Colour, Pencil & Paint – Current Exhibition

Private View – Thursday 26th May, 2016 , 7-9pm.  There will be a musical performance by Elliot Smith-Rasmussen and Ben Sharp.

Four artists are exhibiting in Colour, Pencil & Paint : Emily Cartwright, Carole Hawthorne, Angus Lilburn and Lewis Rimmington.   They use a range of media including pencil, graphite, ink and acrylic.

The exhibition will run from Friday 27th May – Friday 30th September, 2016.  The gallery is open 7 days a week, free parking and cafe.

EMILY CARTWRIGHT

As an artist Emily is much inspired by technical skill in all art forms, and with every new piece it is often the act of drawing itself, rather than the finished work, that is the driving force behind each idea.  Despite having worked in many different media in the past she always finds herself returning to a good old-fashioned pencil, because she loves the simplicity. Emily is interested in techniques that allow her to create shape and texture on a completely flat piece of paper, and render the subtle tones in skin, or the ripples of fabric, giving an image depth, movement and life.

Her recent work on pattern developed from yearly visits to Indonesia and Thailand, where her family lived for 12 years. She was inspired by the designs used in Buddhist temples, and how every surface is completely covered in decoration. Subsequent research into Islamic art and the arabesque led her to experiment with quilling, and she started to introduce more flowing lines into her designs. Most recently she has been exploring how to link her photographic pencil style drawings with the pattern work, and it is this theme that she is working on at the moment.

CAROLE HAWTHORNE

The dynamics of colour is the predominant factor in Carole’s work and she is inspired by its infinite and limitless possibilities.  Carole’s preferred medium is acrylic paint on canvas or paper and usually works on a series of paintings.  Although her work is abstract, she is often motivated by observations of her surroundings, both natural and manufactured, organised systems, layers and repetitive structures.  Also, the effect of changing light is important to her sense of colour.

The paintings are developed through a process of masking and layering, revealing colours and controlling their interaction.  The vertical marks or dots used in the paintings are a formal device which allows her the freedom to be able to detach the work from the original image and to create a visual field empty of compositional form.  Carole builds the surface, merging it and breaking it down, allowing the painting to evolve through the process in its own time into ‘itself’.  Recently Carole has been attempting to evoke a feeling or sensation of moving through from ‘our space’ into another space beyond.  In some cases there is a barrier which both conceals and discloses this other space.

Carole’s hope is that the paintings will engage the viewer, stimulate their senses and provide a vehicle for contemplation.  The intention is that new depths will be discovered each time the viewer returns.

 

LEWIS RIMMINGTON

When making work Lewis has two ideals.  Firstly; skill and ability are far more important than concept, as no matter how great a concept, with no skill or ability, the concept cannot be brought to life.  But skill and ability in representing a subject doesn’t need a grand concept.  Secondly; the importance of objective realism within his work.  Lewis believes things we consider ethereal (such as a ‘mood’ or ‘atmosphere’ in an image) are comprised of measurable and accountable aspects in what we see (eg colour, material, tone, composition etc), so by extension, composing these aspects thoughtfully and representing these aspects faithfully it is possible to create powerful work.  Lewis concentrates on method, skill and ability to make representational work.

Lewis’ work consists of drawing and digital art as well as oil painting which is his preferred medium. The resulting artwork is both grayscale, and colour.  Within oil painting he often use layers. The first layer is often a drawn layer, a layer of burnt umber, or block tone, in order to get the overall form and basic tonal and colour values. With each successive layer, the form is altered to be more exact, detail and tone are added then translucent layers of colour finish off.

Within his digital art process he employs 3D graphics and digital painting.  Digital painting employs a device called a graphics tablet. Such a device allows an electronic pen to draw on the graphics tablet as one would draw or paint conventionally. This allows him to paint as he would with oil, without the limit of drying time, or the limit of finite quantities of paint would impose.