What's on Show » Work in the Pipeline

Coming Soon...


"ENDEAVOURNEVERLAND"

Restaurant Gallery

30th August 2018 - 29th October 2018

Photography by Natalia Kutsepova

"See how a man is doing a thing. You will then be in a position to see what he is really trying to do." - Idries Shah, "Reflections", 1968

"Endeavourneverland" is a set of photographs taken in Oxford in the fall of 2017 during the filming of ITV's "Endeavour" series. 

Why look in? Art and people that captivate us can turn our love into a demanding verb: to make sense of why "Endeavour" affected me like it did, I took my camera - an eye, a translator - and went to Oxford. The making of a thing is as important as the thing itself; observing the process of making reveals, more often than not,  what might not be seen otherwise. Each a fleeting, just barely captured moment, these images are neither quite reality nor yet fiction, indeed a neverland - felt, but rarely observed territories between Oxford of half a century ago and the city we know, between the time of the story and now, between the actors and the characters they inhabit, between the characters and ourselves.

The photographs are an attempt to take the in-betweens from ineffable to visible. How we perceive and use a story is unique to our set of needs and capabilities; through my lens, the visual language of the process was very clear - crime-solving plots aside, "Endeavour" is a teaching story: non-didactic yet very insistent, if not harsh, in pointing the viewer inward, to a more aware self. It's exactly in the in-betweens, quietly, that its most important tasks are accomplished. Others might read the images differently and disagree, but art is as much about the joy of commonality as it's about differences - each of us has a neverland, and yet we sail in each other's seas. 

With warmth, to Shaun Evans and Nina Kharchenko.

With gratitude, to the creators, cast and crew of "Endeavour". 

With very special thanks, to Katrin Dahlmann and the "Endeavour" community of Twitter and Facebook.

 

Facebook: http://www.facebook.com/endeavourneverland

Twitter: @te_angeli

Prints available for purchase at: www.endeavournever.land/prints

Inquiries: 2947@endeavournever.land


Unseen Mike England

Large and Small Gallery

23rd August 2018 – 3rd October 2018

Mike England’s paintings are elusive. However, if you give them a chance they’ll tease your consciousness into a satisfying sense of harmony. One picture may look like the outlines of banned items in an airport security X-ray; another may resemble a Welsh landscape, burgeoning with primal spongiform plants that await a dinosaur’s jaws. 

In another a series of time-lapse images seem to be describing an inner dreamscape of the painter’s thoughtful psyche.
As you look from subject to subject you don’t quite know what’s what. The pictures move in and out of the figurative. Is another painting a cityscape with TV screens and warnings to jaywalkers? Or is it Mondrian’s ghost picking up his ruler and his brushes again.

“Everything is abstract”, Mike England says, gently throwing down the gauntlet to anyone who might feel challenged by his painting’s non-figurative aspect. Mike England’s paintings penetrate the inner and reflect it in the outer.  It’s quantum painting in which the artist is quietly breaking new ground.  He proceeds according to his own lights and his paintings reflect that illumination. 

Heathcote Williams

 

Simon East

Restaurant Gallery

19th July 2018 – 29th August 2018

Simon East is an Oxford-based painter and printmaker working with various themes, and using styles both figurative and abstract. He has exhibited in numerous shows in and around Oxford, led linocut workshops, and has taken part in Sky TV’s Landscape Artist of the Year “paint-off” competition.

The current exhibition includes works from the different phases, styles and mediums of Simon’s career so far. With his large abstract canvases, Simon builds up multiple layers of paint and texture mediums in order to evoke a rich sense of texture and depth and absorb the observer fully into the aesthetic experience. With his figurative work he seeks to abstract or distil the subject matter so as to provoke a compelling new perspective on it. Simon currently accepts commissions in abstract pouring art.

He is an exhibiting member of the Oxford Printmakers’ Co-operative on Tyndale Road, has recently completed a novel, and is also a molecular biology PhD and neuroscience tutor at Oxford University.

www.simon-east.co.uk

 

OXFORD OPEN: Illustrators 2018

Boiler Room Gallery 

26h July - 24th August 2018

The Oxford Illustrator's Open Call is an exhibition dedicated to Oxford's brightest and finest illustrators. This exhibition is situated in the Boiler Room Gallery and showcases a dozen illustrators based within Oxfordshire. 

Illustrators include Mike Halliwell, Chelsea Brown, Widget, Manon Daisy Franklin-Fraiture, Dom Culverwell, Joe Haddock, Laura Sayers, Lily Trotter, James Taylor and Chase Marsden.

The exhibitions runs from the 26th July 2018 to the 24th August 2019 in our Boiler Room Gallery.

 

‘Nature in the City’

RSPB

Boiler Room Gallery

11th July 2018 – 21st August 2018

The Nature in the City exhibition showcases the best works of art by the public who entered the "Nature in the City" competition, which was judged by a panel of independent judges from the world of art.

The artists were challenged to use their creative talents to highlight the brilliance of urban nature and help us to raise awareness of the plight of the iconic swift. Swifts have declined by over 50% between 1996 and 2016. This decline is due to a loss of nestspace in buildings, due to renovations of old buildings and the unsuitability of modern buildings. It is also due a fall in the number of insects, the primary food of swifts.

Nature in the City is part of an exciting two-year Oxford Swift City project, led by the RSPB and made possible through the support of the Heritage Lottery Fund. You can find out how to get involved with saving swifts by visiting our project webpage: https://www.rspb.org.uk/our-work/conservation/projects/oxford-swift-city/

The Oxford Swift City project team is made up of several local partners including the RSPB, the Berks, Bucks and Oxon Wildlife Trust, Environmental Resource Management, Dr A. Lack, Dr J. Hughes, Mr C. Mason, Oxford City Council, Oxford University Museum of Natural History, Thames Valley Environmental Records Centre and the University of Oxford.

 

Revolution of Dignity!

Boiler Gallery 

7th June – 25th July 2018

The Revolution of Dignity! is a group exhibition by photographers from across Europe, showcasing the events of Ukraine’s Maidan Revolution as they unfurled and the effect it has had. The photographs capture the movements hope and community spirit, as well as the  violence and loss that occurred after government-hired snipers open fired at protestors. The exhibition invites the viewer to reflect on the period, and see how Kyiv’s young activists are still keeping the movement going, whilst in the Eastern region of Donbas, war wages on.

Throughout the shows seven week run, there will be talks from activists and key figures that took part in the revolution. The exhibition is in collaboration with GoGlobal to raise money for their project GoCamp, an NGO funded volunteer program for Ukrainian youth, aiming to increase communication between Ukraine and the rest of Europe. The EuroMaidan revolution.

The revolution began after corrupt president Viktor Yanukovych delayed signing an agreement with the EU, instead drifting towards a closer relationship with Russia. Several thousand studentts and journalists took to Maidan Nezalezhnosti, aka Freedom Square, on the eve of the 21st November 2013, to protest this decision. However the police, ordered by Yanukovych, greeted them with aggressive beatings and unjustified arrest. Horrified by this violent response, a mass movement was born that spread across the country, incorporating millions of supporters, both Ukrainian and foreign. Demonstrators called for more government transparency, and an end to corruption and poverty, all under the guise of ‘European Values’. However, not everyone supported the movement. The country was divided, and many reacted against the EU supporters, resulting in violent, bloody clashes across the country, injuring thousands on both sides. There were claims that people were simply paid to join the Maidan, and rumours circulated that everything had been instigated by America. In Kyiv, paid, professional thugs hired under the orders of Yankuovych, roamed the streets attacking and abducting Maidan activists. Demonstrators fiercely fought back. What had begun as peaceful protests was now in the throws of a violent revolution.

In January the violence only increased. Protestors in Kyiv were starting to get shot, and the city centre was more reminiscent of a war zone, rather than the heart of a European capital. Buildings were burnt down, police clashes increased and on top of that, the intense winter cold made demonstrations more challenging. Then mysteriously, unidentified snipers appeared. No one knows exactly where from, and even today no one has taken any responsibility for hiring them, but many suspect it was under Yanukovych’s orders. They shot and killed hundreds of protestors, deliberately aiming for the heart and head. This news shocked the world, and as a result Yanukovych signed the ‘Agreement on Settlement of Political Crisis in Ukraine’ to end the political instability. He was forced out of office and fled to Russia the next day. Unfortunately the end of the revolution did not signify the en of Ukraine’s problems. A few days later, Putin used this political instability to start annexing the much-desired Crimea, inadvertently encouraging an already brewing separatist movement in the Eastern region of Donbas. This has since resulted in a full on hybrid war between Ukrainian forces and the Russian backed separatists. The war is currently still on going, with no clear end in sight, and a terrible economic downfall. Over ten thousand have been killed, whilst over a million have been displaced, resulting in a devastatingly split country, with families physically and mentally torn apart. For some, this is the fault of the pro-European revolution. Others however, believe the revolution to be an important moment in Ukraine’s history. They see it as a turning point in the mentality of the people, and a positive change in the face of corruption.

 

Corn Shuk Mei Ho

Stormy Nights Solo Drawing Exhibition

Restaurant Gallery

6th June – 18th July 2018 

www.cornhoartist.com

Corn Shuk Mei Ho granduted from Masters of Fine Arts program (with Merit) at the University of Arts London, Wimbledon College of Arts (2014-2016). She has a BA (with Honours) in Fine Art (Contemporary Studio Art Practise) and minored in French Studies from the Chinese University of Hong Kong (2007-2010). She now lives and works in London, UK. 

Often exploring psychological themes, her artworks delve into deeper levels of human innermost states of mind. She creates atmospheric, melancholic drawings/paintings conjuring up feelings of dislocation. Her drawings/paintings document her interest in the lost and found, what is passing memory and what is synthesised as trace in the landscape.

Corn has had solo exhibitions and joint exhibitions in the UK and Hong Kong, and her works have been privately collected. She will have solo shoes in the Jam Factory Gallery, Oxford in early June and the Coiningby Gallery, London in mid-September 2018.

 

Edvard Munch, Stormy Night, 1893

“The dramatic natural event of the storm, the sharp contrast between bright windows of the house (promising security) and the immeasurable depths of the dark night  - in other words, an account of physical actuality – have been refashioned into an image of inner tension and conflict.”

In “Stormy Nights” Solo Drawing Exhibition, Corn Shuk Mei Ho has selected three series of works to exhibit in the Restaurant Gallery in the Jam Factory, Oxford.

1) Night Swims Series (2017-18) 


2) The End of F***ing World illustration (2018) 


3) Dear Lily Series (2016)

These three series of drawings  are related to the young adults inner struggles and unlimited imaginations. They are all about youth, courage, ideology, loss and then their own stories. These groups of young individuals still possess the imagination of younger children. Still in the pursuit of an ‘ideal world’, an ‘adult world’ caused them to lose out on opportunities countless times. Once they pass through the darkness however, they find themselves emerging from the storm and seeing the world more clearly.

  

Imre Maltzahn

Large and Small Gallery

5th June 2018 – 10th July 2018

Having trained as an artist at the Ruskin School of Fine Art  between 1960 and 1963, when the school was based in the Ashmolean Museum. 

Imre Maltzahn was introduced to early Greek and Roman portrait sculpture. Life drawing was of course the basic skill taught to enable him to draw ancient sculpture, a passion which never left him.

He worked for Christies for a short period and in 1966 opened a gallery (Maltzahn Gallery) in Cork Street, London. The gallery specialised in prints and drawings of all periods and was also at the centre of selling 'pop art' then at the height of its' development.

Although the gallery closed in 1976 he continued to keep his 'eye' in by constant study of the Masters and took up drawing and watercolours  again seriously in 2016 going back to his roots in the Ashmolean cast gallery as well as exercising draughtsmanship in the weekly sessions in the Jam Factory.

 

OXFORDSHIRE ARTWEEKS 2018

Small and Large Gallery, Resturant Gallery and Boiler Room Gallery

26th April - 4th June 2018 

Our annual Oxfordshire Art Weeks exhibition showcases over 25 artists in all three of our gallery spaces: The Large + Small, Boiler Room and Restaurant Gallery. 

The Oxfordshire Art Weeks exhibition gives local artists an opportunity to showcase their work in a professional environment and features members of The Jam Factory staff.  The art work in this exhibition ranges from photography, 3D work to oil paintings. 
 
This exhibition features pieces of art from artist such as Alison Walters, Billy Barraclough, Chelsea Brown, Ellen Hausner, Ellen Wong, Helen Young, Isabel Quadrado, Izzy Twist, Jabi Engana, Kate Morris Millar, Mike Halliwell and many other talented creative beings.
 


HATCHED 2018

Large and Small Gallery + Boiler Room Gallery

8th March - 23rd April 2018

HATCHED is a creative platform set up by artist and curator Maga Esberg in 2015 to develop, make and promote art addressing private and public female experiences. This year’s exhibition was held at  The Jam Factory as part of the Oxford International Women Festival’s and International Womens Day 2018.

The theme of the exhibition followed the OIWF’s theme: ‘Suffrage: 100 Years On!’ and the IWD’s theme: #PressForProgress to accelerate gender parity. Artists were encouraged to interpret these themes in the broadest sense possible.  The exhibition offers a broad variety of work from 2D work to paintings to photography.

HATCHED 2018 is curated by Maga Esberg (magaesberg.com) with help from Vijayshri J Vaghela.

 

Jessamy Hawke

The Tree and The Spire
 
Restaurant Gallery 

10 January - 13 March 2018

Jessamy Hawke is an illustrator working in ink, gouache, watercolour, and linocut-printmaking, having graduated from MA Illustration at Kingston University in 2016. Her work draws on the two themes of literature and landscape, where she is interested in connecting drawing with poetry and literature, as well as using illustration and hand-drawn maps to document her experience of a landscape.

Much of Jessamy’s work uses novels and poems as starting points to create visually striking interpretations of the writer’s narrative. By visualising the characters, landscape, and storyline set out by the author, she aims to convey the atmosphere, and give the viewer a sense of the story and it’s backdrop to add another layer to the narrative.

In her landscape work she aims to translate walking and experience of a place into drawing and painting. By sketching on-site at various locations across the UK, Jessamy paints scenes to capture her experience, document her route, and reference the landscape’s texture, architecture, and history. With her illustrations, maps, and paintings, she wants to engage the viewer with the landscape as she portrayed it.

Jessamy’s project ‘A Midnight Clear’, based on William Wharton’s wartime novel, was shortlisted for the 2016 V&A Student Illustrator of the Year Award, and her magazine illustration was Runner-Up in the Little White Lies Creative Brief competition in March 2017. She regularly takes on commissions, including landscapes, cityscapes, and maps.

  

Assemble: Nature Refined

Large and Small Gallery

25th January 2018 – 5th March 2018

Harriet Elkerton

Harriet Elkerton’s objects, with their unassuming simplicity, are designed for living. Natural materials, plants and food play a key role in this lifestyle.

Her functional objects are slip-cast porcelain, with unctuous glossy white glazed interiors. Originating from paper, instability is established in the process, resulting in organic forms. Harriet sets up moments of unexpectedness, to get a handmade feel, an individuality, from repetition.

Her decorative ware, displayed nestles amongst the functional, interrogates the purpose of tools and functional items. She combines found objects, with purpose – made porcelain additions. The inheritance of these objects discernible in her functional vessels; there is a language of deliberate skill speaking through her work and a desire to keep visible the hand of the maker. 

FICH Ceramics:

Fi Chappelle is the maker behind FICH ceramics. All her work is hand-thrown in her home studio in Oxfordshire on a pottery wheel. FICH ceramics is a contemporary brand with each piece adding elegance and style into your home.

Fi emphasises the contrast between the matte white earthenware clay and the smooth, reflective glaze by only partly glazing the pieces. The FICH colour palette changes seasonally creating a look that adapts with time. This has given the brand a unique style and keeps FICH looking contemporary. 

Visual Conversations

Boiler Room Gallery 

9 January - 6 March 2018 

 

'Visual Conversations' is an exhibition of work by artist-teachers, currently focusing on establishing and developing their artist identities. Themes such as lost memories, sense of place and landscape are explored through sketch book entries, still life photography, mixed media and paint. 

The thread of conversation and dialogue runs through the work in determining meaning, inspiring making or developing reflective thought. The exhibition theme also acknowledges the supportive dialogue that has evolved within the group as they have developed their own artistic practices.

This group exhibition will feature work by Ali Moreton, Hannah Kinch James, Laura Hodgson, Monica Lewis and Sally Gunnett. 


Jessamy Hawke
 
The Tree and The Spire
 
Restaurant Gallery 

10 January - 13 March 2018

 
Jessamy Hawke is an illustrator working in ink, gouache, watercolour, and linocut-printmaking, having graduated from MA Illustration at Kingston University in 2016. Her work draws on the two themes of literature and landscape, where she is interested in connecting drawing with poetry and literature, as well as using illustration and hand-drawn maps to document her experience of a landscape.

Much of Jessamy’s work uses novels and poems as starting points to create visually striking interpretations of the writer’s narrative. By visualising the characters, landscape, and storyline set out by the author, she aims to convey the atmosphere, and give the viewer a sense of the story and it’s backdrop to add another layer to the narrative.

In her landscape work she aims to translate walking and experience of a place into drawing and painting. By sketching on-site at various locations across the UK, Jessamy paints scenes to capture her experience, document her route, and reference the landscape’s texture, architecture, and history. With her illustrations, maps, and paintings, she wants to engage the viewer with the landscape as she portrayed it.

Jessamy’s project ‘A Midnight Clear’, based on William Wharton’s wartime novel, was shortlisted for the 2016 V&A Student Illustrator of the Year Award, and her magazine illustration was Runner-Up in the Little White Lies Creative Brief competition in March 2017. She regularly takes on commissions, including landscapes, cityscapes, and maps.

Content Managed Website by Biff Bang Pow