Upcoming: 111 Not Out

The London Group at Quay Arts Centre on the Isle of Wight, 2 Mar-27 Apr

Founded in October 1913, The London Group will celebrate the 110th anniversary of their first exhibition at the Goupil Gallery in March 1914.

Each of the 48 participating members has created work in response to one of the 32 founder members that most appeals to them in terms of personality and art practice. A QR-coded picture and a short explanatory text will appear alongside their work.

111 Not Out: The London Group (1913-2024)

2 March – 27 April
Open Daily: 9 – 5 pm   FREE 

Launch Event 2 – 4 pm, Sat 2 March
Quay Arts Centre will be holding a launch event in the West Gallery on the exhibition’s opening day. We are delighted that Patrick Baty (Bevan), Valerie Gilman and Fiona McIntyre (Drummond) will be attending the launch event as descendants of the founding members.

Quay Arts Centre
Sea Street,
Newport,
Isle of Wight PO30 5BD

Participating artist: Moich Abrahams, Ade Adesina, Wendy Anderson, Victoria Arney, Victoria Bartlett, Bryan Benge, Slavomir Blatton, Paul Bonomini, Mary Branson, Clive Burton, Stephen Carley, Peter Clossick, Tim Craven, Sandra Crisp, John Crossley, Martin Darbyshire, Angela Eames, James Faure Walker, Cadi Froehlich, Marenka Gabeler, Alexandra Harley, Julie Held, Aude Hérail Jäger, Chris Horner, Gill Ingham, Annie Johns, Judith Jones, Anne Leigniel, Amanda Loomes, Hannah Luxton, Kathleen Mullaniff, Eugene Palmer, Ian Parker, Janet Patterson, Sumi Perera, Steve Pettengell, David Redfern, Tommy Seaward, Almuth Tebbenhoff, Paul Tecklenberg, Lisa Traxler, Philippa Tunstill, Joshua Uvieghara, Bill Watson, Tisna Westerhof, Susan Wilson, David Wiseman, Carol Wyss.

111 not out leaflet

Quay Arts Centre

Six of the works on show

‘Misty Morning’, mixed media drawing by Victoria Bartlett

Victoria Bartlett // John Nash RA (1893 – 1977)
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“His Dorset Landscape 1915 reflects his affinity with nature and the landscape close to the Isle of Wight. He observes, expresses, and interprets it in a purely visual language we can all enjoy. No words are needed.” Victoria Bartlett LG
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‘STEAMBOAT/WHISTLE’, wood by Bill Watson

Bill Watson // Henri Gaudier-Brzeska (1891 – 1915)
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“I chose Gaudier Brzeska because he was a sculptor and also because I was drawn to the particular piece, “Bird Swallowing A Fish”. In the 90s I made hybrids; two objects colliding to become one. The work Steamboat/Whistle, (1993 London Group Open), is chosen as a formally related sculpture.” Bill Watson LG
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‘Threnody’, wooden cases, Kozo and Gampi paper, thread, kapok, printed material, prickles, wheat starch by Annie Johns

Annie Johns // Christopher Richard Wynne Nevinson (1889 – 1946)
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“Nevinson’s war paintings deal with issues of: conflict /combat /fighting /struggle /action /armed force /battle /confrontation /attack /strife /enmity /discord /hostility.

“My work, ‘Threnody’, refers to the effect of war: exile /migration /hegira /exodus /departure /flight /diaspora /parting /escape /retreat /separation.

“Marching to and away from war’
Annie Johns LG

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‘Eastly Drift’, acrylic on paper by John Crossley

John Crossley // Robert Bevan (1865 – 1925)
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“Bevan’s work, like mine, originates from observation of his surroundings. It is more obvious within Bevan’s paintings; he also uses vibrant colour that draws the viewer’s attention away from the landscape and towards the impact of shifting spatial relationships. My work stems from possibilities on my walks by the coast.” John Crossley LG
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‘War Cabinet’, found object construction by David Redfern

David Redfern // Jacob Epstein (1880 – 1959)
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“My choice is Jacob Epstein who fabricated “Rock Drill” at the outbreak of WW1. It was Britain’s first found object sculpture and had a serious subject, war. The ‘pendulum’ on my work is a WW1 barbed-wire stake from the Somme, found by a friend. A mutilated torso can be found inside.” David Redfern LG

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Stephen Carley // Wyndham Lewis (1882 – 1957)

“I wonder what Wyndham Lewis would have made of Instagram…

“A ‘new’ vision. Forged and bullied into shape by the onset of WW1.
Somehow prescient socially and politically for what was to come in the 20’s and 30’s…
“Out with old / in with the new”.
A LOUD SCREAM in the face of the establishment / academia / the middle classes…
And now… over a 111 years later?
I made BINARY VORTEX to begin with. A new vision, perhaps…
Strip things back to primal basics. A scream punctuated by silence.
‘Framed’ by Instagram and the iPhone. Perhaps this is what Wyndham Lewis would have done?
These four screaming heads. 4 Apostles? 4 Horsemen of the apocalypse?
From 4 corners of a room? Or a wrestling ring?
The fab 4? A ‘back 4’…(impossible to get through).
Black or White. Binary. ON / OFF.
Screaming into the digital ether. Is anyone really listening?

“The new vortex plunges to the heart of the present”. From BLAST!

“Let’s call this a scream in the face of all that is surrounding us now in 2024.
All the horrors, the inequalities, the ignorance and anger.
But it’s all theatre isn’t it? Artifice, keyboard warriors, manufactured outrage and angst.

“What followed was a compulsive, almost manic month of storyboarding (loosely),
making and buying (crap) props and performing for camera – which was hilarious at times,
if a little worrying at others! The editing process was at times incredibly intricate and painstaking.”
Stephen Carley LG