Susana Carne. I started making hands as I was thinking about the importance of the hand in art making. I was reading The Art of Encounter by artist Lee Ufan, and found deep inspiration in his words. One hand took me then to another hand, and so on. Eventually, lots of hands made a land of hands, that is a Handland, the world of the thinking hand.

"For the artist the hand is connected to many parts of the outside world, including the brush, the paint, the canvas, the air, time and space. It is an intermediary that provides experience of the world, produces thought, and leads me into an unknown otherness. Also the hand of the artist performs the role of creating physical intermediaries (artworks) in the interval between the world and the self" - Lee Ufan. The Art of Encounter.

Liene Pulture. My current practice is an exploration of one's own fascination with the universe, the unknown also being one of the greatest fears. The natural curiosity of human beings has progressed to extreme levels of knowledge, yet this wisdom is nothing in comparison to what still remains unanswered. Most of us rely on technology to experience phenomena in the deeper outer space; this safety net is our means of survival, while at the same time providing a greater chance to explore the natural, interconnected processes - and consciousness. By employing a Victorian curiosity, a custom built stereoscopic cabinet viewer, I propose a creation of one's own cosmos. The viewer is invited to interact, to look into the unknown through the eyes that look back at you.

Shirley McNeill. My work explores the notion of repetition and how unpredictability arises within a routine. Sourcing all my recent work from hundreds of ink pieces, all made using exactly the same process but resulting in significantly varied outcomes. The use of pattern, repetition and obsession initially began in the process of my work and consequently began to emerge in the work itself. Visually, my work has an immediate connection to the organic world, but I encourage the audience to question what they are looking at. An additional, and equally important element of my work is the concept of transformation and I continue to change and mutate a piece of work; pushing it to its very limit.

James Riley. I have been particularly interested in the study of chaos theory and non-linear dynamical systems, which govern so much of the natural world; from the formation of cloud, to how trees grow. The projection of white noise is a man made chaos that I have projected onto the natural in order bring about a harmony, a marriage, between the two and create a new chaos. Similarly I constructed the tree so that no one branch would touch another, as chaotic systems have been proved to be, although cyclical, non-repetitive. This has been compromised however as the sculpture has been broken on four occasions in the past week, three times seriously. The damage has never been deliberate, and I believe it was caused by people being unaware that this “tree” has been man-made (and not found). I think that this is an interesting comment on how human respect for an object is often only achieved when its true qualities or importance to them is revealed.

Ruby Smith-Fernandez. "They were like desperate men, stupefied, crazy senseless with their greed for gold and silver. Sometimes they did not eat for thinking of gold and silver. Sometimes they had big fiestas, imagining everything they held in their hands was gold and silver… Their desire for gold and silevr was such they did not fear death. With their greed for gold and silver, they go to hell.” - Felipe Guaman Poma de Ayala

Tokarska Gallery
163 Forest Rd, Walthamstow
London E17 6HE United Kingdom
Ph. +44 (0)20 85315419

Opening hours
Thursday - Saturday
From 12pm to 7pm