rowanbazley

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	<title>rowanbazley</title>
	<link>https://rowanbazley.co.uk</link>
	<description>rowanbazley</description>
	<pubDate>Wed, 15 Jul 2026 11:38:22 +0000</pubDate>
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		<title>Grids</title>
				
		<link>https://rowanbazley.co.uk/Grids</link>

		<pubDate>Wed, 15 Jul 2026 11:38:22 +0000</pubDate>

		<dc:creator>rowanbazley</dc:creator>

		<guid isPermaLink="true">https://rowanbazley.co.uk/Grids</guid>

		<description> Grids
2nd July - 12th July 26 Art in Perpetuity Trust,  6 Creekside, London.


with&#38;nbsp;Boudicca Paloma 

 &#60;img src="https://freight.cargo.site/t/original/i/3655dd3061f76e179f24e78804ce1692a4744b8d9718c49fa8cab1eedd5d2bf1/APT_GridsBJDeakin_Photograpy-3570.jpg" style="width: 398px; height: 266px;"&#62;
 &#60;img src="https://freight.cargo.site/t/original/i/0a7ea63ff7562102f0f6972a740e1b1cdff85edf4ace3935d5e9748a06470bf0/APT_GridsBJDeakin_Photograpy-3574.jpg" style="width: 398px; height: 266px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/ce43c4e7186f4606fe78ed58c50466b6504eaab31b080beea9d10477a5c2bc40/APT_GridsBJDeakin_Photograpy-3578-HDR.jpg" style="width: 398px; height: 266px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/5a7f0c636653c0c86d1073c1b480b097092640d2207e6d63b8640e4486e93efd/APT_GridsBJDeakin_Photograpy-3581.jpg" style="width: 398px; height: 266px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/3abf5067c043bb36ce8b20b85ea0b8c13d250816cfe508c07db848b32c8dddb8/APT_GridsBJDeakin_Photograpy-3599.jpg" style="width: 398px; height: 266px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/210e98955f4932d2e110186b167259f374b9f64707e2e4067806918fa16aca2c/APT_GridsBJDeakin_Photograpy-3590.jpg" style="width: 398px; height: 266px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/d9998667692a7f17c97cce4e239b4124be04c2420c4611bd855a8f83e5d71434/APT_GridsBJDeakin_Photograpy-3601.jpg" style="width: 398px; height: 266px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/67f2d02e701dd16c2e9f48020639e6c4bb9f785df0f44aa8777e23c5c5d02be8/APT_GridsBJDeakin_Photograpy-3613.jpg" style="width: 266px; height: 332px;"&#62;Various Information

The word ROBOT comes from the Czech word ROBOTA which comes from the Slavic root RAB which translates to the English words SLAVE or SERVITUDE. The word ESPRESSO does not mean fast. Rather it means PRESSED OUT or FORCED THROUGH. It comes from the Italian esprimere. To express, to squeeze the essence from.

The GOLDEN TOAD or incilius periglenes was discovered in 1966, last seen in 1989 and declared extinct in 1994. Found only in a four-square-kilometre area of cloud forest in Costa Rica and bred in temporary pools. The male’s extraordinary orange-gold colouration served no camouflage function whatsoever. The cause of extinction was the chytrid fungus, accelerated by climate change reducing moisture in the cloud forests. 

The NATTERJACK TOAD is the rarest amphibian in Britain. It runs rather than hops and calls at night with extraordinary volume for its size, a sound that can be heard over a mile away. The males call from the edges of shallow pools to attract females. The call has been compared to a football rattle.

In the 1930s, FUTURISM combined with Mussolini’s FASCISM to create fertile ground(s) for the invention of the MOKA POT. Italy had a rich supply of bauxite and leucite, used for the production of aluminium. This would become the national metal of Italy, fortified by FUTURISM’s reverence for machines, technology, and metallic modernity. Alfonso Bialetti invented the MOKA POT in 1933 after looking at his wife’s 

1) aluminium laundry boiler and 

2) dimensional, hourglass physique. 

Alfonso’s son Renato was held at a German prisoner of war camp until 1946, when he returned to take over his father’s shop. Renato is mainly responsible for the Moka Express’s success. After World War II, there was a surplus of factories and skilled manufacturers. Renato decided to focus solely on the Moka Express and began mass production.

Renato Bialetti's ashes were placed inside a large Moka Express and buried in the family tomb in Omegna, 2016.

The Infinite Croak

Inside-outside fibrous lattices flatten right up to the eye, optical illusory whorling foaming and artificial. The gappy petals… The yolky pollen. Thick, breathy matrices of oily daisies. Un-condemnation of the Anthropocene. Elsewhere things move around the space; bodies segment and ready themselves for transformation, part by part, in the alchemical fire. Or the Permanent Water. Myth secretes into modernity, seeps along the mucous membrane.

The toad plays the role of the shadow, the inferior part of the personality. The toad symbolises the First Matter of the Great Work. A wet sodden sigil. He is an organic laboratory / chemical crucible. His screaming orange-peel skins leach away. Though we adore him, we shall never enjoy His beauteous Croak. And inside his eyes, the universe.

Mythic Mojo once said:

Close to the ground means close to the source. Burrowing, the earth, the womb, the place of gestation. Where you plant a seed. And what can the toad swallow? Seems a toad can make use of a great many different materials. How are they held inside. What is derived or birthed from them? If the toad is close to the primal, to the unformed and undifferentiated, is it then a symbol for possibility?

Objects Step on the Throats of Men

The DOMESTIC COFFEE MAKER is a machine and a head. He has no face, only body and so is submitted to the thing-like existence. In any case the commodity can only be understood in its undistorted essence when it becomes the universal category of society as a whole. He is a steaming engine of pure productivity all swallowed up.

In the test kitchen of materiality, characteristic gurgling noises bubble plummy grey liquid through the gap in his lid. Spiral C-Carrot, cheap, ephemeral, non-committal. Winking earnestly alongside voiceless monoliths and blocky, patient beasties. Everywhere dream green, nightmare green. Trouble marches sneakily around the corner. The mirepoix sacrifices itself to the substrate and filters out as detached A. B.. C… ....s.

 
  Writing by Georgia Anna Bloom 
  Documentation by Benjamin Deakin 
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	<item>
		<title>hoofbeats pounding</title>
				
		<link>https://rowanbazley.co.uk/hoofbeats-pounding</link>

		<pubDate>Wed, 26 Nov 2025 16:35:33 +0000</pubDate>

		<dc:creator>rowanbazley</dc:creator>

		<guid isPermaLink="true">https://rowanbazley.co.uk/hoofbeats-pounding</guid>

		<description> hoofbeats pounding

21st Aug - 25th Aug 25 Annex by Koppel Project,  1 Tiverton St, London

Curated by Anonymous


Daniela María, Flow Bracey, Alex Heard, Archie Fooks-Smith, Archie Taylor, Arto Vanhasslet, Dom Sebastian, Giulia Ley, Ines Sacof, Jessie Evans, Millie Rose Dobree, Polly Plowden, Sam Cottington
  
 &#60;img src="https://freight.cargo.site/t/original/i/9def121b8766174b976cc83cae04ee34fb17255c692ecc05deaea64c0ef4bc39/hoofbeat-apple.jpg" style="width: 181px; height: 266px;"&#62;
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 &#60;img src="https://freight.cargo.site/t/original/i/ee74cb6bfce96db9a6a988c9869030d8b1f221dde3086ea4200b5c8b9d95608f/hoof_0020_hoof1-41.jpg" style="width: 266px; height: 231px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/e59791ef8420b199e76a535980ebc4c7fa0876ad5d2fab92983b5988e9b1c3dd/hoof_0042_hoof1-11.jpg" style="width: 266px; height: 231px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/f5bf9e9bf7b4b9f22cf8e10640a9e3db26d078c038f58db18d077e8e5b67486e/hoof_0011_hoof1-32.jpg" style="width: 266px; height: 231px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/f86ab40e82e7814a87cccbafc285cf79a7bfa63c7e4feccfc16decfbaa3ff309/hoof_0022_hoof1-42.jpg" style="width: 266px; height: 231px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/6d152d4e54172b91a41d7b5103faec35bac0a73341587dd60ed71826ef60736a/hoof_0027_hoof1-48.jpg" style="width: 266px; height: 231px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/87e67fe05b656021378e78c56f4d46c5d7447372b0644800d8a85fac3b9cc12e/hoof_0044_hoof1-9.jpg" style="width: 266px; height: 231px;"&#62;

 To purchase a book please contact dmga99@gmail.com

 The book is also available from Reference Point,&#38;nbsp;2 Arundel St,&#38;nbsp;WC2R 3DA
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	<item>
		<title>the shape of shape</title>
				
		<link>https://rowanbazley.co.uk/the-shape-of-shape</link>

		<pubDate>Sun, 01 Dec 2024 12:30:38 +0000</pubDate>

		<dc:creator>rowanbazley</dc:creator>

		<guid isPermaLink="true">https://rowanbazley.co.uk/the-shape-of-shape</guid>

		<description> The Shape of Shape 6-10th November 2024 
62 Roman Road (site of The Split Gallery), London
 Dora Padfield, Chloe Beddow, Flow Bracey, Gabriella Day, Graham Lister, Jameela Stenheden Gordon-King, Liv Fox, Nancy Pilkington, Purdey Williams, Scarlet Topley, Tanith Mab

 &#60;img src="https://freight.cargo.site/t/original/i/488485eeef1e0dc966453ed785d5ff8e73c6c87994f3917a71c380c71b0b9c07/DSC_0225.jpg" style="width: 266px; height: 178.2px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/3a4cc7001d842660f05d558cdbb48c53196c374e2732566e1d94ef4c164bd00f/DSC_0232.jpg" style="width: 266px; height: 178.2px;"&#62;
 
 &#60;img src="https://freight.cargo.site/t/original/i/cc9d587031b8a16cc239fe93dcf2e4895d0c1a2c4b8d97df01bf3184bfb1e1f5/DSC_0203.jpg" style="width: 266px; height: 178.2px;"&#62;
 
  &#60;img src="https://freight.cargo.site/t/original/i/cd9920b86210e4644eea3a8122e3f92497e65cb024bc2cbad92218630a690621/DSC_0186.jpg" style="width: 266px; height: 178.2px;"&#62;
 &#60;img src="https://freight.cargo.site/t/original/i/048113939606d9fc1786476ae91255035e1454fbec0d1291639d144141ecb123/DSC_0166.jpg" style="width: 266px; height: 178.2px;"&#62;
  
 &#60;img src="https://freight.cargo.site/t/original/i/3881c7f282edb742e317d3e7f7413888b0ee54508d9eeb2af62a2ad0fb00cb2e/DSC_0159.jpg" style="width: 266px; height: 178.2px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/08efcb02114db6a3fe08341c2ac1376057d9c05c567cd03c1658ffc8478960db/DSC_0026.jpg" style="width: 266px; height: 178.2px;"&#62;
I asked twelve artists to respond to the notion that we don’t currently have language to talk about shape.

Amy Sillman was at Frieze a few years ago and saw a painting by an artist she loves: Prunella Clough. The work was relatievly cheap because Clough’s works seemingly had no market. Sillman theorised that Clough’s underappriation is due to her works being about shape, and we lack the academic or formal vocabulary for talking about shape. Sillman purchased the painting and invited some people from the Museum of Modern Art to see it, she was subsequently invited by the MoMA to do an Artist’s Choice exhibition, choosing works from the MoMA’s archive which corresponded to an idea she was building about the shape of shape in contemporary art. She then began researching shadow instead, reasoning that shape was too broad a category.
On Monady the 21st of October, 5 of us went to Tate Britain to look at every Prunella Clough print and drawing they had in their archive. Clough was a cartogrpher during the war. Her works had a quality of roughness which was felt like both natural erosion and the industrual manufacture.
On Friday the 25th Amy Sillman gave a talk at UCL where she spoke about curating her recent show in Bern like it was constructing a formal painting. She also showed us how ad hoc and instinctual was the process of gathering works by artits she loves and showing them in a certain way, and how this is like making a thesis.
In Painting Beside Itself (2009), David Joselitt argues that the idea of a singular, original work is less relevant in a contemporary context where artworks are often influenced by and reference one another. He says that painters exist in a network of artists and are part of wider society.
In this exhibition are some artists who enjoyed reading Amy Sillman’s writings on shape and some of their friends as well, I suppose you could call it a network.
As this show took shape… I realised that because we don’t have mass culture anymore it’s hard to talk about network painting in the same way Joselit did in 2009. We don’t watch the same stuff and often we don’t even go to the same exhibitions. When people talk about mass culture they are talking about everyone turning on the TV and watching the same thing and then talking about what they watched at school/work the following day. I think parallel to mass culture is this idea that artists formed geographically isolated networks in the past, such as the Bloomsbury Group or Monster Roster in New York, much of it is retrospective. I think that a new mass culture exists with artists stumbling across the same things and experiencing the same emotions in a way which is not geographically specific.
I have kind of artificially created a network of artists some of whom are living in different cities, to explore the ideas raised by Amy Sillman. To be honest I don’t know if everyone invited to be in this show has read all of ‘Faux Pas’ or even the 2020 zine ‘Further Notes on Shape’ because it’s quite dense and I think it was written in a bit of a quarantine mindset, no offence to Sillman obviously but I think in 2020 people had more time to develop ideas slowly over time and this is reflected in all the art from that year.
We all live in the same culture, in a way its more of a mass culture than ever before. Despite being in London and Manchester and Glasgow and living in different conditions we twelve are part of the fabric of all artists who can relate to each other on the universal experience of trying to be an artist in 2024. The shape of that experience is becoming clearer to me the more I reach out to people and do studio visits and organise exhibitions.
the publication was printed by Esmee Portelli at Panopus:


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	<item>
		<title>finetoothcomb</title>
				
		<link>https://rowanbazley.co.uk/finetoothcomb</link>

		<pubDate>Fri, 30 Aug 2024 10:41:05 +0000</pubDate>

		<dc:creator>rowanbazley</dc:creator>

		<guid isPermaLink="true">https://rowanbazley.co.uk/finetoothcomb</guid>

		<description> finetoothcomb 27th July- 3rd August 2024 
Tellus Triannual,Greatorex Street gallery, Whitechapel, London 
 Will Aghoghogbe, Leo Benavides, Tara Kelly, Lily Krempel, Juan Martin, Enzo Medeiros, Esmee Portelli, Onosiokhue Yakubu, Bilqees, Ella Bracey, Izzy Dennis, Amelia Galliford, Libby Habib, Winnie Hall, Callum Hansen, Natasha Thomas, Isaac Young, Robin Miro, Ellen Poppy Hill, Millie Rose Dobree, Oisin Stanley-Stephenson, Scarlet Topley,
Baron von Voltaire, Celia Bax, Percy Clarke, Ewelinka Dochan, Ruby Kuye-Kilne, Alexandra Larrabure, Nancy Pilkington,
Jameela Stenheden Gordon-King,
Purdey Williams, Antonia Adomako, Gabriel Kidd, Rhian Lloyd, Archie Taylor, Edie Ashley, &#38;nbsp;Flow Bracey,
Anna Clegg, Maria Dragoi, Lulua Alyahya, Rachel Marston, Marley Artan, Callum Clancy, Athen Kardashian and Nina Mhach Durban, Polly Plowden, Alfred Rollitt, Ines Sacof, Barney Ogden, Tatyana Jinto Rutherston, Lauren Watson, Liberty Mann, Isabella Shaw

 &#60;img src="https://freight.cargo.site/t/original/i/ac0fb632f842832388f919d91d113e370d8f531e10ee4d29677faf0e953fd918/17-DSC_4740.jpg" style="width: 266px; height: 177.2px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/3a4e1393a9cef357fcae26d6c565939d7bc27ca18fe19c87c1d79c5a8f00227e/45-DSC_4779.jpg" style="width: 266px; height: 177.2px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/badc0e3886299f789e7dfb4ad09d2a1003247f205915a0df6f44ed47eac197ea/33-DSC_4761.jpg" style="width: 266px; height: 177.2px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/3efd46532157c3f7ef9cbf126eec8bdedc8fec48d32946fa854a7a1a4a1d703f/3-DSC_4718.jpg" style="width: 266px; height: 177.2px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/8d5cb52788ce5684fa751709a30265c2e6da6120b7b8a674122929ce787b481c/1-DSC_4712.jpg" style="width: 266px; height: 177.2px;"&#62;

 
finetoothcomb presents a series of artefacts from a post-apocalyptic realm – excavated talismans, utensils, tokens and figures with lost temporality.

Cleaned of their grime and arranged onto a shelf which outlines the room, the objects sit in a line like objects in a museum. On this shelf they are subject to absurd classification, deposing the museum of the sole arbiter of truth and tilting the power back towards the objects themselves.

In finetoothcomb the observers become the observed, surrounded by a row of silent un-eyed starers.

A stage-set sits in the centre of the room, holding monolithic objects packed on like a raft of dirt, an island of information from somewhere which was. An accidental portal has dumped this giant mole hill, making a microcosm of a place, like a snowglobe, to be stared at and not entered.
finetoothcomb was realised thanks to Greatorex Street´s Tellus Triannual program, which brings together and supports three shows over the course of the year. The platform aims to showcase immersive, experiential work that considers its relationship with place, environment, and social context. Learn more here.


Exhibition curated by Flow Bracey and Dani Germade

Thanks to Suki Jobson and Jacob Sirkin
Documentation by Jacob Sirkin
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		<title>Traffic! Like I Have a Car</title>
				
		<link>https://rowanbazley.co.uk/Traffic-Like-I-Have-a-Car</link>

		<pubDate>Fri, 21 Jun 2024 12:37:58 +0000</pubDate>

		<dc:creator>rowanbazley</dc:creator>

		<guid isPermaLink="true">https://rowanbazley.co.uk/Traffic-Like-I-Have-a-Car</guid>

		<description> Traffic! Like I Have a Car 21st - 23rd May 2024 
hARTslane, 17 Hart's Ln, London SE14 5UP. Flow Bracey, Rachel Marston&#38;nbsp;

 &#60;img src="https://freight.cargo.site/t/original/i/cb41c9773908bc4d45005f497e8c1cc3c482a877b89e74914830edd6435d29e0/_DSF2325.JPG" style="width: 266px; height: 177.2px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/b5b7692e09c567007291ad9db61f89df0643d18f47f2da743eae5c20142b1405/_DSF2332.JPG" style="width: 266px; height: 177.2px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/fc22b680c3bb5acdeb815b964ad4de38ec5617af2da449d79513c909a78dd348/_DSF2359.JPG" style="width: 266px; height: 177.2px;"&#62;

 &#60;img src="https://freight.cargo.site/t/original/i/1c6e685155b2c3a10922c3cf48746d3ee943f9547c0984112e16f0e3b531ef75/Traffic-Like-I-have-a-car.jpeg" style="width: 266px; height: 177.2px;"&#62;


In Summer 2023, Rowan and Flow co-curated a show about words and letters as visuals. Using a bubblegum pink curtain, the three artists created a gallery within a gallery, and were involved in the process of creating a language. The curtain-room became a stage on the 29th of May and held a performance by New Gay Manager (Cat Winter, Alex McKenzie), who used extended technique to deconstruct social codes and draw attention to unintentional vocalisations.
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		<title>figuresinmotion</title>
				
		<link>https://rowanbazley.co.uk/figuresinmotion</link>

		<pubDate>Mon, 27 Feb 2023 11:23:39 +0000</pubDate>

		<dc:creator>rowanbazley</dc:creator>

		<guid isPermaLink="true">https://rowanbazley.co.uk/figuresinmotion</guid>

		<description> Figures in Motion 24th-28th March 2022
The Pipe Factory, Glasgow, 24-28th March 2022.

Bruno Diaz, Jameela Stenheden Gordon-King, Amanda Seibæk, Leon Scott-Engel, Aaron Rigal, Purdey Williams
 &#60;img src="https://freight.cargo.site/t/original/i/34a8c4f7ab24b2e8edb685aec2c3d7234bb5c60b3dbf03507db34bb44dfab8a4/DSC_0152.jpg" style="width: 266px; height:177.3px;"&#62;
&#38;nbsp;
 &#60;img src="https://freight.cargo.site/t/original/i/235edad771f3ef243aa094c38d79bb812a24a70a6264551db5773ba034488c84/DSC_0081.jpg" style="width: 266px; height:177.3px;"&#62;


“To maintain circles there must be an engine running them, running the separated spirals like growth rings in trees, they remake themselves every year and within another ring comes more space and room to fill with stuff of importance. With the continuation of the rings for just some time you step aside and watch”
 (From Cirkel by Amanda Seibaek)
 Figures in Motion is a collection of works made in the seemingly constant motion of a post-pandemic-art-school, and captures the aspirations of seven artists on the point of entering an artworld which is uncertain and exciting. As Amanda Seibæk writes in her poem Cirkel, “all I have ever done is living in constant motion”. 
 
 The desire to capture something which is temporary and fast moving is something Photographer Eadweard Muybridge was doing when he published The Human Figure in Motion in 1879, in which people running fighting or jumping were photographed against gridded backgrounds, with the intention that the workings of the body could be studied and enjoyed. Just like how a parent might want to take photos of their children or celebrate their first day at school, life is full of moments where we are rewarded if we stop and look at how quickly everything is moving around us, how much we might have grown.”


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		<title>index</title>
				
		<link>https://rowanbazley.co.uk/index</link>

		<pubDate>Wed, 18 Feb 2026 11:24:51 +0000</pubDate>

		<dc:creator>rowanbazley</dc:creator>

		<guid isPermaLink="true">https://rowanbazley.co.uk/index</guid>

		<description>Rowan Bazley: folio/about/cv/writing/contact
 

This is a website where my projects can exist outside of instagram

Where I mention other artists there will be a hyperlink to their website, if it exists.&#38;nbsp;

Grids, APT, 6 Creekside. 02-12/07/26 
&#60;img src="https://freight.cargo.site/t/original/i/1806fbbfd18fa137defef0b0cdc3501dd7708b0d6fb88e21f0607e09b360ac91/APT_GridsBJDeakin_Photograpy-3575-Edit.jpg" style="width: 366px; height:457px;"&#62;

hoofbeats pounding, ANNEX, 21-28/08/25
&#60;img src="https://freight.cargo.site/t/original/i/a5c84c0b0fc321fd06731a2baa72de60e719850ca610bf6db0b12666f88a569c/251015_HoofbeatsPounding_CH-1_Page_53.jpg" style="width: 366px; height:374px;"&#62;

The Shape of Shape, 62 Roman Road, 
&#60;img src="https://freight.cargo.site/t/original/i/4be7d04f40746848657c7890d29b1a4595fe01b2f356b678f8c4c4257da1d763/DSC_0221.jpg" style="width: 366px; height:244px;"&#62;


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