Category Archives: NEWS

May Hands graduated from BA Painting at Camberwell College of Arts in 2013. Since then she has been involved in both group and solo shows across Europe.
Hands gathers her materials from the world she sees around her. Designer shopping bags, fruit packaging and household sponges are married together to produce highly seductive works that deal with ideas of value.
The Press have been keen followers of Hands’ work since she left Camberwell. We visited her at her studio in Lewisham last month to talk painting, travelling and Chanel.
Click here to download the whole interview.

This Thursday 26th February Slow Bounce, run by current and past associates Chris and Patrick, presents: Fact or Fiction: The Life & Times of a Ping Pong Hustler. The screening will be followed by a Q&A with Director Leo Leigh & Producer Leo Marks.


Fact or Fiction: The Life and Times of a Ping Pong Hustler is a chronicle of the final three years of internationally recognised table tennis champion Marty Reisman’s life as he continues to pursue notoriety through his idiosyncratic lifestyle.


Shot over three years, the film follows Marty – a complex mix of childlike excitement, eccentric narcissism and constant charm – as he negotiates between pride, the denial of old age, past defeats and the decline of his fame and fortune, as well as his devoted wife Yoshiko’s health, all while clinging onto the hope that his own life and career are just beginning to blossom.


Doors at 7pm
Screening at 8pm
Unofficial Wrap Party 10pm-2am




Bussey Building / CLF Art Cafe
133 Rye Lane, Peckham,
London SE15 4ST

Athena Papadopoulos’ recent show at the Zabludowicz Collection reminds me somewhat of Popova. Papadopoulos’ propped up cushions and canvas’ are made of old stitched up clothes and fabrics, using red wine, Pepto-Bismol and hair-dye (amongst other things) to colour and add texture as an alternative to paint. Her cushions take the form of overfilled torsos, combining rather crude sketchy hand-drawn figures with family photos and cuttings from magazines.

A theme of the domestic weighs heavily throughout; and it’s refreshing in its unabashed reverence for all that is everyday and tacky, (and also by the same measure traditionally feminine and working class). It could be seen as autobiographical, with her use of family photos and items from home, but it’s such a reflection of everyone, of everyday humanity; the imperfect figures drawn across fabric stained with red wine and hair dye, there is a joy and a humour to seeing our daft messy selves being reflected back at us. It’s almost the sculptural equivalent to an Alan Bennett monologue or a Victoria Wood sketch (almost, not quite).

She reminds me of Popova, in the way that in early Revolutionary socialist Russia, traditionally feminine arts like fabric design were treated as equal to the likes of architecture in the name of equality and ideology in utility. Papadopoulos’ work, similarly is made out of domestic objects and traditionally female craft, and has this same kind of politics to it. She brings all these daft, imperfect, purely human materials in an attempt to legitimize and romanticize the domestic everyday experience within a typically cold emotionless commercial art world, and it’s bracing.

Brian Robinson

Photo Credit: Tim Bowditch

Artist Richard Slee talks to Camberwell Press about the position of contemporary ceramics, the ‘evil’ of studio pottery, domesticity and ‘the great indoors.’

“So the studio pottery movement was ‘pots about pots,’ people would talk about the details of pots, the volume of them and the language was very interesting. It was a very macho language; strength, vigor, generosity – you never got anything limp or flaccid.”


Click here to download the whole interview.

Slee now recognised as one of Britain’s leading contemporary ceramic artists challenging the notions and boundaries of ceramic art. Viewing this medium beyond the utilitarian focus within his education and into the realm of contemporary fine art. Combining the handmade and the readymade Slee’s work varies from the humorous to the melancholic often realising itself in the unexpected.

Camberwell Press published ‘Means of Production’ in June 2014, an Artist’s Book which accompanied the exhibition ‘Work and Play’ for Tullie House. The show focused on two themes – ‘Work,’ through tools and signs which were referential to business and industry, and ‘Play’ through the exploration of sport and leisure equipment.

More information about the show and publication can be found here.

Alejandro González Iñárritu’s most recent film, ‘Birdman’, is built upon one seemingly continuous shot, filled with choreographed scenes and hectic action. The movie, in short, follows an actor famous for a superhero franchise, who is now the writer, producer, director and star of a play on Broadway – and he is having a breakdown. This theme of falling apart and coming back together again is somehow anticipated in the opening titles. These are purely typographic, and reveal each word character by character, in alphabetical order: each letter fills in on screen to the drumming of Antonio Sanchez, which is enough to prepare the viewers, setting the right mood of expectancy for what it is going to happen. Iñárritu gave these titles an ulterior layer of meaning: they are, in fact, ‘borrowed’ from Jean Luc Godard’s film, ‘Pierrot Le Fou’ (1965). French New Wave films deliberately communicated a sense of personality through fragmented takes and jump cuts, qualities that were reflected in Godard’s use of type in the 60’s. The subtle ruggedness of letterforms appearing on screen contributes to the films entire identity. Each word appears to be handwritten or cut out, yet, the type always remains flat and legible; artfully synchronised words frame the initial shots of the film.
Perhaps the most famous title sequences to exploit the potential of the type have been created by Saul Bass. The type is the protagonist in the sequences, supported by minimal and often geometric illustrative elements, it follows a rigid grid, using two or three different colours. ‘North By Northwest’ (1959) begins with a green screen with blue lines crossing each other, creating a diagonal pattern that matches the windows of a New York skyscraper, while white type slides up and down this grid. All those elements fit together flawlessly, but rather than just being decorative, they help introduce one of the main themes of the story: crossroads and intersections, as indicated in the title itself.
These are only two examples taken from a larger number of movies which benefit from skillfully designed title sequences, by almost exclusively using typography. It goes to show that, sometimes, letterforms can almost act as sound does in film, supporting the moving image and emphasising what frame of mind the audience should be in. Typography plays a huge role in defining the identity of a product, but often in films it is used merely as an embellishment, sometimes failing to complement the rest of the action. Cleverly chosen type and choreographed animations can elevate the first impression of a film, particularly if the same treatment is applied to the promotional material. When the studios are successful in making the graphic nature of the advertising and the titles feeling cohesive, then the result is often iconic.
Flaminia Rossi

On the 27th of January 2015 Kitson Road No. 6 was launched; a publication by the Kitson Road Living Project (now the Fernholme Road Living Project), published by Camberwell Press in collaboration with Fernholme Road Living Project, produced through the considerable generosity of Sarah Boulton and Marios Stamatis.

The Kitson Road Living Project was a domestic dwelling and project space in South East London, operating from January 2013 until July 2014. During the tenancy the Living Project was home to a rolling series of official and unofficial tenants, both long and short-term. Some of these were artists and curators; others were not. The Living Project also hosted several memorable parties and dinners, two exhibitions and a live concert. It also provided the holding structure for the ongoing work of living together, which is what continues after the house is returned to the property market.


There were readings, yodeling, tattoos and soup.

Rozsa Fakras of Arcadia Missa has written an article on Dazed & Confused describing the current situation of affordable live-work housing in London, mentioning in relation to this The Kitson Road Living Project.


The publication is also now available at the South London Gallery Bookshop & the ICA for £5.

Camberwell Press meet every Monday to discuss specific discussion topics. These topics are raised by one member of the Press to be discussed over breakfast at Camberwell College of Arts. A more recent discussion was on the television programme The Wild Places Of Essex. In the programme there is a discussion about the ‘undiscovered country’ and Camberwell Press challenged me to write a small editorial on this subject for its website.
The Undiscovered Country
The origin of the term, the ‘undiscovered country’ is, of course, from Hamlet and one of the most famous speeches that Shakespeare ever wrote. It references the other, darker world and our transient state of life on this ‘mortal coil’ and within the play; this starts with a request from a ghost for vengeance.
However, if we expand the meaning of the ‘undiscovered country’, it could also mean the ignored, the forgotten and the myriad countries of our imagination. The countries themselves can be vast and expansive, like C.S. Lewis’ Narnia or tiny, fragmentary, even hidden such as the worlds articulated in Orhan Pamuk’s book, My Name is Red.
For me, my childhood was filled with maps and atlases. In a family that didn’t have a lot of money, we never went on holiday. These battered texts and folded time-travelling gems of the imagination fueled my voyages into these unknown mysterious worlds.
My real passions were for islands; an old tattered, tobacco scented copy of Treasure Island that I borrowed from Scarborough’s rather splendid public library ignited my love for all things island. It spirited me to read more and it was Nemo’s underwater adventures and the blank spaces described by Conrad that really triggered my imagination, helping me to develop my capacity for travel to ‘undiscovered countr[ies]’ without ever actually leaving my home. Even now you can find me, quite content, sitting in my little library at home, just daydreaming about these places with a large contented grin, just like Alice’s Cheshire Cat…
So have a go, try travelling without leaving.
Nick Gorse

‘Behind the Brushstroke’ 11th March–10th April 2015
With Masahiro Suda, Masaki Yada, Houran Yokoyama, and Andrzej Zieliński.
This exhibition aims to explore the relationship between brush marks and painting from the point of view of four artists, each with very different backgrounds and practices.
Private View 10th March 2015 from 5.30–8pm, with a performance by Houran Yokoyama at Camberwell Space, Camberwell College of Arts, 45–65 Peckham Road, London, SE5 8UF
Talk & Workshop 12th March 2015 from 5.30–7.30pm at Wilson Road Lecture Theatre, Wilson Road, London SE5 8LU
For further information visit or contact

In December (2014) the Press team paid a visit to the Archives at London College of Communication, including (but not limited to) the collections of Stanley Kubrick, Tom Eckersley and Thorold Dickinson.


Click here to download the account of our visit.

‘An Englishman Abroad’ Artist Jordan McKenzie talks to Camberwell Press about performance, Britishness, council estates and camp, among other things:
“… I sometimes find it quite hard to square what’s happening in Further Education and the kind of neoliberalist business values that it’s adopting, I think that those values are often in conflict with what an artist is and also what creativity is. But after saying that, I do think that there are pockets of resistance…”  
Click here to download the whole interview.

Jordan McKenzie is Performance Artist and Lecturer at Camberwell College of Arts, whose work has been exhibited in numerous national and international galleries. McKenzie uses satire and (a distinctly British sense of) humour to confront and challenge issues surrounding identity politics, queer theory, social engagement & hierarchies of power. 


Camberwell Press published ‘An Englishman Abroad’ in October 2014, a booklet accompanying McKenzie’s exhibition of the same name for Kasa Gallery (Istanbul), examining localism, Englishness and class within the context of ‘Big Society’ Britain.

Thanks to everyone who made it down to the Press for our Open Studio on 27th November. It was great to see you all and we hope you enjoyed the new website and the Into the Fold publication.

This Thursday 27th November is Open Studio, the launch of the Into the Fold publication and our new website. We invite you to meet us at the Camberwell Press studio from 5pm.

You can find us in Camberwell College of Art, 45-65 Peckham Road, London SE5 8UF – follow the posters.

In honour of the new Into the Fold publication launching on Thursday we thought we would recap what the Into the Fold events were about.


Into the Fold first began in 2012, it manifested itself as a series of activities centred around the theme of ‘the ideal studio’ which was documented in a publication created during the events. A second instalment took place in 2014, culminating in the form of an exhibition. The most recent incarnation of Into the Fold focused around the ideas of what collaboration, education, discussion, participation and making might be. Camberwell Press invited a wide range of creative practitioners to Camberwell Space to explore the ideas of: Ideology, Place, Play, Language and Meta, through workshops and talks which were open to both the public and students within Camberwell College of Art.


The artists and creative practitioners who contributed to the 2014 Into the Fold were: An Endless Supply, Manuel Angel, Alfonso Borragan, Thom Brisco, Simon Burbidge, Carmody Groake, A Practice For Everyday Life, Lea Collet & Marios Stamatis, David Cross, Crowd Talks, Edgar-Walker, Europa, Nicolas Feldmeyer, Anthony Gerace, Rose Gridneff, Jonathan Hoskins, Catherine Ince at the Barbican, Saara Karppinen & Alice Tye, Serena Katt, Natalie Kay-Thatcher & Harriet Cory-Wright, Emily King, David Lane at The Gourmand, Carol Montpart at The Plant, Fraser Muggeridge, Billie Muraben, Peter Nencini, John O’Reilly, Photocopy Club, Morgan Quaintance, Liv Siddal at Its Nice That, Lisa Skuret, Kelvyn Smith, Studio Operative, Patrick Woodroffe, Derek Yates, Zeel & Orson & Joe Kessler.