Not A Drop is taking place on September 28th and 29th 2013 at 47/49 Tanner Street.
The landscape images in Thamesgate Panoramas all relate to the current or past use of the Thames and the industries and settlements it gave rise to around both the north and south banks in Kent and Essex. The whole geology and landscape which underlie the area, providing the chalk, clay and fertile soils is sedimentary, formed by and under water. Many of the images actually include the Thames or its tributaries and much of the Thames Gateway area is increasingly at risk from flooding as sea levels rise and our climate becomes less predictable due to man-made global warming.
The Magical Microbial Magnification Machine is a science communication art work that converts a Victorian Magic Lantern into a projector that projects the invisible microbial world. At Not A Drop water samples from the Thames will be displayed, exposing their microbial archaeology. Each sample will be projected onto a wall and the data found will be mapped.
John Carroll's work spans photo etching, pastels and charcoal drawings. His art uses water as the subject matter and he is particularly interested in exploring humankind's emotional and spiritual relationship with water. At Not A Drop he will be exhibiting both smaller pieces and his large awe-inspiring piece Reaching the Ocean
Jaunt is a 'psychogeographical' experiment shot on Super 8, conducted along the highways, byways and waterways of the River Thames. From Southend-on-Sea to the Houses of Parliament, Kötting's ‘River Movie' sees this stretch of our fair isle through the eyes and ears of those who work and inhabit it, but ultimately through the eyes of Kötting himself.
Melanie King often uses the symbol of the soap bubble as a metaphor for life, as it appears for a beautiful moment before popping in to nothingness. Her most recent bubble research enquired into 17th Century Dutch Vanitas painting and cosmology, including multiverse and inflation theories. At Not A Drop, viewers will be able to view soap bubbles preserved in a photographic print, but also will be able to interact with real bubbles.
Sea kayaks (or 'Qayaq') follow traditional Inuit designs, which originally used accessible materials such as sealskin and whalebone. But in our post-industrial, bureaucratised world a comparably economical and graceful design would have to make use of other discarded resources. For Contingent Research Platform, Hartley has cut, bent and lashed the post-bureacratic jetsom of business suit, office desk and discarded computer in order to construct a kayak and a set of research tools.
When the Lions Drink... is a theatrical performance from Bad Host Theatre that will immerse audiences in a watery post-apocalyptic world that explores London in the wake of a catastrophic flood. Based on London’s urban myth that tells us, “When the lions drink, London will sink,” this performance uses macabre poetry, improvisation, object play and sea shanties to communicate the tragedy and reality of flooding to audiences in a playful yet haunting manner. Money has no value here, but objects, food and precious clean water have.
For Helen, ‘Not A Drop’ evokes a great thirst and at the same time a realisation that clean drinking water is becoming a priceless commodity. In her piece ‘H2O’ she kept the wooden frame of an hourglass and replaced the sandglass with a bottle of water, as a metaphor for time running out for water. The piece speaks of urgency and is a call to action to keep water fresh and sparkling clean.
Tim Smart’s illustrations provide an interesting hidden narrative to Tokyo and Yokohama cities. Their downtown and harbor districts were built on land reclaimed from Tokyo Bay over the past four centuries, dating back to when the Tokugawa Shogunate created a new capital, Edo, out of swampland. Edo's successor, Tokyo, still boasts a labyrinthine network of canals rivaling Venice. Yet because these waterways (those that have not been paved over) lie mostly in grubby industrial districts - literally the backwaters of the city - they have never been treated as a cultural asset.
The projects of Forlane 6 Studio, otherwise known as Hortense Le Calvez & Mathieu Goussin, intend to question and imagine how organic shapes and man-made ones could merge. Artificial natures are created in a science fiction like “mise en scene” where materials cohabit in the context of a foreign space inaccessible to human life.
In one day, 200 million work hours are spent by women collecting water for their families and millions of women are limited from achieving little more than survival. These portraits seek to tell that story of lost potential for these individual women who are also a statistic and to explore the way in which women can be restricted and distorted by the demands placed on them by the society in which they live.
Clara Mata's series of collage postcards is based upon the idea of summer tourism, an important source of income in Spain and a phenomenon that shapes the coastal landscape and lifestyle. After all, Spain's sea and beach, are amongst the most attractive in the planet.
Artists participating in Not A Drop are:
Andrew Kotting, Angelo Picozzi, Beatrice Banfi, Bek Lynch, Caroline Halliday, Clara Mata, Clare Misselbrook, Corinne Price, Corrina Eastwood, David Shaw, Elizabeth Jankowski, Ella Harrison & Evelyn Albrow, Emma Cousin, Enrique Verdugo, Fabio Coruzzi, Gerard Bryan, Helen Zajkowski, Hemant Anant Jain, Hortense Le Calvez & Mathieu Goussin, Jade Currie, Jason Howgate, Jeni McConnell & Kerry Morrison, Jenna Jardine, Jerome Beresford, Jo Atherton, Johana Hartwig, John Carroll, John Hartley, Jolene Mok, Katharina Nyilas, Katharine Beaugié, Kibi Schultz, Lauren Ashleigh Pursey, Lisa Shaw, Lucy Knight & Bad Host Theatre, Luna North, Mandy Beall, Mark Corfield-Moore, Matt Gee, Maya Mladenovic, Melanie King, MyLoan Dinh, Nick Snelling, Oliver David, Paul Matosic, Peter Marshall, Robert A. Szynal, Robert Fung, Sam Walters, Sarah Craske & Dr Simon Park, Stacey Blackman, Tim Smart, Venessa Pugh, Ziede Sesplaukyte