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Exhibitions

Spring Gallery

Tuesday 3rd May - Saturday 14th May

Paul and Taz Jowett

Paul is a woodturner on The Register of Professional Woodturners and a member of the Made in Cornwall scheme. Working with mostly locally sourced native timbers to create one off pieces. Inspiration comes from seeing the grain in the timber and using it to its best effect, also from ancient and modern ceramics.

Taz graduated from Falmouth college of Art in 1996 with a BA(hons) in Illustration.  Since leaving college she took a great interest in all aspects of ancient art, from cave paintings to ceramics, native masks to stone carvings.  With a varied selection of painting styles on paper and canvas, she uses acrylics, gouache, natural pigment emulsions and mixed media.

 

Spring Gallery

Tuesday 24th May - Sunday 29th May

Sue Davis, Lesley Harry & Jane Smith: Flow

Three Falmouth artists working in different disciplines have joined
together to explore their responses to the idea of ‘Flow.
Jane Smith’s medium is glass and ceramic whilst Lesley Harry is a
print maker and Sue Davis, although initially working in ceramic, has
turned to painting and mixed media. For all three artists their move to
Cornwall fed their delight in the behavior of light and a fascination
with the transient quality of moving water.

Sue Davis works directly from her senses – both remembered and
actual. Whilst working her thoughts are very close to the earth that
supports us and she delights in exploring the many surfaces, colours
and depths that the simple act of looking at a rock surface reveals. Her powerful paintings are evocative rather than narrative, a reminder of those times we stand,
stare and wonder about the reality of the unknown.
Lesley Harry’s work is inspired by directly observing the
edges in the Celtic and Arctic landscape and the juxtaposition of
static and moving forms. Land and sea, rock and snow, sky and
trees, and water. The resulting monochrome images are pared back,
timeless explorations of unfamiliar perspectives, scale, pattern and
abstraction in the natural environment.

For Jane Smith the individual qualities of the materials that she works
with and how they influence each other when constructing is really
important. The key is the fact that one is resistant and the other non
resistant, one transparent and the other opaque. Her current work is
part of a series looking at the landscape; focusing on the natural and
man-made materials that construct our environment and how they
interact with each other to create a balance of composition.

StandingStones
All three artists exhibit regularly at the Penwith, St Ives and at various
other South West galleries.

Spring Gallery

Tuesday 7th June - Saturday 11th June

David Axtell & Tracey Hunter: Inspirations and Interpretations

 

David Axtell:  As well as his illustrational work David has had a lifelong love of painting and now has an enviable reputation in Cornwall and beyond. With an interest in the relationship and interaction of people and the sea, David searches for an intriguing narrative that pulls the viewer in and makes us feel we’ve caught a glimpse of his figures in an unguarded moment. In his calm, measured work we are reminded of the quiet solitude and an Edward Hopper, whilst the detailed narrative and love the landscape of Cornwall is reminiscent of the artists of the Newlyn School.

Tracey Hunter:  A passion for painting, inspired by the mood, light and the environment that surrounds her. For a number of years her work would be painted in more of a traditional manner, of which she continues to do so today. She still enjoys painting in this style but found the urge to explore and experiment further. For the past 9 years her work has evolved and has taken on more of a semi abstract role inspired from the cubist art movement, one of the most significant art movements of the twentieth century. A painting style that has always intrigued her.

Cubist founders Picasso and Braque reduced their subjects to basic geometric forms, rejecting the traditional philosophy that art should copy nature. She has studied this form and adapted the style to suit the environment she finds herself in.

This breaking down of the real world into flat geometric shapes emphasized the two-dimensional flatness of the canvas. This suited the cubists’ belief that a painting should not pretend to be like a window onto a realistic scene but as a flat surface it should behave like one.

 

Spring Gallery

Tuesday 19th July - Saturday 23rd July

Caz Scott: Land and Sea

Caz Scott returns this year with a s election of new work.

This exhibition of oil paintings features the distinctive, formalized landscapes of the Cornish coast.

Caz’s paintings are the fruit of extended periods spent walking and sketching, distilling the dramatic landforms and wildness of the coast and moorland. Caz will often return to familiar places in between seeking out new inspiration.

“I find that sketching a place has a far stronger impact than taking photographs. The kinesthetic motion reinforces the feel of the land creating a physical connection with my surroundings. My drawings activate my memories and leave my imagination free when I come to complete my paintings.”

Her paintings aim to simplify the complexity of the landscape, drawing out the image and building and balancing shape and colour to reflect the strength and uniqueness and beauty of the scenery.

 

 

Tuesday 26th July - Saturday 30th July

Paul Ryan

On my walks along the Fal/Penryn river bed at low tide I have been finding my materials.

Weathered wooden shapes and panels that are then transformed in the studio with the addition of related printed images, maps, diagrams of nautical equipment etc., and then the built shapes of boats and harbours.

This is transitional work for me as I am finding a way to return to abstraction but I know that Falmouth is an important stepping stone.

Spring Gallery

Tuesday 9th August - Saturday 13th August

Vicki Clark & Linda Kitchen

Vicki Clark

The paintings are an emotive response to the landscape where the place, subject matter and moment in time are the starting point. This is presented through the physical and gestured application of the paint. Through this language of marks the onlooker is invited to step into and become encompassed by the landscape as experienced by the artist. The work hopes to honestly reflect the presence of the subject matter and bring to light those things that are vital, transient and fragile.

Recent work by the artist shows the connection and fascination with negative and positive space and simplified abstract shapes. The work is inspired by the rich agricultural inland landscape of Cornwall which is sometimes overlooked in preference to coastal scenes.

The images of the black ‘Dexter’ cattle at Trelissick near Truro, although an integral part of the rural landscape, create what appear to be holes or negative spaces. The paintings inspired by a short stay at Bodrugan Farm near Mevagissey show a simplified abstracted landscape of hills and hidden valleys. The linear paintings capture the unique agricultural area of the very west of Cornwall.

Vicki has exhibited and sold work nationally and internationally to private collectors in the UK and America.

 

Linda Kitchen 
The sculptures were made during the last 12 months, made entirely from found objects collected on Falmouth beaches during the last six years. The work is about the exploration of landscape and our place within it. We see landscape as belonging to us although our impact on it, is so often negative.

Despite initially not intending to use these objects as sculpture, nevertheless the hand and eye of the artist is at work here. Selection is not indiscriminate. Themes and patterns have emerged over the years as the collection increased. Certain objects looked for, others rejected. Categories expanded into sub groups. For example, within an enormous jar of ‘green’ sea glass emerged 14 shades of green. Over the years, many of the fragments of china were discovered to have once been part of the same object, worn by time to differing degrees.

The work might at first appear to be a departure from the artist’s earlier, aerial, painted landscapes, one of which is exhibited, but it is actually a natural continuum. These works are intuitive and spontaneous but not without a point of view.

Both the paintings and the sculptures involve looking down from above. With the aerial landscape works the artist explored the macro, inviting the observer to question what they see by distancing the known: This work explores the micro.

Here the artist transplants everyday objects onto the vertical picture plane in a gallery setting, challenging our understanding of the everyday. The familiar becomes abstract and reframes the worthless object into something of visual value.

Linda has exhibited and sold work to private collectors in the UK, Australia and Switzerland.