|50 Redchurch Street London E2 7DP
June 16 to June 21 11am to 7pm
Private View: Thursday June 18, 7pm to 10pm
LOOP is a forum that offers individual artists the opportunity to show recent work, and has organized six successful exhibitions in the past five years. LOOP09 at The Gallery in Redchurch Street is the second exhibition this year, after a guest showing at the Clifford Chance legal practice in Canary Wharf this spring.
The artists represented by LOOP share a background in print, but the only requirement for exhibiting is that the work is recent. This openness has resulted in exhibitions that are consistently varied and individual. The vitality and the diversity of LOOP exhibitions have made them popular both with other artists and with the general public.
Anna Alcock's work explores spirituality through stories that touch our daily lives both consciously and unconsciously.
Helen Bridges' playful visual maps thread the worlds of our sleeping and waking life, meandering through recognisable elements, symbols and signs, poetic narrative and surreal objects displaced from their context.
Gail Mallatratt re-tells narratives of the domestic anti-idyll. A woodcut of a house holds stories of families, their history held in the wood.
Ann Norfield's work concerns loss and uncertainty. The small series 'Path less Travelled' recaptures distant moments in an uncertain landscape.
Elizabeth Peer looks at a child's dolls house house, which revives forgotten incidents from her own childhood, shut away in little rooms of memory.
Sumi Perera's work oscillates betweeen the vertical and horizontal plane, from wall-hung artwork to a publicly accessible space to be handled and touched. Her work is often in the form of an artist's book.
Bill Pryde's series of landscape mono-screenprints is a new departure, inspired by his home in Suffolk and recent visits to his native Scotland. The common denominators are the shapes and shadows of the end of the day, against huge and dynamic skies.
Kitty Reford's new relief prints and screenprints explore real and imaginary places.
Martin Ridgwell uses the still life genre to portray real and fictional relationships. His scenes of the aftermath of a children's party reveal the workings of a budding friendship, but the debris of childhood takes on a significance that foretells their future.
Lynda Sale's landscapes bear witness to the paradigm of nature as seen in the energy and vital force of trees as opposed to their fragility in adverse conditions.
Lucinka Soucek's woodcuts represent the monotony of the rush hour and the daily commute of people from one place to the next. Interested in human interaction, she records moments of the everyday.
Terry Steckler's work is located spatially and temporally in the wasted margins and surfaces of post-industrial culture. In a last-ditch action to resist the erasure of place by space, he celebrates the in-between, the glitch, the infection that gives rise to the vengeance of ghosts.
John Tate explores a language of diversity. Images themselves are ambiguities that question borders and the self. Layering media and image, he explores the coexistence of memory and experience.