Chancing upon a poster affixed to a public wallboard while en route to a film (and with a bit of follow-up research), I discovered the existence of these two very exciting and ambitious private arts ventures, both concentrated in a rather low-key neighbourhood corner of Bermondsey. The Concept Space, located in a small works building just behind the studio of a bespoke furniture maker, opened its first show this past February, the debut UK exhibition of Hungarian artist Marta Kucsora. Curator KB Stowe has made good use of the corridor leading to the main gallery space, continuous rows of small-scale works the length of each wall which act as proper prelude to the sizeable works to come once through the doorway. The soft suggestions of crashing waves and possible celestial events gives over to strong sensations of explosions at the cellular level or the processes of natural phenomena evoked by the larger works. Kucsora applies paint to canvas in such a way as to make the viewer viscerally aware of the instrument which wielded it, its force and movement across the frame. The eye is held by the texture, the layered feel of oil and acrylic, the hypnotic pull and waver of colour. The exhibition’s title, Viscosity, is entirely apropos for the elemental effect of the work, dynamic but never vulgar in the the uses of thick and fluid materials. The show continues through 25 March

Odds are when you press the bell at Artshouse1 (its post code cleverly concealed within its name) you will be greeted by the building’s owner, Rebecca Fairman, who will be your eminently personable and intimate guide to the current exhibition in the gallery on the top floor. As it turns out, patrons are guests in Rebecca’s actual home, a portion of which she has devoted to artists both emerging and established to display work outside the strictures and pressures of public institutions, idiosyncratic pieces that may breathe easier in the open environment of a private home. The venture surely calls on Rebecca’s skills in the fields of marketing and advertising, and I’m more than happy to do my part in informing the curious public as to this fantastic and worthy endeavour. On offer at the moment are the lacquered creations of Benedict Pulsford, arrangements of objects (some identifiable, others obscured) adrift in swirls and whorls of dazzling, obliterating fields of colour. The works directly engage the senses, leaving the individual in a playful, sedate daze, and they certainly interact well with the room in which they are displayed (the few pieces that have had to be placed outside the main room have been artfully and flawlessly curated in the domestic areas on the ground floor, and if they hadn’t been addressed by Rebecca, you’d be forgiven for imagining they were permanent fixtures, nothing at all to do with the show). Works by Pulsford’s father, stepfather and son are featured in a separate room, offering a conversation between the generations of an artistic family. I encourage all readers to have a look at the website, and plan a visit (if not for this exhibition, than for a future show-there’s nothing quite like this to be found elsewhere in London).  The show is on through 31 March






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