Tuesday, February 17, 2015 10am-12pm
    Tuesday, February 17, 2015 1-3pm

    What will we find in the future? What will we want to keep from today? What would you like to lose? Free, fun family art workshops, aimed at families with children between 7 and 11 during the February half term holidays. The workshops will offer the opportunity for parents and children to participate in a joint activity.


    Finders Keepers Losers Weepers is the title of a residency by South London Women Artists Collaborative at Conway Hall, Red Lion Square, London WC2, 4 November 2014 to 28 February 2015. The residency responds to the history of this fascinating institution, Conway Hall is a landmark institution of London's independent intellectual, political and cultural life.


    The artist led workshops called SPACE-TIME CONTINUUM will focus on visions of the future. Together, families will:


    * Follow the Art Trail and discover how its ideas have informed the exhibition
    * Talk to the artists about their work
    * Make individual time capsules that will become part of the exhibition


    2 hour session workshops will take place on Tuesday 17th February 2015 between 10.00-12.00pm and 1-3pm

    For more information please email Jackie Brown and Moira Jarvis at 
    This email address is being protected from spambots. You need JavaScript enabled to view it.


    To book your workshop time-slot please click here Eventbrite

    Conway Hall
    25 Red Lion Square
    London, England WC1R 4RL
    Time Capsules Project
    Finders Keepers Losers Weepers Educational Workshops
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    In preparation for South London Women Artists residency at Conway Hall 4 November 2014 - 28 February 2015 SLWA artists Jackie Brown and Moira Jarvis visited UCL Academy to run a workshop prior to the students' visit in November. Focussing on the ideas and theme behind the site-specific exhibition, Finders Keepers Losers Weepers: archaeology of mind and memory, the workshop kicked off with a collaborative mind map to explore student’s ideas on the concepts of possession, loss, time, space. A wide range of ideas emerged and these were developed into paper time capsules.
    The time capsules will be exhibited in the Brockway Room at Conway Hall from 4 November to 5 December 2014 to communicate with visitors how the students feel about the concept of time. The capsules will also be sealed in a box in Conway Hall to be opened in the future - a students' collaborative time capsule.
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  • Thursday 20 November 2014, Conway Hall

    Conway Hall SLWA Final - iDJ Photography 19

    This Symposium coincided with South London Women Artists Collaborativeresidency and site-specific exhibition at Conway Hall- Finders keepers losers weepers(4 November 2014 to 28 February 2015), an exhibition that is prompted by the creative and independent thought and free speech behind the Conway Hall Ethical Society, 1787 to date. Finders Keepers Losers Weepers is a school-ground chant and is an English adage with the premise that when something is unowned or abandoned, whoever finds it can claim it. Taking the artwork as a starting point, the panel of 4 prominent female experts in the fields of art, philosophy and science explored the broader issues of mind, memory, possession and loss.


    The Politics of Visibility, Gender & Identity

    panel 2 640x425Women occupying space and being visible along with humour – subversive or otherwise - were recurring themes during this outstanding symposium. The Chair of South London Women Artists Collaborative, Melissa Budasz, reminded us that the original Greek symposium was a forum for men of good family to debate, plot, and boast or simply to revel with others. The evening contributed to women occupying that space.

    The event opened with a strong performance Mistakes Women Makeby Leonie Cronin,who staggered to the front of the hall dragging ‘stuff’. Using empty eggshells as a powerful metaphor she smashed them one by one and each time we heard a smash she recalled the behaviours women adopt in the boardroom that make them ineffective e.g. smiling too much, flicking hair. Even though the audience were clearly amused by the ridiculousness of the statements, her deadpan delivery was genius. The audience was gripped.


    Conway Hall SLWA Final - iDJ Photography 11    Conway Hall SLWA Final - iDJ Photography 14

    This performance was followed by the writer and photographer Joan Byrne(St Joan of Peckham). The gentle delivery of her poetry belied its subversive humour in poems like I slept with Raymond Chandler and Puff Daddy and the Peckham Pigeon. Hilary Mantel described one of Joan’s short stories as “an intriguing glimpse of lives colliding” and this did seem to describe her poetry too and the way she archived her findings through poetry.

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    Melissa Budasz introduced the Chair of the symposium, Rebecca Fortnum, who is Professor of Fine Art at Middlesex University. An academic and artist, probably best known for her book Contemporary Women Artists, in Their Own Words, Rebecca Fortnum spoke about SLWAC, the residency, the crits that supported the development of ideas and the successful schools workshops. She commented on how SLWAC is a group of artists who put women’s experience at the heart of their art making, resisting, challenging and interrogating the ideas of what is valid. She also described the group as inclusive and the work in the exhibition rooted in women’s experience. 


    Margaret Carlylewho is a postdoctoral fellow in the department of History and Philosophy of Science at the University of Cambridge was the first speaker. She explored the gendering of science and authorship and talked about her own research of how the human condition was archived and studied through collections of skeletons in the eighteenth century. She focussed on the anatomical research by the scientist Madam Thiroux d’Arconville and her hidden role in this history. 

    Conway Hall SLWA Final - iDJ Photography 23

    Although her research was significant Margaret Carlyle described how Madam Thiroux d’Arconville chose to publish her edition anonymously, for which she had also overseen the artists who drew and engraved the skeleton illustrations, under a male protector's name, knowing that as a female author in the medical sciences her work would not otherwise be taken seriously.


    The second speaker was Professor Tina Chanter, Head of School, Humanities, in the Faculty of Arts and Social Sciences at Kingston University. Her current research focuses on questions of aesthetics and politics and the need to reflect on how to theorise gender in a manner that explores its intrinsic and complex relationship to other categories such as race, class and sexuality. Whilst her work retains a disciplinary basis in philosophy, it has become increasingly interdisciplinary.

    Tina Chanter talked about how “perceptions acquire a rigidity that comes to light only when they break into pieces, only when they shatter”. She talked about how artists make visible new patterns of knowledge with new possibilities of seeing the world. How feminist art shifts known frameworks and reframes our perceptions and whilst the boundaries of art and politics may blur, maintaining tensions between the two is crucial. Her work references Rancière’s notion of ‘equality of intelligence’. To illustrate this she used images such as Kevin Carters’ 1994 Pulitzer Prize winning photograph of a starving child in the Sudan being closely watched by a Vulture. This Iconic image certainly performed a political function and this moment caught on camera and the public’s response to the photograph had such a profound effect on Carter that three months later he took his life.

    Conway Hall SLWA Final - iDJ Photography 32

    Sophie Ristelhueber’s photographs, one of which displays a large deep scar on the back of a woman, and Ingrid Mwangi/Hutter’s installation of large photographs, which include feet hanging just above the dark earth, confront us with the human form in arresting ways. Confronting us with enlargements of parts of the human form, we see the scarred back, the heavy feet. These are not the feet of someone that has jumped up from the earth but the feet of someone who has been hung. These works accomplish Rancière’s redistribution of the sensible.


    The artist, Jessica Voorsanger, Senior Lecturer Sculpture, School of Fine Art, UCA, was the third speaker. She works in a variety of media ranging from painting, sculpture, installation, mail art, film and performance. Voorsanger delighted the audience with a presentation of her artistic practise which challenges the relationship between audience and artist and examines obsession and celebrity culture in her practice and research. By impersonating and disguising as celebrated pop icons she scrutinises mass communication, popular culture and identity. 

    Jessica 640x425

    Recent work explores a more personal narrative, using subversive humour which contemplates nostalgia, memory and trauma. Her rapport with the audience was in evidence when she described being dressed up as David Hockney at an opening at the Hayward Gallery and actually bumping into David Hockney. But despite the humour and apparently shallow subject matter her work also has a strong political content. Her latest body of work, the Bald Series, is a stunning group of life-size portraits of herself as bald men. Faced with losing her hair following radiotherapy after a mastectomy in 2012, Jessica is Telly Savalas (Kojak), Alfred Hitchcock, Picasso. Amusing as these are, they carry the full weight of somebody who has had their identity compromised. Asked by a member of the audience who she was going to be next now that her hair has grown back curly she replied an Umpa Loompa. Mind, memory, possession and loss were explored with biting humour and biting candour. Again the audience was gripped. This was a very strong place to finish.

     Audience 640x425 Conway Hall SLWA Final - iDJ Photography 9 Conway Hall SLWA Final - iDJ Photography 3


    In each speaker’s enthusiasm to communicate and share their knowledge and ideas, each overran the allotted times. There was only a few precious minutes to throw open the discussion to the audience. A full day symposium is needed to contribute fully to the contemporary discourse around the issues raised by these prominent speakers. Then as the boundaries of the different subjects dissolve, the tensions between the different disciplines could be explored more fully. 


    Conway Hall SLWA Final - iDJ Photography 6 800x531 Conway Hall SLWA Final - iDJ Photography 49 Conway Hall SLWA Final - iDJ Photography 5 800x521


    Written by:

    Moira Jarvis,Researcher in Arts Education & Jackie Brown, Education Director- SLWAC

    December 2014


    Special thanks:

    Speakers & Performers

    Professor Rebecca Fortnum, Dr Margaret Carlyle, Professor Tina Chanter, Jessica Voorsanger

    Joan Byrne & Leonie Cronin

    Conway Hall & the Technical Team

    Dr Jim Walsh - Chief Executive Officer, Conway Hall

    Martha Lee - Visual Arts Programmer, Conway Hall

    Zia Hameed - Technician, Conway Hall

    Carolyn Davies, Lime Twist Media - Video Recordist

    Ray Grant - Audio & Visual Technician

    Darren Johnson - iDJ Photography

    Emmie Jenkins - Transcription of Symposium



    Jackie Brown, Melissa Budasz, Moira Jarvis, Laura Moreton-Griffiths, Chrissy Thirlaway

    Kate Bowe, Liz Charsley-Jory, Reema Dreaming, Gin Dunscombe, Chantal Gillingham, Christine Landreth, Jennie Merrell, Lucy Soni, Eithne Twomey, Caroline Underwood

    and to Megan Cronin, Tulia Cronin & Evie Anderson

    With special thanks to the Arts Council England for their generous grant and to the Skinners' Company Lady Neville Charity, awarding small grants to local grass roots organisations.

    A SLWAC publication on the Finders Keepers Losers Weepers site specific residency and symposium at Conway Hall will be published in 2015.





    Issue 2, September 2014

    Welcome to the second edition of SLWA's bi-annual newsletter. We have many varied articles to share with you which we hope you find interesting. SLWA has been busy since the launch of our Newsletter in February 2014. theWHYfront performed outside WoW at the Royal Festival Hall, celebrating International Women's day on March 8 with style. Read our article below on the theWHYfront's return to Deptford X at the Albany for their ambitious collaborative drawing project Hidden Narratives Dangerous Erasions. Moira Jarvis reviews Louise Bourgeois show at Tate Modern, Pia Randall-Goddard writes about her trip to The Lizard in Cornwall and in the summer a few SLWA's had the pleasure of meeting the legendary Judith Bernstein (an early member of the Guerrilla Girls) at the private view of her show Rising at Studio Voltaire. Pat Keay write's about Colourswatch at Espacio Galleryand the concept of curating a show based on chance. To coincide with the launch of our first book, I'm Inside Ring the bell read the curators ideas and the challenges of implementing a 3 day-show and re-creating Judy Chicago's seminal installation, The Dinner Party.  This issue also covers SLWA artist blogs including Toni de Bromhead, Anne Krinsky and Pat Mear with a full listing of our upcoming projects and events over the next few months including the Finders Keepers Losers Weepers residency and art trail. Laura Moreton-Griffiths details the inspiration behind her work for this exhibition and there is a full speaker line-up listed for our Symposium at Conway Hall in November including articles about Liz Atkin and Joan Byrne who will be performing on the night. Future shows to look out for in 2015 - Urban at Brixton East and Death & Transition at Gabriel Fine Art Gallery.

    Artist Gallery Reviews & Events
    Judith Bernstein
    Rising : Studio Voltaire, Clapham
    5 July to 24 August 2014
    Judith Bernstein (centre) with SLWA artists at Studio Voltaire
    The energy and confrontational dialogue of Judith Bernstein’s works as you first walk in to the gallery of Studio Volatire, quite literally take your breath away. Bold, inquisitive, expressive mark marking all delivered with curiosity and a sense of fun that looks at sex and violence in a world that is explosive and charged. 

    On entering a blackout room to view Birth of the Universe #33 the impact of this fluorescent graffiti-like painting makes you feel like you have entered into space, or another universe – a playfully drawn limp penis is positioned rather inadequately next to an electric wide open vagina – emphasising the vagina as the primal and most powerful source of the universe. There is an active dialogue between the relationships of male/female genitalia, there is no denying the female gender supremacy in her work.

    The black and white charcoal phallic screw head drawings have been revisted since her earlier versions in the  1960’s, a response to the historic objectification of female bodies, Bernstein objectifies the male body and penis with 6 scrolled canvases that unfold to the floor like weapons of destruction or comic helter-skelter like grandfather clocks, the frayed edges of the primed linen canvas reveals to the viewer the material, process and transcience of the works.

    Bernstein’s largest painting to date Golden Birth of the Universe dominates the back wall of the gallery; the dialogue with the small missile-like penises unable to penetrate the strength and vitality of the open vagina that looks ready to blast off in to space – there is no refuting the resonance and durability of the female genitalia – feminism reclaimed? – it’s alive and kicking and Bernstein’s playful works that are both humorous and threatening, conjure up layers of political, personal and artistic struggle.
    Melissa Budasz, July 2014
    Louise Bourgeois: The Family
    Tate Modern 16 June – 12 April 2015
    by Moira Jarvis

     “Where’s the danger, the shock of the new art of Louise Bourgeois?” 
    Jonathan Jones, Guardian, June 2014

    He goes on to say that “Louise Bourgeois was no Picasso”. Jonathan, we do not need to ask Picasso for permission to make art.
    The works on paper are fragile and ephemeral. In the red gouache drawings, Bourgeois has applied gouache paint onto wet paper, giving a loose, washy look that belies the graphic subject matter: sexual relations, conception, procreation and gestation. The male and female figures are reduced to the absolute essence as creator or sustainers of life, while the colour is symbolic of blood relations and primal urges.

    Ode à Ma Mère explores her fascination with the spider. As the title suggests, the spider became linked in the artist’s mind with her own mother, a needlewomen active in the family business of tapestry restoration, who died when Bourgeois was young. She remembered her mother working diligently but like the industrious spider spinning a web there was always a sense of menace.
    Bourgeois was familiar with the writings of psychoanalyst Melanie Klein and was particularly interested in Klein’s concept of reparation, a psychological process of making amends. Referring to the family tapestry restoration business, Bourgeois spoke about the needle as an instrument of mending: “all women in my house used needles. I’ve always had a fascination with the magic power of the needle. The needle is used to repair the damage. It is a claim to forgiveness, it is never aggressive, it’s not a pin”

    In her final years, Bourgeois created a striking body of drawings frankly exploring themes that had preoccupied her for many years: birth, reproduction, motherhood, sexuality and human relationships. The life changing experience of childbirth and the fragile emergence of new life were subjects the artist still grappled with. Mother to three sons, Bourgeois’ powerful and often ambivalent feelings about motherhood were bound up with longing for her own mother.
    She has said “if you hold a naked child against your naked breast, it is not the end of softness, it is the beginning of softness, it is life itself…I felt that when I represented the two naked bodies of the child and the mother, I can still feel her body and love”
    The exhibition as a whole ranges broadly in time and concept, encompassing both specific memories and more abstract and ambiguous states of being.
    It may be worth visiting this exhibition again, Jonathan.

    Moira Jarvis, August 2014

    A trip to the Lizard
    by Pia Randall Goddard
    I grew up on the Lizard, a place of mizzle, mermaids and pirates, and have come back this year, with my family and a copy of the Artist’s Way to spend time on a beach with a book and a conundrum. I want to see, if, in this magical land, I can sort out the endlessly enervating internal discussion of art versus craft, and lay to rest that particular conflict’s part in my creative progress before the next SLWA show at Conway Hall.

    And, not suprisingly, the gallery at Kestle Barton which we stumble into on the first walk of the first day seems to provide some sort of an answer. After an exhausting walk round Frenchman’s Creek, the art in here both lifts and grips us immediately, sets us flying, engages us on every level. So much so in fact, that Paul Chaney’s gorgeous cyanotypes and screenprints, part of his Lizard Exit Plan exhibition, call us back twice more over the next week to plan resource lists, plot sizes, water and energy requirements for a post-apocalyptic life. This exhibition is an instruction manual for survival, a very elegant discussion between green ideology, survivalist fantasy and realistic expectation, closing the gap with interactive elements that include computer programmes, catching and cooking a rabbit, eating a certain beloved brand of tinned fruit salad by candle light, and camping under the stars.

    It also includes an afternoon with a Breast Plough, a replica based on original medieval farming implement in the local Folk Museum in Helston and, willing victims, we offer ourselves up to plough part of a field in units of energy called Newts, specific to Paul’s  Lizard Exit Plan. Digging with this monster shovel, we use a considerable number of these Newts, and the fantasy of self-sufficiency soon collides with sweaty, back-breaking reality, just as the holes in the boat we found in stuck in the mud of Frenchman’s Creek would have sunk any pirate, real or imagined.
    Before we leave I lust one last time after the cyanotypes. They are truly amazing, and resonate like the maps I have in my head of my childhood here, where I hopped and skipped many times, in my imagination at least, to the toy shop in Helston to look at the wooden rocking horse which has now, almost 50 years later, become the inspiration for the piece I’m trying to make for Finders Keepers Losers Weepers.
    Towards the end of the week, we head to Helston to see the original Plough in the local folk museum, an astounding tardis of a place, packed with acres of folk art objects, room after room of the stuff of everyday life, from cradles to coffins and back again. There is nothing I can’t find, and there in the middle of it all is the original Breast Plough, hanging high up the wall with many other tools from a lost agrarian past, untouched, unused, unaddressed for years. Like my wooden horse it was waiting to be brought back out into the light, and it is indeed a thing of beauty, an inspirational item crafted to perfection, built for purpose, like my horse.
    I am slightly cheered. Paul’s exhibition has taken the plough out of a fantasy space and made it real, and in the process made it more than that, just as I want to do with my wooden horse. His plough exists in both worlds, the Folk Museum and the Art Gallery, linking the two not just physically or intellectually, but imaginatively, creatively. I want my piece to be about that rupture that happens when fantasy becomes reality and the dream thumps to the floor, and how we deal with that, but wonder if I can faced with all these beautiful implements, attached as I am to the craft of it all, to the skill of the makers, the pure functional beauty of knives, books, bicycles. The invisible threads that connect me to the folk museum are just as strong as those that attach me to those cyanotypes, pieces which ask so many questions and answer them in so many magical ways. I am wondering now if I should stick to making hobby horses instead.
    On the way back up the hill from the museum I know I will pass the toyshop. The horse has been gone for years, but now the shop has vanished too and all that is left is the sign on the wall outside. Eddy’s Toy Shop. No doubt the sign will one day end up in the folk museum, a monument not just to my childhood fantasies but to generations of children who grew up here, who fed their imaginations with all those long-gone toys.
    I take a last photo of the shop before we leave and head back to London, to start the first chapter of the Artist’s Way, still in a conundrum. A few days later, in the full swing of day pages and the astoundingly effective exercises devoted to creative awakening, I upload the photos, and notice for the first time what the words etched in the glass of the toyshop window actually say, what I should have known was the answer all along - Fancy Goods, Arts and Crafts, and Toys, All Under One Roof. They are indeed.
    The next exhibition at Kestle Barton Gallery will be Hannah Woodman’s large scale drawings of the garden, made in part on the gallery floor during the winter months, when the garden reveals its hidden structures and perspectives, and in the summer when the garden is ablaze with flowers.

    Pia Randall Goddard, August 2014

    Kestle Barton: Rural Centre for Contemporary Arts
    Cornwall TR12 6HU
    Helston Folk Museum
    Market Place
    Cornwall TR13 8TH
    SLWA Exhibition & Events Reviews
    Colourswatch Revisited
    by Pat Keay
    Thematic curation is hardly a novel concept. Most group shows attempt to control quality and content by applying a clear title and/or concept to which artists must respond. However, the theme for ‘Colourswatch’ was quite different and effectively unique for each participant. It was created by chance.
    One challenge with the concept for this exhibition was to attempt to counteract the show’s detractors who disliked the notion of being ‘forced’ to work with a randomly allocated hue. Some SLWA members remained unpersuaded, but those who embraced the idea found their practice developed productively. Here is the story.

    In 2005, I was an artist and teacher in Nairobi. One of my jobs was as Educational Co-ordinator at, what was then, Kenya’s national art gallery, Rahimtulla Museum of Modern Art. I worked with street children, school groups, children from orphanages and Kenyan artists and teachers. After a session in synaesthesia with some street kids in which they responded by singing notes they felt corresponded to colours shown to them, the notion of colour as an exhibition theme persisted.

    One of the problems of thematic shows is that artists will not always be inspired to create new work, preferring instead to include existing pieces that they believe will ‘fit’ the concept. That was an issue with ‘True Colours’ in Nairobi in 2005, and with ‘Colourswatch’ in 2014. My hope was that the random allocation of colours might propel artists out of their habitual palettes, and promote ‘out of the paint- box thinking’ in new work.
    At the start of 2014, I was joined by others keen to co-curate this show, Christine Landreth, Eithne Twomey and Reema Dreeming, and we outlined the principle of the exhibition to SLWA members. Those interested in this experimental approach came to a meeting at the Espacio Gallery in Shoreditch. We presented the overall plan, and all 41 artists picked a number at random which coincided with a numbered envelope. Inside the envelope was an A5 colour swatch that was their colour to work with.
    The exhibition at ‘Espacio’ in June was a critical and commercial success. Far from being a show of ‘pretty, coloured pictures-on-walls’, (as a colleague had feared and predicted,) the exhibition demonstrated the diversity and intelligence of our members. The exhibits ranged from colour field canvases and cutting-edge sculptures to small complex abstractions exploring symbolic links to a given colour. Many artists were challenged by the theme, and some told me they were delighted to have been removed from the creative comfort zone of their familiar palettes.

    We sold 5 exhibits, and made an overall profit with ‘Colourswatch’. The Private View, at which the textile designer Sarah Campbell extolled colour as a theme, was one of the most highly attended to date. Many women made this project a success. All must be congratulated for realising this experimental concept and elemental theme. Thanks for taking this risk. 
    Pat Keay Sept 2014

    • This is the first publication from the female artist group, South London Women Artists (SLWA) for this Award winning exhibition
    • Published to document the exhibition by SLWA as a tribute to Judy Chicago’sThe Dinner Party (1974-1979) at 47/49 Tanner Street, London 15-17 March 2013
    • A beautiful reworking of the seminal installation by adding the names of over 70 women to the original list and to honour 1038 women of importance
    This beautiful reworking of the seminal installation The Dinner Party by Judy Chicago adds the names of over 70 women to the original list, marking their place in history and memory. The selected women have inspired, educated, empowered and made a difference to the 38 participating SLWA artists’ lives. This new Dinner Party, put together as a tribute to the original, underlines the importance of all women’s contributions to the making of art, history, and life.

    Read below what the curators of the show have to say...

    Julie Bennett
    'I'm Inside, Ring The Bell' was born to the world in a coffee shop in Bermondsey in February 2013. I'd read about 47/49 Tanner Street - the creative project space near Tower Hill, London - at the Southwark Arts Forum annual conference and it looked impressive. It is a Victorian warehouse over three floors with exposed-brick walls and industrial features. 47/49 agreed we could have the space free for the weekend of International Women's Day. The trouble was, 47/49 had hanging restrictions meaning we couldn't make any holes in the walls, only working with existing nails - so we switched to a floor-based exhibition to control the aesthetic of the show.
    Léonie Cronin
    When the opportunity arose for an exhibition to honor International Women’s Day it seemed important to acknowledge this and the time seemed ripe for the artists to bring together their creativity to make something where the sum of many parts became one. Being familiar with Judy Chicago’s Dinner Party we thought it fitting to use the format of this work of art, one that is still surrounded by social and political agendas, to bring together the SLWA artists and show the strength of our collaborative practice while still maintaining our own autonomy. The criticisms Judy Chicago has faced and is still enduring for this work of art are part of a wider social construct towards women artists generally.
    Laura Moreton-Griffiths
    Judy Chicago’s iconic The Dinner Party pays tribute to 39 important women from history. Chicago grouped her women, both mythical and historical, into three wings, analogous to: prehistory to the Roman Empire, early Christendom to the Reformation, and the American Revolution to feminism. She set places for her guests around a three-sided table that formed an equilateral triangle, a symbolically important shape because no preference was inferred, or position of importance given to any one individual woman represented. In scaling down the table and accommodating the columns, we inadvertently gained deeper insight in to Chicago’s thinking and exposed the hierarchal structures at play in art history.
    Lucy Soni
    I discovered how much (and to such a high a standard) could be achieved in a short space of time, when you are working with driven and dedicated people. Team work and division of labour was essential and the show would never have come together with out the time and effort put in by, not only the curators but by the exhibiting SLWA members too. Archiving work is obviously always important and the briefness of ‘I’m Inside, Ring The Bell’ meant that archiving was essential to get it to a larger audience. This was how the idea to make a book of the show was born, the idea being to have a lasting and share-able celebration and thanks to artist and designer Pia Randall-Goddard and her husband photographer David, thanks also go to artist and designer Julie Bennett and all the participating artists.

    SLWA Artist Blogs
    SLWA member Anne Krinsky (above) is launching a project with the Women’s Art Library, housed at Goldsmiths College. From Absorb to Zoom: An Alphabet of Actions in the Women's Art Library will culminate in a site-specific print installation in March 2015 on the Goldsmiths campus. Krinsky is a painter and printmaker who previously has created installations about books and archived materials for library, museum and university settings in New England. “This will be my first installation with a UK archive and I will work with text and digital print for the first time, in skill-sharing collaborations with younger artists,” she says.

    The WAL archive started in the late 1970's as an artist-led initiative to enhance public knowledge of the practice, impact and achievement of women in visual arts and houses unique documentation of women artists’ works. It remains open to all women artists. From Absorb to Zoom will take inspiration from slides, artists’ books, magazines, monographs and posters in the collection.

    Krinsky writes, “Through my research, print installation and blog, I will address the underrepresentation of women in art history and highlight this historically important, but underutilized resource. The project blog will feature recent works by selected artists with documentation in the Women’s Art Library, to virtually update the archive.”

    Krinsky has received a Grant for the Arts from Arts Council England for the project, as well as in-kind support from the project partners -- the Women’s Art Library and the Thames Barrier Print Studio -- where she will create the printed works for the installation.She plans to raise the last 15% of the project budget with a crowd-funding campaign on Kickstarter, going live soon. 

    You can learn more about From Absorb to Zoom and the Kickstarter campaign here: http://www.annekrinsky.com/annekrinskynews.html



    Pat Mear
    The Inner Self: Drawings from the subconscious
    at CGP London, The Gallery, Southwark Park, Bermondsey SE16 2UA

    A group show of drawings by seven artists living within Greater London on the theme of the subconscious, primarily in black and white. The selected artists are: Jan Arden, Imma Maddox, Nigel Kingsbury, Hannah Swain, Billy Weston, Pat Mear and Terence Wilde. A small selection of works by Outsider Artist Nick Blinko will also feature in the space.

    The exhibition runs from 4 - 21 September 2014

    Pallant House Gallery set up Outside In in 2006 to provide a platform for artists who find it difficult to access the art world either because of mental health issues, disability, health or social circumstance.

    Pat Mear

    at The Long Gallery
    2 October 2014 to 5 January 2015
    Monday to Sunday 9am to 7pm
    A complex journey through art and life with appreciation of help from the Maudsley Hospital and Bethlem Gallery

    The Long Gallery | Maudsley Hospital | Denmark Hill | London | SE5 8AZ
    Memories of being a female student at the

     by Toni de Bromhead
    The National Film School, as it was known then, was only six years old when it was decided, as a matter of policy, to give half the places to women in their 1977 intake. I was one of these women, and there were about ten of us. Until then they had taken in a few women, but most of the students had been men. This policy reflected the changing climate and attitude towards women in a time when the feminist movement was robust and awareness was beginning to change, even in film which was traditionally a tough alpha male domain. In fiction women were welcome as continuity girls and personal assistants, but not much else though there were some women directors, for instance the avant-guard filmmaker, Sally Potter. In documentary it was easier, there were more women directing, but none the less it was still dominated by men and most women tended to work as researchers. What seemed to be universal was that only very few women indeed could be found doing the technical jobs, that is sound and camera,  though many more could be found editing.
    Of the women in my intake, Belinda aspired to be a lighting camera-woman, the two Jennies (as we called them), Carine and Conny wanted to make fiction films, two women were in animation as I recall, and Celia was interested in art direction. My own aim was to become a camera/director of documentary films, something that the union at that time didn’t even allow. So none of us were modest in our ambitions, and we were extremely determined.
    The school was, by and large, very supportive of us and because it’s system of teaching was student-led we could choose the tutors that interested us, either from within the school or from outside in the industry. None the less some of the tutors were a little problematic and did show overt scepticism of women doing certain jobs, but we could usually avoid these ones. However I do not recall any of us being strongly feminist in the sense of being activists. Rather we were very aware of feminism, we took it into account, it informed what we expected from the school, it affected our view of life, and it influenced the subject matter or the approach of our films. But I think more than anything else we saw the nature of our challenge being a practical one, by which I mean the first level of our endeavour was to prove to men that we could do it - otherwise there would be no work for us in the industry once we left film school.
    Looking back it seems extraordinary, but I recall one of our chief concerns being never to let a man help us carry equipment. We were working with 16 mm film, the camera was cumbersome and the sound recorder was very heavy, so when we were carrying equipment in their awkward silver boxes it was a great temptation to hand it over to any man who came running forward to relieve us of this burden. But we agreed between ourselves that this was something that we must never allow and so we struggled on our own with weights that were often too heavy.
    When I shot my first student exercise in a Greek taverna in Charlotte Street, I used an all woman crew. I remember there being a group of Thames TV technicians having lunch there. They verbally attacked us, quite aggressively, and unquestionably tried to diminish us, even questioning our right to film in a public place. This illustrates the climate we were dealing within the industry.
    There were so few women out there that when feminist director Deedee Glass (ex film school) made a film for the BBC, Fats and Figures (1979), in which she investigated the slimming industry, she employed another graduate as her camera-woman, but couldn’t find a female sound recordist which she needed for certain sensitive scenes. I was therefore asked to help with the sound, holding the microphone in the room whilst a male sound recordist stayed outside monitoring levels. It is curious how feminist issues in film at that time seemed to revolve around food, lesbianism, and choices that women might make - either in work or relationships. One student film I worked on as a sound recordist was about Susan Orbach and her ground-breaking book Fat is a Feminist Issue. I also did sound on a fiction film, Life Chances, that was made by students for the Equal Opportunities Commission, in which women from different backgrounds considered different work possibilities. I believe the film was used to stimulate discussion at meetings, but what is most interesting today is that all the women shown in the film were white, which would not be possible now.
    Two factors helped us when we left the school. One was that we built up a network of friend-colleagues within the school whilst we were students, and we took this out with us into the real world. So male and female directors from the school might use Belinda to do camera,  I employed a friend from the school to do sound, and so on. This meant that we gave each other work but also, more significantly perhaps, it helped us to avoid crews that were prejudiced against women. The other thing that helped us enormously was the arrival of Channel 4 Television which, at that time, had a mandate to be experimental and to deal with minority subjects. So there were programmes made about and by women and people of other ethnic origins.
    We were all quite successful when we left the school. One of the Jennies became producer for the very talented and successful Terence Davies (Distant Voices, Still Lives), who was also in our year. Belinda became a lighting-camerawoman and shot Veronica Four Rose, a documentary for CH.4 about young lesbians. Celia became a successful art director and eventually worked on Harry Potter. Carine was funded by the BFI to make Under the Skin,which she wrote and which is described as being “a contribution to British feminist theory and its expression through cinema”. Conny wrote and directed Nanou, which is about the changing power relations within a couple as the woman gains better insight and understanding of herself. This film was shown at the Curzon cinema. And, finally, I made a documentary trilogy for CH.4 which compared aspects of life in an English village with a Provencal village and, amazingly, I was given union exception to do the camera myself!
    However I think it’s true to say that none of us fully realized our potential in the longer term, and this makes depressing reading. Either marriage or children came into the equation, or quite simply a dislike of contending with the highly competitive world of cinema and television. In other words for most if not all of us, there was more to life than our career. The situation within the fiction film industry hasn’t changed that much, and even in documentary there may still be more men than women. This is food for thought.

    Toni de Bromhead, September 2014

    SLWA Artist Crits for
    Finders Keepers Losers Weepers show
    The collaborating artists of Finders Keepers Losers Weepers gather for the first of the crits set for our residency at Conway Hall in November. New member and guest artistLiz Atkin kicked off the talks at Melissa Budasz and Christine Landreth's studio at Creekside Artists studio space at the Biscuit Factory, SE16. 

    Professor Rebecca Fortnum of Middlesex University led the 2nd crit at Lucy Soni's studio at Acme studios, SE15.

    Artist Aleksandra Mir will lead the next crit at Beata Kozlowska's studio at Studio Voltaire in Clapham on Wednesday 8 October, 2014.


    SLWA Book Club 
    Next Book Club date Wednesday 21 January 2015 7-9pm at Melissa's house

    List of Autumn titles: 
    The Vagenda: A Zero Tolerance Guide to the Media by Holly Baxter and Rhiannon Lucy Cosslett
    As students, Rhiannon Lucy Cosslett and Holly Baxter spent a lot of time laughing at magazine pieces entitled things like '50 Sex Tips to Please Your Man' (particularly the ones that encouraged bringing baked goods into the bedroom). They laughed at the ridiculous 'circles of shame' detailing minor weight fluctuations of female celebs, or the shocking presence of armpit hair. And at the articles telling you how to remove cellulite from your arse using coffee granules. But when they stopped laughing, they started to feel a bit uneasy. Was this relentless hum about vajazzles and fat removal just daft - at worst a bit patronising - or was something more disturbing going on? Was it time to say NO? They thought so. So they launched The Vagenda blog in 2012, and now they have written this laugh-out-loud book. It is a brilliantly bolshy rallying call to girls and women of all ages. Caitlin Moran asked 'How to be a Woman': The Vagenda asks real women everywhere to demand a media that reflects who we actually are.

    The Woman Who Went To Bed For A Year by Sue Townsend
    A funny and touching novel about what happens when someone stops being the person everyone wants them to be. 'Laugh-out-loud . . . a teeming world of characters whose foibles and misunderstandings provide glorious amusement. Something deeper and darker than comedy' Sunday Times. The day her twins leave home, Eva climbs into bed and stays there. For seventeen years she's wanted to yell at the world, 'Stop! I want to get off'. Finally, this is her chance.

    Alina Szapocznikow - Sculpture Undone by : 1955-1972 by Elena Filipovic and Joanna Mytkowska 
    A sculptor who began working during the postwar period in a classical figurative style, Alina Szapocznikow radically reconceptualized sculpture as an imprint not only of memory but of her own body. Though her career effectively spanned less than two decades (cut short by the artists premature death in 1973 aged 47), Szapocznikow left behind a legacy of provocative objects that evoke Surrealism, Nouveau Réalisme and Pop art. Her tinted polyester casts of body parts, often transformed into everyday objects like lamps or ashtrays; her poured polyurethane forms; and her elaborately constructed sculptures, which at times incorporated photographs, clothing or car parts, all remain as wonderfully idiosyncratic and culturally resonant today as when they were first made. 

    List of past titles:
    Possession by AS Byatt
    Managing Monsters and/or Monuments & Maidens by Marina Warner
    Contemporary Art & Memory: Images of recollection and remembrance by Joan Gibbons
    Contemporary British Women Artists : In Their Own Words by Rebecca Fortnum
    Old Mistresses by Rozsika Parker & Griselda Pollock
    The Vindication of the Rights of Woman by Mary Wollstonecraft
    Wide Sargasso Sea by Jean Rhys

    How To Be a Woman by Caitlin Moran

    We have 20 members on our book club mailing list - if you are interested in joining please email This email address is being protected from spambots. You need JavaScript enabled to view it.


    Upcoming SLWA Events, Shows & Talks
    September 2014 to March 2015
    by theWHYfront
    Part of Deptford X London's Contemporary Art Festival
    devised by Melissa Budasz & Laura Moreton-Griffiths
    The Albany Friday 26 Sept to Sunday 5 Oct 2014

    theWHYfront (
    aka SLWA artists) return to Deptford one year on from the launch of A Public Airing project, with an ambitious live collaborative drawing with the aim of promoting a better understanding of the role of women artists historically and in a current context. A visual story-board of 18 frames looks back through time and history at female art from cave painting, medieval tapestry and participation in the guilds, renaissance painting and sculpture through to Victorian portraiture and still life, early photography, surrealism, abstract expressionism, performance art and art to date. We are keen to identify the impact and relevance of the hidden narratives in contemporary culture, related specifically to key interests and concerns addressed by female artists today.

    HIDDEN NARRATIVES DANGEROUS ERASIONS visually presents a story of female artists, well-known and not so well-known, connected to and operating at times of influence. Part of The Big Draw (the world's biggest drawing festival), this live drawing event will take place in the Foyer of London's leading word, music, theatre venue The Albany during the Deptford X Festival 2014. theWHYfront will collaboratively draw the 5.1 m story-board in front of a watching public 26-27 September and 29 September-5 October 2014, 12-6 pm daily.

    Collaborative artists
    Julie Bennett, Jackie Brown, Melissa Budasz, Robina Doxi, Chantal Gillingham, Laura Moreton-Griffiths, Margaret Higginson, Paula Stevens-Hoare, Moira Jarvis, Liz Charsley-Jory, Beata Kozlowska, Jennie Merrell, Lesley O'Mara, Marnie Pitts, Gillian Best-Powell, Mary Thomas Rodriguez, Selena Steele, Chrissy Thirlaway, Eithne Twomey


    Here are some pictures of SLWA members drawing live at The Albany
    Finders Keepers Losers Weepers - Conway Hall
    4 November 2014 to 28 February 2015
    Conway Hall, Red Lion Square
    Laura Moreton-Griffiths
    gives an insight into her ideas and work for SLWA's residency at Conway Hall Finders Keepers Losers Weepers
    Mary Wollstonecraft, eighteenth-century English writer, philosopher and proto-feminist and the radical activism of the Ethical Society, inform recent site-specific drawings as objects for our November exhibition at Conway Hall. Using collage, I draw together visual and sociopolitical narratives of matriarchs and monsters, hyenas and feral children.

    The title of the residency ‘Finders Keepers Losers Weepers’ is a contradictory adage. It is a rhyme sung in childhood and often erroneously applied; in law, if you find a thing, you must go to all reasonable lengths to find its owner, rarely can you just keep it. Subconsciously, perhaps, we are aware the chant is in some way wrong, because it is sung as a taunt, turning someone’s loss to another’s advantage, an idea into an accepted truth. It is because adages connect us with our desires and fears, that they have the power to shape the way we think and how we construct our societies, prospering some at a cost of others.

    Wollstonecraft understood this tacit process of social programming and that obstacles in the path to equality are not natural or divine. She wanted the power of ‘kings, priests and statesman’ removed; and called for change in education - boys to be brought up outside of male dominated society and girls to take control of themselves. Wollstonecraft railed against the gender conventions and romantic illusions of her day. She wanted women to aspire to the dignity of human beings. Thinking Marie Antoinette emblematic of all that was wrong with female humanity, the author publicly attacked the French queen, calling her ‘a hot-house flower’. Horace Walpole countered defensively calling Wollstonecraft a 'hyena in a petticoat'. At once transmuting her into a cackling, carnivorous animal, dressed in women’s clothing. Simultaneously, Walpole had called into question her basic humanity, creating an abomination in nature, and unwittingly, supported her claim that she would be the first of what she called ‘a new genus’ (a woman who supports herself by her writing). It is this monstrous half-being, that I am interested in - a dystopian and fanciful thought, a woman armed with an inky quill, who wrote about raising boys and bringing up daughters.

    Walpole would have been unaware of the latent power of his defamatory smear; in nature, hyenas are one of the few animals that live in a clan matriarchy. A single alpha female leads the pack, with all the girls taking precedent over the males; adult males eat last. A mother can choose the sex of her female offspring by passing onhigh amounts of testosterone, to produce larger, stronger and more aggressive girls. This also transforms the female genitalia. An adult female hyena’s clitoris is a 6 or 7-inch long pseudo penis and the labia are fused together resembling a scrotum. Hyena females chose not to mate with aggressive males, instead, selecting charming, calm, and patient mates; courtship can last a year. The female is always completely consensual in sex.

    Refusing to be bound by political and moral rules Mary Wollstonecraft was dramatic in life, love and sex: aged fifteen she declared she would never marry, she demonstrated undying love for her best-friend Fanny Blood, and infatuated, took herself to the door of painter and art writer Henry Fuseli, to whose wife, Sophia, she suggested a ménage à trois. Turned down and humiliated, she fled to Paris, a ‘spinster on the wing’ to write about the revolution. There she entered into a passionately sexual relationship with American Revolutionary War soldier and trader Gilbert Imlay, to whom she gave her virginity aged thirty-four.  A serial philanderer, he wasn’t faithful, despite their having a child together. An unmarried mother, she returned to England with her daughter Fanny. Several desperate attempts to reunite, lead Wollstonecraft to take an overdose of laudanum.  Unsuccessful in ending her life, she tried again, rowing herself from Chelsea to Putney to jump from the bridge. Again unsuccessful, she was pulled from the Thames and revived in a local inn. Surprisingly, shortly after, her wounded heart found its way to William Godwin, foremost radical philosopher of the period. They enjoyed a brief loving marriage, before she died of puerperal fever eleven days after giving birth to their daughter Mary Godwin.  As she lay dying, Dr. Fordyce, her doctor and a family friend, believing her ‘milk gone astray’ and toxic, and about to reach her womb and poison her - removed her newborn child, substituting suckling puppies to draw off the milk.

    Yet again, albeit, unintentionally, this radical, freethinking woman, was turned into a monstrous half-being; a reduction that leaves a savage and pitiful image impressed upon the mind. In death, she was positioned outside of nature, her principles undermined; in England, Wollstonecraft was a singular advocate of breastfeeding. Contrarily, in revolutionary France, a mother’s milk was considered the ’nectar of the age of reason’, vital sustenance of republicanism. Of interest also, is the foundation myth of empire builders, Romulus and Remus, twin boys suckled by a she-wolf. What of Wollstonecraft’s daughters? Fanny, who was three when her mother died, was twenty-one when she killed herself with an overdose of the same poison her mother had taken. Her half-sister, Mary Godwin, eloped with and married proto-socialist Shelly. She was half way through her novel, Frankenstein, and mourning the death of her premature daughter when she received the news. Both deaths will have tragically given colour to the melancholic tale of a newborn man that unloved becomes a monster.
    A final monster of interest is a female hybrid, fashioned from misogynies. Durer said the perfect nude should be made up of the different body parts of different women, the head of one, the neck and shoulder of another, the arm of another and so on. Evoking this selective process, I have assembled a monster for Mary Wollstonecraft. The face is constructed using the death masks of Rousseau and Edmund Burke, whose writings and aristocratic propaganda, Wollstonecraft countered with ‘Thoughts on the Education of Daughters’ and ‘Vindication of the Rights of Men’ respectively. The body is made of imagery that make reference to the societal hegemony Wollstonecraft wanted to end: the controlling influence of superstition, tradition and custom, church and the clergy, the hereditary privilege of monarchy and aristocracy, the tyranny of the military. She was writing at the time when wife beating was a right. A theme that runs trough all of my work is the resonance between then and now. Backwards into the future…
    I will be making a presentation of new work at The Asylum Chapel, Peckham SE15 2SQ
    27 March 2015
    Symposium - Conway Hall
    A night of insight and debate - with performances from Liz Atkin & Léonie Cronin and poetry from Joan Byrne

    Thursday 20 November 2014, 7-9, followed by a drinks reception

    Joan Byrne is a poet and photographer. She aims to record and comment on life’s absurdity, loveliness, humour and pathos.
    She has read her poems at various venues including the Poetry Café, Peckham Literary Festival, the Literary and Philosophical Society, the libraries of Southwark, several London galleries (including at a couple of SLWA exhibitions) and the Republic Bar in Tasmania. Her work has been published in the small press and poetry webzines. She also writes short stories, several of which have been published.
    She is a member of the Poetry Society’s Southwark Stanza and is one of the Rye Poets. 
    SLWA artist Liz Atkin will illustrate the theme of sanctuary in a site-specific performance of her solo show Curdled at the Dragon Cafe in September in SE1. TheDragon Cafe regular activities will be beautifully complemented by visiting curators from the Bethlem Museum & Art Gallery. They are set to deliver a fascinating programme of films, talks, object handling sessions, art, dance, songs and music all exploring creative and psychiatric forms of sanctuary down the ages. Through body-focussed repretitive behaviour, Atkin will explore sensations of anxiety and sanctuarywith tangled hair and her own skin with vivid paint to illustrate and transform the space

    We look forward to Liz's performance the night of the Symposium at Conway Hall.

    A Chaired panel of 3 Speakers will expand and explore abstract notions around being, knowing, identity, time and space, giving a major contribution on the contemporary discourse of these enduring questions. The evening will also include stand-up poetry and performances followed by a drinks reception.

    This Symposium co-incides with South London Women Artists Collaborative residency and site-specific exhibition at Conway Hall -Finders keepers losers weepers (4 November 2014 to 28 February 2015), an exhibition that is prompted by the creative and independent thought and free speech behind the Conway Hall Ethical Society, 1787 to date. Finders Keepers Losers Weepers is a school-ground chant and is an English adage with the premise that when something is unowned or abandoned, whoever finds it can claim it. Taking the artwork as a starting point, this panel of 4 prominant female experts in the fields of art, philosophy and science will discuss the rhyme and explore the broader issues of mind, memory, possession and loss.
    To book your ticket (up to 2) click on this link 

    CHAIRED BY Professor Rebecca Fortnum, School of Art & Design, Visual Arts - Middlesex University. Rebecca Fortnum is an artist and academic. Her awards include Pollock-Krasner Foundation, British Council, Arts Council of England, British School in Rome, Arts and Humanities Research Council, Space for 10 mid-career award and METHOD Cultural Leadership Programme. 
    SPEAKER : Margaret CarlyleSSHRC Postdoctoral Fellow, Department of History & Philosophy of Science - University of Cambridge. Having received her PhD in 2013 from the Department of History at McGill University onCultures of Anatomy in Enlightenment France (c.1700–c.1795), Margaret Carlyle's thesis was a study of the interplay between the rise of anatomy as a subject experienced by polite amateurs and its consolidation as a branch of experimental science in eighteenth-century France. 
    SPEAKER : Professor Tina Chanter, Head of School, HumanitiesFaculty of Arts and Social Sciences - Kingston University. Tina Chanter's research currently focuses on questions of aesthetics and politics. Recent publications have interrogated the philosophical, psychoanalytic and literary reception of Sophocles’ tragic heroine Antigone, an analysis of abjection in contemporary, independent film, and the need to reflect on how to theorise gender in a manner that explores its intrinsic and complex relationship to other categories such as race, class and sexuality.
    SPEAKER: Jessica Voorsanger, Senior Lecturer Sculpture, School of Fine Art - UCA University of the Creative Arts. Jessica Voorsanger's work explores the concept of 'celebrity' within popular culture; through obsession, and their 'fans', and the ideology of fan culture. She currently believes that the present overwhelming domination of 'reality TV' has changed the concept of celebrity, so that it no longer just describes 'people of talent' - but the notorious also. 
    Urban - at Brixton East
    25 February to 11 March 2015
    curated by Liz Charsley-Jory of Hide Gallery

    As the director of Hide Gallery, which no longer has a dedicated exhibition space, I would like to hold a Hide Group Show at Brixton East, whose location and décor make it ideal for the theme of Urban. The windows of Brixton East, which was once the site of a furniture manufacturer, look out upon roads and the railway line,  and it is close to the busy hub of Brixton, which exemplifies the many themes of Urban or City.
    Urban life: busy, cosmopolitan, multi-cultural, densely populated
    Urban spaces: buildings, squares, parks,
    Urban movement: bicycles, public transport, traffic
    Urban culture: music, performance, poetry, art
    Urbane attitudes: the definition of urbane is polished, sophisticated. Urban is often seen as superior to rural, more cultured and knowledgeable.
    I think these themes offer our members plenty of scope for making work. The space is large enough to accommodate a number of works of all sizes, including 3D – there is also a cabinet for displaying more delicate work.

    The exhibition will run from Feb 25 - Mar 11, incorporating International Women's Day March 8th. 
    If you would like to take part in this exhibition, please send an expression of interest to This email address is being protected from spambots. You need JavaScript enabled to view it.. More information to follow...

    Death and Transition at Gabriel Fine Art Gallery
    24 April to 8 May 2015
    curated by Yolanta Gawlik, Illinca Cantacuzino and Joan Kendall

    The subject of Death can be approached on a personal level or more universally.
    The transition element suggests continuity, it's not about ending. It's about transformation. It's uplifting.
    The above does not exclude other interpretation.

    The Venue:
    Gabriel Fine Art is located within 5 min walk from Lambeth North tube station, on the back of St Thomas' hospital, close to Westminster Bridge and next to the old burial ground. It is also in close proximity to Make Space Studios, which are placed on the site of the old train station used in 1848 for transporting the bodies of Cholera epidemic - all those connections with death are present there. The gallery's building, a beautiful old cottage, in located in the yard next to the park and opposite an art cafe. It has been a Buddhist centre for many years.

    Here is the link about it: http://www.makespacestudios.com/

    If you would like to take part in this exhibition, please send an expression of interest to This email address is being protected from spambots. You need JavaScript enabled to view it.. More information to follow...



    Contributing artists:
    Liz Atkin
    Julie Bennett
    Toni de Bromhead
    Melissa Budasz

    Joan Byrne
    Leonie Cronin
    Yolanta Gawlik
    Laura Moreton-Griffiths
    Moira Jarvis
    Liz Charsley-Jory
    Anne Krinsky
    Pat Mear
    Pat Keay
    Pia Randall-Goddard
    Lucy Soni

    Editor Melissa Budasz
    Contributing Editors Laura Moreton-Griffiths, Moira Jarvis, Pia Randall-Goddard


    If you would like to help collaborate with our next Newsletter for March 2015 or write a review on a show you have seen and would like to share, email This email address is being protected from spambots. You need JavaScript enabled to view it.

    Please remember to like us on Facebook and Twitter.

  •  The finished piece



    SLWA TWF DX 300dpi

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    by theWHYfront

    Part of Deptford X London's Contemporary Art Festival

    devised by Melissa Budasz & Laura Moreton-Griffiths
    The Albany Friday 26 Sept to Sunday 5 Oct 2014


    theWHYfront (aka SLWA artists) return to Deptford one year on from the launch ofA Public Airing project, with an ambitious live collaborative drawing with the aim of promoting a better understanding of the role of women artists historically and in a current context. A visual story-board of 18 frames looks back through time and history at female art from cave painting, medieval tapestry and participation in the guilds, renaissance painting and sculpture through to Victorian portraiture and still life, early photography, surrealism, abstract expressionism, performance art and art to date. We are keen to identify the impact and relevance of the hidden narratives in contemporary culture, related specifically to key interests and concerns addressed by female artists today.

    DANGEROUS ERASIONS visually presents a story of female artists, well-known and not so well-known, connected to and operating at times of influence. Part of The Big Draw (the world's biggest drawing festival), this live drawing event will take place in the Foyer of London's leading word, music, theatre venue The Albany during the Deptford X Festival 2014. theWHYfront will collaboratively draw the 5.1m story-board in front of a watching public 26-27 September and 29 September-5 October 2014, 12-6pm daily.

    Collaborative artists
    Julie Bennett, Jackie Brown, Melissa Budasz, Robina Doxi, Chantal Gillingham, Laura Moreton-Griffiths, Margaret Higginson, Paula Stevens-Hoare, Moira Jarvis, Liz Charsley-Jory, Beata Kozlowska, Jennie Merrell, Lesley O'Mara, Marnie Pitts, Gillian Best-Powell, Mary Thomas Rodriguez, Selena Steele, Chrissy Thirlaway, Eithne Twomey









    SLWA TWF DX 300dpi














    26 Sep to 5 Oct 2014

    PV Sun 5 Oct 3-6 pm

    devised by Melissa Budasz and Laura Moreton-Griffiths

    We need your help to make this collaborative drawing come alive. THE WHY FRONT (aka SLWA) have been selected by Deptford X, London's Contemporary Arts Festival 2014 for this very ambitious drawing project.

    With the aim of promoting a better understanding of the role of women artists historically and in a current context we explore the mis-representation of how women's art practice has been presented and the tendency to impose rigid and anti-historical categorization on women's art. Researching the history of female art from cave painting, medieval tapestry and manuscripts, participation in the guilds, renaissance painting and sculpture through to Victorian portraiture and still life, early photography, surrealism, abstract expressionism in the 20th Century, performative art and art to date; we are keen to identify the impact and relevance of the hidden narratives in contemporary culture, related specifically to key interests and concerns being addressed by female artists today.

    HIDDEN NARRATIVES DANGEROUS ERASIONS visually presents a story presenting female artists connected to and operating at times of influence. The drawing will be drawn up to a large format on to a primed canvas roll 180 cm height and 510 cm length which will cover the Foyer wall of London's leading  word, music, theatre  venue The Albany. SLWA artists will collaboratively draw each day a story-board of differing images in front of a viewing public, bringing to the work your own individual characteristics of personality and drawing style combined with the qualities of the materials. This will largely be sharpies and other types of felt tip pens.


    If you are interested in taking part, please state which days you can participate and express your interest by Friday 5 September to This email address is being protected from spambots. You need JavaScript enabled to view it.

    We will devise a timetable and schedule of collaborative artists during the Deptford X Festival period of Friday 26 September to Sunday 5 October 2014.







    Celebrating 6 years of SLWA


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    Wednesday 9 July 2014  7-9.30pm



    Brixton East 100 Barrington Road  Brixton  London SW9 7JF

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    Come along to find out what SLWA have been up to over the last year, plans for the future and to have your say. This is also a great opportunity to meet new members and say hello to old members, to talk about what you have been up to and to get enthusiastic for the next SLWA year ahead. 








    In celebration of our successful installation in March 2013 I’m Inside Ring The BellA Contemporised Interpretation of Judy Chicago’s The Dinner Party, SLWA have become our own publisher. The first of many books we plan to publish - this book will be for sale at the special price for £10 only (RRP £15) at the AGM. Please reserve your copy now, or pay in advance (with your Membership) for collection at the AGM. Alternatively you can pay £10 cash on the night. This offer will only be available at the AGM.



    SAFTA Award


    SLWA receiving their SAFTA Award at the Southwark Art Forum Awards, October 2013

    Image courtesy of  VANEK




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    Colourswatch by South London Women Artists is a celebration of the impactful elements of colour and is a visual feast. 41 SLWA artists will be exhibiting at *espaciogallery in Bethnal Green Road, Shoreditch for two weeks 5-17 June 2014. 
    Private view : Thursday 5 June 6-9pm
    The idea behind Colourswatch was to allocate by random selection an A5 swatch of solid colour to each participating artist to promote
     a creative reaction. They were invited to respond intellectually, politically, adversely or emotionally to the colour with all its implicit symbolism and association.

    Some artists felt challenged by their colour as it was outside their usual studio practice and comfort zone. Others welcomed the project, for the same reasons. Come and view the results which are exciting, revealing, subtle and clever in their diversity and integrity.
    Email This email address is being protected from spambots. You need JavaScript enabled to view it.This email address is being protected from spambots. You need JavaScript enabled to view it. Twitter @SLWArtists Facebook southlondonwomenartists
     Images taken from the private view at *espaciogallery on 5 June 2014
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