WEEK #3

JAMES FULLER & ANNA GONZALEZ NOGUCHI

Now residents of Athens, Greece following their relocation last year, James Fuller and Anna Gonzalez Noguchi both participated in White Crypt shows in 2018: Fuller was included in the summer exhibition Further Images, while Gonzalez Noguchi was part of the autumn group show To the Core.

In 2019, they left London to open a studio and workshop in Athens. One year on, Fuller reflects:

It’s kind of a recent development still but since we loaded up the van with tools and left the UK over a year ago it has had some strong implications for our work. It’s a very industrial city still, where access to materials and industrial processes are still deeply entrenched in the fabric of the city, mixed with a sense of localism that makes working here really productive for us. This year was supposed to be about opening up - opening the studio more to others and also host other artists in a small program of temporary exhibitions. It’s on ice right now but feels even more necessary.

All artworks are available to purchase. Should you wish to make an enquiry please email maddie@whitecrypt.com or anais@whitecrypt.com

JAMES FULLER

First Pot to Plate Euphoria, 2020, copper, 10 x 14 x D 1 cm

First Pot to Plate Euphoria (detail), 2020, copper, 10 x 14 x D 1 cm

First Pot to Plate Euphoria, 2020, copper, 10 x 14 x D 1 cm

Ez Eamsey Lounger, 2019, powder coated steel, rubber tyre chipping’s, reinforced plaster polymer, 100 x 50 x 110 cm

Ez Eamsey Lounger (detail), 2019, powder coated steel, rubber tyre chipping’s, reinforced plaster polymer, 100 x 50 x 110 cm

Ez Eamsey Lounger, 2019, powder coated steel, rubber tyre chipping’s, reinforced plaster polymer, 100 x 50 x 110 cm

Ez Eamsey Lounger (detail), 2019, powder coated steel, rubber tyre chipping’s, reinforced plaster polymer, 100 x 50 x 110 cm

Base Pair (grey), 2020, refined paraffin wax, talc, 62 x 30 x 15 cm

Boy Sitting on Fence Smoking a Pipe, 2019, zinc panel with powder coated steel frame, 23 x 17 x 0.3 cm

Boy Sitting on Fence Smoking a Pipe (detail), 2019, zinc panel with powder coated steel frame, 23 x 17 x 0.3 cm

James Fuller works with low-value, high-grade waste products; provocative objects where the monetary and aesthetic value have slipped into a performed nothingness - and into this Fuller pours attention, labour and production. The action taken towards some kind of ending, a cut, a crush, a drop, a dismantle, a snap, becomes the starting point. Tiptoeing on the edge of functionality, Fuller’s works alternate between a position of shame, censure, and celebration. He was awarded the prestigious Kenneth Armitage Post-graduate Sculpture Prize in 2018.

Discussing the works selected for this project and how his work is developing at the moment, James explains:

All the works [included here] have a direct lineage to what’s unfolding currently in the studio while no one can visit and it’s such a difficult and draining time to try to continue to work. But it gives you a lot to think about, how to be more transparent about what you’re doing, how to share more than just images, be more collaborative. The Kenneth Armitage Sculpture prize back in 2018 has facilitated a lot of change both in where and how I can work and I hope that’s going to really come through in the work over the next 12 months.

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http://james-fuller.com/
@james_richard_fuller

James Richard Fuller (b.1988) lives and works in London and Athens, Greece.

Fuller received an MA Sculpture at the Royal College of Art, UK, in 2018.

Recent Exhibitions & Commissions: ‘Under the Volcano’, Brooke Bennington Gallery at Block M74, Mexico City, MX (2020); ‘Kypsellian Salon’, Snehta, Athens, GR, (2019); ‘An Arrangement in Two Halves, a Bench in Two Parts (I & II)’, London UK, (2019); ‘Further Images’, White Crypt, London, UK, (2018); ’Too much information’, Seventeen, London, UK, (2018); ‘Northampton Contemporary Open’, Northampton Contemporary, Northampton UK, (2018); ‘Outpost Members show’, Outpost, Norwich UK, (2018); ‘Pupa’, Assembly House, Leeds UK, (2017); ‘Intimaterial Symposium’, RCA, London UK (2017); ‘ebc013’, East Bristol Contemporary, Bristol UK, (2017); ’Te Hum’, Caustic Coastal, Salford, UK, (2017); ‘Te Classics Range’, Replika Magazine Commission, Berlin, DE, (2016).

ANNA GONZALEZ NOGUCHI

省略の美 (Shoryaku nobi) : Beauty of Elimination 2019, 96 ceramic sandblasted tiles, aluminium v-slot fixings, 248 x 165 x0.7 cm

省略の美 (Shoryaku nobi) : Beauty of Elimination (detail) 2019, 96 ceramic sandblasted tiles, aluminium v-slot fixings, 248 x 165 x0.7 cm

Powerless to provide relief (Black), 2020, sandblasted tiles, engraved felt, aluminium, 22 x 32 x 3.8 cm

Powerless to provide relief (Black) back, 2020, sandblasted tiles, engraved felt, aluminium, 22 x 32 x 3.8 cm

Powerless to provide relief (Pink), 2020, sandblasted tiles, engraved felt, aluminium, 22 x 32 x 3.8 cm

Powerless to provide relief (Pink) back, 2020, sandblasted tiles, engraved felt, aluminium, 22 x 32 x 3.8 cm

Bedded in , 2020, hand towels, plastic folder, photographic print, button, tempered glass, metal, wood, 39 x 53 x 3 cm

Three tiered exposure, 2020, tempered glass, photographic print, ceramics, marble, metal, 77 x 31 x 38 cm

Three tiered exposure (detail), 2020, tempered glass, photographic print, ceramics, marble, metal, 77 x 31 x 38 cm

Memo, 2019, acetate print, Grandmother’s phone key chain, fridge magnets, nylon, used HB pencil, metal, perspex, 70 x 60 x 12 cm

Informed by her Spanish and Japanese heritage, Anna Gonzalez Noguchi removes, relocates and reconstructs objects in different geographic territories. She renegotiates memory and investigates our capacity to anchor experience in tangible form. Hand-crafted objects, industrially finished surfaces, prosaic artefacts and images are layered, and through this a shift in meaning and purpose is acquired.

Speaking about the development of her work since her participation in To the Core (2018), Gonzalez Noguchi explains:

I had the opportunity to make a really well funded solo presentation at Caustic Coastal. A crazy ambitious space to work with which allowed me to push different aspects in my practise to a place and scale that I wasn’t sure was possible. More recently, James and I were in residence in Mexico City and showed some new works there in January organised by Brooke Bennington Gallery. Considering the current circumstances I feel quite fortunate that it happened so early in the year and was able to produce a new set of works already before life closed in.

Although things are very different right now, I’ve been experimenting with more manageable materials to suit the times, turning fabrics and paper into lightweight works which are outside of my comfort zone but strangely seem to be opening new paths forward.

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http://www.annagonzaleznoguchi.com/
@annagonzaleznoguchi

Anna Gonzalez Noguchi (b.1992 Japan-Spain-UK) lives and works in London and Athens.

Gonzalez Noguchi received an MA Sculpture at the Royal College of Art, UK, in 2018

Recent exhibitions include ‘Under the Volcano’ at Studio Block M74, Mexico City, ‘NEW FOUND LAND’ at Caustic Coastal Salford, UK (2019), ‘To The Core’, White Crypt, London, UK (2018), ‘Nomadic Vitrine’ at Recent Activity, Birmingham, Northampton Contemporaries, Northampton, UK (2018) , ‘Seasons’ at Maxilla Space, London, UK (2017), ‘RCA Edinburgh Exchange & WIP Show’, UK (2017), ‘SPVI#2’ at Turner Gallery, Tokyo (2015).