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Extended Process  |  Parts 1 and 2

Deptford, London, 17 March to 23 April 2017

The premise of Extended Process is an expansion of the spirit and ideas of Exchange Rates / Sluice_, held in Brooklyn, October 2016. Extended Process is a continuation of the conversations started in New York; it builds on our experience of those events, and is staged as a two-part project. Read Paul D’Agostino’s essay on Brooklyn and the genesis of this project.

Part 1 takes place at the Saturation Point space, a private event hosted by Patrick Morrissey and Hanz Hancock, exhibiting paintings, works on paper, and sculpture.

Artists: Debra Ramsay, Rob de Oude, Deb Covell, Brigitte Parusel, Charley Peters, Mel Prest, Laurence Noga, Eric Cruickshank

Part 2, hosted by Brigitte Parusel, is being held at APT Studios. Part of the Saturation Point involvement in the project was a partnership with Odetta Gallery, where the artists' work was displayed in flat files / chests of drawers. Extended Process Part 2 reciprocates this exchange by exhibiting artworks in flat file format, inviting artists from the UK, the Netherlands and the USA to present their works creatively within this format.

Artists:  Gabriele Evertz, Fiona Grady, Gilbert Hsiao, Hanz Hancock, Patrick Morrissey, Guido Winkler.

Extended Process

Part 1 - open from 17 March to 23 April, by appointment only; private salon event

Part 2 - open from 1st to 23 April, Thursday - Sunday, 12 noon to 5pm, by appointment

To visit, please email

Installation shot, Extended Process, from left: Mel Prest, Rob De Oude,

Brigitte Parusel. Photo by Brigitte Parusel

Laurence Noga. Photo by Brigitte Parusel

Extended Process Part 1

Charley Peters. Photo by Brigitte Parusel

Eric Cruickshank. Photo by Brigitte Parusel

Debra Ramsay. Photo by Brigitte Parusel

Installation shot, Extended Process 1, Deb Covell, Debra Ramsay, Brigitte Parusel. Photo by Brigitte Parusel

EXTENDED PROCESS (Part 2)| by Guido Winkler

Many artists are probably familiar with unfinished experiments that wander around the studio, hang unfinished for ages on a wall, or are left alone in a dark drawer. Those left-overs that remain unfinished, but are still too interesting to throw away or abandon completely.

Finishing some of these early experiments feels like a welcome opportunity for an exhibition in a chest of drawers. The title of this exhibition is Extended Process, and is being curated by Saturation Point’s Patrick Morrissey and Hanz Hancock, in conjunction with APT projects.

Opening a drawer is a nice way to reveal a work. A closer, fresh look. It can be a more intimate way of seeing than publicly viewing a work of art on a wall. With this in mind, I have chosen these works for this exhibition.

Drawer one shows an early, glued, very small painting. It might be from 2010. I glued two parts of wood together because I must have liked the wood pattern. In essence it’s nothing special, but it became the start of something new.

The second drawer shows a work I made for Sugar Mountain in the Van den Berge gallery in Goes. It was one of the first wooden, folded works I made, and the first one I presented in a gallery.

('Sugar Cube', acrylic on wood, 30x30cm)

The third drawer contains two 3D-printed, painted models. The left is a print from a 3D-designed object. My first ever. The right object is actually a 3D-scan of a real painting, reprinted and then repainted. They are from 2016, finished during January and February 2017.

Drawer four is showing another try. I started this one in 2012, and repainted it for this exhibition in February 2017.

Untitled (Be), acrylics on wood, 36x43cm (2017).

The fifth drawer contains a new painting as object. (Jan 2017), Untitled, acrylics on wood, 35/23x37cm.

Drawer six: One of the many (X), acrylics and alkyd on wood, 31x31cm (2015). Most of this series have been sold or swapped. This particular one, which I made in Sydney for the exhibition IS comes to SNO (Sydney Biennale off-program) but did not show. Now it's the time.

The wall painting is based on the same motif as the works in drawers two, three and four. This work blends in the exhibition at Brigitte Parusel's APT Studio, temporary.

SLUICE | Karl England, 2016

As an artist-run project, Sluice exists to create platforms that expound and promote other artist-run initiatives. Sluice began life in 2011 in London as an art fair for artists/curators and emerging galleries. The fair’s aim is to invert the dominant art fair paradigm by operating on a non-profit basis, thereby making it affordable for artistic activity that is usually excluded from participating in the cultural discourse generated during the art fair season.

In our first year, in 2011, the New York gallerist Stephanie Theodore brought her gallery Theodore:Art to Sluice_2011; in our second year (Sluice_2013) Theodore:Art and four other Bushwick galleries participated (Parallel, Wayfarers, Et Al and Schema). As our Brooklyn contingent grew, independently, back in the States, Theodore:Art and Centotto Gallery had been developing the Bushwick Expo idea. At Sluice_2013 we held a panel talk entitled 'Why Bushwick, Why Now?’' which looked at how Bushwick had sprung up as the newest enclave for artist- and curator-run projects in New York. After the fair Centotto and Theodore:Art invited Sluice to partner with them in creating the Bushwick expo.

With the aim of utilising the growing relationship between the Bushwick scene and the network Sluice had nurtured, it was decided that it would be mutually beneficial to make the expo a truly international exercise. Essentially, Sluice would manage the expo and coordinate all the international visiting galleries. Centotto and Theodore:Art were responsible for coordinating the Bushwick host galleries.

Extended Process Part 2

Gabriele Evertz. Photo by Guido Winkler

Hanz Hancock. Photo by Guido Winkler

Gilbert Hsiao. Photo by Guido Winkler

Patrick Morrissey. Photo by Guido Winkler

Mel Prest. Photo by Brigitte Parusel

Rob de Oude. Photo by Brigitte Parusel

Installation shot, Extended Process Part 2, photo by Guido Winkler

Guido Winkler. Photo by Guido Winkler

Fiona Grady. Photo by Guido Winkler

Wall painting: Guido Winkler. Photo by Guido Winkler

Installation shot, from left: Wall: Gabriele Evertz, Hanz Hancock.  Plan chests: Gilbert Hsiao, Guido Winkler, Patrick Morrissey. Photo by Guido Winkler