A Journey in Project Space and Time
It’s nearly the end of May in London, but it could be winter. I stumble my way down to a wet and dreary Shoreditch High Street, having successfully negotiated the stressful London underground rush-hour crush. Umbrella up and head down I make my way across the street, only vaguely aware of groups of young men deep in conversation, apparently staring at walls in the lane which leads to my destination.
I arrive. I can’t find the entrance. A woman stands in a dark alcove. She is dressed in a dusty overall, and expertly holds a cigarette between her lips in a pose which I instantly recognise as being based on a sitcom character whose name, just for the moment, escapes me. I ask her where the entrance is, She’s never heard of the place.
I step back from the pavement on to the street, narrowly missing an elderly cyclist with a soggy baguette under one arm. The whole wall against which the smoking women stands is bright yellow, contrasting bizarrely with the dark graffiti-laden walls of the adjacent buildings. Then I see it. As she turns, the alcove reveals a door and, next to the door in precise but small lettering it says ‘Catin Art Prize - until 26 May’.
I am at the Londonewcastle’s Project Space to meet Peter Allen, marketing manager of the property development company which describes itself as “one of London’s top design-led residential-focussed mixed-use property developers”. Peter has not arrived. The friendly receptionist invites me to have a wander around and offers to look after my dripping umbrella. Low lighting and ominous sounds fill the first space which opens up to reveal another, then another and yet another. As I explore, I can’t decide whether this feels more like an old-fashioned mechanical ghost train or a modern multimedia exhibition. What I do know is that it feels like a journey.
I see a wall of TVs showing a young women in a white gown climbing over bricks, bizarre screens where I catch glimpses of myself at different angles and colours, what appears to be an old school room with a large Sesame Street-like elephant, an amazing light show and am confused if the effect is achieved by lasers or by wire, a strangely peaceful video of a group of men operating model trains, a bright gallery containing a pixellated stained glass window and oil cans, and an eclectic collection of large photographs and paintings.
Peter is back at the entrance, having managed to expertly negotiate the sudden closure of an underground line. He introduces me to Justin Hammond, Catlin Art Prize Curator. Justin explains that some 40 artists were selected for this year’s prize of which nine were shortlisted are are displaced in the month-long exhibition at Project Space, The Catlin Prize was set up in 2007 to give UK artists a support system for at least a year after leaving college and this is its second year at Project Space. Justin says that he really likes the venue because the Londonewcastle managers are very supportive and do not attach unnecessary conditions. This year, for example, he has been able to construct several walls and put in additional lighting. The only condition is that he returns the space to its original state.
Justin takes me back into the galleries. He explains that his aim is to bring west-end production values and museum standards to the event. He describes the year-long process of finding the best artists, supporting them to produce work for the prize, organizing the shortlist and displaying their work to best effect. He is warm with his praise for Londonewcastle as he finds that they, like him, want to develop a relationship of trust and are keen to work with him in a partnership rather than see themselves as simply hiring out a gallery space.
I don’t think I have ever been fortunate enough to have been given a personal guided tour of any exhibition by its curator. And of course Justin has not just been gathering and exhibiting works of art - he has been actively involved with the artists, supporting them both financially and with advice and ensuring that individual artists are displayed to their best advantage and that the experience works as a whole. He describes it as ‘a journey’ - yes, I am delighted. But my credibility takes a dive, I think, when I liken the journey through the carefully assembled exhibits to walking along an Ikea store’s prescribed buying route.
Justin carefully talks me through each artist’s work and highlights the two prize winners - Terry Ryu Kim winner of the 2013 Catlin Art Prize for his “Screening Solution I, II and III”, and Juno Calypso for her unsettling and strangely erotic photographs who was winner of the visitor vote among the several thousand people who attended the exhibition.
And on the way back out, the elephant walks! I see that it’s not actually an elephant but, wonderfully, the artist Nicky Deeley who has performed in five costumes every day, all day of the exhibition’s 30 day run.
Before I brave the London rain, I have time to ask Peter why Londonewcastle run Project Space. He tells me that the company’s ethos is to develop design-led properties which have inspiring, vibrant environments and that promoting arts, and particularly new artists, matters a lot to the them. Londonewcastle’s aim with their arts programme, he says, is to provide environments donated for artists’ use, reducing the financial burden on new creative talent. Their programme also supports street art by providing large canvases for local, regional, national and international artists; established, emerging, infamous or just unknown.
A quick look at the Project Space programme for the rest of the year shows a bewildering variety of painting, drawing and photography exhibitions by solo artists, mixed media events, performance and street and fashion and design shows. I question Peter about Londonewcastle’s apparent low profile in support the arts. He recognizes that this may seem a little strange this but says that its just how they go about their business.
Happily when I leave Project Space after a wonderful two hours, the rain has eventually stopped. I’m almost at the station when I remember that I have forgotten my umbrella. On my way back I see Peter talking to one of the groups I had seen earlier, taking photographs of a large colourful mural on one of the walls. Peter shouts me over and introduces me to James Reka, a well known street artist from Melbourne. Reka has just finished his latest work on one of Londonewcastle’s buildings next to Project Space. He says that he is is extremely happy with his work and is full of praise for Londonewcastle’s support. He points out other large works on adjoining buildings by renowned artists Roa Hedgehog and Ben Eine.
I finally leave Project Space, the Catlin Prize and Shoreditch High Street, surprised and impressed with what is happening and at the skill and enthusiasm of those involved. And there is so much going on; so many ideas, so much dedication. My mind races as I eventually board the train for my journey home, only to discover that, in my excitement, I have forgotten my umbrella a second time.
