Aine Belton, Anachronism: Drawing Time


James Collins, Aine Belton, Kate Beaugie, Clare Beattie, Sam Sultana, Cassandra Beckley and Yvonne Luk
Co-curated by CRATE & UCA curatorial interns Claire Scott and Hannah Weatherhead

8th March - 11th March 2012
Opened: 8th March 5-9pm with live performances.

Curious/Dubious is an exhibition exploring ideas of temporality, tangibility, illusion and false representations. The opening night was Thursday 8th March 5-9pm - coinciding with the National Federation of Artist Studio Providers AGM which was held in Margate.

Image credit: Aine Belton, Anachronism: Drawing Time

Lisa Milroy Party of One

EXPLORATORIUM: Lisa Milroy - Party Of One

Open: 8 - 16 June, 2013
Opening hours: Saturday - Monday, & Wednesday - Sunday, 12-6pm
Painting performances: Saturday 8 June, on the hour, 1-5pm. 
Sunday 9 June: Visitors are invited to try on Milroy's paintings until 5pm 

Party of One was an experimental painting consisting of a group of painted hand-sewn dresses hung on wooden stands, clustered in front of a painted backdrop.

The dresses are perfunctorily made, painted with the same pattern as the backdrop: however the fabric of each dress is different, reading as slightly different images. Next to the grouping are the same type of dresses but with buttons on the shoulder - a dress, a painting, that can be worn. When a performer dons this dress, she is invited to step inside the painting and wander in and out of the arrangement. The composition of dresses grows animated. The performer completes her circuit and leaves the painted zone, which returns to stillness.

Party of One at CRATE was the first exhibition of Lisa Milroy’s new performance paintings and continues to explore the possibilities of ‘still life’ painting, the formation of self, identity, work, the relation between contemplation and action and the participatory nature of painting.

Introducing THE SURVEY, Curated by Sacha Waldron

CRATE's new exhibition and project space programme launched in June 2013 with , curated by Sacha Waldron.

The survey thematic is explored through four main strands:

Survey as a format for looking at the work of artists - the survey show and its relationship to the solo show, charting an artists practice; 
Survey as a form a mapping - surveying locations or tendencies.
Survey as an investigation into administrative formats, evaluation and information gathering
The Survey in terms of the conceptual mass mail-out communication processes of 1970’s conceptual artists and how we relate this to contemporary practice.

Alongside The Survey, a parallel programme entitled Exploratorium invites both emerging and established artists to use CRATE as a laboratory and space for experimentation. Exploratorium launched with Lisa Milroy's Party of One, a painting installation and exhibition that invites the public to perform Milroy's paintings. 

Sacha Waldron is the current holder of CRATE's Curatorial Bursary, supported by the Arts Council South East and a Kent County Council Grant for the Arts.

Crate presents Redthreadtrail Unravels April 2012

Private View Friday 12th April, 6.30pm – 9.00pm
Saturday 13th April, 10.00am – 5.00pm

RED THREAD TRAIL is a collaborative exchange of practices using the Greek Myth of slaying the Minotaur in the Labyrinth as a metaphor for the realisation process of this group exhibition.

Red Thread Trail is brought to you by Nadja Andersson, Rachael Murray and Jennifer Wright. This exhibition is a result of three different journeys.

‘The red thread’ is the blog&;
The blog is an important part of the process. It is the route to Crate (our Minotaur) and back.

Rachael Murray’s paintings have a focus on the natural and urban landscape. Her works displayed engage the theme of location and dislocation, showing the contrast between two different Cities.

Nadja Andersson has focused on approaching the theme of mystical inner landscapes through painting and performance.

Jennifer Wright’s practice explores the use of narrative through a variety of media. At present she is concerned with Christian dialogue and symbols relating to current debate.

The story of the Minotaur is rich and complex, and it touches on psychology, philosophy, fantasy, passion and the power struggles of the gods and the sexes.

To understand the layers, and complex set of references of this story you have to follow the life of Queen Pasiphae of Crete, and her relationship with her all-powerful husband King Minos. The Minotaur was born of Pasiphae and a handsome Prince Bull.&;The Minotaur was kept locked away in a cave only reached by navigating a complex labyrinth. It was the custom to satisfy the needs of the hungry and savage bull/man by offering him a sacrifice of seven maidens and seven young men. The king of Athens decided that instead of sending weak men and women as was done before, he would send his own son Theseus. His difficult job was to slay the Minotaur. However, once in the labyrinth it was almost impossible to find the way out again. Princess Ariadne devised a cunning plan to save her love from a certain death. This involved a simple length of thread which Theseus could unravel as he navigated the labyrinth. By following the thread after he had slain the Minotaur he could find his way back into his world.

Supported by UCA.

Shades: A Collaborative Exchange March 2012

Opening Night: Friday 22nd March, 6.00pm - 8.00pm
Open: Saturday 23rd - Sunday 24th March, 12.00 noon - 5.00pm

Crate is pleased to support a UCA student curatorial project

What meaning can be assigned to the application of lipstick? Many women leave a visible trace of themselves behind each time they blot their lipstick on a tissue. Do all women perform the action of applying lipstick in the same way? Why do we do it? Who do we do it for? Is the application of lipstick itself a sensual act? The names of lipstick colours themselves can be evocative. What does your choice of lipstick say about you? These are some of the questions that are posed by this project.

Through a variety of media the artists hope to stimulate some interesting conversations among the audience on the subject of lipstick. Therefore this show is seen as the midpoint to establishing a deeper understanding of this beauty ritual.

Shades is a collaborative exchange of artists' research by Eleanore Carlson, Joan Hobson and Sara Kayes. The artists welcome you to the conversation.



In collaboration with the University for the Creative Arts, CRATE placed six Curatorial Interns in arts organisations around the region.
The Interns:
/ Josie Bassett @ Whitstable Biennale, Whitstable
/ Aine Belton @ CRATE Studio and Project Space, Margate
/ Margherita Gregegna @ Turner Contemporary, Margate
/ Alex Parry @ Strange Cargo, Folkestone
/ Marta Patlewicz @ Stour Valley Arts, Ashford
/ Miles Umney @ Dover Arts Development, Dover

Each intern spent time working with their particular organisation, then connected with the School of Fine Art at UCA Canterbury to feedback to students and support professional development, and then initiated their own curatorial projects with the support of the programme coordinator Toby Huddlestone and the supporting organisation.

Through European Inter Reg funding opportunities to collaborate with partners in France was developed throughout the programme.

THE GENERAL MEDIUM opening thurs 22nd nov


Opening Night - Thursday 22nd November 6pm - 9pm
Open Friday 23rd - Sunday 25th November, 10am - 5pm

'The General Medium' is an experiment between seven artists, all recent UCA graduates. They have been asked by the curator to swap works and 'consider the medium' to make something new. Half instruction, half suggestion, Claire Scott has asked each of the artists to shift their usual way of making and consider using new strategies and media in which to carry out their ideas. Among many combinations and collaborations, a painter will be faced with video work, a video artist faced with sculpture. Could it result in a positive way of making, or is a painting simply a painting?

Charley Vines

Work arrives from a focus on painting and an interest in the developments that occur during the process of production. In producing, I am aiming to contstruct an image, which is not limited by the boundaries of a plane or surface. Often, the image exists across a combination of painted surfaces, objects and domestic materials and the fabric of the site in which it is installed.

Petra Ried

Petra Ried

I am currently working on a project based on burst car tyres I find & collect along the E40 motorway in France and Belgium.

This project is about repetitive journeys and the significance of certain routes I routinely undertake.

The E40 has somehow become part of my makeup, a regular transit route, semi-familiar with its burst tyres, old and new filling stations, selections of cow varieties, post-industrial landmarks, rough tarmac, asylum seekers looking for open lorries, Belgium sausages, good & bad toilets, Calais, Dunkirk, Brugge, Gent, Brussels, Ring Road, Liège, Aachen...