I'm delighted to present the exhibition Overlap at No.1 Church Lane Pop Up Leytonstone. A group show, presenting four artists curated by Stephen Keane.
"Overlap" explores the dialogue between connection and fragmentation in art. The exhibition examines how boundaries converge, diverge, and create narratives that blur the lines between forms and spaces.
We investigate the transition of states within artistic mediums-how something that begins as a soft, fluid line can solidify into a definitive shape, and how the intersection of edges shapes our understanding of both form and space. Here, elements meet, merge, or pull apart, and edges become the focal points where the abstract and the concrete, the visible and the hidden, collide. These edges define the outer limits of forms while simultaneously illustrating the fluidity and interaction between them. Perhaps objects don't exist independently of each other, and the interconnection of one relative to another could be a more complete description of the world.
Through painting, photography, and sculpture, "Overlap" highlights how these boundaries influence our perception of space, narrative, and connection within the artwork. Ultimately, the exhibition invites a deeper reflection on the nature of connection.
Curated by
Artists:
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Private View - Friday 1st November 6-8pm. All welcome.
Open 1st Nov - 3rd Nov, 8th Nov - 10th Nov
No.1 Church Lane E11 1HG (next to Leytonstone Tube)
Part of
Insta:
Sandra Battistel's work explores the interplay between craft, design, and art, particularly through sculptural forms that evoke a mesh-like quality. These volumes allow light to pass through them, casting shadows that become integral to the sculpture itself. The irregular shapes are never static, reflecting her belief that everything in the world is in constant motion-transforming, evolving-formed by relationships and interactions, much like the knots or nodes in the pieces.
A deep interest in natural materials is central to the practice and her background as a designer. She engages in ongoing research and experimentation with bio-based compounds, which allows her to push the boundaries of contemporary materiality. By incorporating the resinous matter of insects and plants, she seeks to connect design and sculpture with the organic, revealing the delicate tension between nature and craft.
"To see with the hands" is central to the approach, as her work invites both tactile and visual engagement. By emphasising touch as much as sight, she hopes to offer a new dimension of experience to those who encounter her work.
Steven's artistic practice focuses on the portrayal of the human form, using a combination of collage techniques to deconstruct and reinterpret imagery. With the blessing of the photographers who provide source material, Steven manipulates pictures of figures in editorial poses by cutting, painting, and augmenting them with both digital and analogue methods. His process blends painterly techniques with contemporary digital processes, resulting in monochrome, abstracted pieces that distort the beauty of the original images.
The final collages, a collaboration between Steven and the photographers, invite viewers to reevaluate their perceptions of the human form. Through his work, Steven challenges conventional notions of beauty and representation, offering a new lens through which to experience the interplay of form, texture, and abstraction.
Her object-based sculpture aims to capture 'brief time'; how the weathering and degradation of structures and surfaces found in our urban infrastructure can be a physical memory within the material.
An interest in architecture is explored in making basic geometric forms, suitable for both indoor and outdoor settings. She uses materials from the construction industry, particularly mortar which, intended only as a binding agent, becomes solid forms in its own right. Many pieces are units, albeit each is unique, which can be displayed singly or collectively. Some smaller forms can be wall-mounted.
Each form, which mines this over-arching theme of time, place and memory, has variance in texture and colour. The colour choices are usually taken from a specific location and becomes another element of embedded memory. Textural qualities are equally important. Touch is a sense nowadays excluded from most visual art, especially objects, and Gill hopes to develop work in this area.
Interpretation often takes for granted the sensory encounter with a work of art and proceeds from there. My mission is to reclaim our senses so that we may see and engage more deeply. By cutting back on content, I allow for extended periods of observation and reflection. Throughout this process, I consistently emphasise the materiality of the painting's surface, which serves as a surrogate for the body. It is within this surrogate space that the dialectic of looking unfolds, reconciling the extremes of fragmentation and wholeness.
Artist/Curator
Contact for sales and collaboration:
keaneartstudio@gmail.com
