Henry Hussey  Jay Price  Augustine Carr

Curated & Presented By Julie Bentley

October 2017

Colossus as statue, poetry and decoder.

Colossus as monument and destroyer. But Colossus will fail and fall.

After presents three artists rebuilding in the ruins.

As precursor to Frieze 2017, Julie Bentley curated and presented a one night only event set within Caroline Garden's historic Chapel. Jay Price, Henry Hussey and Augustine Carr previewed their new site specific work exploring faith, conflict, history, the written word, destruction and creation.

Jay Price

I have had the wonderful, terrifying and tragic experience of psychosis; watching electric lights drip into shadows, being more than the sum of my body. Through in-depth self-analysis, self-portraiture emerged as the centre of my practice. Activism moved into my work in a quiet form that reflects the communities it references, and I investigate turning the personal/alien into the universal/relatable. The process has to reflect the substance and the constant dilemma of exposing psychotic intimacies’, and unpleasant decisions of how much. There are no shortcuts to content when it comes to my work. When I take an easy route the work suffers and the message has no backbone to travel on. The process is obsessive and repetitive; it’s arduous and begins as physically uncomfortable, pushing through to agony, because it has to be.’ - Jay Price

Henry Hussey

'The works I have created for Colossus draw upon Paradise Lost and the paintings by William Blake for the Book Of Revelations. The undercurrent of despondency and upheaval we experience on a daily basis with this sense we are on the verge of collapse. The conflicts we are directly involved in are pushed to the periphery, as they are not convenient to our cultures mortality and perception of itself. The human form represented in a contorted and unnerving manner revealing the prevailing darkness that has come to define us.’ - Henry Hussey  

Augustine Carr

‘For this show, I have made a large cup and two enlarged painted book covers. The cup was modelled in one hand in plasticine, in a minute or so and was then digitally enlarged, so the asymmetry is amplified and takes on a life of its own, sitting somewhere between myth and fantasy. The lumpen character of the cup is both brutish and gigantic so I like it’s title 'Glanz auf der Nase’, which translates as a ‘glance at the nose’- which came about after an accident in my studio, where the oil of the original plasticine maquette seeped into a Freud text on the Fetish. The two prints are photographic enlargements of painted children’s book covers. The titles of the works are the titles of the books. They are both abstract and material and work on many levels’. - Augustine Carr


The Precariat

Karen Mc Lean

Curated & Presented By Julie Bentley

June 2017

The Precariat seeks to explore themes of risk and resistance through architectural form. Emerging artist Karen Mc Lean presents an installation that invites and reveals the darker harmonies of historic and contemporary occupation.  Numerous suspended sugar houses, each made from a refined molasses solution,  slowly transformed from solid to liquid throughout the course of the show.  A multi-channel sound installation, evoking the toiled land,  accompanied the transforming houses. The Caribbean landscape is scattered with makeshift housing illustrative of creativity, tenacity, poverty and a landless peasantry.  Using the material inheritance of Caribbean colonialism, Karen explores the historical forces that have kept this form alive into the present day.  Questioning the physical structures of everyday life, Mc Lean seeks to create a charged and highly distinct site of historic habitation, responding to the ever present fear of dispossession.  The Precariat aims to open a new dialogue between freedom and servitude.

Karen Mc Lean

In my work, I invest into the issue of post-colonialism because this is the milieu in which I was born and grew up. The second important issue is origin because when this is split as it was in my case, this produces a very particular experience of post-colonialism and subjectivity which is manifest in my art practice and writing. Metamorphosis and mimicry repeat in my sculptures and ideas. For me, this is the repetition of difference, of being tied ontologically to an essentially self-differentiating difference. This is apparent in the models of the Chattel houses from Barbados which I sculpt out of pure sugar and which slowly give up their form as they respond to the heat of the natural environment, that is slowly relinquishing their hold on the idea of a ‘stable’ origin, and accepting the idea of difference as their origin, instead. This is also manifest in my interest in the discourses of mimicry, which rather than affirming the possibility of a model of full-recognition in or the identity of a model or concept, point to the slippage which blocks the full experience of either, and it is indeed this slippage which instigates a constant movement of determination, a reciprocal determination which constantly seeks new definitions of itself. That is the essence of mimicry and my work points to the failure of any possible representative model for my experiences, and reflecting the ambivalence inherent in my history, seeks ideas and substances which resonate with that history.


Time & Materials

Tess Williams  Daniel Silva

March 2017

Time & Materials seeks to explore the enduring fascination of analogue processes in a digital age. Two emerging artists will present works that engage their physical surroundings, providing the slowness necessary to allow our contemporary velocity to be better perceived. 

Tess Williams responds to the sensual immediacy of paint and its effect on our experience of materiality. All her surfaces are unprimed in order that liquid paint and porous substrate become one, producing both an immersive presence and experience for the viewer. Further amplifying this presence, her painting often reaches beyond the boundaries of the frame.

Daniel Silva works with materials in their raw state, revealing the sublime through layered process. Using beeswax, horse-hair, salt and wood, Silva offers sculptures and installations that catalyse their elemental components, crafting a cohesion free from fixed narrative.



October 2016

Glossary is a selection of artists exploring and defining the current moment of painting. Treating painting as a personal, private language of which we can only catch glimpses, After presents: Glossary. Glosses, from the Greek, tongues.  A list of terms and definitions for the difficult and the unusual. Thirteen painters.

Paula Baader   Gala Bell   Harry Bland  Dickon Drury   Jadé Fadojutimi  Qingzhen Han   Connie Harrison   

Manuel Mathieu   Sarah ‘Kenikie’ Palmer   Clare Price   Lucy Smallbone   Christopher Stead    Mircea Teleaga



Tess Williams

September 2016

Unfolding is the second solo show in London for emerging artist Tess Williams. Williams’ work explores what a painting is beyond its frontal surface - the painting as object. She tests how far she can push her works toward textiles, collage or installation, without them ceasing to exist as ‘paintings’.  The artist responds to the sensual immediacy of paint and its effect on our experience of materiality. All her surfaces are unprimed in order that liquid paint and porous substrate unite, producing both an immersive presence and experience for the viewer. Further amplifying this presence, Williams’ painting often challenges the boundaries of the picture frame. Ignoring the conventional canvas/stretcher format she reconfigures the components of a traditional painting. 



April 2016


In humans, intergenic regions are stretches of DNA sequences between genes, comprising about 75% of the genome.  Historically, intergenic regions have been called junk DNA, suggesting that they have no function. However, it is now thought they may contain as-yet unidentified genes.

INTERGENIC explores the power, fallibility and obsolescence latent within the in-betweens. Using diverse media, the selected artists disclose the potency of all our known unknowns.

Paul Abbott   Julie Bentley  Kyounghee Lee   Jessie McLaughlin  

Sean Mullan,  Nick Scammell   Dario Srbic   Luca Vanello


Darkness Spoken

October 2016

As part of the Art Licks Weekend and Deptford X, After is proud to present Darkness Spoken, a group show seeking to render the invisible, exploring darkness as a forceful and vital presence in the practices of four emerging artists. Revealing histories of shadows, of the seen unseen, exploring reflection and motion, presence and void, the concrete and the liquid, these artists challenge the idea of darkness as a lack - suggesting instead that it speaks and speaks back, discloses by concealing.

Jonas Brinker,  Hannah Devereux,  Nick Scammell,  Julie Bentley


The Deleted World

September 2015

 Following an open call to UK art schools graduated, After presents The Deleted World, a selection of emerging artists who look beyond the limits of boundary or edge.

Caroline Abbotts   Gala Bell   Jonas Brinker   Max Colson   May Heek  Kyounghee Lee  

Megan Needham   Dan Newton   Liz Orton  Himali Singh Soin   Dario Srbic   Luca Vanello.