Masao Obata: Drawing Happiness in Red

The Jennifer Lauren Gallery is proud to present

Masao Obata: Drawing Happiness in Red


Launch event 21 June 2017, 6 – 8:30pm
Continues 21-25 June 2017

Dates: 21-25 June 2017
Pop-up Venue: 264 Globe Road, Bethnal Green, London, E2 0JD
Nearest tube station: Bethnal Green – Central Line
Opening times: Wednesday – Saturday 11am-6pm, Sunday 11am-4pm
FREE entrance

“I am happiest when I am working and by working I mean drawing.”

Masao Obata (b.1943) only started drawing whilst in his residential care facility in Japan after the age of 60. Raised by his grandmother, Obata moved around many institutions before settling at Hyogo Prefecture for a longer period of time. His strong urge to create led him to source large cardboard pieces to draw on from the kitchens in his facility, as paper was not strong enough for him and he was concerned it would rip easily.

In the facility Obata could be found night after night continuously drawing often on both sides of the cardboard, completing one piece of work each night. He produced thousands of drawings before his passing in 2010, but many were disposed of by the facility that, in the beginning, had not recognised the artistic value of his work.

Masao Obata

Often creating in red pencil, Obata stated that for him this was the colour of happiness and fulfillment. The major themes in Obata’s work include family and marriage, both of which eluded Obata during his lifetime. He did on occasions say that the works featuring a man, a woman and a child were himself and his parents, and that he missed them profusely.

Women were often depicted wearing earrings and necklaces, whilst men were known to be featured wearing ties. His drawings also featured a characteristic attention to detail when depicting genitalia in his representations of humans. Other themes included things he observed: vehicles, landscapes and plants.

This exhibition is the first by the Jennifer Lauren Gallery and the first solo exhibition for the late Masao Obata. Bringing together 15 works on cardboard, along with a film of Obata working, it is hoped that many will get to enjoy Obata’s playful works.


Please RSVP to Jennifer:
Listings Information


Art Fair: ActionSpace & Cockpit Arts present…

What: Art Fair, £5 entry (includes entry to full Cockpit Arts Christmas Open Studios)
When: 11am – 6pm, 24 – 27 November 2016, Private View: Thursday 24, 6 – 9pm
Where: Cockpit Arts, Cockpit Yard, Northington Street, London WC1N 2NP

As part of this year’s Christmas Open Studios at Cockpit Arts, ActionSpace presents: The Out There Art Fair
As well as providing an exciting exhibition of contemporary art work, this affordable art fair also offers the opportunity for the public to take home a unique piece.

This year, Cornelia Marland is curating the exhibition. Cornelia works as a Curator, Project Co-ordinator and Workshop Facilitator. In May 2015, she founded Geddes Gallery, which is now running as a pop up gallery in and around Kings Cross London. Read about her experience as The Out There Art Fair curator in our blog here

“I was thrilled to be asked to curate the ActionSpace exhibition as part of the Cockpit Arts Christmas Open Studios 2016. This year the aim was to include as many ActionSpace artists as possible and since the art work is so wonderfully varied I thought an art fair which celebrated diversity would work perfectly”

Cornelia Marland

So save the dates!

Image: Thomas Owen‘s Artwork


Exhibition: Translators by Justyna Scheuring

What: Exhibition, TRANSLATORS by Justyna Scheuring
When: 2nd Feburary – 28th February 2017, Thursday 2nd February 2017 6 – 8pm
Where: CANAL, 60 De Beauvoir Crescent, London, N1 5SB

CANAL is delighted to present a solo exhibition by Polish performance artist Justyna Scheuring, who lives and works in London.

For Translators , Scheuring brings together professional signers and language translators to communicate with her audience through a multitude of voices, and to explore the professional and functional interaction between her performers.

Using the device of ‘translators’, Scheuring questions issues of identity in a context of personal trauma, the rise of nationalism in Europe, global migration and the experience of otherness.

Scheuring’s practice combines performance and installation. Performative events challenge preconceptions of participation in social events, whilst her own performances play with the relationship between matter, body, environment and words. Translators combines performance and a stage design which functions as an art installation.

Scheuring offers an ambitious show, supported by the Arts Council, and partly resulting from a collaboration with, a voluntary organisation for reducing social exclusion for deaf and disabled people, as well as the artist’s personal experience as a Pole living in the UK.

Educated at the University of Arts, Poznan (MFA) and an MA in Performance Making from Goldsmiths (2010), recent performances include Kings College Arts and Humanities Festival, SPILL live art festival, and SWAB International Contemporary Art Fair Barcelona. Scheuring has participated in numerous performance events throughout Europe and the UK.

“When I create a performance I see it as a sculpture communed by a space, the objects and people; and composed like a music piece or a poem – with respect to the time and rhythm.”

For more information, please contact Monika Bobinska on

CANAL 60 De Beauvoir Crescent London N1 5SB
Gallery hours: Thur-Sat 1-6pm
Transport: Haggerston overground
Contact 07866 063 663

Art Opportunity: Tight Modern 2016

What: Tight Modern 2016 exhibition
When: Deadline is 30th October 2016
Where: Touring Exhibition

“We are delighted to announce Tight Modern 2016 is open for submissions from marginalised & disabled artists.

Tight Modern is tight! Entries must be 13cmx18cm in portrait format, with a maximum depth of 2cm. You can submit original artworks, photography or computer generated images.

The competition is open until 30th October 2016.

Our brand new website is also being launched alongside the competition; for details about how to submit work, our numerous prizes, upcoming free workshops and more go to

A pdf of the A4 poster for can be found here.

For information on how to submit to the Tight Modern, and details of our fantastic prizes and the accompanying free workshops, go to our brand new website:”

Disability and Political Activism in Art

Want another reason to love (the late, Lord) Dickie Attenborough? Ya know, the “world leading filmmaker, actor and life-long patron of the arts”. Need another reason to hold him even closer to our collective nations’ breast? I got one: The newly opened gallery at the Attenborough Arts Centre.

Richard Attenborough founded the absolutely excellent Attenborough Arts Centre in 1997, in conjunction with The University of Leicester – the place where he grew up, literally on campus, and where his father, Frederick, was once principal. Now, eighteen years on, Attenborough Arts, steered by Richard’s son Michael, who was handed the patronage in 2014, continues to follow Richard’s vision and legacy by “striving to include everyone in great art, culture and learning”, resulting in a brand new £1.5 million gallery at the existing arts centre site.

Mental Spaghetti was lucky enough to be invited to the private view and press opening of the new gallery so went sent our founder, Marie-Louise Plum to its inaugural exhibition, Art Life Activism, to view both new and existing work from a proud clutch of important names in the world of disability and political activism in art.

Gallery One of the newly opened space

Gallery Three of the newly opened space

The new gallery, actually comprised of three warehouse-type spaces, built to make much better use of what was once a carpark, is in addition to the art centre’s existing exhibition space. Essentially the foyer and first floor balcony of the arts centre, this original space now acts as an exhibition space for local artists, as well as tutors at the art centre (like Diane E. Hall, pictured below), who are also encouraged to further their own art practice in the studios.

This really excites us – art tutors who are still practicing artists is not that uncommon, but a commercial place of work encouraging them to work on their own stuff and exhibit it? That’s becoming less common. In addition to the promise of local artists exhibiting alongside more well known artists, we love that this is happening there.

Diane E. Hall, ‘Drawing Differences’, exhibition in the existing Balcony Gallery. See more here.

Art Life Activism is part of a “new, socially engaged exhibition and events programme which will have a positive impact in the promotion and research of disability culture.”

Attenborough Arts have announced that their “visual arts programme will focus on art that is relevant, engaging and accessible, critical and progressive. Our exhibitions will have a social motivation exploring the changing role of contemporary art, its local and global relevance; supporting practical, aesthetic, and poetic new approaches to our society, our environment and our place within the two.”

The roll-call of artists on display during this exhibition is as follows…Tony Heaton, Noëmi Lakmaier, Aaron Williamson, Bobby Baker, Simon Raven, David Hevey, Adam Reynolds (obituary by Tony Heaton), Ann Whitehurst and Liz Crow. I urge you, dear reader, to click the links back there – all of them – for more information about each artist, and to see some of their work.

All the artists work on displace is absolutely essential to see, so you must, if you can, by train, bus, car, ferry, hovercraft, even a jetpack, get to Leicester to see this exhibition. You have until January 17th to do so. I don’t want to be the slackjaw gumflapper who ruins the surprise party for you, so without giving too much away, I’m going to give y’all sneak peak at a few choice cuts…starting with a mention of our kindly pal Bobby, of Daily Life Ltd.

In case you missed the rollercoaster-like, illustrated catalogue of illness that was Bobby Baker’s Diary Drawings, exhibited at The Wellcome Collection in 2009, here’s another chance for you to see them. Although the entire collection isn’t there, a good wealth of framed diary drawings are on display. There is also a jolly but serious illustrated poster that I haven’t seen before, ‘Battle Hardened/How to be an activist’, commissioned by the Greenbelt Festival, perfectly fulfilling the criteria of an exhibition concerned with art, life and activism.

Bobby Baker, ‘Battle Hardened’

Bobby’s work sits under the golden glow of a hovering NHS issue ‘Invacar’, given to wheelchair users between 1948 and 1980’s as a ‘prosthetic’, later condemned on health and safety grounds (really). Gold Lamé is installation by artist and Shape Arts CEO, Tony Heaton OBE. Two other installations by Heaton, Great Britain from a Wheelchair, an “iconic item of disability arts and culture”, and Shaken Not Stirred are on display in Gallery Three and One, respectively.

Tony Heaton, ‘Shaken Not Stirred’ and ‘Great Britain from a Wheelchair’

“Shaken Not Stirred is a sculpture made out of 1,760 charity collection cans. Recreated in 1992 as part of the ‘Block Telethon’ campaign, it was part of a performance piece in which, during the press conference, Heaton rushed into the room and hurled a prosthetic leg into the pyramid, symbolically demolishing the hierarchy of charities.”

Aaron Williamson shrewdly commented that “The title Shaken Not Stirred reflects the essentially superficial act of assuaging one’s guilt/sense of superiority, by ‘giving’ to disabled people through charity appeals rather than through social justice and rights.”

That quote enables a snakey little segue into our chosen Exhibits of a Deliciously Curious Note category: The Affligare Unit, and the retrospective of ‘lifelong activist for disability rights’, Jim Chosen, both works by aforementioned Aaron Williamson. Neither the history of Jim Chosen or The Affligare are too well documented online, but definitely don’t Google them like I did, stick with your suspension of reality to get the real magic of these exhibits.

Exhibited objects from ‘The Affligare Unit’

On show are a few objects from the cached history of The Affligare Unit, which Williamson has curated, most of them having been “found in a hoard in Germany, beneath a barn in Hildesheim, in 1972 “. Williamson explains “The Affligare Unit were a tribe of disabled mendicants in medieval Europe. They formed after witnessing a meteor storm in the Netherlands”.

Our favourite Affligare objects on display are the Glimmerers Souvenirs*, talisman-like, mythical, folk art effigies, the Decorated skull, complete with brassy doubloonish eye shields, some kind of HG Wells conjured physical augury, a shamanic brain, and the Porringer Meteorite Bowl, which you must read more about, here.

*The 1811 Grose Dictionary describes Glimmerers thusly: ‘Persons begging with sham licences, pretending losses by fire.’ Aaron Williamson explains more about Glimmerers and the subject of 17th Century begging, here.

Exhibited items from ‘The Estate of Jim Chosen’

As for Jim Chosen, who sadly “died in 1994 when a bus ran into him as he crossed the road outside his squat in Lewisham”, and his ‘disibility rights group’, The Way Out, you really need to witness the documented history yourself. “Born to a paraplegic mother and a strict, militaristic father, Chosen saw disability as the last frontier for social inclusion after all the traditionally marginalised identities.

On display are a series of photographs featuring public announcements, statements in situ, and a collection of ephemera; memories, musings, notes, slogans, phrases and ideas all feature. See the Chosen 7″ record, in its illustrated sleeve, which reached number 48 in the charts in 1975 – the song featuring the lyric ‘Topsy Turvey’, which Chosen coined as a term for the need of revolutionary reversal and social upheaval. The lyric can also be found inscribed on Chosen’s guitar, also exhibited.

“These days, you can’t wear your heart on your sleeve when society’s wiping its nose all over your jacket.”

We were absolutely spirited away to new worlds by The Affligare Unit and the documented history of Jim Chosen. If it’s not clear enough already, we’d like to announce to the world that we bloody love Aaron Williamson and the worlds he weaves. If you’ve got thumbs, stick them up. Now.

More from the Estate of Jim Chosen

The most arresting piece of work in the exhibition is, without doubt, Simon Raven’s film The Tip on the Iceberg, simply a “scrolling list of names of people who are argued to have died in the UK following recent benefits sanctions.” The names alone illustrate a shocking register of desperation and despair, the result of huge social injustice. The real driving home of just how tragic the situation is, are the brief descriptions detailing the circumstances of each death, adding punctuation marks to what’s usually seen as names, numbers…statistics. This information, taken from a regularly updated list compiled by The Black Triangle, propels names and numbers into a reality that resonates, personally. The tip of the Iceberg is a response piece to Richard Attenborough’s film ‘Cry Freedom’, which features a scroll of people killed in police custody during apartheid in South Africa.

As we already said, all the work on display by each and every one of the artists is essential viewing, in terms of power, reason, activism, aesthetics and sensation. They will make you feel, take a knock or two, realign your thoughts, ask yourself questions. Spend time in there. Nothing is to be taken at face value.

DPAC Activist banner in Gallery Two

To compliment the current exhibition, and in addition to their creative learning courses, Attenborough Arts has a night of performance, debate and lectures, taking place on 10th December. Attenborough Arts invite you to “join our panel of experts and arts professionals for a discussion about contemporary art and political activism. Speakers include Shape Arts Chief executive and artist Tony Heaton, artist Aaron Williamson, and Professor Richard Sandell, from University of Leicester’s School of Museum Studies. Bobby Baker is restaging ‘Drawing on a Mother’s Experience’. First staged in 1988, the work had almost 300 performances by the year 2000. Now a grandmother, Baker chooses to revisit the performance.”
More information here. It will be unmissable.

We’d like to give huge thanks to all of the exhibiting artists for sharing their work, and to Michaela, Patricia and Jessica, for making our visit so brilliant. Also, to all at Attenborough Arts Centre and gallery, rock on being righteous, it was a great privilege to be included on your opening day.

More information on the Attenborough Gallery

Entrance to the gallery is FREE. The exhibition opens to the public on Wednesday 18 November and will run until 17 January 2016. Opening hours are Tuesday to Saturday from 10am to 5pm and Sunday from 12pm to 4pm, closed Bank Holidays and between 24 December and 3 January 2016. An opening preview will take place on Tuesday 17 November, 6pm – 9pm. Tickets are FREE, but advanced booking is strongly advised at

As part of the exhibition, the Attenborough Forum Art, Life, Activism: Talks and performance will take place on Thursday 10 December, 5.30pm – 9pm at Attenborough Arts Centre. This forum includes a discussion with exhibiting artists Tony Heaton, Aaron Williamson, Bobby Baker; and Professor Richard Sandell, from the University of Leicester’s School of Museum Studies. The event includes Bobby Baker’s moving performance Drawing on a Mother’s Experience, performed over 300 times and revisited for the first time after 15 years of its creation. Tickets cost £10 / £5 concessions.

The Attenborough Arts Centre has been supported by the Breaking Barriers Appeal, which aims to help fulfil Richard Attenborough’s original vision to improve access to the arts for all. For more information about how to donate, please contact Ave Vinick at (0116) 252 2176 or or make a gift online at

The University of Leicester’s Attenborough Arts Centre prides itself on being accessible and inclusive. With over 18 years of experience, the programme offers courses and workshops, contemporary art, performance and live art, theatre and comedy, live music and jazz, dance, activities for children and families, and more. It is proud to champion emerging talent and disability-led performance companies, supporting those starting their careers. Its outstanding access and inclusive work has been recognised, through multiple awards and grants from Arts Council England, BBC Children in Need, Leicester Shire Promotions and Visit England. Its audience has grown from 57,000 people over the last year.

Attenborough Arts Centre is part of the University of Leicester’s Division of External Relations. Its new exhibition programme will significantly contribute to the University’s corporate social responsibility, wider public engagement and strategic research goals. It will specifically explore issues of human identity and inter-cultural interactions, promote inter-discipline, attract high-calibre collaborators, and encourage new imaginative approaches that culminate in exhibition projects.

Robin Williams: Bigger than Life

On the eve of the first anniversary of Robin Williams’ death, we’d like to share this essay, written and submitted to us by the disability artist David Feingold, to shed some light on what it is like to live with bipolar disorder. Although Robin Williams had never stated himself that he suffered from any mental illhealth, it has long been speculated that he had been suffering from bipolar disorder. We would like to make it clear that we are not practising armchair psychologists, or wish to diagnose anyone. In the light of speculation, which has encouraged many people to speak out about their own experiences, or reflect on whether Robin Williams may have had similar experiences, we’re happy to share this article with you all.

We have exhibited David’s work recently, at our Mental Spaghetti exhibition at Studio 3 Arts. You can see more of his work here.

All artwork © David Feingold, 2015

Robin Williams may have been bigger than life on and off the stage and screen, but in the end a mere speck in the battle of an illness that dwarfed his fame, fortune, family and friends.

“Many of us ask how someone who presented himself as happy, vibrant and creative as Robin Williams could pull the rug out from the entire world. He fooled us. He took us by surprise. He disappointed us. He let us down.

Williams was our unofficial patron saint of happiness and hope. He was a beacon of light in our darkness of boredom, despair and mediocrity. He made us laugh, leave our troubles behind and give us the possibility that life could be better than it is.

Other articles I’ve read focus on the life of Robin Williams—his substance and alcohol abuse, his many accomplishments and heightened status in the world of nobodies. There is no reason to go into these things once again. We need something more informative. We need something substantial. We need something left behind by this genius of comedy and ultimately a slave to despair.

I have a masters in social work and a doctorate in disability studies, but this piece is not written in jargon or academic hyperbole. It is written for all of us, no matter our education, IQ score or bank account. The only prerequisite for getting something out of this essay is a beating heart and an open mind. It is simple, profound in its directness and educational. It will show that there was something other than Robin Williams’ will at play in ending his life. As you will see, it goes much deeper than that.

The following is my own experience with bipolar disorder, taken directly from my dissertation on the subject. Hopefully it will give you some closure to Robin’s death and satisfy your desire to know ‘why’.

‘Hitting Rock Bottom’

Hitting rock bottom

One of the worst things about having bipolar disorder is hitting rock bottom in a major depressed state. Ever wonder what happens to a body when it falls to the ground from a skyscraper? Well, the physical result of that fall is equivalent to the way you feel when you hit rock bottom in a bipolar depressed state. There is as much emotional life in that depressed state as there is physical life in an abrupt 60 story landing on pavement.

You are empty, void and nowhere to be found. There’s just a vacuum of a life you used to have, a name you used to claim, a person you used to know, now depleted of everything you used to be and have, like planets, stars and light itself being suck into a black hole in an abandoned, endless universe. This condition is usually referred to as an illness or a disorder. That’s like calling WWII a spat or the Holocaust bullying.

Manic depression, as it used to be called, can be a monster. All the horror stories you used to know as a child combined into one entity that lives inside you. I takes over…in the form of emptiness. All that’s left is the smoldering.



Ah, mania, sweet mania. It is a major high than cannot be measured by ordinary means. Why? Because it is the opposite of its evil twin, depression. How do you describe the opposite of total, personal emptiness? How do you explain the feeling that was previously dark and void and totally emotionally painful, is now incredibly freeing with limitless happiness, confidence, creativity, and the amount of energy equivalent two ten pots of espresso? Now, just like its opposite, depression, mania can last hours, days or weeks. Days without sleep and days filled with doing things you likely would have never done, had you not been ‘blessed’ with the presence of bipolar disorder.

Typical behaviour and vices associated with manic phases of bipolar disorder are pressured speech, feelings of grandeur, overly confident, belief in one’s ability to accomplish things that otherwise would seem unrealistic, extreme impulsivity, irritability, verbal aggressiveness, sudden obsessive interest and immersion in religion and spirituality, social inappropriateness, and denial of one’s own malfunctioning behaviour.

By the way, my visual interpretation of mania is pictured above. It’s how I feel when I manage to escape the black hole of depression, just anticipating making up for lost time.

‘So What If I’m Bipolar, I’m Just Like Everyone Else’

So what if I’m bipolar, I’m just like everyone else!

The title of this section may be the name of my art piece above, but it certainly isn’t my actual belief. There is something disconcerting about having a mental illness and feeling different than anyone else, but there is something even more disconcerting about pretending or living in denial about not being like everyone else. The word, “phoney” comes to mind, as well as identity confusion. When I’m manic, I feel how the picture above looks — different. There’s no confusing this for a regular looking person or a manic person for a regular acting person.

What is bipolar disorder, anyway? You hear about it on TV and radio reports of some deranged shooter that had it, you read about it in the newspapers and magazines as part of a special interest stories. and you hear anecdotes about students and parents who have it by teachers in the staff lounge. Quite simply, bipolar disorder is considered to be a biological disease in which there are abnormal mood shifts of elevated and depressed moods, caused by alterations in brain chemistry.

Bipolar disorder is a treatable illness, which can be controlled by medication. I have already described the major symptoms of bipolar disorder from my own direct experience with the illness, so I won’t repeat that here. Instead, I’d like to present the different episodes of bipolar disorder. In addition to the depressive and manic episodes, there is the mixed episode.

Bipolar patterns present themselves different ways to different people. For example, without medication, initially infrequent episodes can increase to more frequent occurrences. Seasons of the year can ind some people becoming more manic in the spring and more depressed in winter. Individuals with rapid cycling can experience such mixed episodes continuously all year long. The episodes can also last anywhere from days to months, to years. Some with bipolar disorder can go years without symptoms, while others can have continual or frequent mild mood swings. It is important to seek a diagnosis as soon as possible, should you suspect you might be having bipolar symptoms.

The reason for doing so is to best avoid the fallout of having bipolar disorder, which includes suicide, alcohol and substance abuse, problems with one’s marriage and work, and the illness is harder to treat over time without early intervention. Bipolar disorder is found to be either genetically inherited or brought about by a problem with brain chemistry that triggers the bipolar disorder through stress, lack of sleep, substance use and different life events.

Medication, education and psychotherapy helping one deal with the illness has been found to be the most effective way of treating the disorder. For additional information, check out the Depression and Bipolar Alliance:

‘Can’t See Past My Depression’

Can’t See Past My Depression

This is as true today as it was 10 years ago when I was first diagnosed with bipolar disorder. You can’t see past it because you can’t see, period. Everything is murky, muddled and blanketed in darkness. Every once in a while there is a momentary sliver of light to ‘see’ your pain, but not beyond it. You can’t see out and it’s nearly impossible for others to reach in. I know they are there, trying to make contact with me, but I may as well be light years away. It is that futile. Without an emotional tether or human connection, we’re like a lost asteroid out of orbit and on its way to nowhere.

Depression is a lonely place. If it was located on a map, it would be on the edge, in the margin, outside of anything on this Earth. Medication is like cut and paste on a word processing application. It can take you off the margin and put you on the map. Where on the map is not known straightaway. You might find yourself on a floating iceberg, wearing nothing but a scarf, in a tropical rainforest, without as much as insect repellent, or at the bottom of the ocean, near a fault spewing steaming hot lava. At least you’re somewhere. But for how long?


Robin’s Dark Cloud

Robin’s abilities were extremely unique and held sway in both the world of acting and comedy. In light of his success and professional prowess, how hopeless was Williams’ world that he would enter that eternal darkness and never look back? Hopefully, I have given you a glimpse of what Robin could no longer endure and why he chose no longer to remain. It was the dark cloud that covered him and rained on his reign.”

This essay, complete with David’s accompanying artwork, is available to download here.

Mental Spaghetti Roadshow: PRIVATE VIEW – all welcome!

What: Exhibition – private view
Where: Studio 3 Arts, Boundary Road, Barking, IG11 7JR. Tel: 020 8594 7136
When: Friday 10th July, 5:30-9:30pm

Good morning all!

We’re having a private view of our group show, in support of the art workshop residency at Studio 3 Arts in Barking, and you’re invited!

Jan Arden, David Feingold, Lazz Ozerden and Marie-Louise Plum are showing 2D visual art for your delectation. There really is a lot of special artwork on show, in particular a massive wedge of never-seen-before acrylic on canvas from Lazz, and four of Jan Arden’s magnificently detailed, large-scale pen drawings.

The private view is a chance for you to come and see the exhibition out of daily hours, by appointment, in a way. You can meet the folks from Mental Spaghetti, and I’m sure the artists will also be mingling. We’ll have snacks and drinks, both alcoholic and non, of course.

As mentioned, this private view is for the accompanying exhibition to our current residency of workshops at Studio 3 Arts – creative writing and drawing, woodcut relief printmaking and plaster sculpture. Tickets are free and available here.

Any questions, email us. Hope to see y’all there!

Exhibiting artists: Jan Arden | David Feingold | Lazz Ozerden | Marie-Louise Plum