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@bakerbang

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Big Cameras, Drawing, Men, Children's Toys, X-rays, Mermen, Jelly Faces, British Parody Comics, Toilet Humour and 1980s British Pornography.

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Link in bio - click what's on.

This June we're part of the London Festival of Architecture. Where we will host a month of exhibitions and workshops, all free, in Wandsworth.

First up! Join artist Jon Baker for an exploratory workshop using camera obscuras and pinhole cameras to make black and white photographs looking at our local area.

Experimental Photography & Mapping
Sunday 7 June, 2-4pm
WIP Space, Wentworth House, Wandsworth

BOOK FREE SPOT ON OUR WEBSITE

Ages 8 and over -- all welcome
Spaces are limited.

Pictured: work by Jon Baker @bakerbang

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Installation view from Pelt, group exhibition
The Old Waiting Room, Peckham Rye Station, London

#002_clg091225_27ph hst241023_28-2ph
from the Hysteria series
Photographic collage with audio, 00:26:24
262 × 311 cm
Blueback paper, 115 g/m²

Pelt explores the surface as a threshold of memory, transformation and mortality, where skin becomes both archive and boundary.

Curated by OHSH Projects in collaboration with Maverick Projects
at The Old Waiting Room

08.01.26 – 17.01.26

#RogerWeiss #HysteriaSeries #PeltExhibition #InstallationView ContemporaryArt PhotographicCollage BodyAsArchive PeckhamRye

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Installation view from Pelt, group exhibition
The Old Waiting Room, Peckham Rye Station, London

#002_clg091225_27ph hst241023_28-2ph
from the Hysteria series
Photographic collage with audio, 00:26:24
262 × 311 cm
Blueback paper, 115 g/m²

Pelt explores the surface as a threshold of memory, transformation and mortality, where skin becomes both archive and boundary.

Curated by OHSH Projects in collaboration with Maverick Projects
at The Old Waiting Room

08.01.26 – 17.01.26

#RogerWeiss #HysteriaSeries #PeltExhibition #InstallationView ContemporaryArt PhotographicCollage BodyAsArchive PeckhamRye

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Some final thoughts on our last day here...
It’s been fortuitous that we visited during the village’s Halloween displays because I’ve been deep-diving the Uncanny and the Weird this week!

When faced with the uncanny figure, viewers have “doubt as to whether an apparently animate object really is alive and conversely, whether a lifeless object might not perhaps be animate”. I’m forever interested in automatons, puppets, robots, scarecrows and anatomical waxworks because of this swaying between alive and dead.

For Freud, the uncanny predictably all comes down to castration anxiety which Mark Fisher correctly sees as “as dissapointing as any mediocre genre detectives rote solution to a mystery” but I nevertheless find the effect of the uncanny very appealing. I’m interested by Mike Kelley’s collection of lifelike, mostly lifesize uncanny figures and wonder which of these village sculptures he would have included in his collection. There’s a fine line between the uncanny and the cute or the weird and the lightheartedly amusing. I’m interested in balancing these aesthetic tightropes in my own humanoid sculptures.

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As our time at Xenia comes towards its end, I'm reflecting on my new identity as mum/ artist. For the last year I've felt strangely reticent to let motherhood into my work, but contending with the constant interuptions of parenting while trying to make the most of this brilliant residency has made me realise it's unavoidable. Maggie Nelson warns against the "quarantining of the feminine or the maternal from the realm of intellectual profundity" and with that in mind, I'm finally devling into the reams of writing about childrearing and matrescence to consider how it fits within the conceptual landscape of my art practice.

Julie Philips uses a story of Alice Neel leaving her baby on the fire escape so she could paint as a metaphor for the "mental and temporal distance that an artist or writer needs to place between herself and her children, so she can have the presence, the permission the "little sips of selfhood" that sustain creativty. " I'm trying my best to fight for this place, while accepting the interuptions as part of my new life and embracing the daily joys of watching a person learn about the world. "It's not because the baby cries but because the baby smiles so much that the hours get lost".

Billie has grown two new sharp teeth while we've been here and I can't help but think there's something metaphorical about this as I reflect on my strategies for resilience. Ursula K Le Quin said that having children brought her writing "closer to the bone". I will hold onto this, in the hope that the psychological rawness that I've felt after having my daughter will benefit my work in ways I don’t yet know.

Big thanks as always to Jon for everything.

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Xenia Creative Retreat welcomes Jon Baker from the 6th to the 27th of October 2025.

London-based artist, Jon (b.1977) primarily makes images of the body using mediums such as photography, camera building, painting and drawing.

He has many influences that include outdated psychological and cultural theories, British parody comics, toilet humour, puppets, 1980s British pornography, conspiracy theories, masculinity, children's toys, children's drawings, x-rays, scientific enhancements of the body, mermen, parenthood and jelly faces

His work is large, colourful and often grotesque; the surfaces of the work are frequently moist, dirty and flesh-like. Jon examines the boundaries of cultural taste, politeness and acceptability.

Jon studied for a BA in Fine Arts at Chelsea College of Arts (2014). He has exhibited at Wonzimer Gallery, Los Angeles (2024), Viable Gallery Istanbul (2022), OHSH Projects (2021), and the Serpentine Gallery (2019).

Jon was selected for the Catlin Arts Prize (2015) and received the Parasol Unit Exposure Award (2014). He had a solo exhibition called “Mess Package” at Somers Gallery (2022).

Jon co-curated the show Liquify, Peckham 24/OHSH Projects, London (2024).

If you would like to see more of Jon's work, please visit his website here: www.jon-baker.co.uk.
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#XeniaCreativeRetreat #ArtistRetreat #ArtistsAtWork #Tattooists #Tattoos #Literature #Music #FilmMakers #Artists #Musicians #Writers #Journalists #Typographers #Illustrators #PerformanceArtists #Sculptors #Painters #Painting #Photographers #Novelist #Philosophers #Poets #Architects #Weavers #Architecture #Ceramicists #Designers #BasketMakers

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2024: Thank you to everyone who helped make it possible for us to curate nine exhibitions from London to L.A.

Thank you to:

The 101 artists we lucky to exhibit: Dale Adcock, Alexander Aitken, Haydn Albrow, Carl Anderson, Jon Baker, Izzie Beirne, Shane Keisuke Berkery, Fiona Berry, Sophie Mei Birkin, Magda Blasinska, Camilla Bliss, Gary Brewer, Jonny Briggs, Václav Buchtelík, Rebecca Byrne, Ian Patrick Cato, Michael Chance, Charlie Chesterman, David Cooper, Alannah Cyan, Jamie John Davies, Chris Day, Valentina De’Mathà, Alice Delhanty, James Devereux, Adam Dix, Ian Douglass, Rebecca Elves, Jack Evans, Giulia Fassone, Samantha Fellows, Hester Finch, Vanessa Garwood, Emily Gibbard, Rosie Gibbens, Elena Gileva, Alexander Gilmour, Henry Glover, Joshua Goode, Lee Grandjean, Guy Haddon Grant, Katie Hackett, Lucile Haefflinger, Abigail Hampsey, Hanaka Holland, Nathalie Hollis, Lisa Ivory, Mark Jackson, Benjamin Jones, Holly Keogh, Harry Kincade, Anna-Lena Krause, Eric Kroll, Lucien Dante Lazar, Lana Locke, Hynek Martinec, Cristiano Di Martino, Rosie McLachlan, Dean Melbourne, Ana Milenkovic, Jemima Moore, Celia Mora, Justin Mortimer, Mae Nicolaou, Elena Njoabuzia Onwochei-Garcia, Alaïa Parhizi, Salvatore Pione, Miroslav Pomichal, Chantal Powell, David Price, Olha Pryymak, Tim Shaw RA, Vasco Del Ray, William Reinsch, Kit Reynolds, Joshua AM Ross, Moussa David Saleh, Boo Saville, Emma Rose Sheehy, Richard Slee, John Stark, Louis Thompson, Jonathan Tignor, Emma Tod, Becky Tucker, Elliot Walker, Cheyann Washington, Ann Weber, Roger Weiss, Hugo Winder-Lind, Faye Eleanor Woods, Tom Woolner, Kasia Wozniak.

Everyone who collaborated with us on programming: Paul Hedge, Matthew James Holman, Peckham Life Drawing, and Olha Pryymak.

All the galleries who worked with us: @arushagallery, @halesgallery, and @tjboulting

Our incredible photographers: @jonbakerpeople, @bjdeakin_photography, @m8r8s.studio

And all the incredible spaces who have hosted us: @thebottlefactory @fabrixlondon @thamessidestudios @wonzimer @peckhamarches

We’re logging off until the new year ⚖️ See you in 2025!

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Thank you so much to all the beautiful people who helped us celebrate the opening of our exhibitions across London this year, in no particular order! See you all again in 2025

Photography by
@jonbakerpeople, @m8r8s.studio and friends

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I really wannabe in L.A.

𝗧𝗔𝗦𝗧𝗘, in Los Angeles, exhibited thirty UK and US based artists who probed the complexities of human existence, from unhinged narratives and the contemplation of otherness to the subconscious landscape of our dreams; each work provoking contemplation of the human condition, encouraging us to reflect on our lived experience, across continents.

Follow the link in our bio to explore the exhibition online

Cover image:
Mark Jackson, air stands in curtains (JA) (detail), 2024. Acrylic on board, 30 x 25cm.

𝗧𝗔𝗦𝗧𝗘
OHSH Projects x Wönzimer
@wonzimer
Online until 30th June

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This exhibition is a taste of the British art scene in Los Angeles, a cross-section of the artists OHSH Projects has exhibited since their first exhibition three years ago, alongside artists from the Wönzimer programme. Each artist offering up a unique perspective, influenced by their lived experience, and the differing stages of their careers.

Jon Baker’s room-size macro camera captures highly detailed photographic images that reference the human body, puppets, and children’s art, reflecting his fascination with the future of the human body and the role of technology in enhancing it. Alongside his photographic work, Baker has been developing watercolour drawings, they are made by layering pools of pigment, creating an effect that appears as if you are peering through the body like an X-ray. In contrast, Alaïa Parhizi’s Imperfectionism movement celebrates the accidental nature of artistic creation, encouraging artists to embrace spontaneity and imperfections in their work. Despite their divergent approaches, both artists challenge conventional notions of artistry and invite viewers to explore the complexities of human existence through their respective mediums.

Rebecca Byrne and Lucien Dante Lazar both explore the intersection of psychology and spirituality in their art. Byrne creates immersive landscapes on paper and canvas, while Lazar works across mediums like painting, sculpture, and music to facilitate healing and reflection. Both invite viewers to contemplate the depths of human consciousness and the relationship between inner and outer worlds.

𝗧𝗔𝗦𝗧𝗘
OHSH Projects x Wönzimer
@wonzimer
Online until 30th June

#ohshprojects #groupexhibition #groupshow #contemporaryart #emergingartist #emergingart #contemporarysculpture #contemporarypainting #worksonpaper #wonzimer #losangelesart #losangelesartexhibition #jonbaker #alaiaparhizi #rebeccabyrne #luciendantelazar

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What a treat to be exhibiting alongside so many brilliant artists in “Taste”. The exhibition is open at Wönzimer, Los Angeles from Wednesday - Sunday until 16th June, and will continue online until 30th June.

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