Paste Table Gallery


Artists – Anonymous (Parc Prison), Colin Barnes, Clara Basoni, Gaye Black, John Bunker, EC, Nick Cash, Helen Chadwick, Jo Clare Martin, Nicola Dale, Bobby Dowler, Alison Eye, Matthew Freeth, Tony Gohagen, Matt Hale, Michael Hampton, Sean Hillen, Dani Kwee, Ruth Novaczek, Ashley Reaks, Fiona Rukschcio, Garth Simmons, Tinca Veerman


PAPER #38: The Surface of Things

Press Release: Tuesday 13 June 2017


PAPER #38: The Surface of Things

An exhibition of Abstract Painting as part of the Manifest Arts Festival 2017

Lisa Denyer / Frances Disley / EC / Brendan Fletcher / Roni Feldman / Jenny Hager / Sharon Hall / Vincent Hawkins / David Leapman / Mali Morris RA / Max Presneill

Exhibition dates: 1 July – 12 August 2017
Private View & Manifest Launch: Wednesday 5 July 2017, 5-8pm @ New Adelphi Gallery
Private View: Friday 7 July 2017, 6-9pm @ PAPER

 The exhibition is a collaboration between PAPER, Manchester and Durden & Ray, Los Angeles, and is hosted by University of Salford as part of the Manifest Arts Festival, a contemporary art biennial running from the 5th – 9th July 2017.

Manifest Arts Festival will feature over 30 events, exhibitions and workshops across venues in Manchester, Salford and Bolton. Amongst others, the exhibition features former John Moores Painting Prizewinner, David Leapman; Royal Academician, Mali Morris; and Liverpool Biennial Associate Artist, Frances Disley.

The Surface Of Things

In 1911 Piet Mondrian scribbled a note in his sketchbook, ‘The surface of things gives enjoyment; their interiority gives life’.  Mondrian had yet to paint a purely abstract painting in 1911 but his absorption of the work of Cezanne, Picasso and Braque that year led him inexorably towards a pure abstraction in the years that followed.  Mondrian, and the early abstract pioneers, Delauney, Kandinsky and Malevich et al rejected mimesis and a reproduction of the surface of things and sought meaning within or beyond the world of appearances.

It’s now over 100 years later and painters continue to explore the repertoire of forms, colours and gestures that mark out the lexicon of abstraction.  They are concerned with exploring both the surface and its painterly slurries and the meaning inscribed in those marks and traces.

They might well recognize the thoughts of another Modernist; the poet Wallace Stevens.  In his 1919 poem, Of the Surface of Things, Stevens noted how we progress from a prosaic understanding of the world and its simple taxonomies and move toward a more imaginative and creative abstract vision.  The artists in The Surface of Things demand as much.

The Surface of Things showcases the work of established, mid-career and emerging artists all of whom believe passionately in the capacity of abstraction to offer a purposeful means of examining the world and our relationships, our exteriority and interiority and meaning beneath and beyond the surface of things.

Address: PAPER, Unit 12 Mirabel Studios, 14-20 Mirabel Street, Manchester, M3 1PJ



PAPER #38: The Surface of Things

Exhibition dates: 1 July – 12 August 2017
Private View & Manifest Lunch: Wednesday 5 July 2017, 5-8pm @ New Adelphi Gallery, University of Salford, The Crescent, Salford, M5 4WT
Opening Times: 9am – 4pm, Monday – Friday
Private View @ PAPER: Friday 7 July, 6-9pm

Opening Times: 11am – 5pm every Saturday
PAPER Gallery, Mirabel Studios, 14-20 Mirabel Street, Manchester, M3 1PJ


Media Enquiries

For media enquiries and images contact Mike Chavez-Dawson email


PAPER is an artist-led, commercial gallery based in Manchester and represents a range of emerging and mid-career artists whose practice is based around the medium of paper, ranging from drawing, painting, printmaking, artist’s books, video, and performance. The gallery opened in August 2012 and has a regular programme of exhibitions, presenting the work of gallery artists as well as providing a platform for outside curatorial projects. In 2013 PAPER instigated an Artist-in-Residence programme, Exploring PAPER, and in 2015 a mentoring scheme for artists based in the North-West of England, funded by Arts Council England.

Directed by artist David Hancock, working alongside Sarah Boulter, Sara Jaspan, Andrea Cotton, Simon Woolham, and Mike Chavez-Dawson; PAPER has participated in four editions of The Manchester Contemporary (UK), as well as, Art Rotterdam 2016, Art on Paper (Brussels), Art Projects at London Art Fair 2015, 2016 and 2017 (UK), Art Copenhagen 2015 and 2016, Sluice Art Fair 2013 and 2015 (London), Supermarket (Stockholm), Project Space Collective at the Affordable Art Fair 2014 (Battersea), Exchange Rates (New York), and Kolner Liste 2015 (Cologne).

About Durden & Ray

Founded in 2009, Durden and Ray is comprised of 24 artist/curators who work together to create exhibition opportunities at their downtown Los Angeles gallery as well as in concert with artist groups and gallery spaces around the world. Durden and Ray concentrates on small, tightly curated group shows at the gallery, organized by the members, and hosts international artists as part of a commitment to global exchange and alternative networks. The Durden and Ray model expressly overlaps multiple strategies, including the commercial potential and visual identity of a gallery, the democratic structure of an artist group, the potential to create collaborative works of art in the manner of a collective, and the shared fiscal support of its programmes by group members and project partners similar to a non-profit organization. Durden and Ray is committed both to individual praxis and to shared aims of curatorial experimentation, visual research, and artistic exchange with international partners.



14-20 Mirabel Street, Manchester, M3 1PJ. 

Abcrit – Geoff Hands writes on “Testing <1<2<1<2," at ASC Studios, London

Brouhaha, Oil, acrylic, household paint, household varnish, collage & oil on canvas on board, 33 x 12.7cm, EC 2017 fwp
Brouhaha, Oil, acrylic, household paint, household varnish, collage & oil on canvas on board, 33 x 12.7cm, EC 2017

Native : Tokyo

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Not so long ago the world was a bigger place. Communication was a slower affair. Postcards and letters were expected; public telephone boxes occasioned long-distance conversations with far away loved-ones.

Sometimes there is an imperative to clear away the clutter of these former times. The old desk for instance, parked unhelpfully in the hallway near the front door, had been there too long. I decided to sort it. It was heaped with coats, a couple of shoes, a woollen hat and a sliding pile of junk mail. There were five drawers. In them I found a little lead elephant, an empty spectacles case, various lists on scraps of paper, a folded receipt, a faded party invitation, a confetti of hole-punch paper, a pair of suitcase padlocks still in their plastic package, six unflattering passport photographs, seven sleeves of self adhesive labels, an old identity card, a blank diary, some out-of-date magazines, an unpaid electricity bill, a handful of francs, one paper clip, fourteen elastic bands, a plastic snowman, a fat felt-pen, several broken pencils, a tiny light bulb in its box, a biscuit tin full of candles and two picture postcards.

In the middle drawer – the one that always got stuck – was a broken bicycle pump and an oversized envelope, full and smooth, licked shut. I made an irreversible mistake. I decided to open it. Inside was a collection of unread letters on thin, foreign paper. They were all of the same hand, and all written to me.
– Roy Voss, 2016

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Art Monthly

Review in Art Monthly of Fourteen Turns: Meditations on a Coffee Mill, Curated by Keith Bowler and Peter Suchin at Lubomirov/Angus-Hughes gallery.

Review by Michael Hampton – (full article available only in print)


Fourteen Turns: Meditations on a Coffee Mill at Lubomirov/ Angus-Hughes





Suzanne Treister, Memorial to Marcella Louis Brenner, Rotring and Rohrer & Klingner inks on plywood, 2016

Fourteen Turns: Meditations on a Coffee Mill

9th April – 1st May, 2016
Preview: Friday, 8th April, 6-9pm

Tabatha Andrews/Wolfgang Berkowski/Keith Bowler/Louise Bristow/EC/Nooshin Farhid/Peter Fillingham/Susan Hiller/Simon Patterson/James Rogers/Peter Suchin/Suzanne Treister/Julian Wakelin/Sarah Woodfine
Curated by Keith Bowler and Peter Suchin

Fourteen Turns: Meditations on a Coffee Mill presents work by fourteen artists who have been asked to respond to a modest painting by Marcel Duchamp (1887-1968), the Coffee Mill of 1911 (oil and pencil on board, 33 x 12.7cm, Tate Gallery, London, also known as the Coffee Grinder). To this end the artists were supplied with a wooden support of exactly these dimensions and asked to use this, as well as aspects of the now extensive literature on Duchamp, as starting points for their contribution to the show.

The Coffee Mill was itself the result of an invitation by Duchamp’s brother Raymond Duchamp-Villon to donate, as a rather unorthodox wedding gift, a painting made to be mounted on a cupboard door located above the kitchen sink at his home in Paris. Despite its seemingly trivial subject matter Duchamp later attributed to the Coffee Mill considerable significance. In the collection of interviews given to Pierre Cabanne in the late 1960s he observed that he had, with the Coffee Mill, “opened a window onto something else” (Dialogues with Marcel Duchamp, Thames and Hudson, 1971, p. 31).

Conventionally seen as an ambitious but recognisably Cubist composition, the Coffee Mill is enigmatically “assisted” by Duchamp’s mysterious remark, reframing it as one of the most important and far-reaching of his works. Cabanne also questions Duchamp about two of his most respected pieces, The Bride (1912), and The Bride Stripped Bare by Her Bachelors, Even (the Large Glass) (1915-23): “How do you explain your evolution towards the system of measurements in [these works]?”, asks Cabanne, to which Duchamp replies “I explain it with The Coffee Grinder” (p. 37).

Also in the 1960s, Duchamp was invited by the scholar and curator Ulf Linde (1929-2013) to collaborate with him on a reconstruction of the Large Glass. The completed copy was signed by both Duchamp and Linde, and its construction partly documented in the volume published on the occasion of a major Duchamp show curated by Linde at the Royal Swedish Academy of Fine Arts, Stockholm, in 2011 (Jan Aman and Daniel Birnbaum (Eds.), De ou par Marcel Duchamp par Ulf Linde, Sternberg Press, 2013, English text). In the book, Linde presents the argument, supported by numerous drawings, diagrams and photographic overlays, that a hitherto unnoticed mathematical ratio of 22.5 had been used by Duchamp when composing the Coffee Mill, and that this relationship featured not only in The Bride and the Large Glass, but also as a determining aspect of the piece Duchamp worked on in secret between 1946 and 1966, and which now resides in the Philadelphia Museum of Art: Given: 1. The Waterfall, 2. The Illuminating Gas. Duchamp’s commitment to this sub rosa proportion of 22.5, alongside the also recurring numbers 1, 7 and 8, is rarely examined in the art historical literature, despite the artist telling Cabanne of the direct connection between the Coffee Mill and certain seminal works.

In the exhibition’s initial cast as Seven Turns: Meditations on a Coffee Mill (& Model, Leeds, February – March, 2016), the selection of seven artists was, following Duchamp’s infamous bachelor thematic, entirely male. Fourteen Turns enacts a different Duchampian trope, one in which male and female protagonists are deliberately, if unconditionally, juxtaposed. The original seven artists are included in the present show.

Fourteen Turns: Meditations on a Coffee Mill aims to “crack”, translate and playfully reconfigure Marcel Duchamp’s intriguing picture-puzzle of a tiny domestic machine in motion.



26 Lower Clapton Road,
E5 0PD.
+44 208 9850450
Opening times: Friday – Sunday, 12pm – 6pm, or by appointment.