Trafalgar Square night scape: Jyoti Bharwani has exhibited in one of the world’s most famous places, and her work is now on show in the bijou Croydon Art Space
Our arts correspondent, KEN TOWL, returns to one of his favourite galleries in Croydon, only to be confronted with an embarrassing episode from his past
Ceramic trio: Martin Cade’s works are among the abstract and beyond exhibition’s high spots
You have to tread slowly and carefully once you enter the Aladdin’s cave where the Croydon Art Space hides in plain sight at 41 Lower Addiscombe Road. This is partly to avoid sensory overload – the plain white walls of the three small rooms are covered in dozens of acrylics, oils, drawings, pastels and more, while surfaces support the most delicate of ceramics.
In my case, this is also to avoid damaging the art. More on that topic later.
The gallery’s latest exhibition, “Abstract and Beyond”, runs all through February, March and beyond, until Thursday April 24.
It is at the same time both a modest and an ambitious show. The former because it takes place in the most bijou of bijou converted ground-floor flats. The latter because it is entirely abstract.
And “beyond”, apparently, though it was not immediately clear to me what was “beyond abstract”. Nevertheless, it is, on the whole, an impressive collection and curator Paul Hall has, as usual, made the most of the space available to him.
Swirling patterns: our reviewer admired Elizabeth Knapp’s work on previous visits
On my arrival, I eschew the offer of wine, as is my habit at this most constrictive of galleries, and say hello to Paul, who, in turn, introduces me to Elizabeth Knapp, whose swirling patterns I had admired on a previous visit.
Also in attendance was Gillian Ingham of the London Group, whose confident work with line, form and colour was represented here in Room 3, “Abstract in Blue”, in the work “Division”.
Abstract in splendour: the earthy ocres of Jyoti Bharwani’s ‘Koodiyattam’ dominates the room
Disappointingly, I did not get to meet Jyoti Bharwani, whose “Koodiyattam” dominates Room 2, “Abstract in Splendour”, as well as the cover of the brochure that Hall had handed me. The earthy ochres (here mixed with more exotic pigments) reminded me of the natural tones of her earlier work, back in the days before she exhibited her sculpture of a London taxi in Trafalgar Square.
The exhibition include works from 17 artists, including emerging Croydon talents, and members of The Croydon Art Society, The London Group and Bromley Art Society. “The exhibition aims to show the best abstract artwork to Croydon residents,” Paul said.
Paul introduced me to Lola, who was admiring “Koodiyattam”.
“Are you one of the artists?” I asked, keen to have the opportunity to get more insight into other work.
“No,” Lola said. She was a Croydon resident who liked art, and especially liked the welcome she got at the Art Space.
“It’s not intimidating,” she said, “All you have to do is have an appreciation of beauty.”
I had to agree with her. There was much to like here, but I wanted to go “beyond abstract” and, there, beyond “Division” in Room 3, I think I found it in Sandra Crisp’s “strange attractors […1,000 years]”. Even the title was beyond abstract.
Delicate glassworks: artist Tracey Nicholls’ work remained unscathed on this visit…
I am not sure how to classify the piece. It is a moving, programmed series of images that have a hypnotic effect, drawing you into its folding and collapsing shapes.
Hall’s next introduction was a mischievous one: “Ken, I’d like you to meet Tracey Nicholls.”
The name rang a bell and I looked at her and she wasn’t quite smiling, and hint of a feeling hit the pit of my stomach as I recalled the events of a balmy July evening in 2022 when, in order to make room for the ever-increasing group of people having their photograph taken with Sarah Jones MP after she had presented an award to a student artist, I had stepped back and knocked a delicate piece of art from the wall behind me.
It had crashed to the ground and, for a very unpleasant second, I had been the centre of unwanted attention. I had also broken the work into two pieces. You can read about my humiliation here.
“Yes,” said Hall, “that Tracey Nicholls.”
What do you see?: Abyss, by Charlie Jenkins
Much to his apparent amusement, I fumbled another apology, calling up the word “mortified”, and I think, and indeed hope, that Tracey was able to enjoy my mortification, too. Her work is quite remarkable and delicate and certainly not something that should be destroyed.
I was minded to leave without too much delay, keen to reduce my chances of any more accidents. I wound my painstaking way through the obstacle course of Michael Cade’s wonderful ceramics in Room 1 (Embroiled in Colour) without knocking any of them over and without falling into Charlie Jenkins’ striking, illuminated “Abyss” that was mounted, as if on guard, by the door.
If, like Lola, you appreciate beauty, and, unlike me, you don’t break things, I recommend you give the Croydon Art Space a visit.
You will need to book through Eventbrite (just click here); the exhibition is popular and the space can only hold so many people at a time without breaking stuff and, it turns out, there is demand for beauty in Croydon, even if it is abstract… and beyond.
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