Antony is a practicing artist having exhibited and curated exhibitions in London and the South West. He has been instrumental in setting up residencies in Canary Wharf and most recently a summer residency for international artists at the Arts House Taunton. Antony is an experienced lecturer of 20 years. He lectures in design, fine art, critical theory, drawing, life casting and sculpture. During this time he has written and been course leader of a number of art and design courses.
Artist in residence The Arts House, UCS, Taunton. Spring – Summer 2018 Residency Programme: Set-up and lead summer residency for international artists. The Arts House Taunton Summer 2018 Set-up and lead summer residency programme in Canary Wharf with colleague. 2016 and 2017 Recent exhibitions: Occident and Orient University Centre Somerset 1 – 15 October 2018 Signal to Noise Wallis Road Gallery Arbeit Studios 28 June – 01 July 2017 MFA Fine Art Summer Show Wimbledon College of Arts 15 – 24 June 2017 Figure This Thameside Complex Gallery 2 -14 June 2017 Intersections Sevenoaks Kaleidoscope Gallery 28 Jan 2017 – 4 Feb 2017 In The Shadows Of A Subterranean River The Crypt Gallery (St Pancras) 27 – 30 October 2016 WHO is Marion Phillini? Wimbledon Space 6 October 2016 Interventions Lewisham Art House 31 August – 11 September 2016 Milfield Summer Show 2016 Atkinson Gallery 11 July – 19 August 2016 Down Here on the Ground for Park 16 Wimbledon 22nd April 2016 1’ group show Chelsea College of Art 11th February – 4th March 2016
Here is where we meet: a sensory investigation into identity and places through matter.
I am interested in how identity is influenced by our subconscious understanding of place through contact with matter; an understanding that is laid down during our infant development, exploring the world through touching, sniffing, licking, etc. This tactile knowledge is absorbed or folded deep within us, enabling us to understand the tactile qualities of the things around us through visual perception. However, this is not simply a translation from one sense to another, but an absorption of things into our very being: a collision of stuff. It is an exploration of body, space and matter; the entanglement of the senses, language and memory. Moreover, it is the in-between, what is neither one nor the other, or maybe both; the nomadic flow and cross-contamination of everything, imperceptibly received or learnt.
Rejecting a binary notion of the senses gives us the opportunity to explore the in-between: in digital terms, what lies between the zeros and ones. We can think of it as the waste product of the thing: the residue or imprint. I think of this residual matter as the seldom noticed or unexpected gesture. This gesture is often an unplanned consequence of the intention, an action that is consciously or subconsciously perceived.
Central to my research is the notion of leaving a mark, a residual aftermath, and its relational impact on place, memory and identity. What happens when matter collides with matter? This is, of course, looked at in a particular way in physics and in metaphysics, but as an artist, I have scope to view this question differently or play with its concepts.
Collaboration and improvisation are fundamental to my practice. I am particularly drawn to working with people from a different cultural view point, engaging in a dialogue that challenges and evolves into an equilibrium of difference.
Improvisation is a manner of speaking that requires listening, a collective conversation that turns great risks into splendid rewards. By definition, it invokes collective interchange that is potentially transformative. Improvisation turns opposites into dialectical syntheses. It balances competing claims and interests. Improvisors need to counterpoise imagination with discipline, ego with empathy, and self-assertion with self-effacement. Improvisation references enduring continuity from the past while calling new collectives into being in the present.
Fischlin et al., (2013)