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What kind of hole am I ?

I am very excited to be showing in the project space at Canal gallery in Haggerston London. The P.V. will be on the 9/3/17



Details on the canal projects website http://www.canalprojects.info/project-space.php  









Working on the collages, at some point there was too much there. I decided to tear material away. In the process spaces were created. These arbitary holes constitute an unintentional twin of the intentional work. I invite you to contemplate these holes not as absences, but as the work itself. And the collage? The collage becomes simply the remainder, the placeholder for the holes. Please direct your attention to the holes, it is the holes that matter.


“the picture plane itself grows shallower and shallower, flattening out and pressing together the fictive planes of depth until they meet as one upon the real and material plane which is the actual surface of the canvas: where they lie side by side or interlocked or transparently imposed upon each other.”

Clement Greenberg


So I am thinking you might like to play a hole………


A hole? As in, an area evacuated of matter ?


As a hole you can still have characteristics.

Am I modest hole ?………..do I just, sort of, not exist ?


Being absent can be very powerful !…...True, …..holes don’t have distinctive personalities, but they have contexts. Work on the context !.................And they can have their own charecteristics.... matter or anti-matter!.........are you a black hole which will suck me in ?
















Erinnerungen. Memories. Vzpomink
Kulturforum im Sudetendeutschen Haus (Alfred-Kubin-Galerie)
Hochstraße 8 
81669 München
15.04.2015 - 31.05.2015

Die Ausstellung moderner Künstlerbücher aus der Sammlung Reinhard Grüner beschäftigt sich mit dem Thema „Erinnerungen“. Sie thematisiert den Verlust der Heimat, Facetten der Liebe, Erinnerungen an Freunde, die Sprache von Bildern und die Bilder der Worte. Folgende Künstler sind u. a. vertreten: Sam Francis, Zbigniew Jez, Michail Karasik, Wolfram Kastner, Ralf Kerbach, Julia Kissina, Bodo Korsig, Bol Marjoram, Anna McCarthy, Gerhard Multerer, Carsten Nicolai, Mel Ramos, Christine Steiner, Mario Terzic, Andy Warhol.

Hintergrund ist die Vertreibung der Eltern des Sammlers aus dem Sudetenland vor 70 Jahren.. 

VERNISSAGE: 14.04.201, 19:00 Uhr
ÖFFNUNGSZEITEN: Mo - Fr 9:00 - 19:00 Uhr, Feiertags geschlossen

BEGLEITPROGRAMM (Führungen, Lesung, "Streitgespräch" zwischen Sammlern)





"Red" xmas show at studio1.1. Follow the link below to me talking about my piece, "The Egalitarian ketchup is favorited condiment of the avoidant provocateur." 




Jacob’s Ladder
Private Viewing  8th May, 6:30 - 9:00pm 2014
Exhibition 9th - 25th May
Exhibition Open weekends 12 noon - 6pm

other times by appointment ashart@mac.com     bol_marjoram@hotmail.com      

Using Atrium Space as our starting point we liked the idea of using the staircase both as an actual structure and as a metaphor. Clustered around the idea of climbing higher, are a number of dualities, high and low, earth and air and light and dark.Our work uses the walls as the site of our interventions, dividing them into two distinct and contrasting zones. 


'' Dyslexia, not Dezlexia''

An exhibition of Artists books by Ash Fitzgerald and Bol Marjoram
The bookartbookshop
17 Pitfield Street, Hoxton
LONDON N1 6HB


Exhibition 4th-25th April
Private view 
6-8.30p.m. Friday April 11th 2014

In this collaborative display for the window of The Bookartbookshop, Ash Fitzgerald will show a group of related books. Using collaged notebooks and other material he subjects these works to a series of material transformations which compromise their legibility and threaten their integrity.

Bol Marjoram’s books follow a design he has developed which allow him to add and subtract pages without rebinding the whole thing.  For this display he will show books with photographs, taken on the day that demolition began on the Tricorn Shopping Centre in Portsmouth. An iconic brutalist structure, it was attacked for its uncompromising 1960s aesthetic and by the time of its demolition had been subjected to years of neglect and vandalism.


Pages are assembled into books and books are assembled into libraries and libraries are assembled into the internet. Even for the most eager reader is the aware that they will only ever read or encounter some small part of what is out there. Beyond the books we have read are other books. Writers write on top of other writers, literally or figuratively and these other hidden texts can sometimes be glimpsed through the newer text. All books are a kind of palimpsest. Only when we take hold of what is there can we transform it and be transformed by it.


Confronted by a vast library, we see a fact which precedes the individual. This fact will present itself to the outsider,the ‘savage’, the illiterate, the dyslexic, the child as inaccessible to them. They cannot begin to assimilate this stock of books. Written language may appear to such individuals only as marks. They may understand that these marks are a code which has meaning for others but they are humiliated by their own lack of comprehension.


In his book 'Humiliation' Wayne Koestenbaum writes of the painter Basquiat; "he treats words as visual objects, and he converts a painting into a poetic text, reverberating with unparaphrasable significance. Basquiat seems to be humiliating the system of language..........Language is a system that has punished me; and so I as reciprocation, will punish language."


To cancel, to cut up or to otherwise rework is to actively take possession of the books and of the cultural material within those books. It is a concrete way of creating new meaning.











Lost In Space
Exhibition 30th June/1st July 12-6 pm 2012

Private view June 28th 6.30-9.00 2012

image: B Marjoram 2002

When the three artists, Pernilla Iggstrom, Bol 

Marjoram and Ash Fitzgerald, were looking for a venue to hold their joint exhibition they wanted a white cube; what Brian O'Doherty in his influential essay described as ‘[…] an evenly lighted cell that appears crucial to making the thing work.’ What they ended up with was a flat on the 9th floor of a 1960s block, in a  building which is scheduled for demolition.



Lost In Space 

takes its title, not from any direct parallel with the 1960s sci-fi series, but from the various meanings of space as they relate to the architectural space in which the work exists and the space within the works themselves, both real space and illusionary. Space exists both within and between the works. We are lost in this space, in the sense that it is often difficult to pin down. In Pernilla Iggstrom's work veils of colour and surface reflections further disorientate our sense of depth. In Bol Marjoram's work actual physical planes constructed from linen, canvas and paper challenge us to read across the space. Ashley Fitzgerald's books seem to speak of the ways in which spaces change. They appear to have been arrested in a process of deterioration which would have led to their disintegration and obliteration.



Space is a resonant word for architects, and never more so than in the 1960s when Wayland House was built. The building is the product of the engineering and technology of its era combined with the design ideas of modernism, which emphasised the importance of light and space. Technology and design produced a new city in the 1960s and enabled new perspectives and vistas from the new tower blocks. This undervalued and overlooked part of the urban fabric was designed in the early 1960s by the Architects Department The Greater London Council under Edward Hollamby and follows the basic precepts of modernism. In this instance, on each floor, a series of maisonettes are arranged along either side of the building with a light airy double height corridor running through the middle of the block and terminating in a giant window. It is typical of many of the buildings of its time and its design embodies the social idealism and the internationalising tendencies of modernism.


The effect of applying this style in many different locations, in different climates and geographies, is to produce cities that at first sight can seem barely distinguishable. If the places where we live appear interchangeable, then the psychological result might be a sense of groundlessness, like the 1994 paintings of Peter Doig which show a classic Le Corbusier’s apartment block surrounded by a tangling wilderness.


This is what conservative thinkers describe as rootlessness, but it can equally be thought of in a positive way as freedom, a place where external markers of difference are stripped away and where one story or identity is not privileged above another. The three artists in Lost in Space are concerned in different ways with the idea of collage, an idea which in its modern form we can trace back to Dada, where one image or thing is placed against another in a way which often disregards pre existing categories or hierarchies.


Pernilla Iggstrom is a painter whose work reflects on the power of photography to create a sense of who we are. Using silhouettes traced from personal photos, she suggests the shifting outlines of identity. She evokes scenes from her childhood, building up the images with thick layers of paint and shiny, transparent resin. Her painting Gissa Vem (The Prophet) shows her head, as a shape without features, a coloured plane, onto which we can project whatever we please.


Ash Fitzgerald shows two books that have been subjected to various processes of change. The result is two sculptural objects that speak to us about the mutability of the physical world and fragility of human systems for storing and retrieving knowledge. Alongside the books is a small object elevated on a plinth - we read it as a kind of figure, an idol or a totem perhaps.


Bol Marjoram displays two versions of his ongoing project, The Price of Admission. The earlier version is a one off book. Shown in an at The Tel Aviv Museum in 2009, it is carefully designed and constructed to present a series of fragments that cohere into a narrative which reflects back on itself. The latest version is too large to be contained within the structure of a book and pushes outward into the space. The pages have become a series of planes which bisect the room. The elements of a comic strip reach a point of near disintegration, which is mirrored in the pages themselves. It has become difficult to reconstruct the narrative, which earlier versions celebrated as a form of unifying journey.



Pernilla Iggstrom was born in South Korea, adopted by Swedish parents and lived for many years in Singapore. She now lives in London and graduated with a B.A. Hons in fine art from City and Guilds of London Art School in 2011.

Ashley Fitzgerald, born in 1964, is based in London. He graduated with a BA (Hons) Fine Arts in 1995 and completed his MA in fine art at the City and Guilds of London Art School in 2011.


Bol Marjoram, born in 1957, graduated in M.A. Printmaking at Camberwell College 1992 and obtained a Post Graduate Certificate in Animation from Central St. Martins in 2000. His artist’s books are represented in a number of international collections including, in London, The National Art Library, at The Victoria and Albert Museum and The Library of The Tate Gallery



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