Our Mentoring Scheme offers a unique opportunity for Artiq artists to connect with fellow makers.

The scheme is peer-to-peer led and is flexible around our artist’s existing commitments. With a series of online and in-person sessions, artists are supported with a comprehensive toolkit, guidance notes and interactive worksheets.

The mentoring scheme provides an invaluable platform for reflection and enriches our artists’ creative journeys by sparking discussions that elevate and refine their practice.

In its most recent edition, Artiq introduced artists Sarah Needham, Aleksandra Niemczyk and Jyoti Bharwani whose experience culminated in a group exhibition ‘Matter of Threads’. We are delighted to see the development of their professional and personal relationships and have taken the opportunity to chat with them about the exhibition and their experience with the Artiq mentorship scheme.

Artiq You first met through Artiq’s mentoring scheme. At what point did you decide that you wanted to do an exhibition together? What was the planning process like?

Sarah The idea of a shared exhibition developed across time, and then Jyoti, while we were sitting in her studio for a studio visit, offered us the chance to do the show there. We set out a time table of planning meetings to take on particular tasks and all took on a share. That was remarkably easy as everyone was willing and able. The challenges came closer to the exhibition when we had deadlines and competing demands. I had The Other Art Fair in Los Angeles, and we all had family demands, but we pulled through it together with mutual grace and understanding.

Aleksandra Since the first mentoring meeting in Tate Modern, we knew we have a common thread connecting our abstract painting practice through dedication to colour and tactile materials, but also similar life experiences of balancing being a professional artist and a mum. Jyoti runs a project-based gallery on top of being an artist so it was a very organic development to run a joint exhibition, from practical administrative tasks to curating the paintings on the wall.

Jyoti I was so happy and surprised to find like-minded individuals who shared the same passion driving us to make work from our very first meeting. In terms of when was this exhibition really born? I’d say when we first met!

Artiq Can you discuss the significance of the exhibition title ‘Matter of Threads’?

Aleksandra We were looking for a title that could represent the experience we gained spending time together, visiting each other's studios and exhibitions, comparing life and art-life experiences.

Sarah The title came from a discussion that actually started with a throw away comment from Aleks. That got polished and refined. We wanted something that referenced both the materiality of our work and the way we all reference a kind of narrative in our abstraction. A feature common to all of us but relatively unusual. We liked the play on words of matter, physical and imperative. Physically, threads, while standing for story and connection in all our work, also references the textiles in Jyoti and Aleksandra’s works.



Artiq What is the importance of collaboration for you? In what ways does collaboration make you think differently about your own practices?

Jyoti Collaboration for me is a means to learn and share skills as well as growing a network of like-minded artists.

Sarah The rich learning opportunities from working with people who have different career experiences.

Aleksandra Collaboration is an exchange of knowledge, experience, ideas. Admiring each other’s work but also getting very practical advice that expands our practice and inspires us.

Artiq Can you discuss your individual relationships to colour within your work, and how they are brought together within the exhibition?

Jyoti The colour range in my series is informed by the colour palette of found threads in my late grandmother’s sewing box. The threads and stories she told me connect with the Lunisolar calendar influences on our daily lives, and reference locations on the moon such as the Sea of Serenity and Bay of Harmony.

Sarah I start with a provocation in the now, and look for a historical event or place that has resonance with the current provocation. I research that event, and pay attention to the pigments that play out in the research; those pigments become the palette of a particular collection of work. The provocation for this work was the geographic proximity of the caves at Pech Merle and the Soulages collection in Rodez, in an area of France that I have a close relationship with. The collection for this show came from The Road to Rodez series made from hand -collected French ochres and French vine black. The earthy tones of Aleksandra’s work and mine, and the yellow and reds of Jyoti’s spoke to each other immediately. The blues of Jyoti’s and green and golds in Aleksandra’s provide a beautiful counterpoint.

Aleksandra My process is intuitive, yet analytical. To create my palette and texture compilations, I research hues and vibrations between colours that oppose or complement each other, balancing their proportions and placement within my canvas. Our perception of one colour depends on others that surround it. I am fascinated by this co-dependency and the small discoveries of colour perception I make on my canvases.

Artiq What do you hope that your audience takes away from seeing the exhibition?

Jyoti We hope that the work encourages visitors to engage with the themes we touch on and find connections and resonance within their own lives. We have had visitors who have bought work to collect which has touched on their own interests and support of female artists.

Sarah We hoped to reach new audiences and give the chance to established audiences to see our work in person in a new setting in conversation with other work. We created a peaceful space for contemplation. We offered people the opportunity to view and connect with the work, and opportunities through talks and workshops to get a glimpse of the thought and practical processes behind it. And of course, there was also the opportunity to buy work.

Aleksandra An experience of connection to and through colour and texture to their own senses and non-narrative understanding of abstract expression.



Artiq Can you share any exciting upcoming projects or ideas you are working on?

Jyoti Currently I’m expanding on further works in the Moon Maps series for various clients, and possibly an exciting opportunity to contribute to a public sculpture trail in London.

Sarah I will be starting the MA Painting at the Royal College of Art in September

Aleksandra I am researching and collecting organic materials for a series of 12 large textiles based on plant-based and plant-sourced colour dye as a starting point for experimentation.

Artiq You have hosted different workshops, events and music performances during this exhibition, such as ‘Earth to Pigment Workshop’, Drawing from Ancient Wisdom’ and ‘Gong Bath’. In what ways did these activate the space?

Jyoti Each of the workshops was chosen to compliment an aspect of the themes within the exhibition. My work is influenced by ancient wisdom, feminine narratives exchanged down the generations, thus informing the Drawing from Ancient Wisdom workshop. Participants had the opportunity to engage with the materials I use in my work to create and discover their own inner strengths.

Sarah The Earth to Pigment workshop was a relaxed and joyful experience of processing earth I had collected across the world into pigment, it included interested collectors and other artists. It was an opportunity for people to share part of my process.

Aleksandra All the events brought unusual people together and each time visitors made new comments, giving a new outlook to our own practices. Sometimes people can be intimidated to come to a quiet gallery space, but a social event makes it friendlier and easier for the viewer.