Exhibition: Im In The Garden

June 7, 2017 in Curators Programme, What's on?


Joanne Hummel-Newell, Adam Gillam, Hermione Allsopp and Laura Hathaway

Curated by Joanne Hummel-Newell

IM IN THE GARDEN is an exhibition resulting from an 18-month arts council funded residency working from an allotment shed.

Joanne Hummel-Newell has invited 3 artists to exhibit new works alongside her own exploring issues such as social integration and circular economy at the artist run space, Depozitory.

Integration is a major new work which responds to human planting systems and social integration. Joanne has drawn comparisons between the patterns of planting arrangements created by allotment gardeners to encourage growth and the social segregation patterns which we are currently witnessing at a time of hardening attitudes to both disadvantaged people and immigrants.

Having spent time exploring various aspects of the allotment, from planting cycles to characters within the community, Joanne became interested in the plot owners’ resourcefulness when using materials. She has taken some of the unique and sometimes eccentric ways of creating structures out of salvaged materials for building sheds, bird scarers, intricate wires, nets and pole systems for supporting plant growth as inspiration for the selection and curation of a series of works by other artists, which will be exhibited in the gallery alongside her own.

Rainbow Garden is a satellite exhibition consisting of a public artwork displayed on Platform 2 at Ryde Esplanade train station, which was commissioned by Community Rail Partnership and Arts Council England.

A mobile greenhouse created by Joanne Hummel-Newell and Laura Hathaway will be displayed in the Depozitory grounds throughout the duration of the exhibition and will be part of the Ryde Illuminated Carnival Procession in September.


30 June – 09 July and then by appointment until 17 July

Vernissage Friday 30 June 7pm

Artists in conversation with Jonathan Parsons Friday 14 July 3pm

Open daily 11- 4pm

Exhibition Archive: www.iminthegarden.com

Address: Foal Arts, Depozitory, 23 Nelson Street, Ryde, Isle of Wight, PO33 1PZ


This residency and exhibition was made possible by Ryde Arts festival, Ryde Town Council and Arts Council England Grants for the Arts.


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Summer Salon 2014

May 14, 2015 in Curators Programme








The Chalk Talks

May 6, 2015 in Curators Programme


As part of a successful bid from Arts Council England, Foal arts led a call out to artists in association with Aspace Arts in Southampton to contribute to a group response show curated by Depozitory Artist Chris Jenkins and Artist Ian Whitmore. Bringing together artists from across the Solent region, the show explored themes of imagined histories and local stories.



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Open Studios 2014

July 22, 2014 in Curators Programme, Depozitory, What's on?

Open Studios DL WEB


Join us this Thursday 24th July at 7pm for our drinks preview! featuring 16 selected artists from 25th-28th july 10am -5pm

The Chalk Talks

April 21, 2014 in Curators Programme

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Chris Jenkins, Ian Whitmore, installation, The Royal (2013).

This Arts Council funded exhibition was the culmination of a Four week collaborative residency with Chris Jenkins and Ian Whitmore. Exploring themes of narrative, history and loss. The artists worked together, co-created with students and with the help of Foal Arts curated an exhibition of several chosen contemporary artists from the Solent area. Unusual found objects were also exhibited alongside artworks, creating the feel of a museum, whilst the artists controlled the narrative and imagined new histories.

The Royal (2013) was a sculptural installation that dominated the exhibition. Wrecked timbers were host to hundreds of names and initials, echoing the nameless lost men, women and children that went down in the disaster. The red LED screen scrolling the names gave the unknown lost an updated representation, bridging the gap that makes it easier to disconnect from the horrific reality of such events. 

The Lollipop People

March 28, 2013 in Curators Programme

PREVIEW PARTYAs well as this temporary exhibition space having something a bit ‘Alice in Wonderland’ about it, the chosen theme ‘childhood’ was born from a searching for a subject which all artists share, regardless of background, medium, age, or interest. But this goes deeper than merely having once all been a child.

As adults we more than often base our functions on previously developed behavioral patterns, culturally, socially or creatively. Reproducing what is in front of us, edging away from creating anything new. You could say that we become habitual. But in actuality, imagination, as the basis of all creative activity, is an important component of all aspects of cultural life, enabling artistic, scientific, and technical creation alike.

A child constantly reorganizes their environment in order to understand it. Building, cutting, sticking, moulding, role play and  fantasy form the basic authentic modes of creativity. A re-working to construct a new reality, which he conforms to his own needs and desires. Sound familiar artists?

We know that mark making is instinctive. It was our first literacy. We see it in cave paintings. ‘Line of Flight’, one of Von Brasch’s gestural coloured pencil drawings, reminds us of that ‘authentic’ creative exploration. His mark making follows a experiential process, tracing the character of ‘presence’ and appearances in time.

But its not only process driven works which highlight these themes. An adult  Nostalgia  of childhood forms the basis of part of the works on display. Gray’s collages reference a real childhood memory. One night she asked Jesus if he would breath life into her teddy so she would speak to her. He didn’t.  Whether this was the turning point in Gray’s miracle beliefs or not, it highlights a moment when we might stop believing.

Believing in what you ask? Fairy tales? Dreams? Imaginings?

A horses head on a human’s body? Dixcey performs in her painting what culture has imagined and printed through the ages. The human embodiment of animals. Rupert, Mickey, Paddington. By describing personality through animals we decipher good from bad, trustworthy from untrustworthy, the scary lion from the fluffy bunny. We are preparing our children for the adult world.

Traxler’s tangled web of torn pages from classic fairy tales focuses on the ever- prevalent princess in distress and her gallant prince to the rescue. Her installation questions adult conditioning and we must ask ourselves, How far do we go to inflict our own fantasies on children to prepare them for adult hood?

Grimaldi’s ‘Vacated puppets’ and Crow’s fragile ceramic figurines reference Victorian play things. Yet there is something haunting about their quality. Perhaps it’s because  they represent love able, playful objects but we know that if mistreated or dropped they become broken and sharp or just, empty. In his photographic works, Chris jones discusses these ideas and presents the child in dark, vulnerable environments.

But what about simple, unquestionable fun? the surreal sculpture ‘moo bridge Diorama’ by Julie Alice  Chappell, the photographic series by Chris Eyles, and the love of found objects by Jo Willoughby tell us that being creative is sometimes just born out of enjoyment. Essentially its play. Elisha and Harvey’s film reminds us not to take our selves too seriously.

It is a personal journey, one spurred by a visit to the loft or a found lost shoe, but we hope that these thoughtful works might take you back through the wardrobe to that foreign country we call childhood.

The Lollipop People is an independent artist lead initiative making use of an otherwise redundant space and your support is greatly appreciated.

Joanne Hummel-Newell

Ryde Arts FestivalRyde Council

Ergo Phizmiz

March 28, 2013 in Curators Programme

“Families, Intimate Situations, Opium Architecture & the Behemoth”
1-9 Dec 2012

Collages in various forms of printed paper with guest appearances from all-sorts of other material including pens, pins, and stick insects, by Ergo Phizmiz

“I have slow hands. It’s a great shame. I can play piano, but slowly. It’s not for want of trying. Oh, the endless hours of sitting in my bedroom as a young scallywag attempting to train my snail-like digits to behave with the speed and dexterity I dreamed of.

If my fingers had been equipped with the facility of speed then no doubt I would have ended up as one of two things: a piano player, or a magician. Unfortunately nature did not grant me with this kind of equipment.

Lears Surprise - Ergo Phizmiz

Lears Surprise – Ergo Phizmiz

This led me at an early age away from music performance and my magic wand, then deep into the belly of composition, a world which I found to be a Wonderland full of riddles, games, and tricks, whilst simultaneously always telling its own story. The ability suggested by the process of making music compositions on a computer, where perspectives can suddenly shift, permutations are infinite, and every transformation possible, revealed itself to be nothing more than: An Immediate Alchemy Machine!

Consequently I became fascinated by the secrets inside the mechanics of creative works, the fine line between transformation and trickery, the malleability of matter and meaning. “Playing Art” rather than “Making Art”.

My work spans radioplays, theatre, opera, installations, songwriting, animation, film, puppetry, and collage.

The collages in this exhibition were all made, mainly in the living room in Bridport, over the past two years. They are games-with-perspective, mini soap-operas, static-operas, opium-dreams, opium-operas, religious-icons, dogs, and architecture.

You will also meet the surprise Edward Lear received in his flower-vase via a sharp peck on the nose, see George Frideric Handel’s favourite board-game, and discover where Jesus liked to go on holiday.”

Ergo Phizmiz