Eight artists contemplate nature through drawings, paintings, prints, ceramics and sound in an upcoming exhibition.

Recently reconfigured from a bicycle repair shop and next to a former glitter factory, the new Confer Karnac Center in Spitalfields offers a newly designed space by Chris Dyson Architects, dedicated to a bookstore and a lecture program on psychoanalytical, relational and emotional processes.

While retaining the historic fabric of the building, its philosophy is to connect to the existing sense of community, innovation and creativity in the field of psychotherapy and in the culture at large. Located in an area known for its 17th century Huguenot history and expansive East End creative district, Confer Karnac brings to the neighborhood a new contemporary art space for relational and creative thinking.

Serena Korda, Sunset in my mouth, 2021, Glazed stoneware, faux gold leaf

The new exhibition Frequencies (for healing) opens on March 11 with an opening from 5 p.m. to 8 p.m. Nature according to the French philosopher, theorist and writer Michel Serres is etymologically conceived as relating to the Latin Natura, to that “which is born, is born and will be born” (Serres, 2020) and considers a subject or an object which is always -evolving, changing, responding to and of itself. For him, the genesis of everything passes through the communication of the molecular code to the genetic coding of living things, to information pixels with a recording medium made up of forms of noise and interference that can never be completely excluded from computer systems. ‘exchange of information.

The action of nature is seen as the continuous staging of the world with its interrelationships of man-made and natural elements, acting and responding. It is not the dumb, passive ground of human action, but rather a vibrating energetic space to which all things human and non-human communicate, constantly moving, vibrating, oscillating, resonating at varying frequencies.

Attuned to the hum of nature and its dynamic agential forces, Frequencies (for Healing) invites eight artists to contemplate nature through drawings, paintings, prints, ceramics and sound. Text Hayley Lock

Ryan Barrette recently presents 3D printed ceramics that are digitally rolled and mixed with colored oxides. The precarious nature of porcelain’s natural drying process and the use of advanced technology allow Ryan’s ceramic practice to oscillate between form and collapse.

Ruth Calland considers the idea that film or a painting can synthesize the human and the natural through a series of works depicted in sickly hues of yellow, green or purple. Through the Sense of Strangeness, recent works use stills from 1920s horror films, focusing on our anxiety around relating to the unnatural, both internally and externally.

by Michele Fletcher the focus is on the cyclical changes in a garden, informed by the natural world but relying on visual memory.

Serena Korda celebrates the gaps or cleavages, explosions and ruthlessness of working with clay in relation to its garden in confinement, alongside sound pieces inspired by anthroposophist Theodor Schwenk, who studied the flow of water and prints made to the rhythm of her daughter’s evolving voice.

by Robyn Litchfield the paintings connect the idea of ​​wilderness and the unknown, introducing red stencilled shapes that represent loss and longing.

by Mimei Thompson bright, flowing paintings depict repeating patterns such as brambles, dandelions and weeds in vacant lots. She plays here with the idea of ​​nature in the synthetic realm through the use of bright and acid tones.

Linda Wallis features drawings referencing unconscious and conscious concerns about entrapment, exposure, and expulsion. His carefully executed pencil drawings allude to the surreal sense of what a landscape can be.

Sue Williams A’Court’s the paintings describe a state of mind. Presenting anthropomorphic landscapes stripped of all human and cultural content, nature becomes the subject, transcending the historical hierarchical norms of art.

Mimei Thompson, Weeds at the End of the World (Magenta/Yellow/Green), 2020, Oil on canvas

Frequencies (for healing) from March 11 to June 15 at Conference and Karnac Strype Street London E1 7LQ Opening March 11 from 5pm to 8pm


Key words


Marc Westall

Mark Westall is the founder and editor of FAD magazine, founder and co-editor of Art of Conversation and founder of the @worldoffad platform