Nolia's Gallery
Circa 2005-2007

 

Nolia's Gallery was a small art gallery showcasing up-and-coming young artists.

This was their website.
Content is from the site's 2005-2007 archived pages.

+ + + Nolia's Gallery, 60 Great Suffolk Street, SE1 0BL + + + 

AND
Nolias Gallery, 56 Stamford Street, SE1 9LX
Tel.: 020 7928 8366 / 07984 716 668

 

Three Art Gallery Spaces To Hire Within Five Minutes Walk Of Tate Modern, Bankside

Contact: galleryhire@artgal.co.uk   SMS/call: 07984 716 668

Art Gallery London - Bankside - Southwark - Venue Hire

Space 1 - 60 Great Suffolk Street

Nolias Gallery offer 3 art galleries for exhibition spaces to rent on a weekly basis. The 60 Great Suffock St gallery is 5 minutes walk from the Tate Modern and close to Southwark and London Bridge Tube. 

Weekly changing Art exhibitions showcasing works from undergraduates and established artists.

Open from 1pm until 6pm Monday to Thursday
Private viewings on Saturdays

From £600 per week

Space 2 - 56 Stamford Street, London, SE1 9LX

A few minutes walk from Londons busy and thriving artistic Southbank district, the exhibition space is flexible being perfect for speaking events, performances and art / photography / sculptural 3D exhibitions. We have put on many exhibitions from small intimate projects to international events. Being in this central London position, your art exhibition or event can be part of the huge scene that has grown up here over last few decades.

From £700 per week

Contact: galleryhire@artgal.co.uk   SMS/call: 07984 716 668

 

On the 11th of March 2006, Nolia's Gallery turned one year old and in that time many students and graduates from London´s art schools have ground their teeth with the difficult task of curating and organising their own shows at the Thomas a Becket on the Old Kent Road. This gallery is one of the few affordable spaces available to students. It is a 1000 square foot exhibition space, with café and bar facilities and previously hosting a boxing club, the space has a great sense of history including the fact that David Bowie wrote Ziggy Stardust in an upstairs room. Nolia Devlin, director of the gallery, is very enthusiastic and keen to give undergraduates and up and coming artists the chance to exhibit their work. She is an artist herself, originally from Malaysia, now in semi retirement, and spending her time establishing opportunities for new artists. She describes her gallery as a 'project or opportunity space' providing young artists with the chance to learn to curate a show outside of their university studies. The gallery space offers an opportunirty rarely found and much appreciated by aspiring artists.
Since April 2005, when the gallery opened, Nolia has offered the exhibition space to many students and graduates and the gallery now has exhibitions planned throughout 2006.
   
   
     
   

Boxing and Glam Rock

Glamourhammer was the first exhibition held at the Thomas a Becket even before it became Nolias Gallery. This was March 2001 and the project took off when David Lock was introduced to the rich historical background of the most famous boxing venue in South London.

After doing some research of his own Lock was inspired by stories of gangsters, boxers, the swinging 60's and David Bowie's glam rock. Nolia Devlin offered the premises to Lock, then studying an MA in Fine Art at Goldsmiths, to stage an exhibition about the colourful cultural background of the Becket. Boxing and glam rock were fused into the title Glamourhammer. The exhibition featured works by fellow Goldsmiths Fine Art students.

The pieces were bombastic works exhibited in the boxing gym above the bar where the ring and other boxing props such as punching bags and gym equipment became part of the display. The aim was to maintain the feel of the old days when fights were staged there. The exhibition was a big hit, Time Out listed the show and even published images. It is unusual for a student exhibition to receive such attention. Furthermore Brit-art sponsored the students with £1000 and to cap it all Mr Saatchi himself made an appearance and purchased one of Kirsten Glass' pieces.

A number of artists who were involved in Glamourhammer have done quite well for themselves. Video artist Anthony Gross has curated Biennale! International Artist Film & Video, currently touring China, Dian Bauer was recently commissioned to create a large installation on display at the Showroon gallery under the title Bludgeonerator, and Kirsten Glass is currently exhibiting her large collage paintings at the Hales gallery.

Kris Calown's pet inspired works not only made a huge splash, but also ended up with a relationship with an online retailer. His gorgeous collection of designer dog beds drew the attention of several retailers who foresaw commercial interest in his high end beds. Colorful fabric and simple, circular designs put a new spin on a place for mans best friend to spend the night. The notion of "luxury dog beds" or "designer dog beds" very likely has a receptive audience in the high end demographic, according to the marketers. Shows you the power of compelling gallery shows.

This exhibition took place well before the Becket was transformed into the project space it is today. You could say that Glamourhammer was the prehistory of Nolias Gallery. This extremely positive initial experience was the spark that inspired Nolia to turn the Becket into a gallery devoted to students and recent graduates.

After running this project for one year and witnessing and being inspired by the students' talent and enthusiasm, Nolia is determined to carry on with her artistic projects, she now has a new gallery in Great Suffolk Street is an effort to reach a wider public and give more exposure to future undergraduate and young artists' shows in London.
     
 
     
   

Curating for beginners

 

The task of curating, organising and setting up one's own show can be a daunting one when it is done for the first time. Dealing with the practical aspects of exhibiting such as budgets, logistics, schedules, advertising and so on don't come easy to artistic temperaments. They are not necessarily difficult tasks in themselves once you have the experience but they can be confusing when you haven't done anything like it before.
The first thing you should think about is the space. Finding an affordable exhibition space in London can be difficult, and you must book well in advance. It is a good idea to organise group shows to spread the renting costs.
I find that the main problem in curating a show is deciding what the aim or message of the exhibition will be, especially when the work of various artists is shown together. The job of the curator is to make sense of every different approach from each artist involved and come up with a unifying discourse that will bind different styles, mediums and subjects into a coherent whole. A single artist can stick to an idea right from the start of his artistic production for a given show, or even a group of artists can decide that they will produce works to put a show together with a single idea in mind, but things can get rather more complicated when a curator faces the task of selecting works by different artists who have produced their pieces independently. In this case the curator must strive to understand the work of each artist, their backgrounds, interests and discourses and try to distill from all these different elements a kind of unifying glue that will make sense of it all and give the exhibition a direction and purpose.
Funding, logistics and advertising can become a nightmare if they are not planned in a feasible and realistic way. A number of institutions can be approached for funding such as the Arts Council, local councils, your college or university, or even private businesses that may be interested in sponsoring an exhibition in exchange for advertising and having their name associated with the arts, but all this will require a detailed project proposal. It can be a big effort but the reward is the experience and satisfaction you will get from being capable of making your exhibition happen.

 

 

 

   
     
+ + +   September / October 2007
     
    Nolias Gallery at Great Suffolk Street / 60 Great Suffolk Street SE1 0BL
     
 

9 to 12 June -. A-STHENIA

private view 6 pm Fri 8 June and continues until Tue 12 June, 1 to 9 pm

A-STHENIA an exhibition of video /performance /installation by Argyris Sapountzakis.
     
 

16 to 19 June -. Memories of Our Birth

private view 6 pm Fri 15 June and continues until Tue 19 June, 1 to 9 pm

An exhibition by Konstantina Hasiakou
...a speck at the beginning of our existence, unity in the infinity of the universe...
     
 

21 to 24 June -. Refugee Week 2007 Photo Competition

private view 6 pm Thu 21 June - The exhibition runs from Thu 21 until Sun 24 June, 1 to 6 pm

An exhibition of the winning and highly commended entries of the Refugee Week 2007 Photography Competition.
     
     
    Nolias Gallery at Liverpool Road  /201 Liverpool Road N1 1LX
     
 

31 May to 13 June -. W E M I X

private view 6 pm Thu 31 May and the exhibition continues until Wed 13 June, 11 to 6 pm

WEMIX aims to open a conversation platform between East Asian students and home/EU/other overseas students about the cultural communication differences, where students from East Asian backgrounds can express and present themselves in a piece of art work about the cross-cultural learning environment that they are experiencing.
     
 

19 to 22 June -. MY REFUGE, NOT MY HOME

private view 6 pm Mon 18 Jun and the exhibition continues until Fri 22 June, 11 to 6 pm

MY REFUGE, NOT MY HOME: An installation of digital images, sound and objects by Crina Boros
     
     
+ + +   July 2007
     
    Nolias Gallery at the Thomas a Becket / 320 Old Kent Road SE1 5UE
     
 

19 July -. Bimby Showcase of unsigned bands

Thu 19 July from 7 to 10 pm

Hi my name is Alice Lamb I am a singer songwriter studying a degree in Contemporary Music. 
I am hosting a charity showcase for my dissertation, to try and help me answer the question.... Are showcases the best way to expose unsigned artists to the music industry?
     
     
    Nolias Gallery at Great Suffolk Street / 60 Great Suffolk Street SE1 0BL
     
   

13 to 17 July - this is today

private view 5.30 pm Thu 12 July and continues until Tue 17 July, 1 to 6 pm

An exhibition of contemporary drawings by sculptors. Featuring work by Meena Ayittey, Tim Shaw, Anna Ricciardi and Jessica Farnham.
     
     
    Nolias Gallery at Liverpool Road  /201 Liverpool Road N1 1LX
     
   

6 to 10 July -. A Glimpse of Korean Aesthetics and Sensibility

private view 6 pm Thu 5 July and the exhibition continues until Tue 10 July, 11 to 6 pm

An exhibition of artwork by Korean artists Keum-Ja Shin, Yang-Hee Jung and Young-Hee Kim.
     
   

13 to 17 July -. eye-denti-trend

private view 6 pm Thu 12 July and the exhibition continues until Tue 17 July, 11 to 6 pm

(trend) a manner of looking at a thing; estimation; opinion. An attentive look, close observation, or watch. The power of seeing; appreciative or discriminating visual perception.
     
 

21 to 27 July -. to take a-way (one)

private view 6 pm Fri 20 July and the exhibition continues from 21 to 27 July, 11 to 6 pm

A show exhibiting recent graduates from Central Saint Martins.

 

WORKSHOPS

 

Songwriting course

Are you interested in songwriting? Play and get feedback on your songs and learn about songwriting techniques and the music business. This course covers structural, harmonic, melodic, rhythmic and lyric aspects in all styles in a workshop focusing on students’ own material. Students must be able to play basic chords on keyboard or guitar.
 

Jazz harmony course

Do you like jazz, blues, funk, soul, latin-music etc and would you like to know more including being able to compose and improvise in those styles? This course will teach you about chord types, chord progressions, melody, scales and modes, and many other relevant aspects of harmony. You will need to have a basic knowledge of music theory and ability on an instrument including preferably some knowledge of keyboard or guitar.
 

These courses start in January 2007 and will run for 10 weeks at a cost of £100 each. Course tutor is Duncan Millar, a highly-experienced, Berklee-educated professional, with many major and independent record releases and a former MOBO nominee, currently also teaching at Morley College and City & Islington College.

 

 

More Background On NoliasGallery.com

NoliasGallery.com was the official website for Nolia’s Gallery, a small independent art space that operated in London during the mid-2000s. Although the site is no longer active, archived versions and references across the web provide insight into the gallery’s mission, exhibitions, and role within London’s contemporary art community. The gallery functioned primarily as a platform for emerging artists, especially students and recent graduates seeking affordable venues to display their work.

During its active years—primarily between 2005 and 2007—Nolia’s Gallery developed a reputation as a supportive “project space” that allowed artists to experiment with exhibition concepts, collaborate with peers, and gain experience organizing shows outside of their academic environments. Unlike large commercial galleries focused on high-profile artists and art sales, Nolia’s Gallery emphasized accessibility and creative exploration.

The website NoliasGallery.com served as the central information hub for the gallery’s programming, listing exhibitions, events, workshops, and venue rental opportunities. It also offered practical advice to artists interested in curating exhibitions and navigating the logistical challenges of presenting artwork publicly.

Although the gallery was relatively modest in scale, its presence within London’s thriving arts ecosystem—particularly in areas near Bankside and Southwark—allowed it to become part of a broader network of experimental art spaces that supported the city’s creative community.

Founder and Ownership

Nolia’s Gallery was founded and directed by Nolia Devlin, an artist who had relocated to London from Malaysia. Devlin approached the gallery as both a creative project and an educational initiative aimed at helping younger artists develop professional experience.

Rather than operating as a purely commercial gallery focused on art sales and representation, Devlin positioned the space as an “opportunity gallery.” Her goal was to provide emerging artists with practical exposure to the realities of the art world, including exhibition planning, installation design, promotion, and curatorial practice.

Devlin’s own artistic background influenced the gallery’s philosophy. She believed that artists should have the freedom to experiment and take risks without the financial pressure that often accompanies traditional gallery representation. By offering relatively affordable exhibition space and encouraging collaborative projects, she created an environment where artists could test ideas and develop their creative identities.

Her commitment to supporting young artists became the defining feature of the gallery.

Location and Proximity to London’s Cultural District

One of the most significant advantages of Nolia’s Gallery was its location in central London, close to some of the city’s most influential cultural institutions.

The gallery operated from several venues during its existence, including spaces on:

  • Great Suffolk Street in the SE1 district
  • Stamford Street in the South Bank area
  • Liverpool Road in Islington
  • Old Kent Road in South London

The Great Suffolk Street location was particularly important because it was located just a short walk from Tate Modern, one of the world’s leading contemporary art museums. Since its opening in 2000, Tate Modern had transformed the surrounding Bankside district into a major cultural destination.

The proximity to Tate Modern and other South Bank attractions meant that visitors exploring London’s art scene could easily encounter smaller independent galleries like Nolia’s Gallery.

Nearby cultural landmarks included:

  • Tate Modern
  • Shakespeare’s Globe Theatre
  • Southbank Centre
  • Borough Market
  • numerous independent galleries and studios

This location placed the gallery within a highly visible artistic corridor along the River Thames, where experimental art spaces often coexisted alongside major museums and performance venues.

Mission and Purpose

The primary mission of Nolia’s Gallery was to support emerging artists, particularly those graduating from London’s art schools.

London is home to several internationally recognized art institutions, including:

  • Goldsmiths, University of London
  • Central Saint Martins
  • Chelsea College of Arts
  • Camberwell College of Arts
  • Slade School of Fine Art

While these institutions produce thousands of talented artists every year, many graduates struggle to find places to exhibit their work after leaving school. Commercial galleries typically prioritize artists with established reputations or strong sales potential.

Nolia’s Gallery attempted to address this gap by offering affordable exhibition space where artists could organize their own shows.

The gallery encouraged artists to:

  • curate exhibitions themselves
  • collaborate with other creators
  • experiment with installation techniques
  • engage directly with audiences

This hands-on experience was particularly valuable for artists who were transitioning from academic environments into the professional art world.

Early History and Origins

The origins of Nolia’s Gallery can be traced back to an earlier experimental exhibition project called “Glamourhammer.”

This exhibition took place in 2001 at the Thomas a Becket venue on Old Kent Road, a historic South London location that had once hosted boxing matches and other events. The unusual setting inspired a creative concept that blended the venue’s boxing heritage with themes drawn from glam rock culture and London’s underground art scene.

The exhibition was organized by David Lock, a student in the MA Fine Art program at Goldsmiths College. The event featured work by fellow students and used elements of the boxing gym itself as part of the installation.

Punching bags, boxing rings, and gym equipment were incorporated into the exhibition, creating an immersive environment that blurred the boundary between sport, performance, and visual art.

The exhibition gained attention within London’s arts community and was even listed by Time Out, a widely respected cultural magazine known for documenting the city’s arts and entertainment scene.

Collectors and art patrons attended the event, and the success of the exhibition demonstrated the potential of using unconventional spaces as art venues.

This experience inspired Nolia Devlin to develop a more permanent project space that would support similar experimental exhibitions.

Development of the Gallery

Following the success of early experimental shows, Nolia Devlin formally established Nolia’s Gallery around 2005.

From that point forward, the gallery hosted frequent rotating exhibitions, often lasting only a few days or a week. This rapid turnover allowed many artists to exhibit their work throughout the year.

The exhibitions showcased a wide range of artistic media, including:

  • painting
  • sculpture
  • photography
  • video art
  • performance pieces
  • multimedia installations

The gallery often emphasized experimental and conceptual work, reflecting trends within contemporary art education.

Because many exhibitions were organized by the artists themselves, the gallery functioned as a collaborative environment where artists could share resources and ideas.

Exhibition Programming

During its active years, Nolia’s Gallery hosted a wide range of exhibitions and artistic events.

Examples included exhibitions exploring themes such as identity, migration, cross-cultural communication, and contemporary aesthetics.

Some exhibitions highlighted the work of international artists, reflecting London’s status as a global cultural center. For example, exhibitions featuring Korean artists or exploring cross-cultural student experiences demonstrated the gallery’s openness to global perspectives.

Other exhibitions were connected to broader cultural initiatives, such as photography competitions linked to Refugee Week, an annual UK event that raises awareness about refugee experiences and contributions to society.

By hosting these events, the gallery helped bring socially relevant themes into the contemporary art conversation.

Collaboration with Art Schools

A defining characteristic of Nolia’s Gallery was its close relationship with London’s art schools.

Many artists who exhibited at the gallery were students or recent graduates from institutions such as Central Saint Martins or Goldsmiths. These schools are internationally recognized for producing influential contemporary artists.

By offering exhibition space to these students, the gallery provided an important bridge between academic training and professional exposure.

For many artists, exhibiting at Nolia’s Gallery represented their first opportunity to present work in a public gallery setting.

This experience allowed them to develop essential professional skills, including:

  • preparing exhibition proposals
  • installing artwork
  • writing artist statements
  • interacting with visitors and collectors

Venue Hire and Flexible Exhibition Spaces

In addition to curating exhibitions, Nolia’s Gallery also operated as a venue rental platform.

Artists could rent gallery spaces for short-term exhibitions, typically lasting one week. These spaces were suitable for a wide range of artistic activities, including:

  • solo exhibitions
  • group shows
  • performance art
  • photography displays
  • installation projects
  • lectures or cultural events

Because the spaces were located in central London, they offered artists valuable exposure to audiences already exploring nearby cultural venues.

The flexibility of the gallery spaces made them especially attractive for experimental exhibitions that might not fit easily within more traditional galleries.

Workshops and Educational Programs

Beyond visual art exhibitions, Nolia’s Gallery also supported educational initiatives.

The gallery hosted creative workshops, including courses related to music and composition.

For example, songwriting workshops were designed to help participants develop musical ideas and gain feedback on their work. These workshops covered aspects of songwriting such as melody, harmony, rhythm, and lyrical structure.

Another course focused on jazz harmony, teaching participants about chord progressions, improvisation, and music theory.

These programs were taught by experienced musicians and educators, reflecting the gallery’s commitment to supporting artistic development across multiple disciplines.

Audience and Community

The audience for Nolia’s Gallery included a diverse mix of individuals involved in London’s creative community.

Typical visitors included:

  • art students
  • emerging artists
  • curators
  • collectors
  • academics
  • local residents
  • tourists exploring the Bankside area

Because exhibitions changed frequently, visitors often returned regularly to see new work.

The gallery also served as a networking hub where artists could meet collaborators, curators, and potential supporters.

Press and Media Coverage

Although Nolia’s Gallery was not a large commercial institution, it did receive recognition within London’s arts media.

Listings in cultural publications such as Time Out London helped draw attention to exhibitions and events held at the gallery.

These listings were significant because Time Out has long been one of London’s most widely read cultural guides. Being featured in its event listings helped smaller galleries reach wider audiences.

The gallery also benefited from word-of-mouth promotion within London’s art school networks.

Cultural and Social Impact

Independent galleries like Nolia’s Gallery play an essential role in the cultural ecosystem of major cities.

Large museums and commercial galleries often focus on established artists and high-value artworks, leaving limited space for experimental or emerging creators.

Artist-run or independently managed spaces fill this gap by providing platforms for innovation and experimentation.

Nolia’s Gallery exemplified this model by prioritizing:

  • emerging talent
  • collaborative exhibitions
  • interdisciplinary projects
  • affordable access to exhibition space

By doing so, it contributed to the vitality of London’s contemporary art scene.

The Role of the Website NoliasGallery.com

During the mid-2000s, small galleries increasingly relied on websites to communicate with audiences.

NoliasGallery.com served as the central online resource for information about the gallery’s activities.

The website included:

  • exhibition schedules
  • artist announcements
  • gallery rental details
  • workshop information
  • contact information

Because social media platforms were still developing at that time, websites like NoliasGallery.com were essential tools for promoting exhibitions and connecting with artists.

Archived versions of the site reveal a straightforward design focused primarily on practical information rather than elaborate visual presentation.

Legacy

Although Nolia’s Gallery appears to have operated for only a limited period, its influence reflects a broader movement within the art world toward artist-run spaces and independent exhibition platforms.

These initiatives have become increasingly important as the cost of operating galleries in major cities continues to rise.

By providing accessible exhibition opportunities and encouraging collaboration, Nolia’s Gallery helped support the early careers of numerous artists and contributed to the creative energy of London’s arts community.

Today, archived versions of NoliasGallery.com serve as a record of this small but meaningful chapter in London’s cultural history.

NoliasGallery.com