exhibition, news string of subsequence curated by Lily Brooke

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2nd – 7th December 2016 (by appointment only)
room. 3 Ada Road, London, SE5 7RW
Private View: 1st December 2016 7-9pm

and so on, and so on, and so on.
an active acknowledgement of subsequence, both physical and emotional.



Faced with the problematic nature of intellectually tackling complexity, Henry Day’s practice is driven by what we cannot comprehend. Attempting to encapsulate what our minds fail to encapsulate the work then becomes more than itself – a paradoxical microcosm of philosophical loose ends. Inspired by the incongruousness shared between the square and the circle, his sculpture is an investigation into the subsequent perception of symmetry. Where one is infinite and the other is linear, the sculpture lies somewhere in between.

“A hook is connected to a fishing line, which is connected to a rod, which is connected to a reel, which is connected to a handle, which is connected to his hand, which is connected to his soul. Into the sea of everyday nothingness, he throws the hook, waits, agitates, then waits again until he catches ‘it’, finds ‘it’, and pulls ‘it’ out from the water to see what ‘it’ is. That is what he does, and that is what I do too.” – Hiroko Nakajima.

In Sif Nørskov’s practice, the idea of fragmentation plays a central role. This notion is explored through the metamorphosis of materials in-between abstraction and representation. Inspired by literary fiction, they explore the idea that imagery, like words, can be assembled and moulded to create new worlds that may appear like interpretations or fragments of nature that cannot be easily defined, but are enough to evoke curiosity. The paintings in this show incorporate oil, acrylic and paper in a manner that allows for the mediums to have an effect through their materiality, while the mark-making itself bears witness to the temporality of these gestural marks.

Found invented and intervened objects are brought together by Alexandros Papathanasiou in an arrangement that reveals and underlines the process of making art, by pointing out the moments of decisionmaking and hesitation, within each and every work. These installations of sculptural objects, introduced in a state of transformation or as carriers of the energy of this transformation, present an oblique viewpoint of art; the disclosure of intention and, at the same time, the doubtfulness of a gesture. An eccentric discourse; a conceptual panning between what is and what might be, where time is conceived as the duration of a transformation and space as the place for contemplation and reassessment of our constructed reality; where art happens simply by encountering its own existence.

Florence Sweeney is searching the threshold in between disciplines of painting and sculpture in configuring three-dimensional tactile forms. By creating deceptive soft/hard surfaces and combining various colour pigments then applying to a composite to develop different results which is the outcome of the colour accentuated between shadow and fold.


Henry Day (b. England 1992) Wimbledon College of Arts, BA Print & Time Based Media (2015). Exhibitions include monoCHROMA: Black & White Issue, The Crypt Gallery, London (2016), time: ephemeral – everlasting, room. South London (2016), space: dependent on the mind/independent of time, room. South London (2016), CHROMA: Red Issue, Safehouse1, Peckham (2016). Public commissions include Nelson Health Centre Art Prize (2015) and Wimbledon Tennis Sculpture, commissioned by Love Wimbledon, Sponsored by Slazenger & Supported by the AELTC (2016).

Hiroko Nakajima (b. Tokyo 1980) Slade School of Fine Art, London, Fine Art MA (2016) and Konstfack, Stockholm, Contemporary Jewellery BA (2012). Exhibitions include PILLOW, SWALLOW, HOLLOW, YELLOW, The Artwall, Athens (2016), ONE BARE FOOT SQUARE, The Hermitage Museum, Amsterdam (2016), monoCHROMA: Black & White Issue, The Crypt Gallery, London (2016), Of Improvisation, Apiary Studio, London (2015), in|between, Repositioned gallery, Glasgow (2012).

Sif Nørskov (b. Denmark 1992), Central Saint Martins, BA Fine Art (2012-15), Royal College of Art, MA Painting (2015-17). Exhibitions include: Dentons Art Prize, London, 2016, Sixty, Lubomirov / Angus-Hughes, London, 2016, CHROMA: Blue Issue, Safehouse2, London, 2016, Graduate Art & Design Exhibition Part II, Candid Arts Trust, London, 2016, Collective Dissent, Banner Repeater, London, 2014, Proprioception, Lewisham Arthouse, London, 2013.

Alexandros Papathanasiou (b. Swansea, 1977). Central Saint Martins College of Art and Design, UoA, London, MA Fine Art (2007). Most recent exhibitions include amongst others; Mind The Gap, Eduardo Secci Contemporary, Florence (2016), Ceci n’ est pas une idée, Fondazione Biagiotti, Florence (2015), Saatchi Art Showdown: In Glorious Colour, Griffin Gallery, London (2014), Contemporary Treasures, REMAP4/Ileana Tounta Gallery, Athens (2014).

Florence Sweeney (b.1991) is a London based artist who works within sculptural painting. She has exhibited in 2:1 (2016) Safehouse2, CHROMA: Blue Issue (2016) Safehouse2, Drawn Together (2015) White Cube Studio. She studied at Arts University Bournemouth, Fine Art BA (2014).

room. is a space negotiated between living and working; it will be a programme of occasional exhibitions in a house.
It acts as a platform for showcasing work without becoming bankrupt.

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