© Aude Hérail Jäger June 2018

No image may be used without written permission from Aude Hérail Jäger


    Rachel Mercer invited me to write a text on the subject of 'females and gardens' for 'Lady Garden', an

    exhibition of her and Enya Lachman-Curl's paintings at Mercer Chance in October 2017. I will be reading

    my text 'Tribute' at a performance afternoon in the gallery on Sunday 22/10/17. Here is an extract:

    “In the late 19th century her great-grandmother, once widowed, looked after the family fortune. She

    was a shrewd businesswoman. She bought a vineyard estate with a beautiful farmhouse, dependencies,

    a wine-making cellar and grounds comprising an orchard, a small wood, a large pond, and a freshwater

    well. She designed an elegant garden embellished with two marble fountains and a semi-circular stone

    fishpond, into which water poured from a roaring lion’s head. Further down the garden there was a larger

    pond, which was scrupulously cared for and provided a rich natural habitat. She also planted yews and

    wisteria, and adorned the wide terrace with a stone balustrade and, in its centre, a graceful arbour and

    trailing roses. [..]” 
Mercer Chance Gallery, 253 Hoxton St, London N1 5LG

DRAW - curated by Douglas Farthing
Mandells Gallery Fine Art
Elm Hill, Norwich, Norfolk, NR3 1HN
15th June- 7th July 2018
       “The exhibition will show the artists’s individual working process when it starts from observational 
drawing to develop into diverse, at times unexpected directions.”


Ephemeral Sculpture

7th - 24th June 2018 - daily 9am-8pm

St John Churchyard, 73 Waterloo Road, London SE1 8T

  CANNON BALLS  - 11 elements  - 2018 - shredded paper archive, glue - overall dimensions: W80cm x D80cm x H60cm


The exhibition Nothing Endures But Change is part of the Waterloo Festival whose overall theme is Transforming Minds. Both titles appeal because the capacity for change and renewal is a leitmotif in my research and work.

The starting point for CANNON BALLS was a minor event last February during a site visit with the exhibition curator and fellow participating artists. There stands near St John’s entrance a crucifix, raised on a pillar with the following plaque: “Erected by the nursing staff in honour of the patients who died in the King George Hospital HM Stationery offices Stamford Street used as a military hospital during the war”. Suddenly a fellow British artist turned to me and launched a tirade about Napoleonic wars and the suffering inflected upon the English by the French.

A quick search later established the facts. At the outbreak of WWI the War Office commandeered a warehouse in Stamford Street and Cornwall Road for use as a Red Cross military hospital, which it was from 1915 to 1917. This particular crucifix was unveiled in December 1917 by Queen Alexandra in the grounds of nearby St John Church.

Out of the blue a couple of simple ingredients (a crucifix, war, ignorance and chauvinism) together formed into an arrow meant to wound, like an automatic response to a particular set of perceptions. Unchecked and not understood a little stream of animosity was released. If we multiplied this micro emission of hostility by the number of times everyone daily feels an aggressive impulse, and then again by millions of people experiencing a similar itch, we would obtain a deeply alarming insight into our society. I am interested in the reverse. If everyone paid attention and held back such nano-whims, maybe then consideration and kindness may envelop and nurture all of us.

CANNON BALLS presents a series of spheres of a size identical to Napoleonic cannon balls in the battle of Waterloo to illustrate aggression and objectification of human life. The material, however, is harvested from a shredded family archive and embodies legacy and inter-generational baggage. ‘Transforming Minds’ does not take place on battlegrounds but right here, right now, at an individual level. Even in the grounds of St John Church. Especially in front of this memoria

Furlong Gallery - University of Wisconsin-Stout
Menomonie, WI 54751, USA
September 17 – October 29, 2018
The exhibition will be coming to the UK in Spring 2019.


  2. Aude Hérail Jäger in conversation with Tim Cousins

  3. Friday 22nd February 2019

  4. APT - Art in Perpetuity Trust
    Harold Wharf, 6 Creekside, Deptford, London SE8 4SA

  5. Conversations with Art’ consist of a dialogue between the artist, the questioner and the audience directly through an art work. Each month we talk to a new artist and focus on a specific art work. 
    A.P.T Artist, Tim Cousins, set up ‘Conversations with Art’ in October 2013 and this is the third in the seventh series of dialogues that have been held at A.P.T. 

                                        ENMESHED III  - After Peter Paul Rubens ‘Beweinung’ at Kunst Historisches Museum, Vienna, and The Princely Collections,


                                        2012-18, pastel graphite charcoal on Heritage paper, overall dimensions: H101.6cm x H137cm