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I am talking to Elizabeth de Monchaux about her forthcoming exhibition Gathering at the Atrium Space, 32a Hertford Road, London N1.
When Elizabeth mentions that the individual pieces in this show are called art particles, I’m reminded of the terminology used by the Russian Constructivists in the early 20th century. They were dealing with momentous political changes and scientific discoveries, and part of their aim was to systematise the poetic. For them, if art was a branch of mathematics, it could more safely fit into the goal of general societal improvement. At the same time, artists throughout Europe were looking for similar links between art and science which would re-define art. I ask Elizabeth about this possible influence and her answer is no. What she says about her art particles feels more light-hearted and less proscriptive. In physics you're dealing with particles, so why not have works of art that function as particles as part of a of a bigger whole, in the sense that atomic particles are parts of a bigger whole. I don’t pretend to understand the deep complexity of physics, so these are not representations of that. There has always been an underlying system and a feeling of geometry underlying the process in the way Elizabeth works. Each piece in this exhibition is unique and made from a template. Three cut-out pieces are soldered together to form an upright structure. We talk about three sections rather than four and Elizabeth says three is the minimum required to allow the form to stay upright. The template shapes which are mounted on the wall are angular and have a kind of jauntiness. It’s very easy to anthropomorphize and think about these forms as loosely moving along or standing together like a group of people. Each individual piece has its own tics and movements and uniqueness. The large carboard pieces in the show allow us to experience the forms on a more human scale. The title Gathering seems appropriate. Each piece can stand alone, but the features of each piece come alive in relation to pieces around it; there's more of a collective impact. Grouped together they have a distinct presence. For me, the parallels today are that we increasingly gather in in groups to react to what is going on politically, or we need family-and -friends’ groups to help us feel connected. None of it is perfect. Some of it is awkward. How does all that link up with particles of atoms? In a sense it doesn't, even though we're made of these things. Is the meaning somewhere in the vast gap between the two? In Elizabeth’s work, I’m reminded of the importance of visual research, connection, moving along, and gathering. Jayne Reich May 2025 |
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Barbican Arts Group was established in 1972, occupying two former warehouse buildings the Barbican local. The buildings were sited in Sycamore Street London EC1.
BAG was formed by artists who created studio and exhibiting space in the Barbican area of London. It received charitable status in 1984 (BAGT) in recognition of its community and educational work undertaken through exhibitions, public art projects, open studios, and schools projects. The studios moved east in 1989, with assistance from Greater London Arts and established Hertford Road Studios. In 2008 BAGT added another studio block at Blackhorse Lane E17. In 2010, Hertford Road Studios relocated from 12-14 Hertford Road to 32a Hertford Road, London N1 with the provision of a Section 106 Agreement from Hackney Council.
The London Municipal Archives acquired BAGT’s physical archive in 2005 documenting its pioneering activities of artist studio provision and public benefit in the appreciation of the arts.
BAGT's current studio provision in Hackney and Walthamstow comprises of a total of 44 studios and 2 project spaces - ArtWorks Project Space E17 and Atrium Space N1. The project spaces host exhibitions, residencies, workshops and facilities for professional development. BAGT's out reach programme has facilitated projects including, artists in schools, local minority groups, young people with learning difficulties, and senior citizens.
Since 2009 BAGT has managed and facilitated over 300 projects.
BAG was formed by artists who created studio and exhibiting space in the Barbican area of London. It received charitable status in 1984 (BAGT) in recognition of its community and educational work undertaken through exhibitions, public art projects, open studios, and schools projects. The studios moved east in 1989, with assistance from Greater London Arts and established Hertford Road Studios. In 2008 BAGT added another studio block at Blackhorse Lane E17. In 2010, Hertford Road Studios relocated from 12-14 Hertford Road to 32a Hertford Road, London N1 with the provision of a Section 106 Agreement from Hackney Council.
The London Municipal Archives acquired BAGT’s physical archive in 2005 documenting its pioneering activities of artist studio provision and public benefit in the appreciation of the arts.
BAGT's current studio provision in Hackney and Walthamstow comprises of a total of 44 studios and 2 project spaces - ArtWorks Project Space E17 and Atrium Space N1. The project spaces host exhibitions, residencies, workshops and facilities for professional development. BAGT's out reach programme has facilitated projects including, artists in schools, local minority groups, young people with learning difficulties, and senior citizens.
Since 2009 BAGT has managed and facilitated over 300 projects.
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Blackhorse Lane Studios and ArtWorks Project Space, 114a Blackhorse Lane, London E17 6AA
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Hertford Road Studios, Atrium Space and The Project Space, 32a Hertford Road, London N1 5SH
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