World Wide Weep

Thu 15 December
Free Entry

Presented by The Grey Space

The exhibition ‘World Wide Weep’ is formed by four artists, all from different parts of the world. Today it feels as though the world is weeping, and we try to have fun in the meantime.

Studio mates and recent graduates of The Royal Academy of Art in The Hague; Nara Nicole Winston, Ruby Lee, Max Van Olffen, and Livia Claesson present ‘World Wide Weep’, an exhibition of works made in their shared working space throughout 2022. The works are accompanied by a musical performance by Preteen Jesus, and  a DJ set by SOB.SOUNDSYSTEM.
  • 18.00–21.00 SOB.SOUNDSYSTEM
  • 21.30–22.00 Preteen Jesus
  • 22.00–02.00 Jamming and DJ sets by The Grey Space staff
Nara Nicole Winston
Nara Nicoles‘ work is based on a merging of visual and material elements of disparate backgrounds to create one visual space; be it a painting, an installation, or a digital collage. Her work represents the present through her lens but is composed of the past, cultural traditions, religious symbols, family, and the visual language of the place she comes from, the Dominican Republic.
Ruby Lee
Born in East London and based now in The Hague, Ruby Lee’s work is inspired by the history and theory of image and media. She reflects through painting and film the hierarchy of both women in society and the pictorial methods used to tell their stories. Massively influenced by Hito Stereryl’s ‘In Defence of The Poor Image’, she reflects on the artist’s digital insights in a more analogue way. She uses paper, paint, and glue to respond to ‘a rag or a rip; an AVI or a JPEG’. Who decides what is a ‘Poor Image’ and why? Is the Oil Painting then the ‘richest’ image of them all?
Max Van Olffen
Max Van Olffen’s work exists between familiar and alien, tangible and immaterial, functional and decorative. A fundamentally human obsession with materiality, with its connotations and implications, is central to the work. The cult of creation. The dig for the truth. A ritualistic devotion to the materials that make up the world. Cobbled together ceremonial objects and souvenirs of an ancestral practice are smashed together to both imitate and expand on the endless pile of our creative output. It relates meaning taken out of context and contextualized meaninglessness.
Livia Claesson
One of the corners of the living room is now a stage. A dollhouse with a kitchen and a bed, ponies roaming free in the garden, a fallen hero hiding behind the corner, and a dramatic end waiting to happen (“Barbie Dreamhouse”). Seeking to address the unpredictability of the now and the future Livia Claesson uses the playfulness of childhood as a means of navigating her understanding. In confronting the confusion and uncertainty we face as adults, it can be helpful to approach them from the perspective of a child. “If you can’t explain it to a six-year-old, you don’t understand it yourself.” -Albert Einstein
Practical Information

The Grey Space opens at 17.00
The exhibition opens at 18.00

Free entry