UNDERLYING

5-9 November
Private view: 7 November 6-9pm
Open: 11-6pm daily  

Underlying brings together a group of artists whose work concerns what lies beneath the

surface, in material and psychological ways, and in finding new meanings and life by

excavating and re-using the flotsam and jetsam, ephemera and relics of previous and

contemporary times.

In mining for inspiration and ideas in the sedimentary layers of experience, history,

mythology, archaeology, the River Thames silt, and the unconscious, these artists unearth

and reinvent their own relics and artefacts, creating new mythologies and stories. They

focus on the fragile persistence of objects in a digital age, and how they can hold complex

meanings and stories that provide fertile ground for re-imagining new ideas, art and

artefacts. The Crypt Gallery venue intensifies the themes of burial, unearthing, cycles of

life, death, renewal, and new life rising from the ruins of the past, which each artist

explores in their unique way.

Andrew Hinton. @andrewse8 on both Instagram and YouTube.

Andrew is a multimedia artist whose practice embraces musical composition, film,

performance and visual art. His work is a response to the physical world, and involves playing

with the histories embedded in objects and materials. He collects objects, materials and

ideas to use as a palette of possibilities and gathers things to make marks with and to make

marks on. This process often gives over control of the imagery to the materials themselves, whilst also channelling his unique responses to the work of other artists that have inspired him to look at things in a new way. Andrew periodically takes time out from his Deptford studio to work in residencies in more remote locations where he tunes into, and takes inspiration from, different environments. Andrew previously had a career in art education and has an art practice in London. He completed the Porthmeor programme at St Ives School of Painting in 2015 and the Turps Offsite programme in 2024.

Gill Roth @rothgill.

Rather than trying to represent external reality, Gill Roth expresses her subjective internal

world, and her paintings and drawings invite you to connect with her on a sometimes

turbulent, playful and exuberant voyage through inner emotions, fantasies and the realities

of being in a body that one is not always in control of.

As Gill says, ‘Things don’t have to make sense, Things don’t have to be in the ‘right ’place.

Andrew Clarke @clarkesville.art

Andrew’s work conveys a sense of strangeness and dreamy discombobulation that is

mesmerising and unsettling. Emerging through a build-up of processes in different media,

from installation to film to photography to painting and back to installation. The resulting

figures and images exist in the borderlands between sleep and wakefulness. Warped and

distorted, ethereal and anchor less, they are random actors in an unscripted drama,

suspended in time and space.

Sarah Praill @sarahpraill

Sarah thinks of the surface as a holding space for buried things and experiences. She drew for many years in the British museum and is drawn to grave goods, Greek lekythoi, Neolithic pots and Assyrian inscriptions. Using drawing, painting and printmaking she approaches her work as a kind of excavation. Sarah is currently part of the @turpsoffsiteprogramme and

@unprimed_collective. Her career as a book designer for the art publisher Thames and Hudson informs her thinking and she enjoys exploring the juxtaposition and dialogue between things.

Mary Rodriguez @maryrodriguezart

Working across the media of painting, drawing and sculpture, Mary’s approach is intuitive and

playful, plucking ideas and imagery from disparate and random sources, from ‘high art’ to

everyday experience and culture, seeking to make new meanings in the process. She sees her

recent work as a form of soft iconoclasm, where she excavates aspects of hidden and buried

female experience and mythology, and elevates and memorialises it. She subverts the

hierarchies of lofty, ‘high’ art ideals by aping and reworking the language of western Classical

art forms, and by using everyday, low value domestic materials such as cardboard, tea and

textiles to make soft sculptures, assemblages and scenarios that suggest ancient artefacts

and worlds.

Mary had a career in the mental health field after going to art schools in her 20’s. She

completed the Porthmeor programme at St Ives School of Painting 2015, and the Turps Offsite

Programme 2024/25