‘Art Blakey’s coat’
Julia’s work explores the physicality of painting, the use of colour to give an illusion of space within the work and the application of mark almost as a ‘beat’ within the pieces. The work is abstract, sometimes alluding to interiors or landscapes but is essentially about colour relationships and improvisations, the process of the painting revealing the image through time. "I am interested in creating paintings which act like soundtracks to a particular moment or memory, images that mimic the rhythms and space that occur in music.
“The paintings are acrylic paint and crayon on paper worked in many thin layers to achieve the richness of colour. The crisply masked edge ‘contains’ the sometimes elusive imagery and the addition of crayon drawing adds a broken textural line.
Julia has been a practicing artist since 1983. She has exhibited widely in Britain and Europe. She lives in Worthing and is Fine Art Pathway Leader on the Art Foundation Course at City College Brighton and Hove.
Exhibiting at 35 Kings Hill Avenue
Gavin studied Fine Art and graduated with a BA (Hons). He concentrated on Printmaking and Photography, the latter providing source material and inspiration for his etchings and lithographs.
As a post graduate Gavin exhibited throughout the North East as a young artist supported by Northern Arts. He was commissioned by Northern Arts to create an etching for a poem written by Andrew Motion who later became Poet Laureate. Subsequent to leaving the North East for London Gavin chose to use his talents to concentrate on a career in the design and production of multi-media content for live staged events. Gavin has now decided to return to his roots and concentrate his talents on producing fine art limited editions in photography and printmaking. Since returning to being a full time artist Gavin has exhibited in both the UK and Europe and is regularly commissioned to produce one-off art works for private clients.
As well as his fine art work Gavin is involved in project work in the third sector and corporate sector focusing on the issue of corporate social responsibility. His latest project is an ongoing photographic record of the effect that energy exploration is having in West Africa and the benefits of CSR investment to the people in the region He is permanently based at Wimbledon Art Studios.
‘I want to capture the spirit that exists in the lost, the forgotten, the momentary and the disposable. I want my images to have a quality and uniqueness that champion the provenance of abandoned entities. The images are intended to be visual landscapes aimed at animating the inanimate and drawing out the abstract beauty and tactile qualities that exist in this ‘found’ miscellany.
I hope to create a texture and depth to each of images that transcend the impression of looking at a photograph. Focus, Colour and Scale are balanced in a way that will draw you into the composition as much as the organic nature of painting, printmaking or sculpture would do.
Exhibiting at 11 Tower View
Sculpture in welded metal
“The measured external geometry of the pieces echoes my need for order but the contrasting textures of steels and other materials express the chaos within”
Exhibiting at 11 Tower View
Idun was born & brought up in Norway. Her interest in art started at a very young age & she painted her first oil painting at the age of 13. Since moving to the UK, she has trained in many & varied fields of art including painting, printmaking, life drawing, photography, graphics, illustration & textiles. She has a BA Hons. Fine Art, Painting, from the University of Surrey and has trained withPaul Newland (NEAC) & Francis Bowyer (P Pres RWS & NEAC). In her recent work, all painted in oil, she features the semi-abstract still life and landscape.
Idun’s work shows simplicity, serenity and calm, with an infusion of light, which she attributes to the South West part of Norway where she grew up. A great contribution to her paintings is her sketchbook, in which she captures moments in time.These may be quick sketches, sometimes just a few lines, but they may contribute to future paintings. When painting, and although right handed, she also frequently works with her left hand & occasionally includes drawing as a linear part of her paintings in the form of graphite or charcoal.
Idun finds this creates immediacy in her work.
You may find abstract & semi abstract elements of the Norwegian landscape in her work, such as boats, mountain scenes, memories & evocative scents from childhood, simply depicted in colour & form. Idun also lectures in Life drawing & Oil Painting in Ealing, West London. Her work can be found in private collections in the UK & Norway. She works from her studio at Wimbledon Art Studios and in 2010 took part in 5 group shows, including the AAF, represented by the Red Gallery.
Exhibiting in 30 Tower View
My most recent paintings explore the image of a female figure with multiple arms who first appeared in my work earlier this year. This image is part symbol, part representational woman. I enjoy elements that teeter between worlds and don’t fit easily into categories.
The figure first appeared when I was thinking about the tension between the restraints of the physical body and the incorporeality of spirit, imagination, stories, myth and memory, all of which feed into my paintings. There is an inherent tension in the relationship, as with music and dance. Painting lends itself as a metaphor for this process because of the struggle to manifest something imaginary and intangible through the materiality of paint.
I paint in layers because this seems most appropriate to the subject. I see time and memory as fickle, multi-layered and manifesting themselves in unexpected ways. The figures move back and forth, become part of each other and sometimes bleed through from one layer to the next. Wiping and scraping and building colour on colour allows the figures to appear to float, fixed in the imagination rather than in a physical location.
Sculpures in 30 Tower View
Paintings in 4 Abbey Wood Rd
I graduated from Kingston Polytechnic Art School in 1991, I also studied life drawing at Chelsea School of Art. I am still painting and am now also learning the art of direct carving in stone and wood, with Pure Form in Canterbury. I am from the first generation of artists for whom the landscape of our visual horizons started with the world changing Apollo mission photographs of the earth from space. The possibility of seeing that which is normally beyond the naked-eye influences my approach to what the world and art might look like.
My paintings represent a visceral response to the world around me, often after dark. I paint skies; looming presences under a quarter moon; silhouettes of black against darkness; moonlit mackerel clouds against the backdrop of the Milky Way. Stepping outside at night in a rural landscape sets my senses fizzing. Horizons are hinted at if not always visible and sometimes the paintings become pure studies in light and colour. Colour takes a lead role in much of my work and 2011 appears to be bringing more colour.
My inspiration starts with the rich depth of the pastel colours of Odilon Redon (1840-1916), the complex subtleties of Marc Rothko (1903-1970). I also love the dreamscape quality of their work. Technically I am influenced by the wet-on-wet techniques of Frankenthaler (1928-on) and Jackson Pollock (1912-1956) for releasing painting from the paintbrush. I am a great fan of James Turrell and his work with light and sky. I love the photography of Irving Penn and Sebasiao Salgado both of whom have a way of showing detail to illuminate the whole and letting the overview reveal the detail. All these artists are a great inspiration to me and I only hope to catch a glimmer of their gifts.
Exhibiting in 30 Tower View
I’ve been a practising sculptor for about 35 years. People usually imagine sculptors chipping away at a block of wood or marble. But I’m a modeller rather than a carver; that’s to say, I build up my piece of work from scratch rather than subtracting from a large piece of material, although I do use ‘reducing’ techniques from time to time. My pieces, ‘Fling’ and ‘Stretch’ have both been abstracted from a figurative piece. The reverse side of the figures has been worked to make them appear to have been carved out of wood.
I am self-taught and started as a child making miniature soldiers out of plasticene. The size of my pieces now ranges from the miniature to the very large. I’ve recently made one of my biggest pieces yet, ‘In Flight’ which stands 20 foot high at the entrance to Herm Harbour in the Channels Islands. This piece, constructed with stainless steel and marble resin, is representative of the direction my abstract pieces have taken in the past few years. (A smaller version of ‘In Flight’ is on display at King’s Hill.) In this and other recent works, such as ‘Budburst’, ‘Vol au Vent’ and ‘Earthdance’, I’ve tried to illustrate the natural vitality in humans and other living forms.
I’ve had numerous private and public commissions during my career. One of my public commissions was for Tonbridge town centre. This abstract piece, ‘On the Map’ depicts the route of the two rivers which run through the town. Though I did manage to include some little figures in there too!
Jeanne started her creative endeavours at age 16 with a foundation course at Hastings School of Art. As well as drawing and painting, it was textiles, embroidery and collage that were her main interests. In 1981 she started making sculpture, studying modelling, carving and mould-making with the late Trevor Collis in Guildford. In 1994 she was one of the founder-members of the Surrey Sculpture Society and was Chairman between 1999 and 2002
She is inspired by landscape, by plants, seeds, shells and other natural organisms. The craftsmanship of making the moulds and casting editions of her work are part of her creative process and she prefers natural materials such as cement for her finished sculptures.
Much of the sculptural work is large and designed to be seen in gardens and the landscape. She has exhibited outdoor work at RHS Wisley; Savill Gardens; Painshill Park; Borde Hill Gardens; Vivartis at King Edward’s School; Nymans; Polesden Lacey and The Harold Hillier Arboretum. Her smaller works and maquettes have been included in many galleries and indoor exhibitions in Surrey and the surrounding counties.
‘My inspiration comes mainly from my garden and from remembrances of a childhood in rural Sussex. For the last few years I have been planning and planting a new garden. The propagation of many plants from cuttings and seeds has given me the opportunity to observe developing forms during germination and growth... Some of the structures provide initial ideas to be enlarged and developed into sculptural forms. Plants are great subjects for drawing. The landscape of the garden is also my starting point for paintings and prints’
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