Yichun Huang: Multi – Dimensional World of Healing Colours
Immerse yourself in a transformative journey through vibrant artworks merging the enigmatic cosmos, ancient myths, and tangible realities, evoking a world of healing colours with Yichun Huang.
Gallery 6, Second floor
4 Cromwell Place, South Kensington London SW7 2JE
Cromwell Place Lates x Asian Art in London
Fri 27th Oct 18.00–20.00 RSVP Essential for security RSVP: email@example.com
Thurs 26th Oct 11.00–18.00
Fri 27th Oct 11.00–20.00
Sat 28th Oct 11.00–19.00
Sun 29th Oct 11.00–16.00
Mon 30th– Tues 31st Oct 11.00–19.00
Wed 1st Nov 11.00–16.00
Multi-Dimensional Color Healing World, the broadly speaking
27th Oct 14.00; RSVP: firstname.lastname@example.org
A Multidimensional Journey from Sacred Geometry to the Present
28th Oct, 14.00; RSVP: email@example.com
Deities in Chinese mythology headed by dragon
29th Oct, 14.00; RSVP: firstname.lastname@example.org
ARTEFACT – The Contemporary Craft Fair 9 – 13 May 2023
ArtChina showcases a collective of young female artists who employ innovative techniques, unique storytelling, and imaginative artworks at ARTEFACT at Design Centre Chelsea Harbour, Ground Floor.
Dates: Tuesday 9 – Saturday 13 April 2023
Opening times: 10.30am – 5.30pm (Thursday late night: Open until 7.30pm)
‘The Flower Behind the Eyes’, Ink – Jet Print, Yichun Huang
Her work is about exploring the Connection between the Universe and the Divine leads us into a mystical world of metaphysics. She believes the energy is one of the most fundamental building blocks of the Universe, while religion is a belief and worship of higher beings and energies. Whether through meditation, prayer or other means, people always attempt to connect with higher levels of existence in the Universe, drawing energy and wisdom from it. In this vast and mysterious Universe, we can never know all the answers, but we can discover more about the mysteries of everything through continued exploration and contemplation.
‘Me and My Ugliness’, Silver, By Yingqi Guan
This series of work is the story of multiple women Yingqi interviewed. she draw strength from everyday examples of women’s indomitable desire for equality and liberation. She try to use jewellery as a medium to illustrate the paradox of “ugly”. It runs through, dominates, dictates the growth experience of some people, and even creates societal stereotypes. In this series of works, I altered what people have become accustomed to as the perception of “ugly”, and explored it from a new perspective by changing roles. This isn’t just a big heavy necklace. She draw strength from everyday examples of women’s unbeatable desire for equality and liberation. Let it be a source of inspiration, to give people the courage to refuse to bow their heads, to give in, to break free, and pierce the veil of liberal ideology that hides hypocrisy, verbal violence, and destruction.
To this day everyone seems to think that “female beauty is a moral issue” and “female beauty reflects the greater value of women”. So since “appearance” can represent value, then she want to describe this value in an absurd form. She is trying to wrap the “look” and give it a new symbol. For me, jewellery is often a medium of emotional expression, and it can also be a reflection of the creator’s own subjective thinking and ideas. In this kind of thinking with emotion and narrative sense, the process of recreation is carried out, and at the same time, it is also exploring the possibility of combining contemporary culture with contemporary narrative.
‘Spontaneous Game’, the mirror acrylic printed, by Rongjun Zhao
‘According to Bachelard’s theory, all circumstances and things are attached to multiple meanings, and the human perspective can only describe a small fraction of the world.
And because I believe this, I like to express my feeling through visuals that are chaotic, imprecise, and ambiguous.
Here’s what I’m thinking: the possibility of everything that grows out of the noise.
The natural sights I observe all around me, the old walls in the city, surrounding the usual spectacles, and all those things that have never piqued anyone’s curiosity are my inspiration.
Aren’t we forgetting the world of things themselves? the voice-less things once placed as a decor.They don’t appear to be special, yet they are.They exist in the objective world, yet they are not limited to their image.Their surfaces are fluid, and I’m curious about what lies beneath them.I’d like to abandon the conventional fixed discourse context in search of these objects that flow beneath the ambiguity.
My work is based on the self-conscious’ understanding of these traces, the image association between the self-experience and the subconscious, the search for the cracks outside the inherent rules, and the infinite possibilities created by the self-perceived exile. They emerge spontaneously from the nature of the wall, the object, the real and illusory collision, and relevance.’ words by Rongjun Zhao.
‘Bri – collage’, 3D drawing by Naixin Shi
Naixin Shi’s work focuses on exploring the relationship between abandoned spaces, waste, and memory. In this exhibition, she presents a series of handcrafted models and collage works that express the position of uninhabited spaces in reality and memory.
In these works, Naixin attempts to illustrate the ruins of memory by depicting abandoned spaces. These spaces are devoid of human presence, and their walls and floors are almost collapsing, making one wonder if memory can still exist in such ruins.
In addition, the exhibition features two furniture installations created by Naixin that express the preciousness of memory like amber. She has gently repaired the broken objects and wrapped their fragments in the furniture installations, allowing us to feel the existence and value of memory.
Ripple Chen with her lokaReboon Futuristic Material
lokaReboon is a sustainable and eco-friendly innovative futuristic material made from recycled natural rubber balloons.
We use recycled coloured latex balloons as raw materials, which not only retain the rich colours of balloons, but also have excellent material strength and wear resistance, and have a very long service life.
In addition, the lokaReboon production process does not need secondary dyeing, does not produce secondary industrial wastewater.
Register Now For ARTEFACT 2023
We look forward to welcoming you to the London Original Print Fair 2023
Thursday 30 March – Sunday 2 April 2023
Discover the World of Chinese Prints with an Unparalleled Collection from ArtChina.
We are pleased to announce the launch of our new collection of Chinese prints, it will available to view and purchase at London Original Prints Fair. Our collection includes a wide variety of prints, from traditional to contemporary, capturing the beauty of Chinese culture and art.
Our prints, which range from intricate woodblock prints to modern mix-medium prints, feature iconic images of Chinese landscapes, figures, and symbols. These prints are perfect for home décor, framing, and gifting. We also have a selection of limited edition prints, perfect for collectors.
Explore this incredible collection of Chinese prints today to add a unique and beautiful touch to your home or as a gift for someone special.
Buy Tickets Here
Hope you are looking forward to the coming festive season.
Are you looking to do something special this year?
Why not join us as a VIP for our exclusive Art Exhibition on the 9th – 11th December. We have a fantastic new collection of prints, sculptures, installation, and oil paintings created by some renowned Chinese Artists as well as some new emerging ones to discover.
All our VIP guests will have the opportunity to meet our lead sculptor, Lu Jun, who will be previewing his latest works including installation, sculptures and paintings.
The exhibition is kindly being sponsored by OAK Cambridge international School alongside Saints’ Project Trust, a local charity working with churches to relieve poverty across Africa, India and Nepal, through funding education and small businesses to create a brighter future.
A live auction for three artworks will commence on the 9th and finish on the 11thDecember with all proceeds going to the charity.
Here is your VIP Invitation to our exclusive Art Event!
Drinks and nibbles will be served throughout the event, and there will be a Christmas Raffle taking place on 9th December between 6 and 9 pm.
With a great collection of Prizes to be won!
• Signed book ‘Mao and Markets: The Communist Roots of Chinese Enterprise’ by the Author Profess Christopher Marquis; as soon as the book published in U.K at 10 Jan. 2023;
• ‘The Last Quarter of the Moon’ by Chi Zijian, cover print by Yu Chengyou, published by Penguin Random House in their Vintage Earth Series;
• £50 HMC frame voucher;
• £50 La Maison Du Steak voucher;
• £20 La Maison Du Steak voucher;
• £40 earrings by Grace’s Accessories
• £50 voucher for one hour session of Bioenergetic Massage
And plenty of bottles of wine …
Don’t miss this opportunity to preview these great artists works!
Details for this exclusive event.
Friday 9th: 6-9pm, Opening and Saints’ Project Trust Charity Fund Raising Evening (Christmas Raffle and Art Live Auction)
Saturday 10th: 10am – 6pm
Sunday 11th: 10am – 6pm
Cambridge Artworks & Artspace
5 Green’s Road, Cambridge, CB4 3EF
Tel: 07817 029618
Auction No1: Venus, 50cm x 40cm, photogravure by Aimin Liu, 2019
Auction no 2: Memory, Acrylic on Porcelain by Lu Jun, 2022
Auction no 3: Today, Acrylic on Porcelain by Lu Jun, 2022
Sign Up for Live Auction
We are delighted to announce our seventh year’s participation in LOPF. It will take place in the elegant West Wing galleries of Somerset House, Strand, London WC2R 1LA from Thursday26 – Sunday29 May 2022.
Save the dates and come to see the latest prints from our collection of established and emerging Chinese artists.
We are participating in London Original Print Week 1- 8 May 2021 through its online platform. We are showing a collection of new prints in various styles and techniques by our artists. Just click into our viewing room you can enjoy them at your fingertips.
Date: 10/12 2020 – 28/02 2021
We are delighted to share this exciting news, Qianwen Yu, features in the above exhibition with 19 other young talented artists.
Artist: Qianwen Yu
‘Ground Floor’, an ongoing Biennial exhibition since 2010, founded by the Andy Warhol Visual Arts Foundation, Illinois Arts Council and National Art Foundation Grant, brings together work by Chicago’s most promising emerging talent. The exhibition offers a single destination to discover artists, who have recently graduated (in 2019 and 2020) from one of Chicago’s five outstanding MFA programs and whose work demands to be seen and supported.
Ground Floor presents art made in the past couple of years and hopes to investigate and articulate conceptual and stylistic trends coming out of Chicago art schools right now. Many of the artists in this year’s exhibition came to Chicago from other cities and countries, attracted by the city’s reputation as a hotbed of experimentation in art and activism. Ground Floor—so named because it provides a crucial platform for young artists and expands the entire lower level of the Art Centre, gives exhibiting artists a major public venue in which to display their works at a critical juncture in their careers, helping to build, support and ensure a strong and vibrant community of artists in Chicago.
Image from ‘Ground Floor 2016’
This year, the exhibition will present for the first time in person the thesis work of ten 2020 graduates, whose thesis exhibitions were largely presented online because of the ongoing pandemic.The artists in the exhibition were selected by the Art Centre’s Exhibitions Committee from a competitive pool of applicants who were nominated by respected Chicago-based artists, curators, and administrators.
The Rhythm Behind the City, 2019, Media: woven fabric, woven video, installation, by Qianwem Yu
‘In Rhythm Behind the City’ (2019) Qianwen Yu takes experiments from 20th century Modernism in animation, weaving, and architecture and reimagines them in the contemporary moving-image arena. Inspired by “Metabolism”, a Japanese Architectural Movement, throughout 2019 Qianwen captured the “skin” of Chicago with photographs of the city’s exterior. These images were woven into the fabric and reanimated with techniques inspired by 20th-century Direct Animation works. Through the mutual decomposition and reconstruction of different mediums, and the journey back and forth between hand and digital, the source material is transformed and returned to the city’s environment. The transition between these mediums adds motion and reveals a vibrant and vital rhythm behind the city.
Check the link for this coming exhibition: ：https://www.hydeparkart.org/exhibition-archive/ground-floor-2020/
Contact us if you have any enquiries.
All images copyright @Qianwen Yu
We are going to show a group of Chinese artists original prints, it covers all different techniques in printmaking, and three generations of Chinese printmaker from mainland China.
Location: No. 1 Street, Royal Arsenal, Woolwich, London SE18 6ST
For our coming exhibition at the London Original Print Fair, we have a great collection of original prints from a group of four Chinese artists. Prints depict styles from Northern China’s multi-blocks woodcut as seen in the work of Liu Decai to Southern China’s reduction woodcut, as used by Zhang Xiaochun. Our young artist Liu Jing’s eye-catching portraits series is created with his own new woodcut technique, and we will also have young female artist Hammer Chen’s etchings on display.
Here are a few highlights from our exhibition. Visit us at the Royal Academy of Arts to see more wonderful contemporary prints from us. We are located at stand 22 this year.
Image: ‘Northern, Autumn Charm II’, Edition 24/50, woodcut by Liu Decai
Image: ‘Illusion Dream’, Edition:12/25, 100cm x70cm, woodcut by Zhang XiaoChun
‘Master’, a series by Liu Jing, is an experimental collection of work which combines woodcut, lithography and other contemporary techniques to create a new language that is far different from traditional woodcut. He has created a series of portraits of modern Chinese literary masters, using this technique to express their magnanimity and spirit. Those prints are in-depth and rich in the pursuit of details in the moulding; at the same time, there are weakened contours and edges, used to create the flow and rhyme of the lines.
Why chose portraits as a theme? Because they are suitable for language experiments and technical attempts. The portrait is also the most direct and purest method of expression.
Image: ‘Master’, 60x90cm, woodcut by Liu Jin
One of the talented emerging female Chinese artists we will be exhibiting the London Original Print Fair is Hammer Chen, whose creative life bounces between Shanghai and London. Hammer is a printmaker, an artist and illustrator whose work, as she puts it, stems from an interest in using marks and textures to express sensations and emotions. Her subject is Maladaptive Daydreaming. “Maladaptive daydreaming is a psychological concept to describe an extensive fantasy activity that replaces human interaction and interferes with academic, interpersonal, or vocational functioning.” So the series of works is exploring fantasy, struggle, disconnect between mind, body and self.
Image: ‘The Self’, an etching by Hammer Chen
We hope to see you at the fair, April 25-28. Please email email@example.com to book free tickets, while they last!
More information on the fair itself can be found on the London Original Print Fair website.
Discover stories of China at Battersea Spring stand J3, through our artists and their artworks.
Affordable Art Fair Website
One of our talented Chinese artists, Yu Chengyou’s images draw upon natural surroundings, from wildlife to human life, places that, through the simplicity of his style, seem tranquil and uncluttered. His prints offer quite a contrast to the metropolises’ of China; they depict places that bring solace from the maddening crowds and industrialisation of China today. His work promises something better for us, a calmer world to strive for.
We’re pleased to share a few images from his solo printmaking exhibition titled “Clean Journey” that was shown at the end of 2018in Shenzhen, China. Below are the images from the exhibition catalogue and a few words from the artist himself, talking about his artistic journey.
My Artistic Journey:
I was born in the rural area of Shandong, China. My father had participated in the local army during the Second World War against Japan. Later, I learned that such a unit was called an “armed force.” My father has always been a cadre in the village. During the Great Leap Forward in 1958, the village was already starved to death. He was afraid of taking responsibility and left his hometown to come to Heilongjiang Coal Mine. For this reason, he was identified as a “Out Party Member” during the Culture Revolution. My mother gave birth to me when she was 40. When I was seven years old, I went to the mine with my mother to reunite with my father.
Photo: Yu Chengyou was in Guanlan Printmaking Centre at ShenZhen
Although my father didn’t have higher education, he had beautiful handwriting. My mother painted and did various embroideries. She also specialised in the traditional moulding by using Shandong flavours. I later learned that this kind of craft is called “flavouring moulding.” If I have a little talent for painting, maybe it was inherited from my parents.
When I graduated from high school in 1969, I got caught up in the movement which called on graduates to go to China’s countryside to work. I went to the Great Northern Wilderness (in Northeast China), which was thousands of miles away from home. Since I was a child, I liked drawing. After I went to the countryside, I started drawing with some older educated youth who came from some of the big cities. At that time, we were very hardworking. After work, we sketched and draw portraits. In 1973, because of my interest in drawing, I became an art teacher in the army. In this way, there was no need to work early in the field in the morning, and there was plenty of time to draw. In 1977, I was transferred from the regiment to the division and had the opportunity to draw together with some of the educated young artists, such as Hou Guoliang and Lu Jingren. I learned a lot from them, and practiced everything from sketches to oil paintings to comics.I rapidly improved my artistic skills. Later, Hou Guoliang and Lu Jingren left the district, and I transferred to the division club and became a full-time art worker.
Later, I participated in the Jiamusi Agricultural Reclamation Bureau and took a printmaking class tutored by Mr. Hao Boyi; that was the beginning of my focus on printmaking.
I stayed in the Great Northern Wilderness for 18 years. At that time, I was very naive. I didn’t want anything besides the time to focus on my art. Now that I think about it, I really appreciated that period whenI worked hard to learn how to make art.
More than 30 years have passed, and I have always loved printmaking; the experience of this is only known to myself.
I have always believed that art is inseparable from life. I have traveled all over Heilongjiang in these years and I go to countryside two or three times a year to experience quieter life and collect materials. Every time, I gain a lot; in addition to accumulating a lot of creative materials, I also let my body and mind wander into nature, to help me to maintain a peaceful, simple state.
My requirements for my own creativity and works are not high, but I approach it as seriously and sincerely as possible. I don’t like bluffing, and so it is the same in my work.
In recent years, I have seen some works that have awed me and some that have confused me. I always feel that I am out of date, but I have an open-minded attitude. Printmaking is my speciality and I am continuing to work in this field. I will keep going, step by step…
Read more about Yu Chengyou and see the prints we have for sale from this artist on the ArtChina UK website.
Meet Jack Bullen, Director of the Woolwich Contemporary Print Fair where we will be exhibiting in a few weeks.
Jack studied for his BA in Fine Art at City & Guilds of London Art School where he went on to work for many years. He now exhibits widely while running Woolwich Contemporary Print Fair and Brocket London, a contemporary art gallery Jack and his wife Lizzie Glendinning established together in 2014 for the promotion of early to mid-career artists with a particular focus on process led techniques and reinterpreting traditional methods for the 21st century. Lizzie is a curator and art dealer with a background in Art History and Fashion Curation, and a specialism in Chinese art history after managing a gallery of Asian Art in Mayfair for a number of years. Lizzie and Jack met in 2011, married in 2015 and live in London with their dog, Thora.
Below, we chat with Jack about the Woolwich Contemporary Print Fair for some deeper insight into the curation process, the artists involved and what to expect from the event itself.
ARTCHINA UK: What do you enjoy most about your role at the Woolwich Contemporary Print Fair (WCPF)? How long has it been running and what are some of your biggest challenges as the director?
JACK BULLEN: As Director of WCPF, I enjoy discovering new artists and potential platforms to further promote some of the exquisite talent exhibited. I also love the democratic nature of the open call and selection panel which creates such a diverse portfolio of works from artists with so many different histories.
I established the fair in 2016 with Lizzie, as an extension of a ‘New Collector’s Evening’ we would host for budding collectors at our Kennington gallery.
Challenges, for any young company can also be its successes. We have grown rapidly which is very exciting and hugely positive, but I think a challenge is maintaining and managing the growth through a dedicated team, what we can build into our offering and future partnerships.
ARTCHINA: Tell us more about the fair itself. How, when and why did it come into being?
JB: Woolwich Contemporary Print Fair was set up in November 2016. The fair has been running now for three years within the Royal Arsenal in Woolwich and has now moved into the former Firepower Museum doubling the exhibition space available in previous years.
As mentioned, it is an extension of our ‘New Collector’s Evening’ that we used to host at Brocket London where we would use original prints to educate on, and encourage art collecting through this medium. With the nature of prints and multiples, the price for original art work can be more accessible, thereby creating an arena to discover new artists, learn about processes, develop tastes and a vocabulary surrounding your choices, and confidently build or enhance a collection.
We now host the same evening – on a much larger scale – as part of the fair. This year it’s kindly supported by Phillips Auction House.
ARTCHINA: What is the curation process like? What important considerations do you take into account when selecting exhibitors?
JB: Initially, artists submit up to four works for consideration to the Print Fair. These works are then judged on a piece by piece basis by a selection panel consisting of seven industry leaders. All of us meet up and spend a day working our way through the full presentation of entries where the judges individually select the works they want to include. It’s very democratic – if a piece gets four out of seven, then it’s through.
With the number of works on display (over 500) and the short time frame we have to curate and hang, the curation is overseen by Lizzie Glendinning. Works are hung in the academy style in order to fit all the works in. Normally a particular piece will stand out as the centrepiece of each booth or area and the other works are then picked depending on how they sit alongside that image.
ARTCHINA: What can we expect from a visit to the fair?
JB: The fair is set in the former Firepower Museum on the Royal Arsenal. The building was originally one of many factories set up on the Arsenal to produce gun cartridges for the war effort. At the time of the First World War, the Arsenal covered 1,285 acres (520 ha) and employed close to 80,000 people. After the war, its operations were scaled down; it finally closed as a factory in 1967 after which the Ministry of Defence moved out in 1994.
ARTCHINA: Besides ArtChina’s contributions, of course, if you had to pick out a few highlights from this year’s show, which handful of exhibitors would you tell visitors not to miss?
JB: With over 350 individual artists taking part, there is certainly works to suit anyone’s taste. However, a few of my personal highlights include:
An exceptional draughtsman, using mostly woodcarving, linocut, etching, and oil, Adesina combines his African roots with British culture, producing work that makes people reflect on the past, present and the future. Adesina is based in Aberdeen, Scotland and is a distinguished Royal Scottish Academician and member of the Royal Glasgow Institute of The Fine Art. Past Residencies include Eton College & Glasgow Print Studio. His complex imagined landscapes, for me, combine so many layers of art history, mythology, classics – I could study them for hours.
Sherrie-Leigh Jones explores imaginary landscapes through a process of layering and collaging her own drawings and photographs, found imagery and printmaking techniques. We love the decorative Japanese inspired nature of these prints – beautiful, calming with a sense of mythology and romanticism.
Laura Clarke graduated from the Royal College of Art in 2010 with an MA in Fine Art Printmaking, receiving the Alf Dunn Prize and the Augustus Martin Prize for excellence. Since becoming a mother, her work has moved to explore the animalistic abject nature of pregnancy and birth. She is an incredible draughtsperson using Intaglio printmaking as a vehicle for the subject matter, with its infinite capacity for detail. We exhibited large printed sculptural works in our inaugural fair and found fascination with her surreal, humorous, often dark pieces and their art historical context.
Hicks’ playful work is an exploration in documenting space, colour and textures. From large-scale murals, to experimental screen print. The bases for these prints came from a collection of hand-tinted postcards. Botanical scenes from exotic places featuring palm trees and waterfalls, carefully hand coloured in the mid – late 19th century create an interesting balance between factual and the imagined.
ARTCHINA: Talk a bit about the variety of printing techniques, styles, and general diversity of the work that will be on display at the fair.
JB: There are four general types of printmaking:
Relief printmaking: where the surface is cut away leaving a raised level that is inked up and used to print with, this includes linocut, woodblock and letterpress amongst others.
Intaglio printmaking: where the surface is cut into or corroded, allowing the ink to sit in the concaves; the pressure of the press then allows the paper to draw out the ink. This includes primarily etching, aquatint, dry points, mezzotint and engraving.
Silkscreen: a major type of stencil printmaking where areas are blocked out and then ink is pulled through a silk screen onto the areas not covered by the stencil.
Finally, Lithography: when the artist draws directly on a flat stone or specially prepared metal plate with a greasy substance such as a crayon. The stone is dampened using the principle that water and grease repel each other, then inked. The ink clings to greasy marks when the paper is pressed against it.
The fair showcases all these types of works in abundance as well as digital works and monoprinting, where the ink is painted directly onto a smooth unaltered plate and then transferred to paper in a press. The nature of monoprinting means that every one is unique.
ARTCHINA: What gap in the London art market does the Woolwich Contemporary Print Fair fill and what makes it stand out from other London art fairs?
JB: Woolwich Contemporary Print Fair is the only art fair to focus exclusively on contemporary printmaking. The nature of prints and editions makes it far more accessible than a range of other fairs in London whilst maintaining the highest quality of work on display.
Printmaking is an incredibly process-led medium and it is important to us that visitors are engaged and aware of how these works are produced. Thus, we offer more free workshops, demonstrations and activities for visitors to enjoy and get involved with than other fairs.
ARTCHINA: What else would you like people to know before or during their visit to the fair?
JB: First and foremost we hope that visitors will have an enjoyable time wandering about the space, seeing the broad spectrum of brilliant work on display, having go at making prints themselves and having a relax with a glass of wine at the end. We have a fantastic programme of talks in our dedicated lecture space, a wonderful art and interiors area to get inspiration for art in the home, and huge amounts of artist and studio demonstration and workshops. We are hoping to provide new ways to engage visitors in a beautiful and technical original art-form and provide innovative approaches to enjoying and understanding contemporary fine art.
ARTCHINA: If we’ve travelled to Woolwich to see the fair and want to spend some more time in the area before or after our visit, can you recommend somewhere local you love to visit, somewhere local you love to eat, somewhere local you love to go for a walk?
JB: The Royal Arsenal is a beautiful complex that was hidden to the public until the mid-90s and houses some fantastic buildings ranging from the 17th century right until present day with many new apartment blocks being developed by Berkeley Homes. Some of the historic buildings have been turned into fantastic restaurants and pubs, notably the Guard House which is situated in the former prison before becoming an officers mess. The pub does wonderful food with open fires and only a few minutes walk from the fair. Other local recommendations include: The Dial Arch Pub, Taproom, Con Gusto and Woolwich Equitable.
COME ALONG AND SEE US AT THE WOOLWICH CONTEMPORARY PRINT FAIR FROM NOVEMBER 22-25, 2018. FOR MORE INFORMATION, VISIT THE WCPF WEBSITE.