Exhibiting at 11 Tower View
I hope to create a sense of timelessness in my work and for each painting to convey a feeling of its own reality: a felt or imagined space, to which the viewer may respond.
Animals, perhaps, symbolise life’s deepest energies: instinctual life. In my work, the momentary glimpse of a horse and rider, a deer standing motionless, the movement of a horse, dog or bird in flight, are taken, through the process of painting, into an arena of day-dream, memory, or reverie, or perhaps what Freud described as a ‘free-floating attention.’
Energy, movement and stillness are important elements, which I aim to reflect in a similar vein to that of a piece of music or a dance, through the rather ethereal and dreamlike figures and images.
Exhibiting at 39 Kings Hill Avenue
Elizabeth Jardine is a Brighton-based artist making paintings and papier-mache sculptures. After graduating from Falmouth College of Art in 2003 she has steadily been building up a career in the South East, setting up Crescent Studios with a colleague and winning the MADE Art Prize in 2009. Her delightful sculptures playfully explore space, while her paintings radiate an unfolding, ethereal transcendence rooted in an earthy reality. There is a sense of timelessness, of being drawn in, and surrounded by growing things, light, and depth.
Elizabeth spends much of her time outdoors, walking, and absorbing rural landscapes. The sensations and compositions she finds in these places are relayed to the studio, where the slow process of building up the paintings takes place. She finds a parallel between the activity of painting and the meditative effects of long distance walking, a state of simultaneous presence and absence.
Working both intuitively and more consciously, a balance is sought between coherence and intangibility within the subject, the process, and the paint itself. This balance is also played out in the composition of a painting, between shadow and light, ground and sky, physicality and transcendence, growth and decay. Each piece will develop gradually through a process of building up a variety of oil glazes and brushstrokes. The image will emerge and dissolve, become embedded in its’ own history, finally settling somewhere on the edge of becoming.
Exhibiting at 4 Abbey Wood Road
Jean-Luc was never really that interested in photographing trees, that is until one night he illuminated one, then everything changed…..
He began seeking out interesting trees that he could photograph and soon found himself drawn to the man made environments of parklands and country estates. In these controlled areas where trees were often planted for their aesthetic or pictorial qualities, Jean-Luc used a combination of artificial and natural light to portray the tree in a similarly controlled manner.
With night providing a darkened and subdued background, the use of artificial lighting removes the tree from its context within the wider landscape and accentuates its individual characteristics and appearance. The colours of the tree appear more vivid, the shape more defined. The scale of the tree can appear altered; sometimes its size seems diminished, almost as if it has been miniaturised to become a model or toy tree.
These trees, the ancestors of those we now see alongside motorways or protruding from the openings in the surface of a car park, have been altered by the process of lighting & photography.
They are the real yet slightly unnatural features placed in an environment shaped and controlled by man, which due to the passage of time, we now perceive as being a totally natural landscape.
Exhibiting at 35 Kings Hill Avenue
Letitia is a printmaker whose work explores the emotional significance of landscape.
Using Monoprint she repeatedly reworks the surface of the print revealing layers of colour and markmaking to record that which the eye cannot see in order to evoke a sense of place.
The compilation, elimination and layering processes have suggestions of a natural process and allow a personal interpretation of meaning.
Exhibiting at 30 Tower View
I have lived in London for over two thirds of my life. The rugged Welsh landscape I remember from my childhood as been destroyed, renovated and transformed throughout my lifetime. Memory is a place that I often visit. Working in isolation my studio that stores drawings, maps, bric-a-brac and stones that I have gathered over the years, many found in places, that inspired the paintings, and are used to connect the past with the present. I want to create an image, which brings together different aspects of the landscape. I work from notes, sketches, sometimes from photographs as well as from memory. The paintings do not seek to be a representation; the image is drawn from the inconsistency of memory and the limits of my imagination.
Generated by a sense of place, my heart generates the emotional response, and a desire to evoke a recognition in the viewer The paintings recreate moments and record processes; many layers are added and removed, marks are hidden and rediscovered. The paintings develop intuitively and with degrees of struggle when working on the compositional possibilities, they are informed by memories of atmosphere, light and weather and like the land, they become surfaces that contain time and memory, surfaces with their own history. This is an elusive world where time is understood not as a linear narrative, but rather where the familiar and the unreal merge in sensory perception
My paintings are devoid of human presence the space, the images suggest are of a welcome seclusion rather than lonely isolation and absence. The way we view that past depends on where we are and what we are doing now. Through my work I am putting my own mark down, claiming this time as mine.
Exhibiting at 11 & 30 Tower View
My recent work has become concentrated on love and Mathematical structure, refining the surface and form further to create beautiful pieces often from discarded materials that yearn to be caressed. The main focus of my current work seems to have become opportunities to combine my carpentry/craft skills with contemporary interventions. I am also concerned with the waste culture that we currently live in and source my materials from diseased or fallen trees which I process myself with a small saw mill and occasionally use the odd bit of industrial waste to create assemblages. I have also begun to get to grips with stone carving having recently attended a course tutored by Peter Randall-Page and Simon Thomas who have helped demystify the stone carving process for me and shown the correct application of tools , I would like the opportunity to pursue this further in public art situations where the general public are able to provide input and benefit directly from the process and the work produced.
My work ranges from architectural structures, with traditional materials and techniques, to purely sculptural form and furniture designed with CAD technologies. I now integrate the craft process and the contemporary areas of my work into large scale projects that may be interpreted in a variety of ways from functional structures to purely aesthetic features allowing the viewer to be involved by actively interacting with the artwork or as with some cases the work has integrated with its surroundings so much that it is not at first noticed. My smaller work seems to be more concerned with form, texture and light alongside emotional concepts of love, interdependence and protection, as I feel an early function of art was to convey these and other concepts through the use of totems and idols, which collective and personal ideas and feelings about the world and each other can be expressed.
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