I’m happy to share that I have been awarded the Developing Your Creative Practice grant by Arts Council England. This award grants me £10,000 to learn new processes and approaches, experiment with new materials, and make new work over the next year. I am eternally grateful to Arts Council England for their support, and look forward to taking my practice to the next level.
The Muse Gallery
London W11 1LR
10 - 27 January 2019
Marlies Augustijn reviews The Salamander Devours Its Tail Twice, curated by Ashley Middleton Projects at Gallery 46 in London, for FAD Magazine:
“How do sociocultural expectations and political pressures affect individuals’ behaviour and understanding of oneself? This is the urgent but immense topic that New York curator Ashley Middleton attempts to grapple in her group show The Salamander Devours its Tail Twice, taking place at Gallery 46 in East London. Middleton was inspired to do this show through her own journey of leaving New York City and settling in London. She experienced directly what it means when conflicting pressures of different cultures influence who you are as a person. The show includes 26 visual artists who approach the topic with curiosity and self-criticism. These are the crucial factors that make the vast thematic of the show feel satisfyingly unpacked into tangible examples.
I am initially drawn to the show for its intriguing title that cleverly encompasses the show´s main premise. The title is inspired by Ray Bradbury’s dystopian novel Fahrenheit 451 (1953) in which
firemen are ordered to burn all books – the complete annihilation of cultural heritage. The firemen are compared to salamanders, as these amphibians are believed to be capable of surviving fires. The swallowing of tails is based on the ancient symbol of the Ouroboros in which a snake eats its own tail. These metaphors combined, the ‘salamanders’ or firemen in Fahrenheit 451 thus manage to ‘eat’ themselves. They deconstruct their own identity that was originally grounded in the politically enforced habit of destroying all cultural history. Middleton’s significant addition of ‘twice’ adds a scepticism to the optimistic idea that we can indeed escape systems of cultural and political pressure. Are we not in a vicious circle that ultimately and always brings us back to behaving as expected from us, bound by the accepted rules and norms?” Continue reading…
I’m honored to have won First Place at this year’s Artworks Open at the Barbican Arts Group Trust in London for my work “Mokugyo” (2018). Thank you to the selectors this year, Tai Shani and Emma Talbot, for the prize which consists of £1,000 and a solo show in 2019.
Barbican Arts Group Trust
114 Blackhorse Lane
London E17 6AA
Selected by Tai Shani and Emma Talbot
On view 24 November - 9 December 2018 | 12 - 5pm and by appointment
Artists: David Agenjo, Emily Platzer, Silvia Lerin, Alicia Reyes McNamara, Yambe Tam, Vanessa da Silva, Henrietta MacPhee, John McDonald, Gabriel Sahhar, Guillaume Klein, Carl Anderson, Neil Zakiewicz, Samar Zia, Ingrid Berthon-Moine, Bianca Hlywa, Rosie Reed, Elena Gileva, Samantha Donnelly, Andrea Christodoulides, Marianne Walker, Sam Smyth, Rachel Pearcey, Molly Thomson, Lara Smtihson, Catriona Whiteford, Sam Carvosso, Wai Wong, Agata Bara, Alice Valentina Biga, Kyungmin Sophia Son
Mary Ahearn reviews “We See You, We Hear You”, curated by Subject Matter Art at the Hospital Club (11 - 15 October 2018):
“Certainly the gutsiest work I’ve ever seen shown in a commercial exhibition, “Atonement” by Yambe Tam is a large installation piece that compares and contrasts the taboo sexual practices of BDSM to the sacred practices of Buddhism. The object at the foot of the red hanging net is a replica of a Buddhist fish drum. Originally carved in wood, Tam 3D printed it and coated in in polyurethane, a texture that mimics human skin. Tam artfully blurs the line between sacred and profane, and explains the unexpected juxtaposition by commenting, ‘Both practices are similar in that they are marked by a sense of complete surrender to some sort of higher power.’” Continue reading…
In this interview with Artpiq, I discuss my process, practice, and interest in the evolution of consciousness.
“In my artwork, I had always been interested in this sense of transformation but didn’t know how to consciously conceive of it much less begin to verbalize it. For years I had subconsciously been using imagery of different kinds of portals, gateways, and holes to examine that process of change - looking at the before and after, the unconscious to conscious, the past and future, and the exact moment of moving from one metaphysical or physical space to the other. I had also long been searching for some sort of deeper existential truth - my upbringing taught me how to cope with intense boredom so I learned to look more closely and behind the surface of things, which is why I am drawn to philosophy, theoretical physics, psychology, esoteric spiritual practices, and of course art. It was only after this transformative experience that I understood how all of these were related.” Continue reading…
46 Ashfield Street
London E1 2AJ
Curated by Ashley Middleton Projects
On view 18 November to 5 December 2018
Artists: Yambe Tam, Adeline de Monseignat, Chantal Powell, Thomas Kuijpers, Katie Ellen Fields, Alice Irwin, Kawita Vatanajyankur, Thomas Adam, Saskia Fischer, Michelle Gevint, Sarah Howe, Jan Dams, Alexander Glass, Stewart Hardie, Andrew Hart, Aaron Hegert, Stuart Jones, Dominic Till, Victor Seaward, Ashley Middleton, Brett Wallace, Luca Bosani, Patrick Gallagher, Ella Belenky, Seungwon Jung, Chris Klapper
The Muse Gallery
London W11 1LR
28 June - 22 July 2018
Private view Friday 25 May 6 - 9pm
On view 26-27 May 11am - 6pm
Ugly Duck 47-49 Tanner Street, London SE1 3PM
Lumen Studios presents interdisciplinary artists exploring the fragility and monumental importance of life on earth from the darkness of space, and how concepts such as the Overview Effect alter collective perception of ecology.