new exhibitions

Thames-Side Studios, Harrington Way, Warspite Road, SE18 5NR
020 8301 8844

Thur-Sun 12-5pm. Email to book an appointment.

undergroundNorth Greenwich + bus 472 undergroundWoolwich Arsenal DLR + bus 177 / 472


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Oct 17 - Nov 22, 2020
The figurative or 'recognisable' elements in this series are partly based on the decade-old photographic documentation of Vladimir Umanetz’s and Marcin Lodyga’s studio work. In 2010, during their stay in Cairo, both artists were developing the idea of an obscure post-artistic phenomenon known as yellowism, which later triggered their gradual resignation from art. They've tested various ideas and as a result, produced numerous flat and three-dimensional sketches and notes. I’ve remixed chosen fragments of Umanetz’s and Lodyga’s research outcomes on canvas and therefore, describe these paintings as yellowism studies. It seems to me that there is an increasing tendency to call all art political, which I rather question. My intention was to capture that specific time period, when such questioning occurs. So it is also correct to refer to a sequence of those murals as a time-within-time works." — Rodion Ulrich, London, 15 September 2020
Rodion Ulrich is a painter based in Unit 7, Studio 7-124. He’s currently studying Fine Art at the UAL Chelsea College of Arts. Studies is Ulrich’s first public exhibition to date. For more follow
press release

May 17 - 23, 2021
Open daily from Monday 17 May - Sunday 23 May, 12-6pm, following government safety guidelines.
Shahin Afrassiabi, Kiera Bennett, Biggs & Collings, Juan Bolivar, Jane Harris, Heike Kelter, Ansel Krut, Scott McCracken, Andrea Medjusi-Jones, Mali Morris, Tim Ralston, Graeme Todd, David Webb, Victor Willing
The phrase ‘squaring the circle’ means trying to achieve that which is not possible. Inverting the expression to ‘circling the square’ implies its opposite, that which is possible. The possibility contained within painting. The square is the ground, the painting support, that has to be negotiated and worked around. Circled. Circling the square becomes a fitting analogy for how paintings can be realised and considered.

May 17 - Jun 13, 2021
Journeys is the personal exploration of the mystery of being through photography, printmaking and painting. My work lies at the intersection of light, space, time and energy. If we insist there should be things to be observed, these things come about through our constructing. A reality we can know that is independent of our observing. According to D. Bohm ‘We observe observing.’ I somehow learn to sense its presence and movement in order to bring my own life into harmony. I act such an observer and follow my own path of life and these artworks are responses to it.

May 17 - Jun 27, 2021
An array of materials and layers are condensed in Connie Harrison's paintings. Through surfaces and their variations, compositions emerge slowly through a process of layering and the stripping away of wax and oil paint. Harrison presents a painting with the basic tangibility of a sculpture or a sculpture with the graphic vigour of a painting. She is interested in how a work can sit simultaneously between abstraction and figuration.
Connie Harrison (b.1993) graduated from Chelsea College of Arts in 2016. Recent exhibitions include The Invitational at Unit 1 Gallery, Open Call with Delphian Gallery, Small is Beautiful at Flowers Gallery and British Painting II at Bermondsey Project Space.

May 29 - Jun 13, 2021
Recreational Grounds: Off Site
Curated by Fiona Grady, Anna Lytridou and Tim Ralston
Exhibition Dates: 29 May-13 June 2021
Preview: Friday 28 May 2021, 6-9pm
Henrietta Armstrong, Mike Ballard, Jack Brown, Paul Cole, Dori Deng, Rosie Gibbens, Fiona Grady, Nicky Hirst, Ted Le Swer, Anna Lytridou, Marco Miehling, Veronika Neukirch, Tom Rapsey, Tim Ralston, Shinuk Suh and Jim Woodall.
Since 2018 Recreational Grounds has been inviting artists to create site-responsive art works in an unconventional venue, a vacant car park on the Aylesbury estate in Elephant and Castle, London. The project has enabled artists to challenge their practice and work in new ways to fulfil a unique brief. The exhibition Recreational Grounds : Off Site presents this concept in a new venue and takes the project off-site.
For this exhibition the curators have selected artists from previous editions of Recreational Grounds alongside a few new names. The decision to present the artists in a more formal gallery space is an opportunity to test the values and principles of Recreational Grounds, keeping the intuitive, improvisational and ephemeral aesthetic but asking the artists to re-interpret the project for a new setting. The artists will create site responsive work that will look to explore themes initially developed in previous editions of Recreational Grounds, reflecting on how their work and ideas may have changed and grown with time.
Online events and performances to engage with the exhibition and discuss narratives around Recreational Grounds wil take place during the exhibition.
A Recreational Grounds publication will be launched at the end of the exhibition. This will catalogue the previous editions of Recreational Grounds and contain commissioned writing on these alternative, artist-led exhibitions.

Jun 19 - Jul 4, 2021
Phillip Allen, Phyllida Barlow, Jake and Dinos Chapman, Paul Cole, Giles Corby, Andrew Ekins, Nick Fox, Nicky Hirst, Sand Laurenson, Hannah Maybank, Jane Millar, Katie Pratt, Piers Secunda, Kate Street, Jamie Partridge and Narbi Price.
Everything has its beauty (1.)
Pretty Ugly brings together the work of sixteen artists, all of whom explore a fugitive beauty within “a degraded sense of reality"(2.)
Each sees value in the imperfect and the irregular, the pull of the sublime and the illicit. Theirs is an aesthetic that gains potency by being elusive, abject, and impolite, while testing the capacity of what has been made to represent the content it is intended to have. The resulting forms manifest a flawed but compelling beauty, and are distinguished by a delight in a logic of brokenness: surfaces that have a corrupted ornamentation and an abused touch of the brush.
These artists make delinquent un-palettable paintings, ceramics that relish the quiddities and quirks of form, and sculpture that emphasises the substance and materiality of thingness. The work of each employs an expanded creative language, exploring a narrative of otherness in pursuit of the lure of a tainted kind of love, a fatal attraction.
Andrew Ekins, March 2021
(1. Confucious, 2. Bruno Schultz, Street of Crocodiles)


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