1 and 11 Tower View
I’m exploring the idea of journeying through the landscape using traditional painting methods alongside working from video and photographs. I want to express my sense of freedom about my frequent trips to West Cornwall from my studio on an industrial estate in London.
I am interested in the interaction between the moving image and my own recorded personal image using mark making as the vehicle. The importance of the authenticity of each brush stroke or line helps to take the viewer with me on a journey in mapping the internal landscape. The exploration and play with different media shows a continuing element of search.
I have just completed a year long mentoring scheme at Newlyn School of Art where I have pushed my practice beyond my usual boundaries.
I also work from the figure using charcoal and inks, as well as on my iPad to create images capturing energy and immediacy.
4 Abbey Wood Road
As far as back as i can remember i either painted, drew or played with colour and mixed media. Most of my subjects were on our farm in Sweden; the landscape, farm buildings and our animals.
I stopped painting for a while when I was pursuing a career in Hospitality and got to travel and work in Europe, Caribbean and USA.
The past 12 years I have been settled in Lewes, East Sussex, UK, and now enjoy a rich surrounding of the beautiful Sussex Downs landscape, coastline and our vibrant market town, which gives me daily inspiration. I also visit my home country Sweden regularly, where i draw inspiration from the mountains, forests and snowy landscape in the north.
I'm a figurative painter and frequently come back to my favourite subjects of people and animals going about their business, or landscapes in different seasons.
I like to experiment and take my subjects semi-abstract, and play with colour, shape and different mark making. As well as traditional brushes and palette knife, I often use simple tools at hand such as a wooden stick, part of plants or my bare hands.
11 Tower View
Studied Fashion and Textiles at Nottingham College of Art, Followed by Post Graduate Theatre Design.
The work on show is about incidents and experiences prompted by travel.
People like to know the thought process that creates a story.
The mind is a strange place, one thing leads to another, the two may not be obviously connected at first, but a third idea joins them up. It is a patchwork of all those different thoughts that hopefully build into an interesting whole.
In a painting I often relive an experience, and like all the best memories it gets improved, exaggerated, embroidered. Some things are accentuated, others take a back seat. Most people firstly react to colour, it brings them in and delights, but colour is not only personal it is prone to fashion. Energy is, as any painter will tell you, is also very important, keeping the work fresh and lively.
For me painting comes in bursts. Some days it just flows, other days it is slow and frusrtrating. I spend hours and achieve nothing, sometimes it is even worse as the work goes backwards. But on the rare days that it works, there is no better feeling. Then you must turn it to the wall and not fiddle with it, but I usually do.
17 Kings Hill Ave and Control Tower
This body of work entitled the Origins series flips the idea of destruction in favour of creation. My interest in space was transformed by trips to rural France and Northern California - the unpolluted sky offering the naked eye a glimpse of the Milky Way. Further research was directed to the cosmic imagery evidenced by the Hubble Telescope, the myriad densities of dust and gas, offering a diaphanous spectrum of colours, gestures and marks courtesy of this orbiting voyeur. With reference to Daniel Altschuler’s statement,‘Look at your hand. It is made of atoms. These atoms did not always exist; they were produced inside stars’, the paintings explore the notion of cosmic atoms as building blocks for our very existence, the evocation of forces and spaces larger than the individual, of the enveloping vastness that dwarfs us, our origins rendered through atoms of oil paint and medium, thereby allowing me to reengage with the notion of the sublime.
With a nod to post-war Abstract Expressionism and its European counterpart Tachisme, the paintings start on the floor with loose applications of thinned medium applied with plant sprayers to commence the journey. Directly copying an image would disturb the intuitive connections with the medium, therefore new celestial images reveal themselves in the painting process. To quote Hughie O'Donoghue, painting is about 'taking risks with the picture in an effort to achieve candour and authenticity' The paintings can often by backed into a corner- too much meddling can kill a work, too little can leave it unresolved. Obliterating a painting is often a key part of the process to open up new destinations. The quest for pictorial equilibrium ensues with smaller brushes to tune the image into place, like tuning into a radio station from the background noise of radio waves which were themselves created from the Big Bang. The initial noise of paint transformed during the symbiotic process between artist and canvas as the stars in denser drops of pigment vie for my attention, echoing the processes found in star formation - matter fuses, pigments coalesce, the density glows.
30 Tower View
Karl best describes himself as a designer maker. His workshop is situated in the heart of the South Downs National Park and within view of his home town of Lewes.
He draws his inspiration from all of the natural elements he can see and feel around him whether from his travels or locally from his beloved Sussex Downs.
All Karl’s work is crafted by hand making each unique piece. Karl enjoys the process of collaboration with clients to create individual heirloom pieces.
30 Tower View
Having discovered the world of the chainsaw artist in 2011, I decided to put my hand to the art myself, producing my very first piece, carved initials for my sister's wedding.
Encouraged by my success, I developed my ideas and produced a range of simple carvings, including mushrooms, small benches and chairs.As my confidence and ability improved, I attempted more intricate designs, such as bears and other small animals.
Since these early days, I have extended my repertoire of designs, and have exhibited my carvings in a range of settings, from small local fairs, to larger art exhibitions. In 2012, I had a selection of pieces displayed as part of the Arundel Gallery Trail. These sculptures included a 7 foot high mushroom carved from solid oak and cherry. Following on from this exhibition, I was commissioned to create a full two-piece suite of sofas and coffee table.
2013 brought new ideas and concepts, and in my enthusiasm for personal development, I started to challenge myself with more technical and intricate designs. These involved a new range of sculptures based around the human form. Detail, I found, was key in the observation and carving of proportions, especially in facial expressions, which up till this point, I had limited to my bear sculptures.
During 2014, I had the opportunity to develop this skill, when I was commissioned to create a life-sized World War One soldier, for a four-year-long placement in Rustington town centre. This project was designed to commemorate the 100th Anniversary of the start of the First World War. In addition to the soldier, I also felt it important to remember the sacrifice of the brave animals who served alongside their human counterparts. For this reason, I decided to carve a horses head, to stand next to the soldier.
“In real life a person can really only go down one path but the imagination can venture down all possible paths.
A particular area of the South Downs in Sussex inspires Deborah’s paintings which relate to her walks and reflect her pattern of thinking.
The reference to maps help her to ‘assemble’ a landscape but in a way which does not exclude the immediacy of perceived moments. When she thinks of a walk she has made, she also locates it in her mind on a map.
The latest series of paintings have been inspired by Jorge Luis Borges’s book “Labyrinths”. In the story “The Garden of Forking Paths”, an imaginary maze serves the purpose of giving the reader a perspective on real life. The text gives the reader a fresh way of looking at life by showing that sometimes in life paths cross one another.
Therefore, a person may take one path and end at the same place another path would have ended. The imaginary maze represents the numerous paths that one can travel and all of the possible outcomes of these paths.
The story also offers many viewpoints all at the same time.
Deborah sees maps, paths and symbols as a metaphor for her journey in life and colour is used in an expressive way to emphasise life as a celebration.
39 Kings Hill Ave
Whether I am painting landscapes or from life it is the essence of the subject that I seek to capture.
Living on the edge of the South Downs, I am constantly inspired by the natural beauty that surrounds me; its atmosphere and most importantly the light.
My work documents my surroundings and the seasons. Winter light through trees, the sky before snow, and the seed heads of wild flowers.
The process of painting feels very spiritual to me and has become a source of great pleasure.
I am fascinated by the work of painters past and present including Gustav Klimt, Franz Marc, Anne Blockley, Cecil Rice and Brian Smith.
Art history is fascinating to me as it seems artists tend to lead such interesting and un-conventional lives
39 Kings Hill Avenue and Control Tower
I grew up in North London in the postwar years, when colour was muted and science was riding high. I was good at drawing at school but also at lots of other subjects, and following parental advice instead of going to art school I became a research scientist. I’d like to say it was planned, but in truth I just drifted. I did, however, paint in my spare time and over the years I taught myself the basics. My cv includes: one first prize in the Brook Bond primary school competition for a painting of “teatime”, one painting on Adrian Hill’s Sketch Club on BBC tv and one painting in the Woman’s Hour/Radio Times “Summertime” exhibition at the Tate!
My current landscapes are based on the world around me, although they don’t always contain much realistic imagery. Not entirely abstract but with a lot of the detail replaced by “shorthand” symbols: for example, a generic leaf shape to represent lots of different leaves, a vertical line for a tree, a scratch for a twig. I sometimes use collaged paper to provide texture that might be a stand-in for water, or some other substance. I find myself wondering about the order behind the complexity of nature, which may explain why straight lines and patterns sometimes appear in my work. But above all though I revel in paint, charcoal, pen and pencil and what brushes, sticks, fingers and other implements can do with it.
1 Tower View and Control Tower
Brigitte Evill is a British-born sculptor, working in various metals – steel, bronze – and other materials. She works from her art studio outside Rye in East Sussex, England.
She was a Creative Director at various international advertising and design agencies in London, Paris and Hong Kong, where she won awards for her creative work for international clients such as IBM.
In 2000, she made a major career switch so that she could concentrate her creative energies on works in metal–initially making jewellery in silver and gold and then creating large scale sculptures in steel and bronze.
In 2006, she won the Victoria & Albert Museum's Inspired by…sculpture prize for her piece, Ascent.
Brigitte studied graphic design at Canterbury and Birmingham and sculpture at Morley College
"I like showing my work because, in the end, it's about sharing ideas and feelings with other people. What they make of the work is down to them and I can't control that but I can suggest and point. In the end, I think that's what art does.” Brigitte Evill.
1, 11 and 30 Tower View
Sculptor Dick Budden is also a leading TV propmaker who has worked on everything from Absolutely Fabulous to Basil Brush.
"I'm just an old filmie," says Budden from the kitchen of his Berkshire home. "I have always made things on the side for myself but never did much of it - I didn't have time. But now people seem to have developed an appetite for my work."
Born in Jersey in 1940, Budden trained at Bournemouth Art College, moving to London in the early 60s to a dingy basement flat on the Uxbridge Road and a job making polystyrene props for the BBC.
"This was right at the beginning of colour TV," says Budden, "when the cameras were too big to go outside. We made anything they needed - Greek temples, cliffs, caves and houses. The whole thing was cheap and cheerful and we were even cheaper."
Only when Budden and his wife Mary moved near to Maidenhead in the 70s did he rent studio space to create his own pieces: wooden dancers for his garden, abstract Moore-like bronzes and, of course, his trademark oversized fruit, first for the Henley Festival and later for private clients including Alan Titchmarsh, who recently snapped up one of Budden's pears.
What differentiates one of his props from a work of art? "There's no difference," says Budden. "It is all down to the art mob who want things boxed and labelled. I just make stuff. It's all I've ever done."
And, at 67, he is still at it. Recent film jobs includes Tim Burton's Sleepy Hollow, The Phantom of the Opera and Sport Relief.But does Budden yearn to be a household name? He replies: "It would be great to hear people say: 'Let's meet by the pear.' But I don't believe you can engineer these things. I have always waited for them to come to me."
I live in Whitstable In Kent by the sea.
I have three children and by day im a stay at home dad and in the evening I create sculptural archetypes of birds out of paper.
Why Birds? There's nothing, I feel, which is freer than flight! Its something that mankind has only grasped within the last 150 years, by inventing a machine! Birds are truly masters.
Their elegance in the air has been a fascination for mankind for countless centuries. but the most destructive thing mankind can do is capture exsotic birdsand place them in a cage.
Art has been an influence since I was young, making model kits, painting and drawing was all I wanted to do, it gave me skills which would be beneficial in my adult life; for example problem solving skills.
In my adult life I trained as an Architect, but after four years in I wanted to do something for myself and as my wife was on a better career than I was I stayed at home raising the kids!
This inspired me and opened my eyes to the forgotten world of childhood, the challenges, the tantrums, Oh the tantrums! But time, time to see where and what I can do with children and to have an interest in something which is child friendly.
As I live on the north coast of Kent there is an abundance of wildlife from Black Headed Gulls and Shell Ducks to Rooks, Crows, Kites & Kestrels. I look at how they move how they interact with their surroundings I gather as much information about the particular bird that im going to create.
I am not going to intentionally make an exact copy just basing it upon its archetype, what it does in nature. ie an owl is characteristically a night hunter whose speed and silence is crucial
35 Kings Hill Ave
I use a range of traditional and contemporary photographic and post-production techniques to enhance the images including: Filters, Bracketing, HDR, Lightroom and Photoshop.
As well as an artist/photographer I am a Course Leader for a pre-degree art course in Chichester, teaching creative individuals of the future. Originally trained as a Fine Artist specialising in painting and printmaking in Exeter under the guidance of John Virtue and Ray Smith, I have exhibited both nationally and internationally including work in the Saatchi gallery. I have continued my love of all things artistic by producing original prints and now contemporary photos inspired by the local landscape.
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