Good Studio is an artist-run risograph printers and small publishing press that works with artists, galleries and community groups. Set up with the intention of promoting conversation and exchange through the publishing process, it is a place to learn, experiment, publicise and document.
For Art Licks weekend, 17-20 October, we present A Symbiotic Association: An exhibition, event and publication developed with Alison Gill that explores the interdependent relationship between artistic and ecological collaborations, networks and place. Generated between three south London sites: Occupation Studios, Good Studio (Bussey Building) and Benhill Road Nature Garden.
The project will engage with an underused piece of public land and those who care for it through sculpture, writing and conversation. A Symbiotic Association will tap into local lore through storytelling and exchange and draw attention to a rare patch of common space – invoking the genius loci or spirit of place.
Alison Gill’s other-worldly sculptures, Terraformer (Patch Dynamics 51°28’12”N 0°04’02”W) and Terraformer (Patch Dynamics 51°28’39”N 0°05’16”W), will be installed at both the Bussey Building and Benhill Road Nature Garden, bringing to the surface what may be beneath our feet. Throughout the project the studio at the Bussey will be open, producing a collaborative Risograph publication which will map the dialogues, speculations and discussion that takes place.
Over the course of the Art Licks Weekend we invite visitors to add to this exchange, by contributing to the publication that will be printed on the final day. There will also be an exhibition of material produced in conversation with Joanna Brinton & Bridgette Ashton.
A Symbiotic Association – EVENT Saturday 19 October 2-4pm Benhill Road Nature Garden, Camberwell, London SE5 7QU
We will be meeting at Benhill Road Nature Garden under Joanna Brinton’s Banner, repurposed as a shelter, to view Alison Gill’s work. There will be an artists’ talk and discussion with local volunteers, experts and writer Will McGuire, readings and a short tour of the site leaving plenty of time for exploration and conversations to germinate. Talks will begin 2.15pm. All welcome.
Process: conversation, publication, print (We get by) – EVENT– Sunday 20 October 3-5pm Good Studio, BGJ, Ground Floor, Bussey Building, London SE15 3SN
Print and take away a copy of the collaborative publication produced as part of this project.
PRINT WITH US
Good Studio provides affordable, accessible print and publishing to create a hub for new skills, knowledge sharing and for social exchange to develop. Our pricing structure is costs based, so price per page will reduce for larger jobs.To print with us contact HELLOPRINT and tell us a bit about your job.
Process and costs:
Good Studio is open access you do not need to be a member however all users must complete an induction.
Inductions provide training in using the Riso printer and an understanding of the materials and techniques involved. They are an essential introduction to developing creative projects using Risograph printing. Inductions cost £10 and once inducted you can book a low cost print slot or a technician for production on larger jobs.
Masters: £3.50 per Master
Prints: A3 20p per colour, per side A4 15p per colour, per side
Ink colours (varies): Neon Pink, Black, Blue
Paper: Please bring your own paper under 200gsm We have limited 80gsm for smaller jobs.
Tools: Long arm stapler, bone folder, punches, cutting mat, knives available
Minimum print cost £25 (to cover set up and technical assistance)
We also run the following workshops and ways in to Riso printing (prices on request): Technician supported 1:1 sessions Group workshops Good Studio can print your project for you.
To get in touch with a studio member and book an induction or print slot contact: HELLOPRINT
Location: Good Studio/BGJ Bussey Building 133 Copeland Park Peckham
Studio hours (by appointment only): Mon-Weds 10-6 Fri 10-6
Good Studio Press Risograph, Interdependence, Issue 24, Art Licks magazine
Studio Snoop Interview by Holly Willats, Photograph by Mariona Otero
An Accommodating Item, Joanna Brinton 2019, Mise-en Scene, 4Cose
Friends of Kelly Avenue, mural project, design sheet
A project, publication and exhibition for Pump House Gallery working with staff, parents and carers, and two year-olds from the Chesterton Children’s Centre.
The project began with a series of activities and events held in the grounds of the Children’s Centre and in Battersea Park, by Pump House Gallery, that explored the green spaces that connect the two sites and the area’s past as a lavender farm.
An accompanying publication which charts the evolution of the project will be displayed at Battersea Library in the Wandsworth Heritage archives alongside a series of textile hangings which feature lyrics from the English folk song and nursery rhyme ‘Lavender Blue’.
The activities that took place were designed in response to the historical context of the park and observation of the children at the centre, their interests and pursuit of play. The following list of their actions informed the development of this project enormously.
An invitation A story A journey To grow, smell, taste
Good Hope Works
Good Hope Works is a creative research project that engaged staff from across Great Ormond Street Hospital (GOSH) and culminated in the installation of a permanent artwork at the entrance of the hospital and another on the windows of the seven-story Morgan Stanley Clinical Building.
I worked with staff from across GOSH via one to one conversations, workshops and round table sessions, including members of the portering, play, clinical, admin and catering teams. Together we consider their shared values and personal experiences of working at GOSH. The conversations and ideas from these sessions were used to develop the two artworks, both of which include direct quotes from staff members.
The first is a custom-made flag for the Paul O’Gorman Building adjacent to the hospital, which reads ‘Every one, every day’ and the second is a vinyl artwork that spans the height of each window in the staff stairwell. Both works feature direct quotes from the conversations generated through the residency so that the staff see their words embedded in their environment on a daily basis.
The Morgan Stanley building’s seven floor staircase with floor to ceiling windows presented a location in which the words of the staff could be read by those within the hospital and seen by passers by. ‘The world outside should take note’, featured on the fourth floor window is a quote from a member of the Haematology team and was an important reminder of the importance of sharing the staff’s voices with the wider community. Above the doors of the neighbouring National Hospital for Neurology there is a low relief panel by A.J.J. Ayres which caught my eye. Carved from sandstone it depicts a pair of hands emerging from the sun offering a reclining woman the rod of Asclepius. The rod is wrapped with a snake, a symbol of healing and medicine often seen outside pharmacies. Binding, care, the wrapping of the snake and the zigzagging path of the stairs inspired the form of the text piece which came to wind its way up the windows of the Morgan Stanley building. Mirroring the passage of staff and families as they climb from floor to floor is a serpentine of translucent vinyl text that casts multicoloured projections across the corridor when the sun shines.
‘Every one, every day’, was a phrase dropped casually into conversation, but an idea strengthened by repetition as I spoke to the staff at Great Ormond Street. The child first, and always, the hospital’s motto, is a person centred guiding principle that pushes empathy to the fore. If we think of each and every child as important, than in turn we must also value and care for each other as we have all been that child that we are working so hard for. More than one person mentioned the importance of addressing the individual rather than their race or religion ‘when you come in here everyone is treated equally’. Every day, reflected the cyclical nature of work, of routine and of a commitment which was reflected in the staffs longevity. The first member of the team I spoke to had worked for the hospital for 19 years, but this was swiftly capped by those with 35, and 48 years and I found generations working together, in their own words ‘like family’.
Banner is series of vinyl hangings for public spaces. Based on research of public play spaces and the work of playground architect Aldo van Eyck a proponent of flexible structures ‘not tied down to a particular function’ which provide users with ‘the means of discovering things for themselves’.
Each banner has a circular aperture, cut by a group of people with an association to the space in which it is placed. The banner acts as a framing device and a point of transformation for play and communication. The structures are rehung periodically, forming hammocks or shelters, stages or doors, the hole at their centre offering an alternative view of a familiar space.
The project has involved discussion with a core group of advisors from each location including:
David Ogwe, staff, children and young people at Oasis Play, Sarah Coffils, Laura Wilson, Art Assassins and Tiny Rebels With Attitude at SLG and the George Shearing Centre for young people with severe learning disabilities and complex needs.
Commissioned by South London Gallery, Oasis Venture + Battersea Arts Centre as part of the Making Routes programme. Banner has since travelled to Peninsula Arts, Plymouth and the Sidney Nolan Trust.
Tasseography: Future Tea Research project and event
Future Tea is an ongoing exploration into local plant traditions and tasseography, commonly known as tea reading. The project has involved discussion with local horticulturalists, gardeners and allotment owners as well as curators, school children and the team from Thrive to locate and harvest plants traditionally used to make tea.
The project aims to unite past and present through the gathering and brewing of herbal tea, offering an opportunity to pause, drink, share conversation and consider alternative futures in our time pressured century.
The project included an event held in Pump House Pavillion using plant specimens local to Pump House Gallery and Battersea Park, in particular lavender, which was historically farmed on the site and roses which are planted in the park’s Summer Garden.
Tasseography: Future Tea was commissioned by Pump House Gallery, in partnership with Nine Elms, London and Chelsea Fringe. Future Tea was developed from an original residency for Whitechapel.
Psittacula Krameri Central Venture Park, Peckham 2017 – present
Psittacula Krameri is a shelter, meeting and play space designed in collaboration with local users of Central Venture Park. The aim of the project was to open up a a conversation about access and belonging in public space. Psittacula krameri, are members of the parrot family better known as ring-necked or rose-ringed parakeets, a non native species whose presence in London parks have caused much debate.
A temporary studio was set up in the main building for residents to engage with the design process, share their views and experiment with materials. Over a six-month period two school groups took part in a series of workshops, a community celebration day was held and a month’s artist residency took place.
The sail-like structure functions as a gathering point, has a range of fittings and fixtures to allow flags to be flown and play and craft activities to take place. Funding is being sought to continue the development of the Psittacula Krameri.
The Stack + The Circle are collaborative builds produced as part of a project with National Trust Rangers, volunteers and a local family group. They form part of a heritage trail in the grounds of Saltram House charting the history of the site and drawing parallels between the relationship between land ownership and power, in the 1800’s and today.
The Stack or Holzhausen is a traditional method of storing wood which differs significantly from a regular woodpile because different types and sizes of material can be incorporated, from sticks to stumps, without having to be carefully selected and placed. As such it lends itself to a collective build. In contrast the house-like form of the stack which is built invites visitors to circumnavigate the structure in search of a door, only to discover there is no way in.
As an act of assertion members of Crazy Glue sourced ingredients from around the estate and developed a magenta dye from elderberries. The dye was then painted on the cut ends of the logs as a colourful power grab increasing the sculpture’s misplaced presence in the otherwise ‘natural’ landscape, casting it as a bright pink oddity.
A series of logs were installed in a circle with the same footprint as the stack, functioning as The Stack’s opposite with an invitation to enter, to sit and discuss. A series of workshops and discussions were developed for The Circle.
With thanks to Take A Part’s ‘Crazy Glue’, Nick Allison Outdoor Manager and Bob Mayer, Woods Team.
Good Hope flag weave, eyelets, rope 2015 – 16
Good Hope is a series of flags and events produced for Plymouth Hoe Gardens over the course of a year. The project takes inspiration from a bag of Cape of Good Hope stamps, bought by Plymouth businessman Edward Stanley Gibbons from sailors in the 1860’s. The stamps were unusually valuable and enabled him to establish himself; an unexpected change of circumstance that boosted his self belief.
Based on traditional flags, the designs were arrived at through engagement with a variety of groups including gardeners, local residents and school children. Local flag makers were engaged to produce the flags which were sewn and made from flag weave. With each flag raising an event was organised by the participants their hopes and beliefs.
A mark that moves reinforced acrylic sheet, posts 14m x 1m 2015 – 16
One of the problems of the Hoe Garden site is its inaccessibility. To counter this, A mark that moves, a fourteen-metre reflective board was installed to the rear of the space mirroring the surrounding environment. In this way visitors may be seen to enter the gardens, which are ordinarily locked. Nearby landmarks can be glimpsed in its surface and become transient features of the garden as viewers move around the site.
Good Hope was commissioned by Plymouth City Council and supported by Plymouth Culture, Arts Council England, Plymouth Arts Centre and the Hoe Conservation and Residents Association
The rake, the dancer, sets up a conversation between a print of a rake, suspended, resting as if hung on a garden wall and a pair of handmade windbreaks. Produced after a research residency in Tokyo spent observing grounds people taking care of Yoyogi Park.
The windbreaks’ swathes of cloth like dancers dresses, point wooden toes in invitation.
A LOOP, A HOOP was a residency based between Smithy Street School and the Whitechapel gallery in a six-week journey to explore the history of the local area and experiment with time, space and order.
The project was informed by research at Tower Hamlet Local Archives where Victorian maps showed the school was built on the site of a parchment works and bindery. The project began at Smithy Street and ended at Aldgate Press next to the Whitechapel Gallery. Along the way stories were told, CMYK bagels were baked and Fireweed was gathered from the school playground to brew Future Tea.
A folded publication printed at Aldgate Press, A Loop, A Hoop charts the project's evolution.
Download a PDF version here:
A Loop, A Hoop
This project was commissioned by Whitechapel Gallery and supported by Stavros Niarchos Foundation
An Invitation was a one day live art event based outside the original CLR James Library, Dalston.
A group of 16-25 year-olds from Whitechapel Gallery’s Young People’s Programme provided passers by with a selection of texts by CLR James, a loudspeaker, reading chair and an invitation to sit, stand, read and discuss his work.
The project explored free speech and thinking as part of a week long Summer Academy. The group visited an anarchist bookshop, a co-operative press, Speaker’s Corner, and the new CLR James Library. On discovering there were no books available in the new library written by its namesake the group developed An Invitation, a temporary public artwork outside the library.
An Invitation was commissioned as part of Elmgreen & Dragset’s A Monument to Youth as part of the Louis Vuitton Young Arts Project
COSMIC PHARMACY Schools project South London Gallery
Cosmic Pharmacy explored the materials and methods of Rashid Johnson.
Working with musician Babak Ganjei and Year 4-6 classes from four primary schools to hijack domestic products, record and produce a CD of chants and created paper peace plants for the exhibition Cosmic Pharmacy.
Each of the school groups involved were invited to visit the Cosmic Pharmacy at South London Gallery, which re-contextualized their work, and every participant received a copy of a CD of the chants and stories produced during the project.
This project was supported by the Great Art Quest and South London Gallery