The current exhibition commenced in February 2017
1 Tower View & Control Tower
Jeannette Unite’s installation of mineral strata paintings were produced 200 years after the publishing of William Smith’s geological map of England and Wales. The paintings incorporate embedded text from Smith’s archives at Oxford University and include the very minerals that Smith described in his pioneering strata map. William STRATA Smith, is as important to Geology as Darwin is to Natural History.
This body of work was shown at Exeter University 2015 -2016 and Museum Ostwall, Dortmund, Germany.
These artworks follow Jeannette Unite artistic process of visiting mines, industrial sites and quarries from which she collects material from slimes dams and mine dumps that include sedimentary layers of chalk, sand, clay and coal and the platinum, gold mine dust, titanium copper particles and other metal oxides.
Unite has collected chalk from Dover and material from Wales, the ROyal FOrest of Dean, COrnwall, and various samples from the strata of England and Wales with the help of Owen Green from Oxford University Department of Earth Science. It was the dark arteries of coal veined throughout the world, and formed some 300 million years ago from ancient equatorial plants and trees, fuelled the industrial revolution that changed the way humans interact with Earth and nature.
While coal powered the Industrial Revolution, it too had a significant impact on the history of South Africa. The economic foundation for South Africa’s rich and contentious mining history was laid due to the proximity of the Witbank's coal reserves to the Witwatersrand gold deposits. This caused the emergence of South Africa's Mineral-Energy-Labour Complex.
Jeannette Unite’s interest in mining extends from her own family’s history and involvement in the industry. From studying engineering, working in the steel and metal industries, as well as part-owning a mine, Unite’s Grandparents and Great Grandparents had rich ties to the history of mining and industrial heritage in South Africa and abroad.
30 Tower View and Control Tower
Ed Burnand is a London born artist living and working in the city. Ed’s work is predominately Painting based but not exclusively, covering a wide range of subject matters. Sculpture, screen printing and photography also feature in his practice. Since graduating from Camberwell College of Art He has contributed to a number of group shows in London and The South of England including Gallery shows at The To and For Pop Up Gallery, Lingwood Samuel Gallery, Surrey and for ‘Miscellaneous Debris’ at The Century Gallery (London). More recently Ed has been exhibiting along side his partner Bella Vernon at The Other Art Fair in London and sells through a number of online Galleries including Saatchi Art, Artbridge and Art Republic.
Photo series C-Type
Photo series C-Type metallic photographs explore the nature of spray paint build up on a microscopic scale; then enlarged via high resolution scans to expose the innermost workings. The colours are bright and bold, rich in their layers/texture, taking on elemental properties.
My practice has developed over the years to establish deeply personal ways of making marks on canvas. The aim is to create proto-narratives, each open to their own interpretation, but all informed by a theme or set of boundaries. The common technical thread is a multi-stage process of experiment and refinement, application and removal that build back, middle and foreground enabling the integration of natural, mechanical and architectural features.
39 Kings Hill Ave and 34 Tower View
I am a conceptual sculpture, installation, music and occasional video artist, taking inspiration from past personal experiences in combination with art, culture and retro music.
A recurrent theme in my practice is a curious urge to find balance between the organized and the chaotic, using as an example, the melting effect to represent chaos and with straight lines, borders, frames and grids representing order.
I see my work as an effort to balance the more chaotic left side of my brain with the orderly right side, where the paintings are a snapshot of the process.
Artists who has influenced me range from painters to sculptors to installation artists; Anselm Kiefer, Claes Oldenburg, Gerhard Richter and Gabriel Orozco to mention a few.
4 Abbey Wood Rd
Lucy was born on the Isle of Wight and now lives in Hampshire. She has exhibited widely and her work is held in many private collections.
Lucy's paintings have recently evolved from traditional landscapes to a more abstracted style that alludes to a metaphor of scenery but that still draws on the surroundings that she loves in Hampshire, Cornwall and the Isle of Wight.
Lucy’s work belies its simplicity, challenging the viewer to reassess ideas of form and traditional relationships. The artist is wary of deconstructing images and would like the paintings to speak for themselves, evoking 'feelings and memories' whilst reflecting on the traditions of painting and modernism and the reputations of her illustrious forbears, notably Lanyon and Hitchens.
The spaces left between the paint strokes are as important as the marks themselves as they allow the viewer to engage with the work whilst always remembering that they are merely looking at a few brush marks on a canvas but that allow the viewer an emotional engagement.
42 Kings Hill Ave and Control Tower
Many people when they look at their holiday photographs are disappointed because the images fail to represent how they felt and what they saw at the time of the shot.
Coming as he does from an IT background, Clive is particularly fascinated by how a subject can be invigorated by the camera, rather than diminished and he tries to capture the essence of the location he is in, so that the photo shows the “soul,” of the place.
This exhibition is a culmination of several trips to both Iceland and Greenland, locations he adores and by the way, is happy to arrange group workshop to.
The photo’s below show that reaching the extreme landscapes that he so loves, is rather more than a walk in the park, but he believes it well worth the effort. Clive hopes that this exhibition will encourage people to appreciate these threatened landscapes and give them the respect and protection they deserve.
35 Kings Hill Ave & Control Tower
As an artist, George Antoni is primarily self taught. Although he studied art at West Ham College of Further Education, he also had an interest in drama and a three year course at E15 Acting School lead to a thirty year career in film, TV and theatre.
It was only when he left London and moved to Brighton that he took up painting again, initially inspired by the expansive skies and dramatic seascapes. Although the work is ever changing, the influence of coastal life is still evident in his current works.
George taps into his unconscious. He starts a painting with only a loose intention, taking the piece through numerous generations whilst drawing on multiple inspirations simultaneously. Much is left to chance as he plays with the balance of chaos and order. He wants the painting to end with the idea rather than start with it and the viewer is invited to bring their own interpretation to the finished piece.
6 Alexander Grove and Control Tower
Working from sketch book studies and direct observation Ann creates vibrantly coloured paintings and prints using stencil based printmaking processes. Subject matter includes ponds,gardens, aquariums, textiles and recent travels to India and the Far East.
Formerly based in Ruthin in North Wales, Ann has moved her studio to Otford, near Sevenoaks, in Kent. She is a member of the Royal Cambrian Academy and is represented in North Wales by Ffin y Parc Gallery in Llanwrst.
From 1995-1999 she studied at Yale College and Glyndwr University (The North Wales College of Art and Design) obtaining First Class Honours in Design. She specialized in Illustration through drawing and printmaking.
For two years Ann worked as Artist in Residence at Chester Zoo, making works based on the Aquarium, the Twilight Zone (bats) and the gardens. Residencies continue to form an important part of her practice along with commissioned work for corporate and private collections.
Her work is exhibited nationally and internationally in group and solo shows. The charity Paintings in Hospitals hold a number of works in their loan collection.
17 Kings Hill Ave, 30 Tower View & 34 Tower View
Making the sculptures has enabled me to give new value to natural things and has brought me closer to our creator. The process of making the sculptures has a meditative effect, ‘listening’ to the pieces of wood and experimenting to find which combination would create best harmony. A large variety of materials in different sizes and textures is necessary.
Over time, driftwood develops a velvet-like surface where the wood fibres have been bleached by the sun and salt, and lifted through frost and rain. The combination of the wood with other organic or found materials and the absolute minimum of change, leads to the formation of new ‘relationships’.
Harmony plays a big role in my work. The hardness of the stone – albeit in the softness of its shape, contrasts with the soft texture of the driftwood. Conversely, the rounded shapes of the pebbles contrast with the rugged or more textured parts of the wood. My training in textiles, art and design all come together to help choose the ‘right’ technique.
Each of the sculptures demands a fresh approach and I treat it as a challenge. Newly found materials often influence the choice, inspiring fresh combinations.Every pebble has to be special in shape, colour, texture and size, and has been collected by hand. It requires travelling to many different coastlines in Britain, ranging from Cornwall to the Highlands of Scotland in order to find these gems.
Movement plays an important part and I have been fascinated by the sculptures of Calder since my childhood. The interdependence of size, weight and distance creates wonderful tension and interesting dynamics. The slightest airflow can often make the sculpture swing and come alive. Due to this many sculptures have adjustable elements which you can change to suit your mood or the sculptures’ environment. Equally, Barbara Hepworth’s work has had a great impact on me with her use of curves, circles, openings and convex and concave shapes.
It is my mission to show the beauty and harmony of our wonderful natural world and its creator. By lifting the materials out of their usual contexts and combining them in unusual ways they take on a renewed vigour of expression. We have a chance to wake up and see the often surprisingly precious effects. We can remember the value of the natural world to us humans and hopefully act protectively towards nature in future.
17 Kings Hill Ave
I work intuitively on paper, canvas, board, and sometimes metal, to produce a mix of figurative and abstract imagery. One recent cache of work, inspired by the pattern of cracks in a flagstone, focused on the range of feelings conveyed by just a few lines. These cracks, when drawn, appeared variously as a landscape, a section of torso, or an embracing couple which, in turn, switched from representing trust, care and comfort to something more menacing.
Based in Brighton, though raised and educated in London, since retiring from academia I have been able to work almost full time as an artist. As a teenager I had the benefit of Saturday morning classes with Richard Robbins at Camberwell School of Art and latterly the good will and encouragement of Ron Cavedaschi, John Skinner and Jane Fordham.
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