We have worked with Kate Lyddon and John Summers for almost the entire life of studio1.1
and are proud to present them at Sluice 2017.


We have worked with Kate Lyddon and John Summers for almost the entire life of studio1.1 and are proud to present them at Sluice Biennial 2017. This is the first time they have been shown together. A pairing that delighted both them and us.

There is little sugar and spice in Lyddon’s work, nor are slugs and snails notably present in Summers’ as the binary blah of gender specificity falls on stony ground. 

Summers’ sculptures can be said to embody the performance of their making, casts thrown from the body like crutches from the cured of Lourdes. What’s there collides with our sense of what’s not there, whatever’s been discarded somewhere along the way. These pure plaster scraps of anatomy, mixed in with random materials, embedded in senseless-seeming towers of industrial junk, push the familiar way beyond the material world of their origins.

Lyddon’s work is by contrast a reflective critique of image and standing, a satirical take on a life that is no less real for being riotously staged. Straight from the world of Grimm or Revelation, these shapes are recognisable as bodies, but, often bloated, hideously deformed, they float into our consciousness and stick there. Like, for example, flies on a fly-paper.

From reality to the imaginary or from the imaginary to the real, Summers and Lyddon start from opposite ends of that vector, but the re/de/formation that arises in that translation is the key to both. Both work to dissect the carnival of souls. From different points along the funhouse spectrum, they rachet up the delirium to a point where it’s a relief they don’t have sound. It would be Pandemonium.

Art takes a lot of faith. You gotta have faith.

30 September 3 October 2017 12 6 daily
Launch on Saturday 30 September 2017
Sluice Biennial
Bohemia Place & Morning Lane, Hackney Central, London E8



The Sluice Biennial is a collaborative platform that merges the visions of artist/
curator-run and emerging galleries from London, with those of compatible art
galleries and projects from around the world. It prioritises artists, curation and
collaboration over strictly art-market interests by focusing on curatorial rigour,
a DIY ethos and collaborative programming.
This year the Sluice Biennial has strategically sited itself in Hackney Central
to confront and examine the role of the arts in regeneration and how artists
impact and contribute to society. The Sluice Biennial will create a hub of artistic
activities over four days and multiple venues. It will present artistic practice as an
investigation and promote self-initiated galleries, projects & discussion, all within
the context of the global community. With a diverse range of galleries & projects
at the Biennial, there will be a large programme of exhibitions, live-performances,
screenings and moderated talks all presented by galleries from as far afield as
Canada, Colombia, Germany, Ireland, the USA and from around the UK
is an art initiative run by Karl England [artist], Charlie Levine [curator] and
Ben Street [educationalist]. It was formed as a provocation to the art fair as trade fair
model, with a mission to promote the business of art rather than the art business.
does this by strategically adopting organisational and promotional
structures in order to showcase artists, curators and emergent discourse in
a manner in keeping with the ethos of the participating projects. Operating as
a critical platform taking on different guises: a biennial art fair, a roaming
international expo, a gallery space, a magazine, all Sluice projects stay true to
its overarching remit to investigate the nature of art and its place in the world.
The 2017 Sluice Biennial is part of a year long programme of activity in Hackney
that includes the Sluice Gallery, Project Space, Reading Room, Residency and
as the production site of the Sluice magazine, which for the first time this
October will be both produced and printed within the Borough of Hackney.