The Agency


Bada Song, ‘Ta-il’, Gallery 1


Andrea Heller, ‘Elements’, Gallery 2


25 Jan- 1 March


It takes a while to get to the Agency, a train journey over ground and then a short walk, but it’s worth the journey. Set in a non-descript terraced house it has an intimacy and character that’s a refreshing change from the recent trend of large museum style spaces now popping up in London.


There is a strong emphasis on drawing in the two shows currently on at the gallery. Bada Song and Andrea Heller approach drawing with very different outcomes but at the same time are united by their common interest in the performative aspects of drawing. The process and materiality of drawing, where image making is a secondary concern or rather is the result of the process.


At first glance Bada Songs work in gallery 1- consisting of a series of drawings that depict a recurring form, repeated in various figurations and sculptures of tube like structures, placed on the floor of the gallery and  hand smudged with red lipstick- emerges from a minimalist framework with its reductionism of form, repetition and interest in material. This is where the similarities end though because unlike the work of the greats of minimalism such as Donald Judd and Carl Andre that celebrates a culture defined by mass industry, using new synthetic materials and methods of fabrication as a means of making. Bada’s work still remains rooted in traditional craft, within a more local context, drawn from her South Korean background. Her recurring motif references traditional Korean roof tiles that are gradually becoming replaced by more modern fabricated materials. This lament to tradition and craft brings a beautiful fragility and intimacy to the work all the more emphasised by the materials she chooses to use.


In gallery 2; which is reached by a set of stairs, Andrea Heller’s first U.k. show includes drawings of various sizes; one large drawing pinned to the wall and several smaller framed works. Made of watercolour and ink on paper, Andrea only uses the colour black or varied tones of black where hints of colour such as purple or blue emerges from the shadow of the dominant blackness, like hints of light out of darkness. Her work moves between the magical space between abstraction and figuration; legs and hands protruding from blob like masses that appear to crawl across the picture surface. They have a folk or fairy tale feel about them in their amorphous appearance. Characters dressed in carnival costume performing a shadow play or some kind of ritual. The large drawing, with its grid like structure looks like a rock or mountain formation that is in perpetual growth, silently breathing. Her drawings remind me of the childlike fascination of seeing a mark on a piece of paper magically form into an image. Arriving perhaps from what Paul Klee in his 1923 essay ‘Ways of Nature Study’, termed as a cosmic bond between the artist and nature, where through working with a synthesis of outward side and inner vision, the artist’s role is to make the inside visible.

( To view work of Andrea Heller please check out her website



Here are the installation shots and images of the work in the show ‘ The Rainbow House’. Some of the work you have already seen on previous posts.

KATIE BONHAM/JACK DUPLOCK; Untitled; ceramic pots,wood, acrylic,fabric and beads.

KATIE BONHAM/JACK DUPLOCK; Untitled; ceramic pots,wood,acrylic,beads

KATIE BONHAM/JACK DUPLOCK; Untitled (close up)

JACK DUPLOCK; Untitled (Blue moon sorceress); acrylic on linen, wood.

Installation shot showing work by Jack Duplock

JACK DUPLOCK; Totem; skateboard,wood,wool,acrylic,beads,glitter

Installation shot showing work by Jack Duplock and Jamie Shovlin

JACK DUPLOCK; Totem 2; wood,acrylic,pencil,clay,beads

JAMIE SHOVLIN; 12 hand drawn cassette covers taken from Lustfaust: A Folk Anthology 1976-1980; presented in blank cassette cases.

Installation shot; l to r Paul Johnson, Jack Duplock.

PAUL JOHNSON; Overseer; paper,wood

JACK DUPLOCK; Untitled (The Visionary Disciple); acrylic on linen,wood.

Installation shot; Charlie Danby

CHARLES DANBY; mixed media on paper

JACK DUPLOCK;Untitled (Lady Day and Mr Night); acrylic and pencil on Linen, wood.


Bird Child, Acrylic and pencil on linen, 27cm/36cm

Some new paintings by Jack Duplock, currently showing in the group show The Rainbow House, The Agency, 66 Evelyn Street, London.

Helden,Acrylic and pencil on Linen, 27cm/36cm.




Curated by Jack Duplock

Including: Jamie Shovlin, Paul Johnson, Charles Danby and Katie Bonham.


Preview Friday 30th March, 6 – 9pm

Special Event: 27th April, 6pm 9pm The Agency and Milton Keynes Gallery Sound Scratch Nights: Johnny Hill, Ed Simpson,  Mimosa Moize.

31st March – 28th April

The Agency is pleased to present a new project by Jack Duplock that continues his ongoing investigation with the subject of folk. The Rainbow House uses the idea of community as its model to bring together a group of artists that in some way reference or touch upon themes of folk.

A particular focus is on the social experiments that occurred in the late sixties and early seventies as a reaction to the mainstream material culture of the time. During the 60s a dissatisfied generation emerged from the wings of counterculture, through radical drug taking hippie rebellion and the far left belief in changing the social structure. Experimenting with the utopian idea of the collective they began to live together as one in a free space. Anything was permissible and possessions and duties were shared. It was also an idea of transient space, a space without metaphorical walls, allowing individuals to break from the considered burdens of attachment.

By the end of the 1960s this hippie utopian dream was becoming a bad trip. As the city became a boiling pot waiting to explode people began to move out and re-unite the tribe in the wilderness, shedding the old skin and embracing the natural one of Mother Earth. They built new communities governed by systems of rules drawn from a mix of Buddhism, paganism and radical social thinking.

The most famous of these communities was Morning Star, that emerged from the remnants of the San Francisco Diggers, a movement that had evolved out of two radical traditions; the bohemian art and theatre scene, and the new left civil rights peace movement. They organised street theatre, anarcho-direct action, and art happenings in their social agenda of creating a free city.

Using the ethos of Morning Star as a departure. The Rainbow House represents a temporary archive of a fictional community divided through themes. Music – Jamie Shovlin will be showing part of his Lustfaust: A Folk Anthology 1976 -80, a constructed, extensive and seemingly real archive of a fictional German noise band of the 1970s. Exploring the significance of music within communities and the role they have in the myth making of bands that make the music via the distribution of bootleg cassettes. Politics – Charles Danby has recreated an early Morning Star manifesto news flyer, offering it once more for wide and communal consumption. The occult, magic and myth – Paul Johnson will be showing ‘Owl’, a sculpture assembled from paper. The owl has dual meaning in folklore, both representing wisdom and evil, and alludes to votive icons made specifically by communities as offerings to ward off or attract spirits. Jack Duplock will include alongside a group of totem wall pieces a series of small portraits of characters adorning animal like costumes, evoking the magical bodies worn by shamans to aid them on their mystical journeys but also alluding to the idea of dressing up as a radical political statement, an act prevalent within the counterculture of the sixties and the seventies. Design- Katie Bonham will be showing a group of ceramics that reference designs of the period, in particular from the West German movement Jasba. The show looks to reassess the significance of these alternative communities to contemporary culture today.

Gallery 2: Gazmend Ejupi; THE WEDDING.

A two screen video installation.

66 Evelyn Street, London, SE8 5DD

+44 7908 910277

+44 208 692 0734


I have rather neglected my blog recently; so need to catch up. Even though its well into 2012 I still have a few things to tell from the end of 2011. The first was an event I participated in called REAM; organised by the artist Chloe Grove and held at the same venue that Folk Art Art was held; Sameheads, Berlin on Saturday 3rd December 2011.

Sameheads, Neukolln, Berlin

REAM was an experiment in creative stamina. 10 artists were given 8 hours to produce 50 A4 drawings each. Which is roughly 10 minutes a drawing. No works could be thrown away and as soon as a work was finished it was pinned straight on the wall.

It was an intense afternoon, emphasized more so by the classroom set up. Tables set in rows like an exam was  going to  take place.

I got a flow going after the tenth drawing, fueled by copious amounts of caffeine. However after the 30th, my brain felt like creative juices were pouring out of it and I struggled from then on. My last ten drawings having to be completed in the last 15 minnutes. Let me say they were the worst pieces I have ever done. The resulting show though made up for the occasional failure of the day. A gallery filled from floor to ceiling with some fantastic drawings, that could be brought and taken away for just 5 euros a piece. I was glad to take part.

Installation shot of REAM

Close up; REAM

The other participating artists were: Dan Haskett, Harmony Molina, Tommy Grov, Peter Basma-Lord, Marion J Danoff, Ian Liddle, Chloe Grove, Anton Unai, Caro Wedekind.

Doom Generation

The Doom Generation is an early film by the American Director Greg Araki. Released in 1995 it is the second part of  his ‘ Teenage Apocalypse Trilogy. The first being the film Totally Fucked up and the last being Nowhere, also a fantastic film. It is the epitome of cool.  It begins with two teenagers, Jordan White (James Duval) and Amy Blue (Rose Mcgowan) meeting in a techno club with the line; “It feels really weird tonight, like somethings gonna happen”. From the club they pick up a handsome Drifter called Xavier red who Jordan decides to rename X. Together they commence on a crazy road trip where anything and everything happens.  All I can say its brilliant and you have to see it. If you can that is. I saw it by chance on TV late one night and ever since have been searching for a copy on DVD and haven’t yet found one.


I was introduced to the music of Sun Ra through the 1974 film,  ‘ Space is the Place’.  A work that I can only really call cosmic science fiction. Elaborating on his self invented mythology that he himself originates from outer space; the film begins with Sun Ra landing on earth in his spaceship, presumed lost in space. Proclaiming himself as ‘ Alter-destiny’ ,  a philosophical journey entails that mixes both spiritualism and politics to a heavy soundtrack performed with his band Arkestra.


A couple of weeks ago I purchased my first Sun Ra album titled ‘Lanquidity’ ,  which is awesome.  When I first tried it out in the record store  I played it on 45rpm by mistake and it sounded like some demented funk album. Of course it sounds even more out there on the right speed. There are other worlds (They have not told you of)



OK  folks,  here are some new pieces  of work, fresh out of the studio, to feast your eyes on.

Gouache and coloured pencil on paper

TOTEM; Wood, acrylic, wool, beads, glitter, skateboard.

UNTITLED1, STUDY ; gouache, coloured pencil, ink


Matthew Brotherhood, Ian Liddle, Doris Day, Ben Pearce, Tom Richards,  Siena Barnes, Paul Peden, Immo Klink, Audrey Roger, Shaun Doyle & Mally Mallison, Jack Duplock

 12th November-27th November

 Preview: Friday 11th November 2011

 Exhibtion: 7pm / Party: 11pm till Late

 ( There will be a sound performance by Tom Richards at 10pm )

 Sameheads presents Folk Art Art – an exhibition curated by Jack Duplock and Matthew Brotherhood, which brings together a group of artists to consider the resurgence of folk in contemporary practise. The show includes work that could be called new folk or pop folk to highlight how the concept of folk has led to exciting reinterpretations of other art genres and their formal considerations. It explores the renewed interest artists have in the tradition of folk and the artefacts that people make within the changing context of the community.

The current economic climate in the UK may begin to explain why there has been an interest creatively in the broad themes of folk; traditionally about more simplistic codes of living, authenticity and based in a community. The need to find other ways of doing things and a return to folk has always been an alternative choice when conventional society becomes tough. In the late 60s and early 70s, when hippie idealism became a bad trip. People began to move away from the city, setting up communes that were governed by systems of rules drawn from a mix of Buddhism, paganism and radical social thinking. The most famous of these communities was MORNING STAR. Based in New Mexico, it emerged from the remnants of the San Francisco Diggers a movement that had evolved out of two radical traditions; the bohemian art, theatre scene and the new left, civil rights peace movement. They organised street theatre, anarcho-direct action, and art happenings in their social agenda of creating a free city. More recently in the United Kingdom there were the New Age travellers – originally formed out of the Free Festival scene of the 1970s – became more prominent during the depression of the 1980s and early 1990s. Against a background of unemployment, strikes and the emerging rave scene that inherited on some level, the alternative community mindset.

Folk is a form of expression that has evolved out of popular beliefs and customs of a specific community; closely linked to everyday life, folk often reflects the cultural and social concerns of the community from which it emerged. With the phenomenon of globalisation the notion of the community has changed, creating many possibilities for creating new communities that are not local – sub-cultures such as skateboarders, hip hop, heavy metal etc, with their own codes and symbols and radical leanings are modern versions of communities. Therefore the concept of folk is open for re-imagining. From the supernatural to the political, folk diverges from the visionary to the revolutionary.

Mainly representing works on paper; this is part one of an evolving project that will expand and dissolve as it moves to other venues.

Sameheads e.V. Richardstr.10 12043 Berlin; Open Mon- Sun 11am Till Late