On a buzz from talking art all day, I plucked up courage to ask some of the artists if I could photograph them. Mike Thorn (top) has an enviable light-filled corner studio, in contrast to some of the windowless internal spaces. His portraits of macho men reveal them to be big softies - at least part of the time. Strong stuff, large canvases portraying his subjects larger than life-size. He was happy to pose with his easel and paint table against the current work in progress.
Next door, I was impressed by Helen Maurer's plywood paintings, shaped panels with abstract designs superimposed. She has one of the windowless spaces, improved by taking out the false ceiling to let in daylight from the rooflights in the unused loft space above. I copped out of asking to take photographs though.
Near the entrance, Michelle Reader (above) showed papier mâché figures, apparently self-portraits, which I wrote about in my last post. I asked her to pose with her rather photogenic junk pile.
Tam Joseph (below) shares the same view but his studio has a different feel, with small framed paintings competing for attention with the centrepiece, a version of Cranach's Adam and Eve. Foliage on one wall half conceals an array of postcard-size paintings based on those prostitute cards you see in telephone boxes. The same temptresses appear in the tree behind Adam and Eve instead of boring old apples.
Finally Julie Caves' colourful abstracts (below) were on show in a windowless internal space but seemed none the less vibrant in the fluorescent light. I just asked to photograph the studio, cleared for the show and paintings stacked and hung against white sheets that conceal the stacked-up studio junk.