Grand Opening Event
Artwork exhibited by Laura Tucker, slideshow of Tomasz Piotrowski's work & food served by the New Viceroy Restaurant
Saturday 3rd December 2016 1pm - 6pm with official opening by the Mayor and Mayoress of Weston-super-Mare, Councillor & Mrs Alan Peak.
The Chairman of North Somerset Council, Councillor John Crockford-Hawley attended and kindly also gave a speech
Tuesday 13th December 2016 - Tuesday 7th February
Preview Saturday 10th December 2-4pm
Sonia uses pastels, watercolour, her own handmade paper to make collage work and creates prints using various methods including screen printing, mono printing & lithography.
Her work has a natural, organic life to it. Life, inspiration, the process of making, teaching and talking about art; these are all seamless for Sonia. She allows a freedom to the carefully crafted pieces so that each has its own character and strength. The more you look at them, the more you see. You may have to stand a certain distance away for some of them to ‘come into focus’, and then like magic, a jumble of pastel marks becomes a flowing river; or a mass of coloured paper and threads reveals a nebulous galaxy, or a partridge surrounded by pears in a tree - which is beautifully and richly worked.
With economy of line irrespective of the medium used, faces have real expression ranging from comical to wistful to thoughtfully curious. A tiny figure on a shoreline can be seen to walk with determination and narrow focus; seemingly intent on reaching a destination other than where they are.
She also uses pattern and surface marks to great effect. Light shimmers off the ripples of the Goldfish Pool and the expertly rendered shapes, colours and layering of the fish show them to be swimming under the surface.
This exhibition aims to bring you a cross-section of her work over the years which we hope you will greatly enjoy.
Screenprint 45.2cm x 58.1cm (framed)
Silk threads 27.7cm x 29.7cm (framed)
Woodcut 42.3cm x 53cm (framed)
Lithograph 54.5cm x 48.1cm (framed)
Collage and paper pulp 46.7cm x 63.1cm (framed)
Detail of print 51.1cm x 40.4cm (framed)
Collage 64.1cm x 52.7cm (framed)
Monoscreen print 65.5cm x 46cm (framed)
Collage and paper pulp 43.9cm x 63.6cm (framed)
42cm x 35.8cm (framed)
Friday 10th February - Tuesday 28th February 2017
Preview Drinks Thursday 9th February 4-7pm
"When the Painting Gets a Chance to Speak"
Saturday 18th February 3-4pm
Guided tour by the artist of her exhibition
Bring your questions, enjoy a drink and join in the discussion
It is important to the artist for those who want to buy from exhibitions and begin their own small collection so as to have a daily conversation with original paintings which seem to 'speak their language' are able to do so. Prices for her work in this exhibition start from £120 and all are available for purchase.
Armloads of Spring, 2016
All of Ursula's works are about place, time, light; and that which lies always at the threshold of consciousness. Each painting is a glimpse of another reality always there, but often unnoticed. It is hoped that the viewer standing before one of her works and fully absorbing it has a sense of newness. Over the years Ursula has tried various ways of exploring these ideas: in landscape paintings, interiors, still life and hand-printed fabrics.
"When I look at my work, and that of other painters, it seems that what we do is an expression of who we are, how we experience the world, and the thoughts and feelings which sustain us. Every painting is a statement and a celebration. I hope that people looking at my paintings will feel a pull. That is also what I experience as I paint. First, the materials engage the eye and senses, then intuitive gestures form shapes or planes of colour. Then curiosity is engaged and decisions are made about what needs to have clearer expression. I often work on several paintings at once, giving time to go and come, to form relationships and allow a ‘conversation’ between the emerging works.”
- Ursula Newell-Walker
Colours in the Thaw, 2015
Taking Flight, 2016
Acrylic on canvas, 2015
Friday 3rd March - Tuesday 21st March 2017
Preview Drinks Thursday 2nd March 4-7pm
Raffle tickets to win a print of 'Alice Eight Years Old' signed by the artist will be available to buy during the Preview Drinks
Alice will be making a painting a day in the gallery on
Tuesday 7th, Thursday 9th, Friday 10th & Saturday 11th March
Alice Eight Years Old
I have always had an interest in colours and shapes. Encouraged by my art teacher, I went to Art College in Bucharest (Technician in Easel Painting) at sixteen and graduated in 2009. My interests range from Fine Art to Textiles to Interior Design and even Fashion Design and Photography. I found out that Weston College have a Foundation Course which covers quite a broad area of subjects and techniques including Fashion Design, so I moved to the UK to study their one year UAL Foundation Diploma in Art and Design. I enjoyed trying new techniques and the different aspects and challenges of the course. I have found in art a way to express and evolve; it is through art I am the person I am today and it will help me to grow as a fine artist.
Continually inspired by great artists like Pablo Picasso, Amedeo Modigliani and Henri Matisse, I enjoy creating abstract art using powerful colours, shapes and lines. I lose myself in a different world when I am painting, concentrating on the canvas so that everything else around me becomes a blur. Each painting is a unique setting. In studying one of my paintings, the viewer is transported into a story. Sometimes my initial thoughts about what a painting is going to look like are nothing like the final composition as I develop my ideas on the canvas. The best paintings are not made with a purpose, or expectation; either mine or anyone else’s expectation.
I find myself dreaming with my eyes open sometimes – taking inspiration from everything in life and using the language of art to express things which are difficult to put into words; or just better expressed through the action of painting for me. I paint when I feel and what I feel, and then it works. My art is personal to me and it can be difficult to talk about it; and in many ways the art should speak for itself to whoever is looking at it.
Art that is different.
- Alice Mania
2016 Mixed media on canvas 60×60 cm
2016 Mixed media/Gouache on canvas 35×55 cm
2016 Mixed media on canvas 60×60 cm
2015 Oil/Oil pastels on canvas 100×100 cm
2016 Mixed media/Acrylic on canvas 100x150cm
2017 Gouache/Mixed media on canvas 30×30 cm
2016 Oil on canvas 80×60 cm
2017 Acrylic on canvas 50×80 cm
2014 Acrylic on canvas 60×90 cm
2016 Acrylic/Mixed media on canvas 100×150 cm
2017 Acrylic on canvas 50×80 cm
2016 Gouache/Mixed media on canvas 80×60 cm
'Landscapes, Sea, Cats and the Girl from my Youth'
Friday 24th March - Tuesday 11th April 2017
Preview Drinks Thursday 23rd March 4-7pm
'Influences and Ways of Working'
A talk by the artist about her work
Saturday 1st April 2-4pm
'I went to Somerset College of Art at the age of 16. Fifty two years later I am still painting and drawing. My training and work as an Art Therapist for 35 years has kept me closely in touch with creativity and has influenced my expressive style.
In 1971 I completed a course of Art in Education at Dartington College of Arts. That experience has stayed with me and helped me develop my original way of working.
My subject matter is the world around me – trees, birds, the sea, landscape, cats and people. Somerset is a constant inspiration. I also like to let go and see what happens and then this is when a female face often emerges and is sometimes connected from the girl from my youth.
I use whatever media is suited to the subject I am depicting, and this includes oils, acrylics, pastels, watercolour.'
Describe your image.
Describe your imge.
Describe your image.
Thursday 13th April - Tuesday 2nd May 2017
Preview Drinks Saturday 15th April 4-7pm
Thursday 4th May - Tuesday 23rd May 2017
Preview Drinks Saturday 6th May 1-7pm
I can remember myself with a pencil drawing on a piece of paper at a very early age. I love it because it is my ‘antidepressant’. You can tell tales of the most tragic or the most beautiful images using very modest commodities.
Contrary to common belief, the painter doesn’t know exactly what he sets out to do, nor does he know how to do it. He simply hopes that he can react correctly to the dilemmas that the art brings about. The anticipation of the correct reaction gives birth to passion for painting.
That’s what painting is to me- the pleasure and the acknowledgement that you are in fact just a child; a continuous pursuit and a harsh resistance to obligatory adulthood. It is the possibility to preserve one additional nature; that of being an adult but retaining the right to enjoy life, even when life is not so pleasurable, simply by ‘opening windows…’
- Panayiotis Marlagoutsos
Thursday 25th May - Tuesday 13th June 2017
Preview Drinks Saturday 27th May 1-4pm
I started painting in 1991.
Paintings are a translation which can be interpreted by anyone in different ways.
Paintings have a beginning, middle and end.
Starting one can put you in a trying situation in that you can’t give up until it’s finished, which means dedicating time away from one’s usual business which can lead to other frustrations. Nevertheless, the experience is well worth it and I therefore I recommend anyone trying this pleasure.
A good painting on the wall can deflect your thoughts away from things that may be concerning you too much and put you into another space.
Light, elements, weather, travel, people, news, stories and friends have influenced my art.
Should you end up with a painting, I wish it a good home and hope it gives you pleasure well into the future, particularly when looking at it for its reflection of the combination of colour and light.
- Tim Warren
Jack has previously exhibited at the Royal Academy of Arts, the Institute of Contemporary Arts, Wells Art Contemporary, Bath Society of Artists, A2 Gallery (Wells), the Royal West of England Academy and Devizes Museum.
Thursday15th June - Tuesday 4th July 2017
Preview Drinks Thursday 15th June 5-8pm
"Over many years my artistic practice has developed into an intense engagement with the landscape; both man-made and natural.
I am fascinated with drawing from direct observation, seeking to respond creatively to each particular place and my sense of its past and present.
My drawings inform an experimental process in the studio, as I try to develop them into meaningful and expressive paintings through the exploration of materials, techniques and visual elements.
The possibilities are endless and compelling.
The challenge is always in balancing the observed with the imagined, the controlled with the accidental, the familiar with the unknown, and in maintaining the integrity of that process."
- Jack Hicks
Drawings from Jack's sketchbooks:
Thursday 6th July - Tuesday 25th July 2017
Drinks Event Saturday 8th July 4-7pm
Describe your image.
Describe your image.
Describe your image.
Describe your image.
Describe your image.
Describe your image.
Describe your image.
Describe your image.
Describe your image.
Thursday 3rd August - Tuesday 15th August 2017
Workshop on the Grand Pier Friday 4th August
Drinks Event Saturday 5th August from 11am with talk by Nicki about her work, 'Chasing the Light' at 2pm
Print (under cellophane)
Thurs 17th Aug - Tues 5th September 2017
Drinks Event Saturday 19th August 4 - 6pm
with a talk by Eammon about his work at 5pm
Eammon has lived in West Somerset most of his life; currently in Taunton with his family including three young children with mental disabilities. He has worked as a plasterer for 30 years but has always had an aptitude and enjoyment of art.
He was accepted to study Contemporary Art at Weston College and has just graduated with a BA degree. He will start a Masters and teaching degree there next year.
Eammon has recently exhibited in Taunton at Scrumpers and The Brewhouse, in Bristol at Centrespace Gallery, in Bath at 44AD and at various locations in Weston-super-Mare.
“Primarily a painter working with oils, I attempt to paint my culture; the people and places that have influenced and shaped my life form the basis for my work. Family, friends, familiar surroundings and personal objects all come together in bright, vibrant colour to help document who I am. Colour turns the sometime mundane, everyday existence into something beautiful." - Eammon Sully
Thursday 7th - Tuesday 26th September 2017
Drinks Event Friday 8th September 4pm - 8pm
Aleks with be painting live in the gallery on Saturday 16th September 10am - 4pm
"This exhibition brings together a collection of my dreams transferred onto canvas by brush and paint. I write about my dreams in my diary every morning and sketch them so I will remember them.
Visitors to the gallery will be able to see how colourful, fascinating and different dreams are. You can be in world full of fantasy, magic creatures and incredible places; and you probably are during every night’s sleep, but the magic trick is to remember those dreams in the morning and share through painting them what you saw with others. Some of the paintings are from my trips into deep meditation and Out Of Body Experience."
- Aleksander Nocny
Acrylic on canvas
Acrylic on canvas
Mixed media sculpture on wood case. The face was sculpted in modeling clay, a mould made and then cast. All the other parts are 'real' and everything is connected using wire & cables. Painted in acrylic, oil & texture paint. W 14.50" x H 18.00" D 3.50"
Sculpted using Milliput, Green Stuff, Modelling Clay with a Wooden base painted with Humbrol Bronze and Citadel Nihilakh Oxide. W 10.00" x H 12.00" D 5.00"
Thursday 28th September -
Tuesday 3rd October 2017
Drinks Event Thursday 28th September 6-8pm
Watercolour paintings by Stephen Chapman and acrylic paintings by Roger Ellicott; selected to be shown together by LT Gallery for this exhibition. The artists did not know each other previously, and although Roger has successfully exhibited in other galleries and has been part of the North Somerset Arts Week more than once, this is the first time Stephen is exhibiting his watercolours.
Roger creates wonderful spaces in his paintings which often have a poetic presence, or set the scene of a narrative; lying somewhere between the real and imaginary. For this show we have included a selection of his paintings which derive from landscapes or trees to correlate with Stephen's, but the subject matter of his paintings varies. Stephen's paintings have their own feel or mood which is more ethereal; sometimes moving into abstraction.
Thursday 5th - Tuesday 24th October 2017
Drinks Event Sunday 8th October 2-4pm with Artist's Talk at 3pm
"I trained at Bath Academy of Art and have lived and worked in North Wiltshire as a teacher and artist for about 40 years.
I have exhibited widely in the UK throughout this time and my work is in many private collections.
My working process is driven by discovery rather than plan. This often starts when I find, by chance, an object, place, image or situation which resonates in some as yet indefinable way. Typically I will draw in 2D and 3D, paint, write about, film, sound record, and any other exploratory means to find some reasons for the attraction and to make some objectives.
Here are some elements and qualities which either typically influence or are included in my art : colour, people, questions, structures, mystery, ambiguity, paradox, nostalgia, humour, absurdity, solitude, process, openness, excitement, disturbance, pathos.
The drive to make art derives from childhood. When young all experiences are first experiences and therefore have the deepest and most lasting effect. As one grows experiences are increasingly repeats.
My outcomes are most often paintings, which may result from developmental work in drawing, collage, composition and three dimensions. They tend to be scenarios for interpretation rather than descriptions to be understood.
I constantly remind myself that art is so serious and life is so short that making art must be fun. Naturally fun has a price - routine and the rigorous practice of drawing."
- Paul Deacon
with Photographic Portraits of the Artists by Rupert Barker
Thursday 26th October -
Tuesday 7th November 2017
Drinks Event Saturday 28th October 4-7 pm
Dan will be painting live in the gallery during the event and there will be a video showing Jo's working practice
Dan and Jo work independently in their own studios in Malmesbury, but they have exhibited together before and chose to do so again for this show at LT Gallery. They join a tradition of artists who combine modern techniques with cultural or vintage references. Their approach to their work is skilled, clever and often humorous. Both artists have an intuitive appreciation of the ways our attention can be drawn to an object by changing or enhancing it.
Dan specialises in airbrushing, pinstriping and working with enamels. He will usually find, buy or be given a pre-existing (often manufactured) object such as a saw, LP, old metal sign or car/bike/trailer to work with. Jo might start from scratch for her tile work to realise an idea, or might equally be inspired by a found, bought or acquired object. Music and album cover art have provided source material for her most recent work.
Also in this exhibition are photographic portraits of the artists by Rupert Barker. They are part of his self-set 'Weekly Portrait' project, which is a beautiful collection of images of people he knows. Rupert studied fine art before specialising in photography and has his own business also in Malmesbury.
Thursday 9th - Tuesday 28th November 2017
Preview Thursday 9th November 7-9 pm
There will be a special late night opening on Carnival Night, Friday 10th November 6-10 pm
Ros will give a demonstration in the gallery of how she works on Saturday 11th November 2-4 pm
and an informal talk about her work on Saturday 18th November 2:30-3:30 pm
"Making art from discarded stuff, giving it a new and poetic function alongside paint and drawing materials is an immense pleasure, an adventure. Working with collage is like putting a disruptor in the mix. If I have an idea for a painting, collage can lead me on a merry dance before I get the painting resolved. It will provide accidental associations, colours, texture and so on, and will also challenge me to find a resolution to the visual problems I have generated which will lead to an unanticipated outcome. I like the way collage can inject energy, bite, humour and instability to both process and result."
- Ros Cuthbert
Videos from Demonstration by Ros on Saturday 11 November
Videos from Informal Talk by Ros on Saturday 18 November
Friday 1st - Tuesday 19th December 2017
Private View Thursday 30th November 7-9 pm
'The Wilder Shores of Watercolours'
Tuesday 5th Dec 8-9:30pm (arrive from 7:30pm)
A talk by David about his work and influences to include The Chicago Hairy Who and English Surrealism. The talk will take place in the Learning Room of Weston-super-Mare Museum. Tickets are £5 each and are available on the door or please contact us to purchase in advance.
"The paintings in this exhibition come from two periods in my career as an artist. The recent watercolours are from a series inspired by a visit to Coney Island, Brooklyn, New York. I saw this fun fair and seaside resort in the winter when it was deserted and snow covered which lent it a mysterious and magical quality. The empty rides and carousels became, in my imagination, scaffolding into which I could present figures from recent history and ancient myth. Coney Island became a site for lucid dreaming.
The older work from the late 80s and early 90s was not inspired by a particular place but are teeming with household vessels – cups, jugs, and teapots. Many are whimsical or play with the erotic suggestiveness of jugs, vases and kitchens.
Some paintings do refer to specific places, such as Lady Hamilton’s Column which shows a transformed Trafalgar Square. The Polish Bus Shelter was based on a collage that I made during the Polish Solidarity campaign of the 1980s. At that time one of my students, who was Polish, had mixed feelings about what was going on and I think I absorbed some of that ambivalence and expressed it in the work.
Ambiguity and openness to interpretation is common to both sets of work. I aim to avoid certainty and definite messages. The paintings are decorative souvenirs formed from the muddle of everyday life."
- David Cuthbert
Videos of David's Talk, 'The Wilder Shores of Watercolours' on 5 December 2017 at Weston Museum
David’s work is made by bringing together images and ideas from many different sources. It could be said that the resulting paintings form matrices of association. The paintings are also celebrations of the physical possibilities of technique and manual dexterity. Sometimes the starting point for a piece will be a collage from which a painting may evolve. Sometimes a sequence of drawings will develop, each leading to the next, the forms morphing and shifting: a drawing from a drawing from a drawing. His most recent painting, ‘Second Temptation of St Anthony at Coney Island’, went through a tremendous process including digital collage using Photoshop. The pink figure comes from a poster for a French film about the Foreign Legion. There is a wooden boy riding a bicycle which he found in the Brooklyn Museum. The interior space of the painting also derives from a massive room in the Brooklyn Museum which he has interwoven with elements from Coney Island. The section in the middle of the painting including the soldier and the fireworks comes from a paper collage called ‘The Assault’ made in 1983. The green and violet stripes result from consecutive transformations of a photograph of a nude model striped with the light from a venetian blind. The model is no longer discernible in David’s painting but the stripes were subtly altered in tone and colour using Photoshop. The source of the image of St Anthony which appears at the top of the painting was a Mexican engraving. David has transformed the grey net of the original engraving around St Anthony into gold.
The works in this show date from two periods: 1988-92 and 2013-17. They sit well together but there are marked differences to be seen. In the late eighties and early nineties, he was rather obsessed with all sorts of ordinary, everyday vessels: cups, pots, jugs, teapots. They were partly fun; you could do things with them. And they have strong erotic possibilities, for example La Dame aux Cruches, is a painting that could be seen as an inversion of Picasso’s anthropomorphic ‘Still Life with Pitcher and Apples’ (c.1920). In Picasso’s painting there is a curvaceous jug of austere colour with a saucer and a couple of apples on top of it which immediately looks like a female torso. David chose to title his painting in French as a nod to Picasso’s work. Another earlier work with a link to Picasso, which has not been exhibited before since David painted it in 1992, is ‘The Cubist’. A friend had given David copious collage material with which he was working at the time. He folded one piece so that the image of a horse’s head which was on the back came to the front. David decided to use that in the painting.
‘Nouvelle Cuisine’ was painted in 1990 but it comes from a painting David made in 1971 as a student which was shown in the Mall Galleries in 1972. It is the painting which has the longest trail in the history of David’s art. It evolved from a long series of drawings, the first of which was done from a photograph that his girlfriend (now wife) Ros sent to him. It depicted a little plastic nurse’s outfit, which she found in a comic, with a metal punctured dome used for flower arranging. From this unlikely origin a series of about ninety drawings were made, each one morphed from the previous one in a kind of graphic evolution. When the pots became the focus of his work he thought of these and went back to the drawings and used some of the imagery afresh. ‘Nouvelle Cuisine’ has two intersecting s-shapes in the bottom half, a phallic shape in the top left and a shield-like shape in the top right which derive from that early series of drawings. You could call the painting symbolic erotic.
The title for ‘Agony in the Kitchen’ is perhaps a slightly flippant reference to a painting by Arshile Gorky, an artist who has been a very big influence on David since his student days. What interested David about Gorky’s work is how his organic imagery played with ambiguity. There was some serious analysis of Gorky’s work in the 1980s when previously overlooked photographs of the interior of his house were looked at afresh by scholars who noticed how much they could be compared to his paintings. It became apparent that a lot of his paintings which were previously seen as erotic, esoteric fairy stories, he had made from abstractions of his front room. David found this liberating and humorous when he read about it and bolstered his analogous approach of refiguring domestic, everyday objects and interiors.
David and his wife Ros spent some months in Italy where he painted ‘Tuscan Fantasia’ in Fiesole and ‘Stage Set, San Gimagnano’. The composition of ‘Tuscan Fantasia’ echoes the church architecture of the area, also rows of cypresses are a common sight. The little Tuscan flag he saw at a festival. The picture references Roman Catholic iconography such as the Sacred Heart of Jesus, the little cherub, and the lilies David saw in the convent where they were staying. Another stay was at a monastery in St Gimagnano. Other guests there included members of the cast of Madam Butterfly, the stage set for which is depicted in David’s painting ‘Stage Set, San Gimagnano’ in front of the church. Towers behind rise into the sky like a Medieval Manhattan.
‘Counting House’ was made about the same sort of time and developed from a series of precise pencil drawings he was working on. He drew it up with similar precision and turned it into a painting. It is a combination of architectural elements and geometric pattern, and it is different from his other paintings in that it has no figures or jugs; it is a grouping of interior spaces. The patterns are rich, medieval-looking; possibly stores of wealth, and the title references the nursery rhyme, ‘Sing a Song of Sixpence’.
‘Limp White Bread’ is a motif about our industrial lives, with pylons in the background and the soft barely edible rubbish occupying the foreground is being cut with a beautifully engineered knife.
The lino cut ‘On the Shelf’ relates to three paintings of more or less the same image, which came from a nudie magazine figure superimposed into a kitchen-like environment complete with teapots and other vessels. One of the three, measuring around 70 x 90 cm, has since been sold. David likes playing with forms and sees the curious shape at the top right as a cross between the sun, a frying pan, a clock and a keyhole. There is a famous and notorious book; one of Picasso’s favourites, called ‘The Story of the Eye’ by Georges Bataille. Aside from the erotic thread of the book there are very strong recurring visual images: eggs, eyes, dishes – they reappear in different forms. You can see the relationship between them, but they are interestingly changed. This happens in two ways: through psychological association (something reminds you of something or makes you think of something); and/or producing an image which does become transformed into something else, or you actually see that happening as you look at it. This malleability appealed to Picasso as it does to David, although he doesn’t set out to consciously achieve particular associations in his work; it’s just what occurs and what he chooses to leave as he works. The buttock and thigh of the figure in ‘On the Shelf’ could also be a keyhole or phallic shape on the right-hand side. It wasn’t until looking at ‘On the Shelf’ hanging in his show at LT Gallery that David realised that the top of a teapot with its spout could also be read as an eye.
‘Green Tea’ is just a little composition with fairly recognisable objects: a large tea pot and small cups, a purple pot with blue squiggles which is based on a pot that one of David’s students made.
‘Lady Hamilton’s Column’ is a riff on Nelson’s Column with a transformed Trafalgar Square where teapots replace lions and jugs replace buses and the National Gallery is a heap of broken Formica. Lady Hamilton is standing shamelessly on one leg with a ribbon spiralling around it as a kind of celebration of feminine defiance.
‘Lamentation #57’ and ‘Lamentation #60’ are from a series derived from a drawing by Rembrandt, ‘Lamentation at the Foot of the Cross’, c. 1634-35. David spent about two years on the series using different media and combinations of media: pencil drawings, pen and ink, chalk, watercolours, acrylic and oil. The two in this exhibition are hung adjacent to three other paintings, which by coincidence all have Eastern European reference. ‘Kolo’ is Czech for bicycle. David lifted the wheel image from a pile of bicycles in a photograph by Czech photographer Miroslav Tichý. In the background there is a structure and a figure (just about visible on the right-hand side) derived from a Francesca Woodman photograph. The very limited colour in the work as a whole is loosely based on Tichý’s ‘palette’. His methods were very homemade and artistically very primitive. He made his own camera and enlarger all held together with tape. Many of his photographs were not fixed properly so they are stained with strange chemical colours, but are also quite beautiful.
‘Kolo’ was accepted and hung in the Royal West of England Academy ‘Drawn’ exhibition a couple of years ago.
The title for his work ‘Chemical Change’ is taken from the song ‘Rejoyce’ by Jefferson Airplane and is pertinent to the change David’s artistic process was going through when moving on from the Lamentation series, and also to the chemical changes which occur in developing photographs. Referencing the photographs helped to shake off the series and, although he was still using a similar pictorial space for the subsequent works. The black lines in ‘Kolo’ come from the Lamentations series. It is therefore interesting that the figure in the photograph he chose to reference by Francesca Woodman is a woman in a cage.
Hung between these two works is ‘Polish Bus Shelter’. At the time of the Solidarity campaign David had a Polish student who was able to tell him something about the tensions in Poland between the Communist authorities, the unofficial trade unions and the Catholic Church. David asked her why people reverted to the Catholic Church and she said that was the only place where they could hear the truth. Church-goers were able to exchange information among themselves. In David’s work, the bus shelter is a crappy piece of corrugated metal, juxtaposed with the vaulting of the Cathedral Częstochowa which he has turned upside down. The whole painting is a rather dubious icon of the period with a somewhat ghostly female head at the top and back of the picture and an allusion to Polish piety towards the ‘Mother of God’.
‘Hostages to Fortune’ is a work which has the complexity of his more recent Coney Island pictures, even though it was made much earlier. There is an aspect of Hypnagogia to it; from patterns and images which form and change behind closed eyelids prior to sleep. David has watched images in dense layers continually disappearing and reappearing and been fascinated by this phenomenon since childhood. At the time he was working on this image, he was looking at religious and political propaganda. Nationalism and national costumes, religion and flowing robes, communists and muscle bound workers are clichés that carry a lot of emotion. Traditional Scottish dress can easily be parodied, but he hasn’t done that with the Scotsman in ‘Hostages to Fortune’. He has split the figure into two; one with a gun on the right and the other in front of a group of figures who derive from a Mormon painting of the disciples of Christ. This second figure is the hostage and exists in the painting symbiotically as a shadow and shrouded presence. It is unknowable. It’s wrapped up but underneath it’s non-existent. So, the figure with the gun is threatening something that doesn’t actually exist. This is the only painting from that time in which David wrestles with a kind of religious theme. He says, ‘If I had produced it [‘Hostages to Fortune’] more recently, I might have made a connection with the American bible in one hand and a gun in the other...I don’t think that was what was in my mind then’.
‘Cerne Abbas Giant’ is a more simple painting, bringing together different elements with the well-known hill figure and one of David’s teapots.
‘Reading Allowed’ just happened into existence during a life drawing session and the title is a double entendre with reading aloud. It is not finished in the expected sense, but purposefully left to show initial bare drawing. The male figure with a pencil behind his ear seems either not interested or is just leaving the nude figure. It could be David himself, or the visual analogy of his decision to leave the work as it is?! He went on to make the painting ‘Quarter Past Four’ which is hanging next to it. Ros was David’s model for ‘Quarter Past Four’, having body-painted her with teapots and jugs first, as you see in the painting. The green teapot has a jaunty, sexual connotation and the same fish-shaped clock which is in the lino cut also appears. Although the view out of the window is fantastical, he would concede that it is very, very loosely based on Crook Peak.
There is ambiguity in ‘Boots Rap’ due to the crazy amalgam of David’s pictorial furniture coming together. In front of the heel there is a kind of candy twist and immediately behind is an arch and to the left of the candy twist is the hint of an arch but made insubstantial. There are two shoes, one small one more or less complete but the big one combines with an arch, a spoon and a strap with a buckle. The flying things are a reference to the surrealist novel ‘Les Chants de Maldoror’ (which was immediately banned when it was first published in France in 1871) by Comte de Lautréamont (the pseudonym of the Uruguayan-born French writer Isidore-Lucien Ducasse). André Breton insisted that new members to the surrealist movement read passages from it aloud in the café where they met. Isidore Ducasse was a teenager when he wrote it in Paris in 1868-9. His only other known writing is ‘Les Poésies’ which presents the reader with the complete contradiction to the blasphemy and black humour of Maldoror. The vaguely phallic flying things in the sky in ‘Boots Rap’ are a reference to the winged flying octopi in Chant 2. The teapot is almost unrecognisable – it looks more like a flower with a heart, perhaps the Sacred Heart of Jesus, at the centre.
‘The Brew’ relates to ‘Boots Rap’ and is very similar to the top section of ‘Boots Rap’ with the teapot, arch and flaming heart of tea drinkers.
Following on from this show, David is talking of a trip to Austria in order to make work based on its many wayside shrines.
Thursday 11 - Tuesday 30 January 2018
Drinks Event Sunday 14 January 1-4pm
Jamie Chapman lives in Weston-super-Mare and graduated with a BA from Weston College in the summer of 2017 following a two-year Foundation Diploma. He was awarded Creative Arts Higher Education Student of the Year 2017. He has an artistic soul; naturally finding beauty in the urban environment of Peckham, South London where he grew up. Camberwell College was at the end of his road and gave him a dream of studying art, which took a couple of decades to become a reality. In the meantime, employment on building sites involved practical work with metal, fasteners, plaster etc. Hospital ducting for instance needed to be clean and dust-free for its functional purpose, but new structures like that don’t have the same potential which Jamie sees in ugly, decayed, dirty, rusted objects and buildings. Things which are discarded or overlooked by most people; things which are part of, but get lost in, urban environments have meaning for Jamie. He is interested in how to give them a window, an audience, a different context; to somehow allow them to be seen as things of beauty in their own right.
He started using materials in his artwork which were waste or ready to be recycled, and materials which could rust or otherwise change their appearance and form in a chemical way. He found rusted incinerator dustbins down an alley at the back of someone’s house they had thrown away. He felt they needed to be given a different context as part of his artwork and had the idea of entering a finished piece to the Royal Academy Summer Show. It was accepted and got through the first and second round of the selection process. His work has also been exhibited through the Longford Trust in Church House, Westminster.
He has experimented with soaking nails in different solutions like salt water, lemon juice and coca cola. Salt water produced a warm autumnal colour which he chose to work with further. He uses whatever scale seems appropriate and has no apprehensions about making larger work. He has an intuitive and confident way of working with materials, allowing them to retain their natural appearance and properties, often intervening just enough to push them or combine them or change them or form them in ways which result as art. It is an interactive process in which he observes and learns from what is happening as he works. Huge canvases covered in white plaster combined with nails rusting into its water content create uniquely beautiful and poetic works which approach imagery but remain being the raw materials which make them up. Rusting metal cubes piled on top of each other are open to interpretation. They could be a representation of city tower blocks but there is no literal meaning. His experimental approach has led him to make prints from the rust on metal plates and from dead leaves, to stitch bark onto paper and to make films. Ideas run parallel with experimentation and sometimes cross over in his work. These can be new ideas for minimalist work or more subject or pictorially based.
Thursday 1 - Tuesday 20 February 2018
Drinks Event Sunday 4 February 4-7 pm
‘Soul Reflections’ presents a selection of works by Norwegian artist, Anne Helene Ytreoy.
In 1973, aged 18, Anne Helene left her hometown of Bergen for warmer climes, spending several years sailing the Mediterranean and Ionian seas before settling down to a new life in England.
Emigrating from Norway thwarted Anne Helene’s intentions to enrol at The Bergen College of Fine Art. Another 30 years would pass, consumed by travel, marriage and raising four children, before she fulfilled her artistic ambitions. After completing a two-year Foundation course in Art and Design at Weston College, followed by a three-year course in Fine Art, Anne Helene graduated with a degree in Fine Art in 2005.
After experimenting with different mediums and techniques, and a series of local exhibitions and bespoke commissions, today, Anne Helene’s art shuns preconceived subject matter or destinations. The content of each piece evolves only as the canvas takes shape. Driven by spontaneous emotional responses to the moment, Anne Helene’s work presents highly personal, sometimes uplifting, sometimes troubling, but always true reflections of her innermost soul. In more perhaps, than just a passing nod to her Viking heritage, every blank canvas beckons a therapeutic journey of exploration, destination unknown, until her emotions ar