Charles Avery

Charles Avery in his studio, Homerton, east London, 2015. (bron: Independent, foto: Justin Sutcliffe)










Charles Avery in his studio, Homerton, east London, 2017.

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On a quiet back street in Homerton, a long time down-at-heel area of London, behind an inconspicuous glass-frosted frontage, is Avery’s light-filled and airy studio. It is split level, with an office space above, a workshop and space for a variety of creative activities below. Avery enthusiastically shows me his heated drawing wall, an ingenious solution to the environmental problems of damp and cool, previously encountered when drawing. At the far end of the studio is a tree-like sculpture, built from cast bronze and fluorescent plastic. ‘Tree No. 5’ is an example of fauna to be found in the Island’s municipal garden, the Jadindagadendar, its synthetic construction based on mathematical principals: a product of the Islanders refutation of nature. There are other objects that have been ‘transported’ into the studio; a shelf lined with jars of Henderson Eggs (pickled in gin, a form of currency to which the Islanders are addicted), a strange looking animal on the table. There are several heads, cast from friends of the artist: vehicles for geometric hats at various stages of construction.
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The drawing wall is magnetic and works in progress can therefore be moved around effortlessly. There are an array of inks and pencils, rulers and templates, the placement of which indicates a fluid working process.
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(bron: Berlin Art Link, foto's: Berta De La Rosa)


Charles Avery drawing in his studio, 2018(?). (bron: Drawing Room)