Clerkenwell November Tour - Saturday 30th November, 3-5pm

Clerkenwell is one of the most historic, creative and culturally rich districts in London. It is synonymous with design agencies and architecture practices and falling between the cracks of East and West means that it has become the choice for a new group of young and ambitious gallerists. Its typical historical buildings play host to some very interesting gallery spaces.

We have an exciting tour on the 30th, looking at how artists are responding to the external pressures of the 21st Century – made manifest in Tom de Freston’s tortured canvases and the feminist reactions of Boa Swindler to the pressures placed on women by the media. Additionally, Reto Pulfer’s canvas installation work looks into how language and moods inform and define characteristics and the geometric studies of Kes Richardson make parallels with man’s relationship with nature.

Our Itinerary will be:

Start: coffee and pastries at Workshop Coffee.

WW Contemporary – Chiara Williams and Debra Wilson aka Boa Swindler
Hollybush Gardens – Reto Pulfer
FOLD Gallery – Kes Richardson
BREESELITTLE – Tom de Freston

End: Cocktail Lounge at the Zetter Townhouse

Please contact us for more information and to reserve your place. We are continuing to fill up quickly so book early to avoid disappointment!

Tickets are £18.

WW Contemporary

Established in 2008, WW is one of London’s leading contemporary artist-run spaces with a reputation for consistently forward-thinking and innovative projects. Spread across 1200 square feet of sky-lit rooms, the exhibition space, shop and lounge occupy the premises of a former jeweller’s workshop in the heart of Hatton Garden, Clerkenwell.

DIRECTORS’ CUT – Chiara Williams | Boa Swindler

DIRECTORS’ CUT is the first pairing of WW’s directors Chiara Williams and Debra Wilson, aka Boa Swindler. 
Drawing on an ever-increasing deluge of contemporary visual images of women (from fashion magazines, music videos, TV, billboards, blogs and social media), Williams and Swindler both look at the impact these representations have upon women.

Williams’s work investigates the homogenisation of female beauty. In her new series of paintings, created from the seductive, aspirational, fantastical and stylised language of pictorial aesthetics found in publications such as Vogue, women are depicted with eerily featureless faces, airbrushed or obliterated beyond recognition. Swindler’s work arises out of issues surrounding power and persuasion. Her new series of assemblages, prints and mixed media explores the bullying, intimidation and marginalisation of big women in society


Hollybush Gardens

Hollybush Gardens is relatively small gallery based in a converted warehouse space. Run by the established curator Lisa Panting and the performer and video artist Malin Ståhl, the gallery has hosted a number of successful exhibitions since its inception.

A significant amount of the resident artists supported by the gallery are, like Ståhl, Scandinavian, giving the concept an interesting alternative edge.

Reto Pulfer

With his large-scale installations, Reto Pulfer rubs against the institutional, rigid format of the gallery that he inhabits with voluminous fabric installations. It can be said that Pulfer’s work investigates various conditions of mutability. His choice of material is therefore flexible and malleable, such as hand-dyed and hand-sewn fabrics, recycled bed sheets and old clothes, paper, wood and clay. Through his installations and performances, Pulfer extends the boundaries of painting into the exhibition space in order to create a tableaux that you can walk around, be part of and enveloped by.

In Pulfer’s new environment Entscheidungshaus or House of Choice, a tent like structure is stretched out across the room using coloured ribbons that connect and hang the tent in the space. Attached to the ribbons are small ceramics and overalls, made by the artist and available for the audience to wear. House of Choice holds the potential for the audience to become a performer, but also to be camouflaged by the material of the tent.

Pulfer is interested in how people receive, act and experience his work. He makes architecture and environments that are impermanent and unstable, but that can also be pleasant for the audience.


FOLD Gallery

FOLD Gallery was established in 2008 in an old warehouse in Hackney’s London Fields. Originally run as a crossover between a commercial gallery and a project space, FOLD specialised in producing group shows. These gave the opportunity for UK based and international artists, from emerging to mid-career practices, to be brought together by strongly themed, composed and curated shows. The principle goal behind these group exhibitions was to expand the reach of the gallery by constantly bringing in new audiences.

Re-located in the heart of Clerkenwell, FOLD Gallery continues to push its reach to new audiences. Although the programme is certainly more commercially viable, the focus still remains on strongly themed shows, and is now punctuated with significant solo shows. FOLD continues to strive to present all of the artists work within context, to give the viewer the best opportunity to gain understanding of the intentions of the artist, whilst viewing the work displayed to the highest possible standards.

Kes Richardson

 Taking formal garden design as a starting point, Richardson is showing a series of large paintings with a central geometric motif subjected to varying levels of erasure, repetition and concealment.

For Richardson, formal gardens represent a miniaturisation of nature as an attempt to contain and confine the Burkean Sublime. He sees parallels with man’s desire to tame and control nature and the attempts to mimic it throughout the history of painting. Formal gardens also evoke a sense of transcendence and purity similar to the lofty ideals of Rothko or Newman; a space for divine contemplation.

Richardson’s paintings both embrace these values and reject them, sitting somewhere between the spiritual and the corporeal. Their means of construction is laid bare without technical trickery, a process of scaling-up small drawings with detached paint application. The resulting works brazenly reveal their simplicity yet also evoke quietude and reflection.



Following two years as an roving initiative, BREESE LITTLE moved to a permanent gallery space at 30d Great Sutton Street in October 2011 and have now relocated to 30b Great Sutton Street. The gallery provides a platform for consecutive exhibitions as well as arranging external collaborations, programmes and exhibitions, working with LSE to provide educational talks and the Contemporary Art Society on a Contemporary Art Book fair to name a few.

BREESE LITTLE also established the termly Prize for Art Criticism and hosts regular talks and lectures including a partnership with LSE Arts. To support the work of our artists we frequently publish exhibition catalogues, commission essays by talented young writers and implement other complementary projects.

Tom de Freston: The Charnel House

Obsessed by images of humanity on the very edge of disintegration, Tom de Freston is audacious enough to convey our most haunted fears about a world struggling for survival in the twenty-first century.

(Richard Cork)

The Charnel House is the culmination of Tom de Freston’s recent series of large-scale paintings, piecing together theatrical fragments of a wider narrative.  Horse-headed figures are the recurrent central characters, appearing in desperate and tortured scenarios, where they precariously grasp at one another, life and death.  Relationships shift and change across the canvases as de Freston puppeteers newly challenging contexts.

De Freston’s careful balance between thick, frenzied passages of oil and sleek, one-dimensional blue backgrounds destabilises a secure reading of the work, emphasising the ambitious proportions of this complex mythology which never rests.  The Charnel House reaches its expressive pitch with crucifixion scenes and apocalyptic diptychs, massing the cast together in its entirety, recalling the final scene devices of epic literature and playwrights.

Clarisse d’Arcimoles

BREESELITTLE are also presenting an exhibit of Clarisse d’Arcimoles’ current work in progress, Forgotten Tale.  Three years in the making, Forgotten Tale is a new experiment involving photography, set design, installation art and painting, scheduled for late 2014.  d’Arcimoles will recreate a 1902 photograph found at the Bishopsgate Institute, London, a turn of the century Shoreditch slum.  The final installation will be a three-dimensional replica of the original photograph, which will subsequently be explored physically by the viewer and the public.  The photograph will be re-enacted in the same area it was first taken a hundred years ago, a house on Fournier Street in the heart of Spitalfields.

This project will give rise to a rediscovery of photography, presenting it as a powerful critical tool of reality and history; a very different idea not only of space but also being-in-the-photographic-world will emerge.  This timely project has a deep connection to Spitalfields’ local history as well as its community and changing face as new initiatives continue to thrive and increasing volumes make the pilgrimage to the neighbourhood.

BREESELITTLE are looking to raise £30,000 to fund all elements of creating the set inside the house at Fournier Street and all proceeds of this exhibition go towards the final exhibition in 2014.


Image: Tom de Freston, Splitfall, 2013, oil on canvas, 200 x 300 cm