DRIFT Art Review 2022

A T H E

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D E F I N I T I O N

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C O R N WA L L

Drift /drift/

noun 1. the act of driving something along 2. the flow or the velocity of the current of a river or ocean stream

verb 1. to become driven or carried along, as by a current of water, wind, or air 2. to move or float smoothly and effortlessly

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T E A M

Our contributors Guest Editor Mercedes Smith Production Editor Hannah Tapping hannah.tapping@enginehousemedia.co.uk Hannah Tapping

Dan Warden

Rosie Cattrell

Jamie Crocker

Content & Project Manager Dan Warden dan.warden@enginehousemedia.co.uk Creative Designers Spencer Hawes Jamie Crocker

Client Director Jonathan Perkins jonathan.perkins@enginehousemedia.co.uk

PROUD TO BE PART OF

Drift is published by: Engine House Media LTD Holbrook, The Moors, Porthleven, Cornwall TR13 9JX www.enginehousemedia.co.uk www.levenmediagroup.co.uk

01326 574842

© All rights reserved. Material may not be re-produced without the permission of Engine House Media Ltd. Engine House Media Ltd nor its contributors can accept any liability for reader dissatisfaction arising from editorial features, editorial or advertising featured in these pages. Engine House Media reserves the right to accept or reject any article or material supplied for publication or to edit such material prior to publication. The opinions expressed or advice given in the publication are the views of the individual authors and do not necessarily represent the views or policies of Engine House Media Ltd. It is suggested that further advice is taken over any actions resulting from reading any part of DRIFT.

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F O R E WO R D

Introduction

BY MERCEDES SMITH

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It’s all just one big conceptual wrestle, and I could never get bored of it. The only thing that is certain is that the more we talk about art, the greater its force becomes, which makes this first DRIFT Art Review so important. Cornwall has so many talented artists, so many exceptional galleries, but so few publications to champion them, and the bridge between Cornwall and the city-centric focus of national art magazines is yet to be built.

hen DRIFT got in touch with me in the spring of 2021 with their idea for a dedicated art publication, its fair to say I went out of my way to encourage it. I spend my career shouting loud about great art, but without the loudhailer of print publications I’d have no voice. So many cultural magazines have folded during the pandemic and that’s a major loss to the arts, whose best way of connecting with collectors is through considered, in-depth editorial.

cura of th work new nam arou to ta a jou delv and of t soug

So, isn’t it time we spoke up for ourselves? It’s my hope that this publication, and others like it, will grow year on year, attracting great writers to talk about great work, in support of our many brilliant artists.

Art is nothing without the conversations it inspires, or arguments it provokes: a quick glance at the writings of 20th century art critics will show you that. That’s the joy of writing about art – there is no wrong answer, and no right answer, to the beauty or validity of an artwork.

With Smi and this of, a who insp broa

drift-cornwall.com

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C O N T E N T S

At a glance 8

QUEEN OF GALLERIES Cele rating t e

ew Craftsman

allery

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V I V I D M O M E N T S I N A RT

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T H E L A N G UA G E O F PA I N T

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e stark in uence of Jesse eroy mit

inding calm and clarity at nature’s edge

FORM AND FUNCTION In conversation wit

ivien

oodiwiss

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M A K E R A N D C R E ATO R

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CHOSEN BY THE MEDIUM

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C I RC L E O F L I F E

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BACK TO THE SEA

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A SHIFT IN THE LANDSCAPE

e eauty of nature preserved in ceramic

s ley

anson’s commitment to colour

aped y a tri e of artists and artisans

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ON THE HORIZON

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NAT U R A L LY I N F LU E N C E D

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T H E YO U N G M A S T E R

pictoral narrative y Ric ard allinger

ill Calver’s capturing of lig t and form

ELEMENTS OF CHANGE

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L AY E R E D I N L A N D S C A P E

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COLOURS OF INTUITION

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S TAY I N G C U R I O U S

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new name in contemporary painting

artyn erryman

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emma essinger’s created coastlines

t t e edge wit

atricia

ilson’s expression in clay

and- uilt ceramics y aula Downing

n immersive journey of creativity

new perspective of mot er nature

O C E A N T R AV E L L E R Capturing t e sea wit

ina rooke

EVENTIDE nal word y revor rice

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G A L L E RY

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or more than half a century, the ew raftsman allery has stood as the most influential venue for contem orary art in ornwall. ts situation, tuc ed neatly into the heart of t ves ore treet, is a meta hor for the osition it has held at the centre of ornwall s art scene for the last years. ince it was established in the early 1 s by world renowned otter anet each, it has been a leading destination for discerning art collectors, than s to its year round e hibitions of ornish and international art.

Queen of

GALLERIES WO R D S B Y M E RC E D E S S M I T H

n its rst decade, the ew raftsman was nown for its ceramics and interior design ob ects, but by the 1 s it had started to e hibit ainting and rint, showing artists li e eter anyon and ilhelmina arns raham, who are now recogni ed as among this country s most im ortant 2 th century artists. hen the gallery celebrated its th year in 2 12 it issued a limited edition oster

We celebrate the most influential art venue in modern and contemporary Cornish art.

INSET ill alver

lementines in

oroccan bowl

that included the names of nearly every im ortant name in ritish craft, design and ainting e actly in total all of whom have shown at the ew raftsman since its o ening. hat restigious list includes na ve ainter lfred allis, whose untutored style signi cantly influenced the direction of ritish rt scul tor arbara e worth, one of the world s most revered and influential artists rintma er, weaver and scul tor reon asey, and historically im ortant ritish odernists such as oger ilton, atric eron, ryan inter, erry rost and andra low. lso listed are internationally celebrated otters ernard each, ho i amada, ans o er and mmanuel oo er, whose wor s are now counted as among the most im ortant in the history of international ceramics. te into the ew raftsman now and you will see that history echoed in the artwor on show today. es ecting the gallery s artistic

RIGHT ew raftsman interior with aintings by artha olmes, turned wood vessel by drian itchell and ceramics by ac oherty

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G A L L E RY

heritage, whilst offering a contem orary rogramme of e hibitions by established and rising artists, is the focus of owner and irector lenia aase and her team. he gallery resents eight shows a year, each bringing great ainters and crafts eo le together in its elegant two floored s ace. ew raftsman s regular rivate iews attract a host of devoted collectors, and often include tal s and erformance ieces by e hibiting artists. n addition, the gallery invests in ublishing e hibition catalogues for every one of its shows, catalogues that both inter ret the collection and act as records of rovenance that are vital to the validation and long term value of the artwor s. ost notable is the gallery s diverse and rogressive offering in the same way that it once e hibited cutting edge wor li e harles ames chairs and ucie ie ceramics, it has recently e hibited handwoven geometric rugs by ason ollingwood, felted animal headwear by arbara eal, found ob ect scul ture by tuart airns, rt ceramics by in ui im, rare rints and collages by reon asey, wood and te tiles by studio collective orest ound, blown glass by illies ones, bas etry by nnemarie ullivan, turned wood vessels by drian itchell and wor s on a er by revor ell.

LEFT orest and ound at

ew raftsman

he gallery s s ecialism in studio ceramics is well nown amongst collectors and goes bac to founder anet each, who e hibited the wor of leading ornish, uro ean and a anese otters. oday, the ew raftsman e hibits the best in contem orary ceramics, from technically astonishing wor s by atthew hambers, te tural ieces by award winning ma er atricia hone, oon ars by erwood ri e winner dam uic and collections by hris eenan, anya ome , ls eth wen, i o irai, i uyo amashita and ac oherty. ntroducing new talent is another im ortant art of the gallery s remit, though collectors are always in the mar et for established artists and ornwall has more than its fair share of e ce tional and high ro le ainters. enwith based landsca e artist eil avies, for e am le, e hibits e clusively at ew raftsman with an annual solo show, as does t ves ainter mma effryes, alongside ma or names li e udy u ton, eil in ett and atthew anyon. good deal of the e hibition rogramme, though, is given over to the introduction of rising talent, something few ornish galleries will ris . ecent almouth graduate and still life ainter ill alver was invited to hold his very rst solo show at the gallery in 2 2 , and his second in 2 21 both were instant

allery

arah

oods

A B OV E igh ide, ennen

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G A L L E RY

sell outs. 2 21 also included rst solo shows by rising young landsca e artists artha olmes and arah oods, as well as an e traordinary collection of wor by altese artist and recent almouth graduate nna alle a. or collectors, the o ortunity to su ort young talent is an e citing one, and there is an uns o en trust between buyers and the gallery when it comes to investing in un nown artists, a trust built on the ew raftsman s years of e erience in the art mar et. n short, the gallery is nown for su orting the fledgling careers of some of the world s most im ortant artists, many of whom are now on show ust a stone s throw from ew raftsman at ate t ves, and its influence continues a ace. e aim to show the very best ritish and nternational art right here in ornwall, says irector and curator lenia aase. his gallery s focus has always been on resenting and su orting great talent, on connecting ornish artists with an international audience and bringing international artists here to ornwall. hen anet established the gallery all those years ago, she brought with her a host of international lin s, es ecially in a an, and was also a great cham ion of artists right here in t ves. e have always tried to ee

A B OV E dam uic

mergence 1

that balance and move the gallery forward in that same way. he gallery s connections with a an mirror that of t ves itself, established when anet each s husband ernard each and ho i amada set u their ottery in the town in 1 2 . n 2 1 , in antici ation of the t ves celebration of the each ottery s hundredth year, lenia s ent a month in a an researching artwor s for an e hibition of contem orary crafts from the ashi o region. he une ected arrival of the andemic, however, revented the shi ment of artwor s and the o ening of the show, which it is ho ed will run at ew raftsman in the future. t will be a landmar e hibition that ays homage to the gallery s history, and the history of t ves. a or shows such as these are reserved for the annual t ves e tember estival, when venues across the town host their most im ortant e hibitions. ew raftsman s e tember estival e hibitions have a re utation as signi cantly head turning events recent e am les have included he rt of athering in 2 1 , a multidisci linary e hibition showcasing the wor of seven artists who use the act of gathering, collecting or harvesting materials as an integral art of their arts ractice a landmar 2 1

eil

avies

RIGHT ands nd ight how

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e hibition of wor by celebrated t ves artist reon asey, which included ieces from the wealth of artistic disci lines asey mastered in his lifetime, including ainting, rint, scul ture, weaving and ewellery n he rac s of the ellow og in 2 1 , a solo e hibition of aintings, rints, stained glass and ta estry by atthew anyon, son of modernist artist eter anyon and ay oint in 2 1 , an e hibition of orcelain vessels by ac oherty, on show at the gallery and simultaneously in ublic s aces across t ves, which connected with the history of the local shing community. hows li e these are e am les of the gallery s engagement with artists and artistic disci line of all inds, and its fearless a roach to annual rogramming. e didn t ac uire this gallery sim ly as a business, says lenia of her 1 years as director of ew raftsman, we ac uired it as a assion. have always felt the weight of the artistic legacy we were ta ing on, but only in the most ositive terms. t s such a rivilege to own the

LEFT udy u ton

ew raftsman, feel that every single day and at the o ening of every single show. he day will come when this s ace asses out of my hands and into someone else s, and want my time here to be e ual to the s irit and uality of wor on which the gallery was founded. hat achievement, which is surely already secured, is based in no small art on the relationshi s lenia has built with artists of every genre, ersonal relationshi s based on su orting and encouraging real talent. see out great art here in ornwall, travel to studios and shows in ondon and uro e and the ast, and all the time am loo ing for uality and commitment in the wor . edium, method, materials they aren t im ortant to me what matters is wor with de th and integrity. thin can say that for every iece of wor we ve ever shown here at ew raftsman, and m very roud of that. newcraftsmanstives.com

arden oses

INSET ew raftsman interior with aintings by udy u ton. iral ceramic by atthew hambers and vessels by i o irai

TOP tuart airns

lac thorn ouring essel

ac

oherty

A B OV E ow of conical vessels

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C U R ATO R

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onsidering he is one of Cornwall’s most roli c art influencers, esse Leroy Smith has an interesting point of view when I ask him if ‘leaders’ are important in the arts: “Artists have udos and mysti ue, and the best ideas, but not so much ower, esse tells me. ur leaders, as we all now, are not to be trusted, so thin it s better to fund or allow s ontaneous and flamboyant art ventures they s ar cultural change and can t be uanti ed. hat eo le li e about ornwall is its bohemian undercurrent, but they are hell bent on ac aging it. say if you li e something ust su ort it somehow and don t de end on organisations to do it, because by then it will be gone.

Vivid Moments IN ART WO R D S B Y M E RC E D E S S M I T H

esse is a one of ornwall s most res ected artists, curators and educators. or more than a decade he has been the force behind countless collaborative e hibitions and ublic art events, bringing together large grou s of artists, erformers and organisations to create a seemingly endless series of brilliant, inde endent art shows. o date his ventures have included ar rooms, an immersive theatre of e erimental lm, sound and installations that hel ed launch

We s otli ht esse ero miths si ni cant influence on art in ornwall.

est ornwall s rts entre in 2 1 nstable onuments, an e hibition of international artists curated in collaboration with artists atthew enington and am assett and held in a wharf side factory in ruro us ended entences, a showcase of visual art res onses to oetry, curated with artist ar ray and held in an abandoned ewlyn sh factory icturing the ines, commissioned by ornish ining orld eritage ites in 2 1 , and at the en ance change, a survey of international rintma ing, both curated in collaboration with artist ernard rwin , which celebrated the th anniversary of en ance s iconic rt eco lido in collaboration with ichard allinger and other e hibiting artists evolver, a ro ect created in collaboration with artist ol er to that showcased ornwall s wealth of rising young artists alongside a host of established names ol orce, a reedom rom orture event described by esse as a ram ant and redem tive festivity of camaraderie, nature and ho e at remenheere cul ture ardens and the collaborative e hibition , which resented the wor of esse and three fellow ainters connected through friendshi , travel, art, the s irit of our landsca e, a love of the alternative ,

esse s

RIGHT ewlyn tudio

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C U R ATO R

of lubland, dancing, ndie music and strange beauty at allery en ance. hat differentiates esse, in a scene brimming with great artists, is his assion for wor ing with others and his belief in the free e change of creativity and e ertise. ve always been really interested in why humans ma e art, says esse, es ecially ancient civili ations and so called utsider artists, and how grou s of individuals ma e collective art forms. ood collaboration is about asserting an individual s vision, it s not about com romise. t s about ta ing your ideas further and into the world more effectively. hy would you not want to wor with a scientist or a musician who comes with a whole lot of knowledge and insight? also believe in the ower of friendshi wor ing with lmma er oger hor on a series of animations, for e am le, was damn good and our wor ing ra ort too our friendshi to a brilliant lace of trust and encouragement our collaboration was li e a religious obsession with imagery. ollaborations are li e love affairs, and there are a few more signi cant affairs that ve had, but don t feel guilty about any of them lthough have to confess to my involvement with a , a collective of mainly myself and artists ichard allinger, am assett and

hrist riest, which was li e a doomed but e uisite indie band nother friendshi , with artist and writer aul ec er, led to the invention of ctional utsider artist almer hite who is synonymous with esse s career and who roamed ornwall leaving ritualised scul tures, called evenants, that could halt the destruction of nature. e made lms, erformances and ob ects with my ids, esse e lains, and we all subsumed ourselves into the myth of almer hite . t feels li e he is still out there. longside esse s studio wor and his numerous collaborative ro ects, teaching has become a signi cant channel for his influence on the uality and direction of ne art in ornwall. s eo le we tend to mi with those of a similar age, bac ground and o inion, says esse. ost e hibition o enings are full of artists at a similar stage in their career, so teaching is an ideal way to meet eo le that see art in different ways and de end on it more fully at a crucial time in their life. I lead a mentoring programme at ewlyn chool of rt and you wouldn t believe the de th of life e erience hear about, and my wor with young artists at almouth niversity has been the best way to ee me on my toes and fascinated by the

LEFT rtist and curator esse eroy mith

esse eroy mith

A B OV E

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C U R ATO R

otential of cultural change. iving ids a voice on ro er art ro ects is always mind blowing. thin it s essential for established artists to re engage with young creatives it s the dynamism of one generation provoking the ne t. hat s ills, as , are needed for educating and su orting young artists he desire to hel others ma e their own art, not art li e your own, he re lies, to hel foster their olitical and hiloso hical or s iritual stand and to access the overwhelming ower of art history. i e all the best teachers, rofessional develo ment and the investment of time in his own ractice are an im ortant feature of esse s wor ing life. e regularly ta es u art residencies abroad, most recently in erlin, where he inned his intriguing drawings u in random ublic laces. believe residencies are the future for a lot of artists, he tells me. eo le coming to a lace and interacting and ma ing something ha en yes lease hey are an ideal way for artists to flourish and integrate with communities. ut you can ma e your own form of residency, you don t have to de end on others to facilitate them. ou can travel to a signi cant lace and get under the s in of it by devising curious forms of research and e erience. his ma ing something ha en a roach, combined with his natural flair for ins iring others is erha s the de ning feature of esse s career,

one that feeds his talent for curating such uni ue art shows. ind of stumbled into curating but was immediately struc by how easy it was to harness the natural generosity of artists, says esse. ive them a big s ace and a conducive atmos here and they will deliver something wild and s ontaneous. ust get a ic out of seeing that. t was after the high ro le rt ow e hibition at ate t ves in 2 that esse got seriously involved with curating. hat show s ar ed a huge communal wave of reflection on what is the most relevant art being made in ornwall, says esse. y wor was in the e hibition, but could see a lot of other really interesting artwor going on elsewhere es ecially in site s eci c locations outside of the galleries. hat s when, in collaboration with artist ol er to , esse curated evolver. e made a ublication of the rotating shows and events, says esse, and we built some wonderful relationshi s. rom then on was hoo ed on the otential of bringing uni ue circumstances together. onsidering the e tensive list of e hibitions, residencies, courses and collaborations that esse has been involved in since then, as him how on earth he balances his life. don t, he tells me with humour, it s a mess. m ust beginning to maybe, but that s due to getting older, and need na s. e is

RIGHT aintings on co er and ro ection esse eroy mith in collaboration with oger hor e

A B OV E esse eroy mith

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currently curating a multi artist ro ect in ristol, the second in a series titled nstable onuments, and it s e hilarating he says, but can feel daunted by it. f only an ins irational benefactor would gras the nettle and hel nancially, it would mean we can get on with what we are really good at. t the same time, esse is a roli c studio artist. his rivate time and its intensely personal wor are the fli side to esse s collaborative ersona. n the studio you are bringing together disparate elements and trying to make sense of an overwhelming barrage of e erience and desire desire for magic and life a rming combinations, he e lains of the ways his studio and collaborative time com lement each other. urating for artists is the same, but in a more immediate and fleeting way. t s a more rec less and s eculative rocess, but you now it will be good because you trust the artists you invite. f you invite good stuff into your studio, it will be the same. inally, as esse about his own de nition of a successful, ur oseful

LEFT esse eroy mith at his

life within the arts he su reme uestion he ui s. o many great artists have been crushed by lac of recognition, but see life as about friendshi s, where no one really cares about your accolades. t s a tting re ly for so rela ed and ersonable a man, though feel sure that esse s achievements will be held in high regard by future historians of ornish art. ornwall is very fortunate in that it fosters and attracts all kinds of artists and creative minds, he tells me. “Contemporary art is not the answer to societies issues, but it can brea down boundaries. ost people still don’t feel comfortable in austere and retentious ublic galleries, so m glad that in all my ro ects have mi ed u established and graduate artists, erformers, individuals and the ublic, all with diverse bac grounds and ages. hat has been instrumental in creating an alternative, vibrant environment here, and vivid moments in art. esselero smithstu io.com @jesseleroy66

ewlyn studio

INSET by artist atthew enington co curator of nstable onuments

A B OV E by esse eroy mith il on racing a er inned u on a wall in erlin ermany

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arah Woods came to study Fine Art at Falmouth, working from a beautiful light space on Wood Lane overlooking the sea, with wooden floorboards and tall ceilings and wall s ace to aint. fter graduating she moved to Newlyn where she’s currently based, and had some paintings on show in an exhibition at Newlyn Art Gallery.

Not long later, Sarah was offered one of the Porthmeor Studios at Trewarveneth in Newlyn, which is where she’s been working for the past few years.

The

language of PAINT

“It seems a while ago to think of a time when I wasn’t living in Cornwall,” says Sarah.

“There’s something considered and gentle about living and working beside the ocean. There are many traditional crafts that lin to the laces we live and often thin about this notion of wor ing by hand. nd a real sense of connection along the coastline and I guess this inspires my practice, being in a beautiful

WO R D S B Y H A N N A H TA P P I N G

Finding calm and clarity at nature’s edge with artist Sarah Woods.

intuitive working environment that gathers momentum with others. In some ways nding ins iration along the coast allows an element of movement and change, there’s an understanding of the ebbs and flows. hen m ainting there s a flow state that comes from nding this s ace and o enness in my movements too. Studying the waves brings balance – the water is immediate as well as grounding and my time in the studio is a reflection of this.

Painting and printmaking are just two of the ways Sarah works in the studio: “I have a vision of tone and shape, looking at the land, sea and sky and use the materials I’m most drawn to.

There’s something immediate about these studies, they are made slowly with sim le movements, soft te tures and shapes are made with single marks.

Working with paint and understanding the materials I’m using allows a connection between my hands and the marks I make.

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A B OV E Evening Along Porthmeor

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A B OV E & I N S E T L E F T Sarah Woods

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A B OV E A Study from the Headland, St Ives

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A B OV E From Clodgy Point, St Ives

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C R E AT E

Linen is shaped by my hands, the brush moves with my arm and wrist. A connection moves through each painting that begins on the coast. o me, aint allows this vision and often comes directly from a moment where the elements meet.”

Sarah’s palette is inspired by the times of day she would mostly spend along the coast.

“Morning light over the sea and slow evenings are often uieter and almost meditative. he rocess of mi ing each colour also reflects this time and the colours I use have a feeling of space. There are parts of the coast I’m most drawn to that inspire the colours I’m using and notice how uic ly they change. n the summer there’s the warmth of the rocks and the land that seems bleached with grasses, covering the cliffs and hillto s near ennor. hese tones are soft and light yet the te tures of the lands are often harsh. n a way this inspires the single marks of brushstrokes, bringing texture and movement to a painting that is also soft and still. often try loo ing a little further into the tones of light and dark that influence my drawings and aintings and nd these subtle shades of a les yellow and burnt umber and the heavier blues in the land. With subtle changes in colour and tones

each piece studies the distinctive shades found along the Cornish coastline.” arah nds the way of ma ing mar s really important to the process in the studio. Single marks can be seen in the form of lines and brushstrokes that are repeated to create something minimal. There’s an element of each painting that seems tactile because of this approach, and the choice of materials and the preparation of canvas and linen has e ual focus to mi ing colour and a lying paint, slowly made and intimate.

“Although my practice sits within the progression of British landscape painting often thin of the wor of other ma ers and sculptors focusing on design and craftsmanshi . here seems to be an e citing movement of creativity exploring more than a single medium and I’m interested in seeing where my work sits within this.”

Sarah’s current collection of paintings continues with studies from the peninsula, following the movement at the edge of the land and the soft tones of autumn colours that are slowly mixed in the studio. “Finding some warmth in the light rocks and sand at

A B OV E In the studio

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A B OV E Hide Tide, Sennen

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A B OV E Light Evening Sky, Porthmeor

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A B OV E West Porthmeor

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A B OV E Newlyn Shore

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C R E AT E

low tide – the coastal edges and expanses – there are some parts of the coast I’m drawn to for their feeling of space and there’s an easy sense of home, something timeless about this landscape. It doesn’t take long to reach the ocean and there’s really so much space. There are a lot of elements that inspire my work in the studio which is where I’ve prepared each canvas and painted these studies. In a way the studio is my space of total calm and clarity too, to begin working in a way that reflects this from the landsca e.

“Beside the water you become aware of the constant motion of the waves and of your sense of being, aware the day comes and goes as the tide rises and falls. I think the landscape is something we will always be drawn to. As a subject it can be interpreted in so many ways, from an impression in ainting or influencing the clay colours and glazes and textures of ceramics. There are so many takes on what it means and holds something uni ue to each erson.

“What I’d like people to take away from this collection would be the calm and balance brought by spending time beside the water.

There’s a meditation in something slowly

made and worked by hand. The paintings and prints are simple in their forms and there’s also focus on the immediate. There’s an element of softness in a language of aint.

Sarah is currently exhibiting with Cor Gallery in Falmouth and showing a new collection of large paintings. She continues to work on studies in the studio for plans this coming spring. sarah-woods.co.uk

INSET From The Island, St Ives

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A B OV E From Low Tide, St Ives

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C O L L E C TO R

V

ivien Woodiwiss trained as a print textile designer spending eight years at art school. er rst foray into the world of collecting came in her early twenties when she was studying in Leeds, and she would often visit the famous covered mar et and un sho s there, loo ing for unusual nds, including handmade buttons and eclectic e hemera.

Form and

FUNCTION

I ask Vivien about why she collects and what is her motivation?

“I started collecting ceramics seriously over years ago, with wor by usie oo er, larice liff and arlton are.

Whilst studying, I chose acobean design as the sub ect of my thesis, which in turn drew me into designs of the 1 s and s however, my taste has broadened over the years. don t li e being called a collector, although of course am one, and buy ceramics because love having them around my home. ere, in our sitting room, there are rows of ceramics on shelves in front me, and many larger ieces

WO R D S B Y H A N N A H TA P P I N G

Through the eyes of the collector: in conversation Vivien Woodiwiss.

are arranged on the floor. verywhere in our house there are ceramics, including the dining room, bedrooms, itchen, hallways, and even the bathrooms and garden What is important to you when choosing and placing a piece? hen choosing wor , the sha e and form is the rst consideration that draws me to a piece, then the outside surface and te ture. favour matt surfaces and muted colours monochromatic and lain. t s about structure and sha e before anything else. don t li e heavy, glossy glazes, and articularly disli e treacle gla es. es ite having been a rinted te tile designer, don t buy clothes with atterns, neither do li e to have any patterns in the house. I tend to also be drawn to lain ots, but there are a few e ce tions. he wor of am all and raig nderhill, who both have their studios in ornwall, fall into this category. hey ma e mar s and add layers on the outer surface

i o

irai

hite

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A B OV E raig nderhill

ow ide

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A B OV E raig nderhill

ewlyn oat

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raig

nderhill

ow

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C O L L E C TO R

of their ots, with occasional motifs and heavy te tures. raig, in articular, uses his ots as a canvas for his designs and gra hic images. ta e a great deal of time and care in how dis lay my ceramics. e endant on sha e, some are better dis layed at eye level, and some ieces are grou ed by colour, style, or ma er. ll my domestic ware is handmade and we use it daily. ne set of drawers in the itchen houses my large collection of coffee mugs, many by i o Hirai and several other a anese ceramicists. ta e leasure in choosing a different one to use each day. ll of the functional ceramics wash by hand, so then get to handle the pieces closely and a reciate their form and ma ing.

What is it that makes you choose a particular potter?

“I have a great interest in sculpture and some of my ieces are very scul tural, particularly the larger ones. Placed on the

A B OV E am all

floor in an area of the sitting room are large ieces by am all, raig nderhill, obin elch, aul hil , usan isley, aniel mith, and two moon ars by i o irai. here is also a grou of ane uir s large snowbirds. n a recent visit to ornwall, we returned home with wor by am all from a visit to his studio, and ieces by e ibson and ls eth wen from the ew raftsman allery. also bought some wor by young otters, reviously un nown to me, on my rst visit to organs gallery in almouth. iscovering this new gallery was a oy it was a s ecial moment as the lace is fantastic.

Where do you find new work? often visit ceramic fairs and otter s studios in London, and elsewhere, which means can engage with, and buy directly from, the ma ers. m a member of the raft otter s ssociation which has a large gallery in ondon, ontem orary eramics

i o

irai

lue

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A B OV E am all

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entre, which has a diverse selection of ceramics from which to choose. hey also organise many ceramic fairs, the largest being eramic rt ondon. nother selling event in ondon, ollect, is organised by the rafts ouncil, and at this and international galleries e hibit ama ing ob ects, including ceramics. o, this is a wonderful feast for ceramic enthusiasts li e me. art from the above, two of my favourite ondon ceramic galleries are low and aud abel. c uiring art, in any medium, is obviously very ersonal, and for me, it s also very e citing.

© Argilo

Vivien Woodiwiss buys from galleries across Cornwall but most notably New raftsman orthminster aller an lumbline in t ves ew ree aller in orvah ar et ouse aller in ara ion ornwall ontem orar in en ance an or ans in almouth.

A B OV E hibition s ace

organs

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© Tor Harrison

A B OV E or arrison,

ntitled. ourtesy of

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organs

endy

A B OV E ilbraham ong u with ee ish and late with im

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C R E AT E

M

ary Kaun English was born in southern California, on the outskirts of Los Angeles in the San Rafael foothills. As a young woman, Mary lived in Europe completing high school in England, before going back to her birthplace to study architecture.

Returning to the UK and London in the 1980s Mary set up home here and went on to have three children. She was what some might refer to as a ‘late starter’ when it came to her intellectual art studies, completing a second degree in 2007 – a BA (Hons) in The Practice and Theory of Fine Art and Design from Wimbledon Art College (now UAL).

The course centred around conceptual art, but such was Mary’s desire to create actual objects and having previous experience in this medium, she concurrently studied ceramics at utney chool of rt fter com leting my degree, ceramics became my passion and the vehicle for expressing my thoughts, ideas and viewpoints,” explains Mary.

Maker and

CREATOR WO R D S B Y H A N N A H TA P P I N G

Preserving the beauty of nature within the ceramic form.

I‘m interested as to whether there was a distinct catalyst for Mary that triggered the desire to become an artist and s eci cally a

ceramicist. Mary replies: “I have always been interested in making and creating things. My earliest and happiest memories are of working in a workshop with a family friend learning basic carpentry skills and in my teens learning how to rebuild a combustible engine. When was wor ing in the eld of architecture, my favourite part was making the threedimensional models that I created to facilitate the design process. I am extremely dyslexic and throughout life have found it easier to explain things, and myself, through the creation process rather than in the written or spoken word.” For Mary, it is clearly all about ‘doing’ and it is her whole life – a multitude of experiences rather than a transient moment – that have shaped her practice and approach.

So, why clay rather than any other medium?

“It has always been 3D for me. Clay is such a forgivable material nd it very easy to wor with (once you understand the principles) and mistakes can easily be turned into wonders and new discoveries. Clay is also very versatile. I enjoy the whole tactile process of working with it – right down to the fact you get covered all over in the stuff when wor ing

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A B OV E Mary Kaun English

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A B OV E iriam s u , stoneware, it red ceramic

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A B OV E idded essel, stoneware, it red ceramic

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A B OV E essels, stoneware, it red ceramic

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A B OV E it ring on the beach at t ves

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C R E AT E

with it!” Mary is very much attuned to the idea that the clay represents the earth itself and celebrates in its natural aesthetic rather than it being a manmade, arti cial material.

Not only inspired by the natural composition of the material she employs, Mary also turns to the landscape of her youth and that of her new home, Cornwall – in particular the orth liffs area where her studio is located. he rough cliffs are battered every year by the storms that come in from the Atlantic.

They are sculptures being carved by nature.

I have always been inspired by the strength, beauty and fragility of nature, and am also very concerned about its future. Nothing man can make will ever be as wonderful as what is created by her – the ultimate mother. My partner and I take long walks with our dogs along and below these cliffs during all seasons and weather – my personal favourite time being the late autumn through into winter. The landscape is incredible – healing, inspiring, thought-provoking and invigorating.” deas often come to ary s mind during such walks, making notes in her sketch book as soon as possible in order to capture ideas: “At rst it barely ma es sense both what am trying to say or how the piece will be able to represent it. Then, I begin to work with the materials, and sometimes the nished wor says it all, sometimes it misses and I have to start all over again.”

Mary’s work is created entirely from locally sourced materials, something that is extremely important to her. Her work is a mixture of ceramic hand-built and thrown work on a potter’s wheel and the ceramic process is completed using the ancient process of it ring. ary e ands nce my ieces are com leted, they are bis ue red in my electric kiln at the studio, which makes them strong enough to survive the ne t ste . nce prepared, the pieces are placed into a large it that have at my studio. eci c materials are placed in and around the work which, when burnt, give off different colours of smo e clouds, and it is this smoke that permeates the porous surface of the ceramics.” bon re is then built on to of these materials and the ceramics below. uring the ring, which lasts overnight, the pieces become decorated with an absolutely unique patina, ainted with the flames and smo e of the re. he re it is covered with metal tins and allowed to slowly burn. In the morning the pieces are excavated. Not all survive the process, others might be subjected to the process for a second or third time,” adds Mary.

“My dissertation at university centred around the idea of the ephemeral. The process of pit ring, being created and decorated by flame and smo e, ts well with this. hese elements are only there for a fleeting moment, leaving

A B OV E o smo e without re

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their mark on a vessel or sculpture that I have created. I feel honoured to work so close to nature. very ring is different, affected by the weather, humidity and materials used, and ary will often conduct her earthen ceramic rings on the beach. he wor is then cleaned and prepared to be shown in a considered way.

Colour is also very important to Mary’s work, in particular earthly and organic tones that reflect the surrounding landsca e and dunes, the flora and fauna of my environment – all of these elements are from the earth and are red in the earth, a collaboration between myself as artist and nature. I know which materials are likely to produce which colours, but nothing is for certain. I never know exactly how successful a ring will be until the it is opened and the pieces revealed.”

Mary’s studio and home are located in Kehelland, where she lives with her partner, a landscape painter, and their two dogs and cat. fter having travelled fre uently to Cornwall for work, recreational holidays and to visit family, they moved to the Duchy permanently in 2016. “We have never looked back – Cornwall is our home. I am extremely lucky to have a large workshop with space to work comfortably and it’s surrounded by acres of natural Cornish habitat; a very rural environment, far away from any town or city.”

Mary can be found in her studio most days of the week, where her dogs visit her regularly.

She also opens her studio to students two days a week: “Working with others is very important to me mentally as well as the fact that I learn so much from them.” here is something different to be drawn from each of Mary’s works, with the smoke cloud patinas reminiscent of ever-changing cloud formations: “People see what is in their mind.

They comment on the use of natural colour and the tactile element – they like to touch it, caress it. I hope my work opens up something in the viewer’s mind that reminds them of the beauty of the natural world and how it needs to be preserved. There is currently a strong emphasis on sustainability within the progression of contemporary Cornish art and feel that my wor reflects this. y using only locally sourced materials and an ancient nonindustrial method, I create work using nature, about nature.” ar currentl has three it re scul tures he iners li s on show at he enwith Gallery in St Ives where she is a permanent member. The Penwith Gallery has three shows a ear o members wor an ar creates new work for each of these exhibitions. marykaunenglish.com

LEFT eridian, stoneware, it red ceramic

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A B OV E essels, stoneware, it red ceramic

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C R E AT E

B

participated in a Triangle Artists Workshop in New York, hosted by Sir Anthony Caro, and in 1997 was the recipient of a Boise Travel Scholarship from the Slade, which resulted in his ‘Americascapes’ series inspired by a series of train journeys across the US.

warded a rst class degree in ine rt he moved to London, where he showed with the London Group and was awarded second Prize in the Hunting Art Prizes. In 1993 he

Talking about his deep love of painting, Ashley comments fter years as an artist, I believe there are more possibilities in painting, more to learn and discover. I believe in the power of painting to move us, seduce us, stop us in our tracks. At art college I was encouraged to move over to sculpture, but I always knew I was a painter. Loving colour, it’s the natural medium. i ing colours, nding new colours, placing colours side by side, making colours work are still the most exciting things in painting. The empty rectangle is a recurring discipline, and a link to every painter in history: a space to tell a story, to communicate ideas and interests, emotions, bravery, skills and knowledge but each must be, will be different

orn in Blackpool, Ashley Hanson always felt very lucky to have been brought up by the sea, moving to Cornwall from London in 2005 to be closer to the coastal landscape that inspired his work. He studied at Canterbury College of Art (1980–83) where he set out as a photorealist, but after being introduced to the work of Matisse and Bonnard, and through visits by Patrick Heron and Terry Frost, he found his freedom in painting through colour. “My big breakthrough as an artist was using colour expressively, intuitively, hooked on to a personal narrative. My paintings at the time were all coastal – colourful hybrids of Blackpool, Whitstable and Dungeness, populated by spotty dogs, lighthouses and strange overcoated gures melting in the heat.”

Chosen by

the MEDIUM WORDS BY JAMIE CROCKER

Freedom of expression through colour – inspired by the power of the Cornish coastal landscape.

INSET Ashley Hanson

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C R E AT E

The coast has been a constant throughout Ashley’s career. “It is where I feel rooted and free. I’m particularly drawn to coastal towns, with their intoxicating mix of the natural and man made landsca e laces of constant change and contrast, solidity and movement.

Inevitably the harbour towns of Cornwall have been the subject of many of my paintings, with series inspired by Penzance, Fowey, Padstow and especially Porthleven, where I recently com leted orthleven .

Alongside the coastal work, in recent years, a new focus of Ashley’s work is ‘Painting the Novel’, starting with the ‘City of Glass’ series, a response to Paul Auster’s ‘The New York Trilogy’. ‘‘Words provoke images, emotions and ideas and it s a new and di cult challenge making these thoughts and feelings concrete and visual. With ‘City of Glass’, the ideas just continued to flow, a tale of obsession became my obsession, aintings in years. n 2 1 , was asked to do a painting about John Boyne’s ‘The Boy in the Striped Pyjamas’ for the North Cornwall Book Festival which I think is one of my most powerful paintings, capturing, I hope, the extremities of love and friendship in the worst of places. A recent project is the ‘20 Books 2 aintings series, sourced in crime ction. n the s irit of the crime ction genre, there are pointers to the identity of the source novels

A B OV E BOOK 15 – Chance

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within each piece, in the disguised imagery, in the palette and title.”

Ashley explains that his artist’s eye is on constant alert, whether in the landscape or reading, he is looking for ideas for painting.

The process begins with an idea explored in words or rough sketches before the painting starts. “On the blank canvas I always begin with colour, usually covering the canvas with a stain, already thinking ahead about the colour that will go on top. At some point the idea, image, shape is introduced: drawn in paint or carved through the layers. During the process, there is always dramatic editing of scale, colour, and mark, using large brushes and palette knives and by pouring and skimming sheets of liquid across the surface, nding new sha es and compositions within the rectangle.’’ il aint has always been the medium for Ashley’s paintings, chosen not only for its intensity of colour but also its malleability – its relative slow drying time allowing for reflection and incessant mani ulation. e is currently working on smaller pieces, both ‘Porthleven’ paintings and a new ‘Beach Huts’ series, a return to a motif from his art college days. Commenting upon this, he says that: “Scale is important: with smaller works, you can make many changes over a short space of time, which can be very exciting. I think we can all get too cosy and familiar working on the same si e canvases, so it s good to ma e a shift every now and again, scaling u or scaling down resenting a challenge of nding or lling s ace. ith ity of lass, the mainly

LEFT en ance 1

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A B OV E Porthleven 52 (The Clock & the Moon)

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TOP Beach Huts – Yellow

A B OV E DETAIL: City of Glass 27 – The Stillman Apartment

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C R E AT E

large scale aintings reflected the scale of New York.’’ And in terms of style? “I guess my work could be described as ‘Abstract iguration image in a colour eld if you li e. y aintings are often structured on the shape of place, with multiple viewpoints and distinctive imagery that hel de ne that place. Sometimes the image is prominent, at other times, buried under the paint, residues and fragments, punctuations of delicacy and moments of precision contributing to the design of the painting. I like to work in series, the paintings feeding each other, allowing all possibilities to be explored.’’

And what of the future? ‘’I’ve been thinking for a while of working out of the novels of ohn le arr , in articular the iconic gure of George Smiley. I’m very interested in the idea of the fluidity of ideas across genres and have recently re watched the series and lms involving miley and ideas are starting to form. I love having these two different strands to my wor , coast and boo , connected of course by colour and place and the dialogue and frisson between information and imagination. he differences he coastal work is perhaps looser and more expressive, with the presence of the power and movement of the sea, the ‘Book’ paintings more urban and geometric.”

Within the canon of contemporary British and Cornish painting, Ashley is modest

enough to let others judge his contribution.

“I’ve had exhibitions around the country and in the US and my work gets selected for a fair share of art competitions and open submissions, including the RA Summer Exhibition, The Discerning Eye and Wells Art Contemporary, so I must be doing something right. What’s pleasing is that both strands of my work are getting attention; I recently had a solo exhibition ‘Painting the Novel’ at Linden all tudio in eal and en ance 1 was selected and promoted as ‘Painting of the Day’

by Contemporary British Painting. I do what I do. A serious artist cannot follow trends or fashion. Undoubtedly, my work was spawned by the artists of the St. Ives School and, like them, also by Abstract Expressionism, but every artist has their influences. hat is important is to inject the personal, putting your interests and emotions into the painting. o efully after years my wor is distinct, independent and recognisable. Moving to Cornwall has been a great success, with more time and space to make work. Cornwall has a rich artistic legacy, but there is a vibrant contemporary art scene, which I feel very much part of. I enjoy being a member of the Newlyn Society of Artists, showing regularly with the group in strong and eclectic exhibitions at the Tremenheere Gallery.”

“I’m immensely proud of the courses we’ve been running in Cornwall for the past 10 years, all under the banner ‘Freedom in Painting’,

LEFT DETAIL: City of Glass 9 – Fiction & Fact

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A B OV E BOOK 5 – The Blue Box

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A B OV E DETAIL: Porthleven 53 – Weight of Water

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TOP Coaster

orthleven

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attracting artists from all over the country. As well as supporting my practice, the courses provide an opportunity to give back, to share my knowledge, skills, methods, experience of painting with other artists, to help them push their own practice forwards. Teaching has also made me more con dent, organised and level headed as an artist, which has de nitely hel ed the promoting side of my practice.”

Ashley hopes that any viewer that might encounter his work would see something different, and nd themselves forced to sto , to feel, to think, to be intrigued, to be willing to give the painting time, to enjoy the colour, the textures, the vision, the mysteries of the making. An experience working on both the senses and the intellect.

Ashley is currently represented by Linden Hall Studio, Deal. More information on Ashley’s work and his ‘Freedom in Painting’ courses can be found on his website. ashleyhanson.co.uk

A B OV E BOOK 20 – Colourcoded

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G A L L E RY

W

ith a distinct style, shaped by a tribe of artists and artisans who live and work in country and coastal places, CIRCLE is a principled gallery that shows paintings, prints, hotogra hy, scul ture and ne crafts, each imbued with the integrity of its maker. United by a global truth – that of the immersion in, and reverence for, their natural landscape – the gallery supports artists who emphasise the natural beauty of our planet through their visual art practice.

Circle

OF LIFE

Gallery directors, Lucy Thorman and John O’Carroll have an eclectic approach to sourcing and presenting artists where a strong personal style and excellent craftsmanshi is a rere uisite, as ucy explains: “From a city dweller’s perspective, landsca e ins ired art ractise is often dismissed as romantic and un uestioning.

However, at CIRCLE we believe art born from a true dialogue with nature is life a rming, ever present and continually evolving.

WO R D S B Y H A N N A H TA P P I N G

Showcasing emerging and well-known artists across two floors o ele ant aller s ace.

INSET Rod Nelson ‘Horseshoe Falls III, Woodcut print, 80 x 80 cm, edition of 50

We curate with a theme, keeping space in mind, allowing the works to sit alongside each other.”

Lucy goes on to say that an artist’s existence is more a way of being in the world, revealed in his or her choices: “Understanding who you are as an artist should be thought of as a lifelong process inseparable from your work.”

Each of CIRCLE’s artists fall into three contextual categories of landscape.

Firstly there is the landscape of pleasure, encompassing art that awakens the senses and includes abstract or gurative ainting and printmaking, seducing with design and colour; secondly, the material landscape, in which land artists, sculptors and crafts eo le wor with organic materials and textiles, using the natural environment for ins iration and ma ing and nally, the human landscape, where factual and poetically erudite works present the viewer a memory or actual human presence in the world.

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CIRCLE’S distinct style goes beyond contemporary aesthetics: “Whilst important that CIRCLE represents Cornish and Cornwall-based artists, we also believe in ‘one world’ and so our makers also herald from Wales, France, Holland, Serbia, Egypt, Australia and the USA. What unites them is that they make work they truly believe in, is uni ue to them, and reflects where they are currently at in their life.” The gallery’s core group is rotated throughout the year, with the addition of guest artists who are included in solo, duo, mixed shows and online features.

Fellow gallery director, John O’Carroll has a background in Egyptology, and is a contemporary artist in his own right.

Dividing his time between the gallery and studio, his winter studio in southern Egypt and Amsterdam, John [O’Carroll] is a master of igment and his wor reflects un eo led landscapes in bold, abstract panoramas. n the floor above, which is home to ohn s private studio, Carol Coulter’s Framing and additional exhibition space, there is a dedicated ceramic room bringing together a potent fusion of ceramics and art. North Cornwall potter, Deborah Mitchell favours a pot style which is democratic and is influenced by the a anese mingei movement which stresses modesty. Chris Prindl is an

experimental ceramicist whose brightly glazed primary colours pay homage to the time-honoured tradition of Japanese pottery.

By contrast, Elin Hughes creates abstract, non-functional pots rooted in 20th century modernist philosophy and practice. Joseph Bull is part of a research group at Oxford university who use anthropological methods of to investigate creativity in wood red contemporary-hybrid Japanese inspired ceramics, resulting in narrow neck pots that underplay their luxurious aesthetic.

In juxtaposition, Joseph Dupré is a UKbased artist and doctor. Splitting his time e ually between these two assions, he wor s primarily in clay, bronze and wax, producing layful, humorous scul tural gurative forms.

In addition, CIRCLE has a print room, which features a large collection of exceptional, hand printed woodcuts, mono prints, screenprinting and lithography prints. Merlyn Chesterman’s woodcut prints are mostly about places and the natural world; what she sees and feels around her. She is also part of Pine Feroda, the collective name used by herself Ian Phillips and Judith Westcott) who together create large-scale, dramatic woodcut prints inspired by the extraordinary coastline of north Devon and Cornwall. Rod Nelson’s landscapes, waterfalls and seascapes

LEFT Amy Wright ‘Ode To The Gorge’ Oil paint, acrylic, graphite on canvas, 180 x 190 cm Nicholas Arroyave-Portela ‘Tall White Dehydrated Form’ White St Thomas clay, stoneware glaze, 44 x 25 x 25 cm

A B OV E Tony Plant ‘Boat Bird’ Found objects, 27 x 20 cm

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TOP Rod Nelson ‘Tide Race’ Woodcut print, 39 x 88 cm, edition of 50

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A B OV E Charred seats by Simon Gaiger and textile wall piece by Adam Halls

A B OV E Pine Feroda ‘Lake’ Woodcut print, 124 x 86 cm, edition of 60

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A B OV E John O’Carroll ‘Stepper’ Gesso, pigment, copper, resin on panel with raw steel frame, 120 x 120 cm

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ossess a soothing tran uillity while revor Price’s highly representational images reveal intricate mark making and abstraction in close up.

CIRCLE’s focus for 2022 is ‘Closing In On Nature’ that will unite a core group of artists. Sculptor Simon Gaiger lives in rural Wales and makes free forms and furniture from fallen trees and abandoned metal, keeping the evidence of past use. John O’Carroll’s wide angle gestural paintings arise from the years he spent in the big landscapes of Texas and the Western Sahara.

Susan Bleakley’s careful abstract paintings flic er with the tlantic light which she sees from her window. Adam Halls was born on his great grandfather’s farm on Bodmin moor where he still lives - his embroideries reflect dee intimacy with his land. Photographer Joni Sternbach roams the world’s beaches, particularly Hawaii, to document surf culture, and Ben Barrell, who works surrounded by the beauty of the place of his birth, St Gennys, creates joyous sculptural forms and shapes from the sights and experiences that surround him. Thomas uggan s wor is com le , yet uiet, at once

arresting, ancient and contemporary; MarieJose Robben’s impasto oil paintings sing of flat windy coast wal s in south olland, a fresh take on the Dutch landscape tradition; while Tony Plant’s whole-beach drawings are akin to a Zen monk attending his gravel garden and nestle into the margins between rock, sand and sea.

This coming together is testament to CIRCLE’s commitment to showing beautiful art that stems from living in harmony with nature. “Environmental sustainability and climate change are the most pressing topics of our age and as a contemporary gallery we believe we are setting a good example.” inhabits a s ace at aw s eld situated on the A39, a shopping experience in north Cornwall that brings together an eclectic yet cohesive mix of businesses. “We set up the space in 2014 and the gallery has grown organically with the site ever since. t s a uni ue, large and interesting s ace, set over two floors and designed to be en oyed by everyone,” says Lucy. circlecontem orar .co.u

LEFT Simon Gaiger ‘Field Form’ Cedar, lime wash with concrete base, 190 x 75 x 59 cm

obyn itch eld

ilmott ass

il on linen, 1

A B OV E 1 2 cm

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orn in Slough, Gemma Lessinger hails from a city life, with generations of her family based in London. As a child, Gemma would holiday in Cornwall every year with her parents and siblings, spending her days building sand castles and playing in the sea with her brother and sister, and it wasn’t long before the county stole her heart. At an early age, she knew she would nd herself bac by the sea in later in life.

Back to the SEA

Gemma attended The Surrey Institute of Art & Design and received a BA Hons in Fashion and Communication.

“That was incredibly creative and involved drawing and graphics and photography, but my painting took a back seat. I loved the world of fashion, being able to use clothing as a way of expressing yourself, much like painting but it was accessible to everyone.

People who think they have absolutely no creativity can be creative with their use and choice of clothing. It fascinated me.”

WORDS BY ROSIE CATTRELL

Blending the physicalities of the Cornish coastline with a familiar nostalgia.

fter a career in buying and roduction roles in the fashion industry, and a change in direction when she became an Artwork Coordinator, Gemma still felt something was missing, and all the while Cornwall called out to her. In 2 11, emma and her husband nally moved to the place she’d always dreamed of calling home, but in 2019 she had to admit that something was missing, just in time for a global pandemic: “For the rst time in as long as can remember, I had to stop. Stop travelling the country and the world, stop trying to do ten things at once; I didn’t know what to do with myself. We were so lucky that we were living in our little cottage just outside of Newquay, but we were just that little bit too far away from the ocean to walk to it. I not only found myself completely stationary, but also not able to visit my beloved ocean. to ing li e that, for the rst time ever not having anything to do, anywhere to go, forced me to slow down. Slowing down like that made

INSET Gemma Lessinger

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A B OV E Moments on The Shoreline

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A B OV E Coves from Above - In situ

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well

A B OV E ff hore

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me look within to what I yearned to do, and for the rst time in years realised what had been missing from my life; it was painting.

I didn’t consciously realise that for a number of weeks, I just remembered one day that I had some paints in a box under the spare room bed, and that my parents had bought me a set of canvases a few Christmases ago which were still in the plastic wrappers. I took them all outside onto the garden table, under the blazing Cornish sun, and I painted a wave.

I missed the ocean so much, watching the colours in the water, the white-water patterns, the noise of the swell crashing against the shoreline.

I hadn’t planned to paint the ocean, it just happened because I yearned to be stood on the sandy shore, feeling the water lapping at my feet.” fter an overwhelmingly ositive res onse to her rst few ieces, emma continued to test the waters of her new-found passion, and delved into a technique that would shape the future of her work. “One day I decided

to paint an aerial view of the shoreline at Holywell Bay. I still to this day don’t know what made me think to do an aerial view, I just listened to my creative instincts that were nally flourishing because the world had sto ed. couldn t sto ainting after that oint. hat rst aerial iece, olywell Bay Shoreline, was the starting point of me nding my style.

Having been drawn to the abstract expressionists in school, Jackson Pollock in particular, Gemma found herself unwittingly using a similar technique in her work in order to create abstract forms of the ocean. Flicking the paint at the canvas, using her own emotions and energy to blend the colours, turning the canvas to allow gravity to pull the paint, using salt and sand to create different blends.

“Colour for me is so expressive,” muses Gemma. “It can take you back to a moment in time, a feeling, a memory. It can bring a mood or emotion into a room or onto a body.

INSET In the studio

A B OV E Watergate Bay Series

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I guess this is the closest link for me between my two worlds and great loves; fashion and painting. But as much as fashion can be used to express, the physical act of painting, of blending colours so that every piece has its own story to tell, its own emotions to convey, that is why I paint.”

Gemma’s work is beautifully shaped, almost sculptural, and has varying levels of depth to draw you in to take a closer look, but where to begin? Gemma gladly indulges our curiosity: “My starting point is to visit and research the shoreline I am going to working on.

I now have a drone which I use (conditions and restrictions dependent) to gather aerial photos and videos of the location. I love using it to help me view things I wouldn’t ordinarily be able to see, such as colour patterns in the water, light bouncing off a wave, details in the white water that you would never see from the shore. I then gather sand and any other artifacts from the shoreline to use within the piece or keep me inspired while I work.

LEFT Holywell Bay Shoreline

I have used crushed shells, dried grasses from dunes, drift wood and fabric from clothing in my pieces before, all adding unique texture to the pieces. Texture is a key factor in my work, which has evolved over time. The more I experiment with it the more I feel I can use it to express the power and momentum of the ocean. I also feel that by using sand from the shore I am working on, that those tiny grains of sand are bringing the colour, emotion and memories onto the canvas.”

Strikingly vibrant and wonderfully familiar, each of Gemma’s pieces presents us with a beautiful new perspective of the places any Cornwall dweller will hold dear, and take us on a unique journey to the places of our childhood. “I became fascinated with aerial view points of the ocean and coast at the start of my re-discovery into painting.

All my pieces are based on a bird’s eye view, looking down from an angle that is so inaccessible to us humans on a daily basis.

That is a fundamental part of my work and

INSET Gemma with Mawgan Porth Shoreline

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A B OV E Limited Edition Prints - Gwithian & Padstow Shorelines

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A B OV E Fistral Shoreline

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A B OV E Crantock Swimmers Paradise

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A B OV E Breaking Point

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I am really enjoying playing with scale in and around that. I have been working on some very large pieces of late, even working directly onto sur oards. here is so much freedom working large scale.”

“I like to think that my work is a bridge between classic Cornish landscape painting and abstract seascape work.

Cornwall is famous for its landscape painters and they have deeply inspired me but I wanted to be different. am in awe of some of the artists leading the Cornish artist movement at the moment; Kurt Jackson, Nina Brooke, Jethro Jackson but I wanted to stand apart from them. Playing with perspective by using aerial views, using bright bold colour to portray the beauty of the ocean and most importantly bringing heavy texture, almost sculpture into my work I hope does that.”

Since Gemma started her business in early 2020, she has built a community of followers

across multiple platforms, who she hopes to inspire daily with her love for Cornwall and creativity. “If I hadn’t moved to Cornwall, to fall so in love with the ocean, I am not sure I would have picked up my paintbrushes again,” she goes on to explain. “I love exploring the county and never fail to be surprised by a new little cove. I have particularly found in my latest work that I don’t even need to discover a new place. My closest beaches that I visit on a daily basis hold so much changing natural beauty. As the seasons and the tides change so do the colours in the water, the momentum and power in the waves. I could study one beach for the rest of my life and think I could create an everevolving body of work.”

Through her work, Gemma hopes to bring the viewer a memory of a childhood beach, sand between toes, the soothing sound of the waves, joy in remembering a treasured moment. gemmalessinger.com

INSET Breaking on the Rocks

A B OV E Perran Shoreline

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A

rtist u e night, will often squeeze in a surf early in the morning or after wor , where he nds the last hours of light absolutely magical. “It’s not just the views from the water to the cliffs, but the smell, the tem erature, the taste to the air and, although often surf with a mate, it s the solitude that lures me.

These elements have formed the cornerstone of u e s wor and he describes being one of the rst to see the daybrea over the water and the last to see it nish, as feeling very special.

A shift in the

LANDSCAPE WO R D S B Y H A N N A H TA P P I N G

“A huge part of living in Cornwall for me is being able to s end time in the sea sur ng or swimming. or me being outdoors, s ending time in and around the water is a time when can reflect and be in the moment, e eriencing things in a different way to the way we s end most of the day, e lains Luke. “The experience of the water on my

A new name in contemporary painting, Luke Knight’s paintings express a beauty of space, emotion and light.

INSET Luke Knight

face, the touch, and the smell is li e a form of meditation try to absorb as much of the e erience as ossible. t is this e erience of the intangible things that Luke’s tries to ca ture, roviding the large art of the fuel for the aintings. he coast and landsca e is important, but it is the feeling, emotion and e erience that forms in my memory which is so important.

I hope that the painting is more than just a representation of a place. The paintings are those of a memory, a feeling, a time, a lace, an e erience indeed some of the paintings are in fact quiet abstract although not in the purest sense, as in my mind at least they represent something tangible. ns iration for u e lies dee in his e erience of the ornish coast and the ocean and they are both ey sub ects for his wor , as he explains: “My paintings are primarily ins ired by being in and around the cli o s

RIGHT I like the summer but I like the winter too il on board 1 cm

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and the sea. have always loved being in the sea and, li e many eo le nd it com letely rejuvenating, yet at the same time am in awe of it. I have been looking at Hermann Eschke and ilhelmina arns raham recently and it is the light and luminosity of sch e s aintings and the colour and line of arns raham that really stri e me. u e has always en oyed ma ing and ainting, and loves loo ing at images. do remember seeing Cezanne’s Provençal andsca e in the National Museum, ales for the rst time and remember it bu ing – it was as if the painting was visually vibrating. found it com letely absorbing and it is etched in my mind as a very vivid memory. also had the remar able pleasure of participating in the Erasmus Exchange at L’Ecole De eau rts in antes and s ent four months travelling around uro e viewing many aintings in the flesh. uring this time visited taly, aris and olland en osch , the ague and msterdam. was able to

LEFT Somethings take time il on board cm

loo at the enus of rbino and then a few days later com are it to anet s lym ia. loved being able to get on a train and go and see the aintings that had read about in boo s, was able to s end a lot of time in the i smuseum and marvel at embrandt s mastery and s ill in using aint not ust to layer but to build and create an illusion with subtlety and, at times, dece tive sim licity.

Many of these paintings have a quality of uietness and ca tured frame, many have a very cinematic feel. t is to do with the light, but also the com osition. u e describes these artists as the photographers of their time a time decades, if not centuries, before lm and cameras.

In their own way, these artists were capturing moments in time. hen it comes to the creation of his wor , u e cites a uality of light that is lin ed to an experience, that begins the process: “I’ll have this in my mind. ta e lots of hotos and might be visualizing a number of these at once, as my wor is rarely based on an individual

A B OV E ait il on board 1 cm

INSET Never let the truth get in the way of a good story Oil on board - 100x90 cm

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image. i ewise, study a lot of aintings, ranging from 1 th century maritime art, to 2 th century abstract e ressionism and 21st century contem orary wor . hen aint in the rst instance, am ust concerned with building u layers and develo ing the structure of the com osition this can be very fluid, and there is a lot of ush and ull. he whole rocess can ta e many months and aintings can change dramatically, as new thoughts, ideas and e erience influence the wor s as they develo . li e the surface of the aintings li e them to be scratched, rubbed sanded, olished, as well as having fresh aint and areas that have not had too much intervention. he edges of the ainting can show the buildu over time the different layers of aint wra around the straight edge of the board and on aintings that have been wor ed on and wor ed on so the edge of the ainting becomes rounded and uneven. his for me is one of the most wonderful arts of the ainting, it is a result of the time and work that has gone into each one. It is also a very uiet art of the ainting and something that can be easily overloo ed.

t can be di cult to now when a wor is nished, generally wor and re wor until the momentum slows to a stop, but the process can be cyclic. As much as paintings need ositive action to develo , this needs to be balanced with their need to rest, to sit, to be loo ed at, to be forgotten, to be found and to be rewor ed. t s similar in a way to thoughts cycling in your head, ee ing you from slee . aintings, too, can go round and round obsessively in a cycle until there comes a oint where they can rest. he idea that art wor s aren t nished, they are abandoned, de nitely resonates with the way that wor . he endless ossibilities of layering and the tactile nature of paint is what Luke loves. hen you watch young children with paint, they just want to cover their hands with it. love the fact it can be very delicately controlled and very e ressive and can sometimes be both at the same time. Oil ainting allows me to be very fle ible it is robust and stays wet, so it is a very fle ible medium. a ing a ainting is at times uite hysical. nitially, it can be about de ning an under drawing, lacing layers of oil and aint, sanding and scratching the surface, a lying more layers and re eating the rocess.

TOP You might remember this il on canvas cm LEFT offee u il on board 2

cm

RIGHT tand till il on board 1 cm

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he oil from the aint adds many ro erties and allows trans arency between the layers so that they can interact with each other.

I love using colour, there are so many ossibilities with it and it is com letely relational – by that I mean colour only has meaning in relation to or in a context with other colour. u e s studio is somewhere where time can easily disa ear, and that s ey to his wor . ometimes when time is limited it can be di cult to now whether to s end time in the studio or to be in the sea. oth laces are restorative and in both laces e citing things can ha en. hen in the studio, painting, you never know whether the action you take will mean a painting makes progress or whether you will s end an hour feeling li e you are getting nowhere. hen you addle into a wave you never know whether it is going to be full of turns, have great s eed and flow or whether it is ust going to close out. n either case you must ust s end the time, ta e the ris , ma e mista es, and nd out. n either case you ust need to be doing it.

LEFT Stay Still il on anvas

2 cm

t is clear that u e has no agenda when he paints, he has no wish to make the viewer feel in a certain way, just that they enjoy his aintings as much as he does. ho e ust to e ress the beauty of s ace, and emotion and light. hat s what drives my wor .

Luke is currently working on a collection for Whitewater Contemporary to be shown in the summer of 2022. lukeknightpaintings.com whitewatercontemporarygallery.co.uk

INSET he artist s studio

A B OV E Let’s get lost il on board cm

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orn in Bath in 1963, Martyn Perryman moved to south London with his family in 1967 and from a young age was allowed unsupervised access to his Grandfather’s work shop, an opportunity that may well have laid the foundations for his future as an artist, as he so fondly recalls: “It gave me my rst taste of creating things by myself that had not existed before.”

To have free reign in creativity as a child would shape Martyn’s artistic tendencies and aspirations, which would soon present themselves in school.

On the

HORIZON WORDS BY ROSIE CATTRELL

Creating a calmness and clarity of mind through oils on canvas.

Shying away from academia, Martyn’s art teacher recognised and encouraged his raw artistic talent, with his very rst commission being the school Christmas card. Here he would also develop a talent for the design and making of props and backdrops for the school plays, a skill that he would later em loy. fter leaving

school in 1981, Martyn went to work as a studio assistant for the sculptor John Rivera, president of the Royal Society of British Sculptors. From here he moved into retail display, working as a prop and studio manager at the Harvey Nichols department store in London from 1985 to 1990, going on to set up his own display company working with stores in the west end of London.

In 2000 Martyn began to take art classes, and developed such a passion that he started a part-time degree in Fine Art and Design at the Wimbledon College of Art in 2002, graduating in 2007 with a rst class degree. t wasn t long after this that he found himself a work space at Diesel House Studios in Brentford, London: “This was run by artist Elizabeth Rollins Scott who gave me great encouragement, advice and support. We would have regular exhibitions at the studios, which gave me

INSET Summer Peace 2 - 70x70 cm

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A B OV E Martyn Perryman in the studio

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A B OV E Advancing light 4 - 50x50 cm

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A B OV E Advancing light 5 - 60 x 60 cm

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the opportunity to discuss and explain my work and ideas with potential buyers, with the chance to sell my paintings. Through this develo ed the con dence to contact other galleries to represent my work.

‘Being fresh out of art college, I met with David Durham and Dee Bray, owners of the Porthminster gallery in St Ives. They gave me the opportunity to trial some of my work in the gallery, which has been a turning point in my career and life as an artist. Over time I have become a fulltime artist at the gallery and they have supported me over the years, ever encouraging me to evolve my practice.”

Now in private collections throughout the UK, Europe, Australia and America, artyn s wor is flourishing, and has even been successfully exhibited with the Royal Society of Marine Artists at the Mall Gallery, London. Living with his partner, the ceramic

artist Mary Kaun English, in north west Cornwall, Martyn’s home and studio are just a few minutes from the north cliffs and the expansive beach of St Ives Bay, a sight to inspire his continued exploration into the beauty of a Cornish horizon. “I am fascinated with how land, sea and sky interact,” he kindly explains. “I try to recreate the beauty and majesty of nature in this continual changing environment.

My ideas come when walking the coast path and beaches near home. will often sto and make a quick sketch and colour study to use back in the studio. For me there is no such thing as bad weather, I enjoy the calmness of a summer’s day as much as the invigoration of a stormy winter walk, the sky full of movement and light as the clouds continually transform, casting shadows across the landscape.”

Through the mediums of oil on canvas and paper, Martyn creates seascapes and

INSET Eternal light St Ives bay - 40x40 cm

A B OV E Enduring Light 2 - 50x50 cm

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A B OV E Golden Harmony 3 - 70x70 cm

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A B OV E Golden glow - 50x50 cm

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A B OV E Golden light 1 - 50x50 cm

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landscapes with a focus on the horizon. Each of Martyn’s pieces have a unique and striking effect, with a beautifully recognisable hue of calming neutrals that immediately tell of Cornish seascapes.

“I use a limited, cooler colour palette of oil paint,” says Martyn. “Oil has a slow drying time and a fluidity that I have found works well with my subject matter of sea and landscapes, focusing on the horizon. I can blend and move it around the canvas. A painting evolves over time as I build up many layers of thin translucent paint to create the nished work. My studio at home is bright with natural light, but not a large space so I keep it clean and minimal, only having materials and equipment I need at hand. I have found that you don’t need a big space to create large scale paintings.”

TOP Calming Skys St Ives 2 - 70x140 cm

A B OV E Time to breath 1 - 120x60 cm

“I am currently developing a series of work inspired by the Hayle estuary between Porthkidney beach and Mexico Towans beach. This area of pure white sand is ever shifting, being scul ted into abstract sha es by the tides and winds. My intention is to produce paintings that trigger a past visual experience. To create the calmness and clarity of mind that can be achieved when looking out to a horizon free from the pressure, pollution, noise and visual clutter of urban life. I invite the viewer to take time to join me in the contemplative position, enabling the consolidation of past events and the consideration of future possibilities.”

martynperryman.com porthminstergallery.co.uk

lue in nity t ves bay 12

INSET 12 cm

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A B OV E Transforming Light 7 - 60x60 cm

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orn in 1957, Nailsworth, Gloucestershire, Richard Ballinger attended Highwood Secondary School, exhibiting a keen interest in art and mathematics. This found form at school with the creation of comics. However, he initially started training as an engineer through an apprenticeship, but realising this wasn’t his calling he uit after some years to trade vintage clothes.

He eventually opened a vintage clothing shop selling tuxedos and 1 2 s fla er dresses.

Naturally

INFLUENCED

It was not until 1988, when he travelled to Ireland on a moped, that he started drawing again.

Upon his return he embarked upon some formal art education – a foundation year at Stroud Art College. Returning to Ireland, he began sharing a studio in Cork, making papier mâché sculptures and vessels in the early 1990s, which led to a commission from Cadburys Chocolate to make sculptures for Cork University.

WORDS BY JAMIE CROCKER

Creating a pictorial narrative through a brave exploration of self.

INSET Still light when night draws in Oil on Canvas - 120x120 cm. 2021

Back to England again, Richard was still discovering his calling, and needing to help provide for a new family he started selling antiques at art fairs and doing house clearances whilst painting acrylic landsca es. nfluenced by the ornish art scene, after many visits to the county, he moved permanently there in the 1990s.

2003 was the seminal year for Richard when he began dabbling with different media, cutting up pencils or using multiples of different materials, creating a varied picture plane. This led to being taken on by the Oliver Contemporary, a London gallery, culminating in several shows in Cornwall.

Richard muses, “It was nature that fundamentally influenced me growing u next to a wood and communal orchard. Also, my art teacher was great because he didn’t curtail what I was doing. I went my own way, making comics, whilst everyone else was painting pictures.

RIGHT Before the Storm.

Oil on Canvas - 83x103 cm. 2021

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I could be good at this. I always liked looking at art through its form and colour but it was an open book with me, I never gravitated to one particular artist, I embraced all art in some way. ichard redominantly wor s in oils. “I worked in acrylic in the 1990’s but it had its limitations. The use of oil is more versatile and as soon as I started using them in 2 , felt the shac les were off. ou can paint wet-on-wet, wet-on-dry, you can work bac into it.

Creating stories through the artwork I expressed myself with my own ideas. He liked the bravery of what I did, so you can say the eano had a strong influence at school. As I got older and through traveling, I discovered and liked artists such as Goya, Morandi, Gauguin, Klee and Turner, and writers like Flann O’Brien, Haruki Murakami, Kurt Vonnegut and Paul Auster were influential.

Talking about his inspirations he continues: “I travelled round on a moped with my best friend Tim. It was a wonderful adventure and to ll in some time, started drawing again. t rom ted me to ta e a different curve and I thought I need to change my life,

LEFT Blue Trees Oil on Canvas - 122x91 cm. 2018

“All the key subjects are stored in my head and they are all experiences taken from key moments in my life through memory and photographs. I always gravitated to woods, valleys, orchards, barley elds, revelled in the landscape whether open or enclosed. The constructions came from my engineering side of things, on the other hand painting has a lovely loose free quality, but the constructions were very engineered, structural, hard everyday materials. I was fascinated in that; optical images intrigued me, the process of creating a 2D picture plane excited me. I like the unknown and the challenge.

Richard’s process is very direct. He likes drawing straight onto the canvas rather than prepping too many drawings, “It becomes too confusing, if you draw onto the canvas you can shu e things around as you li e.

INSET From the Walled Garden to the Valley Oil on Canvas - 83x83 cm. 2021

A B OV E John Beresford

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build a landscape; it moves around until I’m happy with it. However, some paintings you thin are nished may need more time as you will see things differently over time like to let them breathe and mature before anybody else can see the nished wor .

Richard has studied colour theory for years and has always believed colour is dependent on your mood: “If I’m daydreaming, I think generally about a possible painting. I see colour, motifs or if I look at another artist’s work it might help me see something that I

can make up for my own imaginary world.

Gauguin, Morandi, Goya, etc would stand out for me, and guide me.

The choice of materials is important, “I generally use Michael Hardin high pigmented paints. Stretched canvas is bought off the shelf from ac sons. ome brushes are left slightly hardened from left over residues of aint. his induces a grain li e a lication and gives different flows of the aint. enerally, start with glazes before the application of a thicker paint. Colours change with me day to day depending on my mood. It’s a good job I’m generally in an optimistic mood at the start of morning, so my colour selection is bright and vivid. Canvases are selected small for portraits and still life, large canvases for landsca es and interiors.

Working out of his studio – a converted stable block next to Trewidden gardens – in West Cornwall, he is surrounded by nature and interesting landscapes which are influential in arts of his wor . t s not generous in size, smallish with good wall space, painting storage and access.

The size of my paintings works well within this space, although I am presently looking

A B OV E Looking from East to West.

Oil on Canvas - 103x123 cm

INSET till ife, rey, ellow, reen.

Oil on Canvas - 63x63 cm. 2021

RIGHT The Last Hot Day. Oil on Canvas - 63x53 cm. 2018

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great British paintings. So hopefully with my motivation I would like to be considered one day amongst that elite. But I will keep it as a secret desire and not boast about it. o, ll ust blush and try and esca e.

for another larger studio to coincide with ma ing large canvases. ichard li es to express his subjects with no boundaries: “A tree can be blue, red or yellow - I don’t articularly de ne it, m not regimented in thinking that a tree should be green.

If there needs to be a blue tree in the painting then I will express it; that excites me because that takes me out of the norm, makes me much more e ressive within my wor .

“I want to be really good but what’s important is that I want to be good. I don’t want someone else to tell me, otherwise I will lose all that inspiration or natural challenge that can hit me every day. e goes on, “Some artists will rest on their laurels and do the same thing again. I think there are some great artists in Cornwall and some

LEFT Interior with Red Flowers Oil on Canvas - 61x76 cm. 2021

His creative drive means that he doesn’t have an eye on future collections: “I don’t work like that. Personally, I think you try and stick to what you’re good at, and when you have a free day from that you will try and venture into something a little bit different, try and maintain a structure, of a formatted structure, so you paint still life, paint landscape, sometimes paint portraiture.

Thankfully I have galleries that like all three of these. don t ma e aintings for a s eci c type, I make paintings for myself.

‘I want people to journey through colour, from one to the next, to see the layers in a painting, to look through the composition, nding the connections between one line to another before reaching an overall stillness; so, it becomes a meditation on a ne moment of the day – which is generally dusk or dawn.

I think we all gravitate to that wonderful half-light ambience. That’s what I’d like to ta e when it s nished, ho efully they will look at it the next day and see something different. richardballinger.co.uk

A B OV E The Warm Room Oil on Canvas - 103x103 cm. 2021

INSET Men on the Moor Oil on Canvas - 61x76 cm. 2009

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W

ill’s formative years saw him spend time in his grandparents’ art studio from a young age, drawing and painting with his grandfather and making things out of clay with his grandmother; this was to be a catalyst for his creative journey. “Being in that environment and experiencing the process of raw materials being transformed into artworks was captivating,” explains Will, “as were the many family visits to London galleries. I have always been interested in the history of painting, and discovering contemporary artists who are continuing the language and tradition has been a great source of inspiration.”

The young MASTER WO R D S B Y H A N N A H TA P P I N G

Spending time in the presence of the subject, Will Calver captures the interactions between light, forms and colour.

Will currently lives and paints in the Kentish countryside, just a few miles from where he was born. He moved to Cornwall to study for

INSET Will Calver

a Bachelor’s degree in Fine Art at Falmouth niversity, and also studied briefly at the London Atelier of Representational Art. hortly after graduating, in 2 1 he e hibited some paintings in St Ives’ historic Porthmeor Studios, which led to further exhibitions at the ew raftsman Gallery in St Ives, Morgans in Falmouth, 1 a allery in ast Dulwich and Wilson Stephens and Jones in Notting Hill. Will has also been commissioned for paintings by the perfume company Ffern.

Reimagining the still lifes of the 1 th and 1 th centuries, ill s work belies his tender years. “There are many levels on which I enjoy painting. It is an opportunity to spend time observing the things feel an a nity towards, and to pay homage to the subject, the materials, and their history. I enjoy the ritualistic nature of each day in the

RIGHT Apricots on a Plate II 1 1 il on linen

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A B OV E Ceramic Bowl with Green Peas 12 12 il on linen

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A B OV E Clementines in Moroccan Bowl 12 12 il on linen

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studio; beginning with preparing the paints, and ending with cleaning my palette and returning everything to its right place in the studio. The journey of learning to harness the technical and emotional language of paint is one that is fascinating and lifelong.”

Will works in a small studio in the garden of his family s farmhouse built in 1 . thin that this environment has had an influence on my work, both through natural osmosis and through being actively interested in it. t is a room lled with canvases, bottles of medium, paint brushes, and a multitude of potential subjects. The ceiling is double height and, on the rafters, various lam s are clam ed, often used in con unction with the daylight cast from the north-facing entrance, which washes over the easel and the subject and diminishes into relative darkness at the far end of the room. It is a quiet space that enables me to create my wor . utside of the studio is a group of fruit trees from which many of my subjects are sourced.”

For Will, every painting is a journey and the point of departure must be considered and correct. However, Will believes it’s also important to begin with a balance of uncertainty and con dence that very

uncertainty can give a painting an edge and a life that too much planning can dull. I like the brushstrokes to have a sense of searching.”

“Sometimes my reason to paint a subject begins with its visual interest, and at other times its symbolic potential. My favourite forms are those that are at once simple and monumental, quiet but with presence. I always hope to paint objects in a language that e resses their universality whether it is a uince, a stone or a coffee cu , it is the profundity of simple things that inspires me.” ill is forever researching and re ning the materials he uses as they are an integral part of the artwork, and in themselves inspire him to improve. “The painting process is very tactile, and it is important to me that the materials feel right to use and to own, and as much as possible are made locally and in a traditional and responsible way.

At the moment I am painting on oil primed linen stretched over a tulipwood frame; I use handmade brushes and traditionally made oil aints. he ending is e ually im ortant I once read that with each brushstroke the ainting loses a little life, and often have this in mind when choosing when to stop.

A B OV E Daisies, oil on linen 1 1 il on linen

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A B OV E Sissinghurst Rose 1 1 il on linen

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A B OV E arly oo ing le 1 1 il on linen

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A B OV E Plant Mister il on linen

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I like it when the end result has stability whilst consisting of kinetic brushwork.”

“I have found that the more I have studied and practised art, the more aligned my work has become with a traditional idea of ainting, and the better it has reflected my own aesthetic ideals. Through compressing the world of my paintings to everyday objects in unadorned settings, I feel I can express myself more acutely.

I draw inspiration from the peace and timelessness in the works of artists such as William Nicholson, Hammershoi, Chardin, and Gwen John, and I hope that, whilst drawing on artists from the past, my work would still sit comfortably in a contemporary gallery.”

Will likes to explore the beauty and power of simple objects and in doing so tries to distill their harmony in paint; he would like people to nd a connection with this when viewing the paintings, and perhaps to take a little of that stillness with them.

A B OV E Paper Plane, Milton and Fruit 1 1 il on linen

Will is currently working on three new bodies of work for exhibitions in Wilson Stephens and Jones (December 2021), 155a aller ctober an ew raftsman Gallery (March 2023) that will include 40 paintings across the exhibitions, and will be a continuation of his still life work. willcalver.co.uk

12 12

A B OV E Quinces il on linen

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A B OV E Madame Alfred Carrière 1 12 il on linen

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A B OV E reen offee u 1 1 il on linen

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G

rowing up in rural Kent and living there until 2016 before moving to Cornwall, Patricia Wilson long ago fell in love with the mining landscape of West Cornwall, with its history and wildly beautiful coastal landscape. On the beginnings of her career as an artist, Patricia says: “I was a late starter and went to university in my 30s to study Social Psychology. had a rst career as a social researcher and lecturer, balancing that with bringing up two children, and it wasn’t until I had my third child at 40 that I decided to change course.” It was then that Patricia enrolled for a part-time degree in Fine Art,3 at the local art college in Canterbury, before studying for a Master’s Degree. Drawing on her experience as a lecturer, she later taught multimedia design for several years, before taking the leap to “go it alone” as a freelancer.

Elements of CHANGE WO R D S B Y DA N WA R D E N

Finding expression in clay; embracing its sense of ritual and tactile malleability.

n how, and from where, atricia nds inspiration, she says: “As a child I was always painting and drawing. I skipped my exams, and didn’t go back into education until I was in my 20s. During those years, I also went to adult education classes in Art, and one of my tutors was Fred Cuming R.A..

He taught me how to control my painting, how to look – really look – at the way light falls on an object. There are so many artists I admire, and for so many different reasons Van Gogh for colour, passion and simplicity; Francis Bacon for subtlety and honest brutality; Duchamp, for expanding our notions of what is possible.

“I became an artist because art allows me to play, experiment, dream and imagine, except now it is not without responsibilities. I’m not a child now.”

INSET Patricia Wilson Smith

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A B OV E Pots2 Monoprint 2021

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A B OV E Installation: The Evolution of Intention, 2021

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Patricia is an interdisciplinary artist.

“I have a range of tools: cameras, digital image editing software, aint, clay, a printing press and so on. It’s natural for me to migrate from one medium to another, for example my lockdown project began by digging up rubbish from my garden, which cleaned, hotogra hed and lmed. he process ‘ended’ with a series of monoprints.

It is the process that really interest me. f am offered an o ortunity to e hibit the ‘product’, then it has to encapsulate that process. I make installations, because they encom ass multi le media and offer different inds of e erience. also ma e brief interventions in the environment which are recorded as short lms before being dismantled - I like the idea of transience.”

Talking subjects and it seems that Patricia nds muses in a variety of sub ects as wide as the mediums in which she likes to work.

“The sea, the coastal environment, social history, people, relationships, ideas, books, events, global warming; I’m human,” she says, and nd that everything im acts on me in some way that is disturbing, beautiful, sometimes frightening. I can choose to make something the ‘subject’ of my work, but most times it gets away from me. I’ve stopped

ainting for a while, because can t nd a subject that can express how I’m currently feeling about the messiness of the world.

“This is why I’ve started working with clay. Clay is immediate; it’s haptic, tactile, malleable, three-dimensional, so a part of my brain is happy that I can ‘play’ without having to solve technical problems.”

What about process? How does creating a work begin and end? For Patricia, it always begins with an idea. “And a site – usually the environment nd myself in. wal . take photographs and video. I don’t draw very much, although I do love to. I read around the ‘subject’ – I like to know where it sits within our histories of art and human behaviour. If I’m painting, there’s a point at which this fades away, and I’m concerned only with the texture, the juxtaposition of colours, and the quality of the marks.

If I’m lucky, I recognise when to stop. But often don t.

“My clay work,” says Patricia, “is very recent. ots are one of our rst tools, and pot-making is still an essential part of life to many societies around the world. It’s such an ancient craft and yet, it was already highly

A B OV E Pots1 Monoprint 2021

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sophisticated 5,000 years ago. I like the sense of ritual that I get from working on a pot, the sense of walking through a landscape with my ngers, and the un redictability of results. My pots don’t have to be perfect when they re nished, they ust need to have personality.”

Her pots have been made as part of installations, responding, Patricia explains, to ideas about global warming.

“I’m trying to address the idea that we have irrevocably spoiled our environment – it is such an ‘ungraspable’ reality that we all want to cover our ears and chant loudly! But I feel it’s important to acknowledge that humans have damaged the environment, and also that we are not something special and apart, just because we think in a particular way. If anything, our

A B OV E Toasted

uniqueness lies in our ability to exploit our surroundings, which has led to both terrible and beautiful developments.

It is around these themes that Patricia wants to strike a chord with her audience. “I really love looking at, and listening to, the natural world,” she says. “It’s an easy habit to get into.

I hope that by focusing on simple things – a piece of seaweed, a pebble, burnt gorse – I can bring attention to the things that matter.

I want people to go away wanting to see for themselves. fter all, says Patricia, “it’s by noticing that we begin to bring about change”. lay offers atricia a different means of expressing these themes, taking on marks easily and allowing her to imprint and attach ob ects. t has a very s eci c range

INSET Bartine Castle {Clay with burnt gorse) 2021

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A B OV E uartets

urnt

orton, after liot

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RIGHT A Daily Record Lockdown 2020

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A B OV E Porcelain

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A B OV E Lunar

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of colours deriving from the earth itself, and it embodies expectations about its function, which I can transgress. It’s transformative and rimitive, combining air, earth, re and water.”

Discussing the space in which her work comes to life, Patricia says: “My studio is both a place of refuge and recrimination.

When I can’t work, I feel disconnected, lazy, a bit of a fraud,” says Patricia. “But when I’m working, it’s a very functional relationship; I go in, work, and only see what I’m working on. It’s only when someone visits and looks around, that I appreciate that this space is a physical embodiment of a creative working process. It is my thinking space, my laboratory, my cocoon.”

Having completed her installation ‘The Evolution of Intention’ for the Newlyn Society of Art’s 125th anniversary, Patricia leaves the studio to take up residencies in different arts of the country. need to develop the ideas that are emerging from this work,” she says. “I will be taking a short residency soon, which I hope will give me an opportunity to share ideas with creatives from other disciplines, and expland my

research. I’ll be seeking opportunities to create work for a much larger, more immersive site-responsive installation and exhibition opportunity in 2022.” Patricia is also looking forward to some time on the Isles of Scilly, which will see her gathering material for an exhibition on Tresco next year. patriciawilsonartist.com

INSET Black

A B OV E Garden Finds1 Monoprint 2020

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B

orn in Dartford, Kent, Paula Downing attended college in south east London, pursuing a career in teaching. Having taught in London, Kent, Sussex, Hampshire and even ventured as far as Australia, Paula nally moved to ornwall in 2 1 in order to spend more time on her ceramics. er rst home in ornwall was on the moor just outside of t ves, shared by the 1 s/ s ins irational ainter, eter anyon, who had lived and worked in the same area.

The landscape is steeped in history as well as being close to the rugged Atlantic coastline. These elements have had a rofound effect on Paula’s work. “I have always been interested in ancient history, natural landsca e and mar s left by revious civilisations. The features of this area of West Penwith have been, and still are, the main sources of ins iration for most of my wor .

Layered in

LANDSCAPE WORDS BY ROSIE CATTRELL

an built ceramics reflectin the ru e te tures o ornwall.

rst touched clay at the age of eight. y junior school teacher arranged for the class

to do clay outside in the layground on a very sunny day in summer. e each made an ash tray out of a small, ra idly drying out, lum of clay. absolutely loved the e erience. he feel and the smell of clay. was very e cited and that moment has always stayed with me. later ainted the ashtray with powder paint, green and red, and roudly gave it to my um and Dad. I didn’t have the o ortunity to touch clay again, until just before college when I learned to throw.

Whilst supportive, Paula’s parents were of modest means and hoped for a sturdy career for their daughter, with the ros ect of rt ollege becoming problematic. y father was a sign writer by trade and very good at drawing. e encouraged me from an early age in observational drawing and hel ed me to really notice detail. y mother was quite a clever dressmaker and so drawing, painting and making things were art of my u bringing. owever, aula s natural talent soon caught the attention

INSET Paula Downing

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of her secondary school art teacher, eanna oulter, who would strongly advise her parents that she should follow this path. An agreement was made that she would attend art college provided that she could obtain a grant and a uali cation that guaranteed a promising career prospect; teacher training.

Having little experience with ceramics up to this point, Paula chose drawing and painting to be her main sub ects while studying, alongside samples of textiles, printmaking, 3D and, of course, ceramics. “I was smitten, loved ceramics, but thought should lay safe and stay with the drawing and ainting. y ceramics tutor, enneth ra e, affectionately nown as illy, suggested otherwise. e went to the Head of School and managed to persuade him to design a ‘double mains’ art course, ust for me. was in heaven. aturally, aula flourished with her new found assion, and ended her studies with a distinction. “I loved illy s a roach to ceramics. art from dealing with all the basics, he encouraged working with and developing ideas. I liked that, and have continued to work in this way ever since. get very bored ma ing the same ty e of thing all the time. hey might be similar or may ma e a series to do with the same or similar idea, but no two pieces are ever the same. t college, my drawing and ainting often informed the ideas to do with the ceramics. t still does.

A B OV E Paula, in her studio

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Paula’s earlier work celebrates the impact of ancient civilizations on the land, their standing stones, way mar ers, forts and use of stone in industry have influenced the colours, forms and mark-making. “The buried symbols of man s evolution found beneath the surface are evident in some pieces. I work with ideas as a ne artist does, using the media and rst hand information, mainly in the form of observational drawing and memory, from wal ing the land. ime s ent on the edge of ennor oor in ornwall, inspired pieces that have been compared to eter anyon s abstract ainting. anyon lived on the same stretch of roc y land and interpreted the weather and structure of the environment in oils. y inter retation in clay offers a three dimensional res onse to the oor s rimeval character.

LEFT rellas meaning ruin

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A B OV E ‘Killas’ - from slate mined at Wheal Jane

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TOP ‘Earthworks’

A B OV E ‘Little Bit Of Looose In The Stope’

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aula s wor is stri ingly distinctive, and each iece is uni uely reminiscent of the wild landsca es from which they were ins ired. sometimes begin by drawing, uite realistically, and on site. ac in the studio the drawings are ut away and build from images which remain in my head from making the drawing. The location, the weather, other features all add to the piece in some way. try to e lore and ca ture the essence of the observations or e erience. y utting the drawings away, am not tem ted into trying to ortray too much detail.

Images of Paula wandering the wilds of ornwall s ring to mind, loo ing u at sheer cliff faces strewn with ssures and natural layers. lay comes from the erosion and decom osition of roc s. ascinated by this rocess, and living where do, my ieces are to do with ma ing ssures, s lits, sto es and rugged monoliths. olcanic nishes and dee ly itted layering mirror the ravages of weather and time, giving an inherently light material an intrinsically heavy feel and therefore ca turing the nature of nature. or me, clay is and has always been an exciting medium to use. It has endless interesting qualities. It challenges the

thought rocess, tests your nerve and ma es dramatic changes from its original plastic state to the nished red ob ect. t resents disappointments, surprises, some good, some not so good, unexpected, unplanned but usually something interesting which might oint a way forward. ind of wild vision “There are lots of choices to make and problems to sort out whilst making a iece. en oy the challenge of ushing the boundaries that present themselves in the rocess. here is always an e erimental element to do with the making. For me, the challenges are usually to do with the build and then the treatment of the surface.

Also, how to interpret the images I have observed, stored in my memory, drawn or photographed and how to use them to help ma e decisions about a new idea. or a long time now, have stayed with hand building. ust en oy the rocess and the fle ibility it allows. rarely use gla e, only ever in very small amounts. much prefer matt or natural surfaces. Up until just recently have used a very restricted alette, en oying o ides and sli s, to re licate the effects of various ty es of roc and strata.

LEFT ‘Slate Shard’

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A B OV E ‘Slate Shard’

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TOP ‘Tideline’

A B OV E ‘Slatescape’

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LEFT ‘Harbour Storm’

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A B OV E al ways 1

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C R E AT E or over ten years, aula has en oyed the natural light of her studio in her garden, built by her husband ntony. verloo ing the Kennel Vale and sitting on the edge of ancient woodland, the studio is a welcome space in com arison to years of wor ing at the itchen table. y most recent wor illustrates a more vibrant use of colour, but still only using o ides and sli s. he influ of visitors to the area and families en oying beach freedom this summer, brought colour overload to the region. y latest work is an attempt to capture the vibrant colours of summer. fter the last 1 months felt that everyone needed cheering u , ho e eo le will nd it u lifting. iving on a rugged strip of land in the Atlantic, the pull of the wild is impossible for me to ignore.

Its form, colour and evolution are dramatic. o efully, my wor is a direct, honest and a respectful response to the world that remains unchanged by modern human ind.

aula is a member o raft otters ssociation on on enwith ociet t ves an ornwall rafts ssociation relissic . er wor is ermanentl e hibite in enwith aller t ves ociet o rtists ornwall rafts aller Whitewater ontem orar an arnsew aller . ointments can be ma e via her website to visit her home stu io in erranarworthal. aula ownin .com

A B OV E L E F T auseway 1

MIDDLE ‘Pinched Form - Inlets & Estuaries’

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orn in Bristol, Trudy Montgomery now lives and paints in west Penwith.

Interestingly, she had actually given up on art by the age of 13, but having grown up with paintings lying all over the house, often drying on the ga , a love for the medium had nevertheless instilled itself from a young age. “I remember comparing myself to my artist mother, Kathy Montgomery, and deciding that I would never be as good as she was. I now know that drawing ta es ractice

Colours of

INTUITION

fter studying conomics and olitics at eter University, Trudy worked in London, until 1998 when she moved to California, working for dotcom companies in Silicon Valley and San Francisco. “While working in corporate merica, studied art at night school with teachers from UC Berkeley, San Francisco rt nstitute, and later at tis chool of rt and esign in os ngeles, says rudy. ore recently, I’ve attended year-long courses at the e cellent ewlyn chool of rt in ornwall. eflecting on a te t that ins ired her transition into painting, Trudy says: “It was a book called Sacred Contracts and Your Archetypes, by

WO R D S B Y DA N WA R D E N

An immersive journey of creativity, from consultancy to the canvas.

Carolyn Myss. I read the section on the artist, which said that if you dedicate part of your energy to supporting artists - as I was at the time as a curator and art consultant - then you re the rtist rchety e . lightbulb went off and thought, oh my goodness, could pick up a paintbrush and start, even though was aged .

Trudy started painting in 2005, whilst living in California. “I was running an art consultancy rm, helping collectors source contemporary art from galleries and artists’ studios all over the world. s wal ed the halls of the art fair rt asel Miami Beach one year, I realised that I was looking for a particular painting that ust couldn t nd one that I would have to paint myself.

“I immediately asked my mother to teach me how to mi a alette, says rudy, and too a lot of classes with her teacher, Robin Child, an inspiring man whose own teacher was taught

by Walter Sickert. I made a lot of mistakes and a lot of bad paintings, but it was more fun and more challenging than anything else I had ever done. nce started, found that ust really

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A B OV E Trudy Montgomery in her studio

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liked putting paint on canvas. The buttery te ture how you can tell if a brushstro e is tentative or con dent learning how colours wor together discovering the effects of scraping away and drawing into paint. It was all fascinating. rudy mi es her alette intuitively and paints from a meditative state of action, using the possibilities of paint to convey in the abstract what is, so often, inaccessible via words. The frequency of colour and the energy of gesture, which are infused with her emotional state of being on any given day all impact her work. Her paintings range from e ressive landsca es to ure abstraction.

“The landscape and the environment I’m in lays a large role in my wor , says rudy. t s as if the energetic information of place and self is translated and encoded into each painting.

I draw upon my inner vision and there’s a dialogue that emerges with the canvas. m interested in e ressing the inner landsca e the essence of being in time and space. By that, I mean the essential nature of our true selves, which lies beneath all the identities we adopt to navigate the world. here are times when m ainting, says Trudy, “that I feel all the hairs on my body stand on end, and I know that there’s something else at wor . riters often say ‘the book wrote itself ’ and I believe there’s a

creative energy that flows through the hand of all artists. “In a way, I am collaborating with colour and it’s this metaphysical aspect that keeps me really engaged. For me, painting is a s iritual ractice.

I ask Trudy to walk me through her process. hen come into the studio, the rst half an hour is the most important because I come in with fresh eyes and look at the paintings I worked on the day before. I make a cup of tea and sit in front of the work to really look and identify how I feel about them. I pay special attention to the colour and composition, noting what s wor ing and what s not trying to identify why it’s bothering me. Usually, I can see things I didn’t the day before. This intuitive feedback sets the direction for the day’s painting and gives me inspiration and the im etus to get to wor with mi ing a alette to continue where left off.

Trudy can be found working on several paintings at a time, building up layers of paint that may later be scratched into, edited, or even obliterated entirely, in what she calls a rocess of discovery in which see to nd rather than ma e a ainting . his means that initial sketches have to be abandoned quite early on as each composition evolves. very decision ma e changes the whole image, and must then be res onded to, says Trudy. “It makes the creative process e citing,

A B OV E ha e hifter 2 2

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though sometimes frustrating, but certainly never boring. eflecting on all of this, rudy identi es a stage of turmoil, or chaos, that usually takes place in the middle of the creative process, which she says can be very frustrating.

“I can feel like I’ve hit a wall. You have to do something radical to brea through it be bold and fearless, stop caring and even be prepared to mess it up. If you don’t, the creative process seems to shut down prematurely and you ma e a nice ainting, but not an e citing one. hat s laying it safe. nce, threw a buc et of paint at a painting in despair of what to do ne t. t was so e citing to see what ha ened, as it reinvigorated the direction and I had something new to res ond to, says rudy. still love that ainting.

“If and when it does come together, it can do so uic ly and une ectedly. now when a ainting s nished when it sto s bothering me it feels satisfying somehow, and com lete.

I’m interested to learn about her choice of materials, colour and scale to understand how they e ress the sub ects that ins ire her. learn that she mainly works in oil and acrylic on canvas or wood panels. She has, more recently, started working on paper too, since an artist residency that she completed last year in reece. select and mi my alette intuitively, and put a lot of attention on the vibrancy of colour relationshi s that sing off

each other. It’s through colour and gesture that the energy of place is also somehow conveyed into the aintings, says rudy whether it s the feeling of being ornwall or on a ree island.

Her time in California opened Trudy’s eyes to a sense of s ace, which, she e lains, translated into ma ing very large scale canvases. t this time my palette became very vibrant and bold against the intense sunlight there. ven when I returned to the UK in 2012, it never became muddied or grey, and I retained that sense of using ure, clear colour to e ress the inner world on canvas. s an art consultant, loo ed at a lot of art galleries and walked the big art fairs for clients. I love the scale and assertiveness of large abstract aintings es ecially by merican abstract artists such as ichard ieben orn, d oses, ran lein and Robert Motherwell. I am also very attracted to the ure fluid colour of mily ason s wor and Helen Frankenthaler. Standing on front of oth o s huge colour eld aintings is one of my earliest inspirations.

“Working at scale also allows me to reach out the arm and give the gesture full e ression and freedom of spirit, which isn’t possible on a small ainting. eorgia eefe said found I could say things with colour and shapes that couldn t say in any other way things

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nows

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A B OV E Splash Crash 2016

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had no words for’. This resonates deeply with me. The energetic frequency of each colour is a communication and we feel that, even if only subconsciously.

Trudy paints in silence, without music or distractions. It’s very much a meditative ractice, she e lains go in uite dee , and there begins a dialogue with the painting on a subliminal level. It’s also an active process and can be quite tiring, especially as I am usually standing all day, but it’s also deeply nourishing and often lose trac of time. full day s ainting can feel li e only ve minutes have assed.

Working from a studio built inside an old barn, Trudy has found the perfect space to complement her process. “It’s large and spacious with large skylights, a paints lattered floor and a riot of colour on the walls. t s my haven the lace in which create and collaborate with the colours that become my paintings. When everything feels too much, only have to go in there to nd my centre again. eo le often say my aintings are u lifting and oyful, says rudy, reflecting on how her work is received. “I wonder if it’s because they feel the energy of colour and perhaps even for some pieces an ethereal uality d li e to thin that eo le are left a little bit transformed by engaging with the wor ust as am.

raisals within the s here of ornish art have hailed rudy as one of the ne t generation of artists in Cornwall, whose work is art of a direct line of ritish e ressionist painting which has its roots in the groundbreaking abstraction of artists such as Patrick Heron and Peter Lanyon.’ The same writer highlights Trudy’s ‘tendency towards pure, bold colour on an immersive scale’, recognising the influences of light and s ace of both the Californian and Cornish coast’, as well as Trudy’s own spiritual landscape.

Looking to the future, Trudy is currently working on a series of paintings grounded by meditations, which, she e lains, are “charged with the sounds and intention of each day s meditation . ach iece feels potent, but Trudy is reluctant to share more at this stage. That said, she does hope to display them as a group in a grid format, “so that when you stand in front of them, you can tune into each frequency as well as feel the ower of the whole.

“They are more strongly directed than anything else I have done, and the process is intense and quite tiring. It’s led me to wonder how ilma f lint felt as she created her aintings as there is a de nite feeling of collaborating with s irit. trudymontgomery.com

A B OV E Threshold 2016

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orn in 1990 in a small town in The Netherlands, Zee van Gils is a Dutch artist who specialises in resin, creating glass-like layered artworks with dee , light reflecting details. n 2 1 , ee held her rst e hibition in erth, Australia, and has since started a life here in ornwall. er artwor has found homes in over twenty different countries worldwide, and in 2 1 she too part in a one-of-a-kind surf board collaboration with the awardwinning surf board sha er att ar er of lbum urf boards in alifornia. ecently we had the opportunity to s ea to ee about her wor , her bac ground and what led her to such a unique and beautiful assion.

Staying

CURIOUS WORDS BY ROSIE CATTRELL

A new perspective of mother nature captured in resin.

Tell us about your background, and how your career began? rom as young as can remember have always lived in my own world, always creating, painting, drawing, making ewellery and writing stories. ortunately,

INSET ocal each

my creativity was encouraged by my family. too art classes in high school, but it wasn t for me; we were to follow strict guidelines where e erimentation and e ression was discouraged by my art teacher. his to me de es the entire oint of art and creativity, but it drove me to become self taught. fter graduation, moved to arcelona to learn anish, which was an ama ing time of freedom and selfe loration. ut when later returned to the etherlands, fell into an e istential crisis all new was that would leave my hometown and see the world was ust unsure how. dee dive into my soul sent me into nature almost every single day, where slowly came bac to myself. ventually decided to study ildlife esearch and Animal Care, allowing me to work throughout enerife and hailand. hen graduated, new there was still something missing. had this undeniable urge to get in touch with my creative side again and to ful l one of my lifelong dreams to learn to surf.

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had been struggling with some mental health issues which had turned me into an empty shell, devoid of creativity and ins iration. his was not how wanted to live my life and new had to do something so wor ed and saved enough for a one way ticket to ustralia. rom there, too a s ontaneous tri to ombo , ndonesia, in 2 1 to attend an intensive surf course. ittle did now, this would become my home for the coming years, but it was here on this island where everything fell into lace.

How did you develop such a passion for resin? tri ed bac from western world lu uries such as the internet, paved roads and clean running water, living in ndonesia was li e seeing the world through high contrast lters. felt alive. learnt how to loo after my body and a reciate it for its strength, enabling me to s end hours in the water. also met my soulmate in this tiny off grid shing village. discovered my true ath when was given the o ortunity to create sur oard art at the only sha ing bay on the island. he sha ers taught me glassing techniques and how to wor with resin. uring the glassing rocess, the e cess resin would dri on the floor and

LEFT Close Up

create all these intricate organic te tures and atterns. s was living in one of the most breathta ing laces in the world, would instantly recognise my surroundings within the resin uddles. had this undeniable nowing inside of me that this was something ust had to e lore further. he shapers gave me free rein in the shaping bay, allowing me to ta e custom orders for sur oard art and to e eriment on their stoc boards. owever, due to the curved surface of a sur oard, the same atterns and te tures wouldn t hold well, so started playing with the idea of making artworks on flat wooden anels. t was here that unleashed my obsession with resin.

Was there anyone that inspired you to become an artist? had never really lanned on becoming a full time artist, but now that this is my reality, cannot imagine doing anything else. ve always nown that wanted to live an unconventional life and somehow wor on my own terms. ust didn t now how e actly, until moved to ndonesia and met so many ama ing eo le who were all living very unusual and inspiring lives. ue to living so off grid at the time,

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the entire journey just unfolded organically before had even discovered other artists who now ins ire me att ar er lbum ur oards , llison orneros ueman , uillaume rando u a itch , itch obel and rthur routhers.

What do you enjoy most about working with resin? y rocess is e tremely satisfying, messy and tactile use my hands to s read the stic y medium and a blow torch to create certain effects. love layering the te tures so that when the observer moves closer or views the iece from different angles in changing light, they can ee discovering new details. lthough now feel in total control over the medium, there will always be a degree of un redictability due its nature which ee s me so intrigued. can leave the studio after creating a iece and the ne t day some te tures have disa eared and new ones have emerged. t s the une ected and un lanned arts that ma e it e citing and ee me coming bac for more. here is no room for erfectionism. t s li e nature we can try to tame her all we want, but in the end, she is going to do what she wants. feel li e my art is like an ode of appreciation to mother nature. reminder that she s always there for

us to en oy in all her moods and seasons. ut it s also a reminder that she s there when we need solace, eace, grounding and stillness. ending time in nature saved my life and it s the one thing will always come bac to, whether for a fun surf or a long hi e, it s a time to rocess my thoughts and reconnect. aybe subconsciously my art has been a way to ay her bac for all that she s done for me, and now want to share this with others.

What are the key subjects that inspire your work? have a lifetime s worth of ins iration stored in my mind from travelling and moving around. hey are mostly abstract visuals of nature am obsessed with the aerial ers ective of the ocean and landsca es. y colour palettes are drawn from the sea, sky and earth. he te tures and atterns use are my own interpretations of those seen in nature. y artner is an ocean hotogra her and he s assionate about ta ing shots of waves brea ing underwater where all these interesting e losions and vorte atterns come to life. hey loo li e abstract art in itself and his photography massively inspires me. love merging this aerial view with a vision of the sea from below the surface.

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What does your studio space mean to you as an artist? ve wor ed in uite a few ma eshift studios which were far from ideal. created my rst ainting in our bamboo ungle house in ombo would not recommend trying this as almost set the lace on re . had a couple of near-disasters in a humid, mouldy, dusty room above the sha ing bay. hen wor ed in a loft with a alm leaf roof which would leak due to monkeys on the roof during the rainy season. worked in garages in Australia, Netherlands and the before my rst “real” studio space in Truro, Cornwall, which uic ly outgrew. ll ever wanted was to nd a dust free sealed s ace that was ust mine, where could s end hours being in the one, e erimenting and listening to music. t turned out that there was a erfect bright studio, in my neighbour s bac garden of all laces, where can o in

LEFT ha el orth

and out all day. can a reciate this s ace so much more as it is everything never had. t enables me to be a lot more e cient, roductive and motivated, and always leave with eace of mind. t s my goal to build my dream studio in the near future so can ta e on bigger ro ects.

Finally, what would you like people to take away from an encounter with your work? thin the ey to living an e citing life is to stay curious. want them to look closer and see what is hiding in the underlying layers, to discover a new perspective in a different light, literally and guratively s ea ing. n a world where we are constantly connected and simultaneously so disconnected, want eo le to remember that nature is the lace to come bac to yourself, because if you are far away from yourself, how can you be close to anyone else underthezee.com

INSET Mevagissey

TOP undy ay left

nbound right

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orn in 1990 on the North Coast of Cornwall in a very small Hamlet called Trelliga, Nina Brooke and her family lived in a converted cha el on the cliff to s overloo ing the sea.

When she was two years old they moved to Rock, where her parents renovated a very old house which has since been their family home. ere her mother had a ottery studio in which she constantly fuelled her interest in being creative working on the wheel, and speaking to Nina, she shares with us a charming reminiscence of her childhood: “She would take me away on art trips to see famous artist’s work from the and uro e. ravel was a huge part of our lives growing u . um came from Curacoa in the Caribbean, so we would often go bac to see her arents. vividly remember swimming in crystal clear turquoise water from a really young age, chasing the tro ical sh around the coral gardens, not knowing then that the colours of my surroundings would become a huge foundation to my colour alate today.

Ocean

TRAVELLER WORDS BY ROSIE CATTRELL

An aerial landscape artist, capturing the sea in acrylic and canvas.

INSET Nina in drone photograph

uch li e a tro ical sh in crystal clear waters, Nina took to art with a natural ease, nishing school with 1 in her rt evel to in the country . owever, without the immediate desire to become a professional artist, she pursued a career in theatre set design, and then sportswear design, all the while developing her work on canvas in her s are time. ina e hibited in her rst grou show in Cork Street, London, at 18 alongside Lucian Freud and Howard Hodgkin, and would go on to show in Cornwall the following year. a ing commissions from friends and family to support her travel funds, Nina wor ed from a s ace ne t to her mother’s pottery studio, wor ing to nd her own language and e loring e ression in colour and mar marking, alongside studying various short courses at the Newlyn School of Art in a bid to learn more about abstraction and the relationshi s between colours. fter selling out in a ondon show over a weekend in 2016, Nina had a ‘lightbulb

RIGHT Floating man by Nina Brooke

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moment’, and made the decision to drop her day job as a designer in London to focus urely on her art. eo le ust wal ed off the street and bought the wor , she e lains. t this oint had ust started wor ing on the aerial perspective, and people seemed to react to my wor and relate to it.

Upon wondering what it was about the view from above that had inspired her to this e tent, ina gladly enlightens us: “The concept came to me from a combination of my love for travel and flying, but also from that one year studying theatre set design. e used to build miniature sets and from above you could see how the objects, space and light would interact with each other and change over time. very image create on canvas is li e ca turing the planet’s natural theatre sets from all over the world. very country has different scenes, different characters, different light, different colours, and from above you can see how they interact and perform with each

other. nd it so fascinating to loo at the bigger picture, to think that we’re all just im rovising on natures stage.

‘There are so many beaches in Cornwall, and when you see them from above they are very inspiring, but it is also the people within the landscapes that inspire me, how they move and thread themselves into the natural landsca e. t s great to see the bigger picture from above and just remember that our lives, which seem so signi cant in our heads, are so insigni cant in reality to the world. ut we all lay a art. ina s work brings with it a wonderful perspective, and her process is both precise and intuitive, as she goes on to e lain t always begins with a warm wash of yellow, ochre or burnt sienna. s wor with a lot of blues this gives de th and warmth to the ainting. add layers of colour random, scattered and intuitive. or ing with large brushes, leave that

INSET Drone photo Cornwall Beach

A B OV E Cornwall Beach by Nina Brooke

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layer to dry. add a third and fourth layer of sea tones, working dark to light, and then ma out the eo le on beach. aint out people, known as negative painting, creating sha es with the sand colour. t s the same with the parasols and beach towels, painting layer upon layer to create a vibrant piece that is rich in colour.

Having worked with acrylic on board and canvas for a long time, Nina knows its characteristics, the way it runs and dries. always feel one should change it up, use different materials or surfaces, so am loo ing into this for the future, she onders. ut you need to take time out of your usual structures to e eriment and learn this. hat ins ires me about acrylics is you can travel with them as they dry so fast, but also you can get some really vibrant clean colours. ina goes on to kindly take us through her work space, and paints us a picture of her place of practise:

y studio is my haven. t s very close to my family home so it’s a familiar and comfortable space, hidden away down a quiet leafy track in oc . here is a lot of natural light which adore, and it s close to the sea, so can sli out for a wal along the cliffs or head down to the beach for a surf - both things that always clear my head if there is a bit of a creative bloc . love how the space changes with the seasons and the light. s an artist, the environment create in my studio has to be just right, so music, candles and fresh coffee are all essentials to get me in the creative one. nce m in the studio with the doors shut, can wor for hours, often long into the night.

Through her work, Nina has incorporated a shining new surface to the multi-faceted culture that makes up the Cornish art scene, on which she ha ily elaborates d li e to thin that my wor is a good e am le of how Cornish artists can diversify from our

RIGHT Nina Brooke LEFT Nanzila by Nina Brooke

INSET Secret Cove By Nina Brooke

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© Photo by Rhona McDade

A B OV E Calm Bay by Nina Brooke

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A B OV E Nina Brooke

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heritage - not all paintings of Cornwall are alike, and not all Cornwall-based artists are influenced in the same way. ornwall has ins ired some of the nest modern artists and feel so luc y to be art of this legacy, but my wor is about more than ust this lace. y wor is en oyed by eo le all over the world because it reminds them of a special place, or it encourages them to dream about the places they want to visit. n terms of the progression of painting within the contemporary British scene, there are some amazing artists emerging at the moment, and there seems to be a renewed interest in original artworks by artists working with traditional materials.

Nina hopes her paintings make people feel happy and reminded of the warm sun on salty skin, of travel and adventure, wanderlust and memories of s ecial laces they ve e erienced with friends and loved ones. want eo le to walk away smiling and thinking about when

they are ne t going to um in the sea or go for a s inny di , and most of all want people to remember how important the planet is to us, and how vital it is that we do everything we possibly can to protect, nourish and reserve it. or the future, ina is loo ing to e lore many more landsca es and different colour palettes, patterns and te tures, with her ne t collection focussing on snowytopped mountains: e tured creamy white backgrounds with gestures of colour and movement running down the slo es. here beach parasols become snow parasols, and the people become fully clothed. ur lanet is so varied in culture, communities, animals and terrain. here is a never ending narrative can e lore with this aerial ers ective, and my beachsca es are ust the beginning... ninabrooke.co.uk

INSET Cornish Swim

A B OV E t ves

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C O M M E N T

F

ive years ago, my daily trip to work was a cycle, battling the fumes and congestion of the Old Kent Road.

The truth is I quite liked the journey. eaving my way through the tra c u the Old Kent road, chasing the buses past the Thomas A Becket (the infamous haunted pub above which Sir Henry Cooper used to train), towards East Street Market and on to the Elephant was all part of being a London cyclist.

Eventide

However, when my wife, in a passing comment, suggested a change from London I didn’t hesitate. A change, a challenge, why not? So, three months later my very young daughter, my wife and I headed west in a van loaded with our belongings.

There’s nothing better than a van slightly too small to help simplify life – anything that didn t t in the van we left behind t Ives was our destination and the truth is,

WORDS BY TREVOR PRICE

LEFT Backwash. 47x102 cm Drypoint and engraved relief print

I expected to spend my time there mostly admiring my surroundings from the comfort of the many coffee sho s and restaurants that have become such a part of the town. To my sur rise, ve years on, am now the owner of four wetsuits (summer winter, racing, and shortie), and spend more time in the sea than looking at it. I miss London a little, but only a little… ur rst wee end in St Ives was spent discovering the many hidden alleys and cobbled streets of ‘downalong’, the oldest part of the town. It was uncharacteristically cold for early Autumn with horizontal rain and a wind coming from the east, and far from the picture postcard moment I had hoped. The small shing boats in the harbour, usually protected, were being thrown around in the chop and amongst this, to our amazement, children were preparing to swim.

INSET Trevor Price

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C O M M E N T

On closer investigation, we realised they were youngsters from the local surf lifesaving club, wet-suited up and ready to race. We watched in astonishment as a group of eight-year-olds lined up. Unperturbed by the conditions, at the sound of a whistle they leapt into the harbour and swam out to a distant buoy, circling it before turning back to awaiting nervous parents and an applauding crowd.

I looked down at my daughter and jokingly suggested she should join in. “No thanks Dad,” was her reply. Five years on, and we have become part of this surf lifesaving family. I volunteered to help with water safety and now nd myself as a uali ed beach lifeguard, regularly training with the club masters the oldest members . y daughter trains with the junior squad and thinks nothing of a 2km sea swim.

floating around with new found friends and fellow masters at the surf lifesaving club inevitably ri led out to influence my wor ing day. I have been an artist and printmaker for over thirty years and now, surf lifesaving and my art have collided; The Celtic Sea, Breaking Waves, Chop Wave, and Backwash being the titles of my newest works.

Trevor Price is known as a printmaker specialising in drypoint and engraved relief prints. He is a member of the Royal Society of Painter Printmakers, and their Vice President between 2013-18. His work is held in various collections including the Victoria and Albert Museum (London), the Ashmolean Museum (Oxford), The Fitzwilliam Museum (Cambridge) and China’s Museum of Art (Beijing).

My acquired knowledge of rip currents, dumping waves, a cold sea, and time spent

trevorpricestudios.com

TOP Chop Wave.

Drypoint and engraved relief print 47x102 cm

A B OV E The Celtic Sea

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www.cornwallkitchencompany.com Email: info@cornwallkitchencompany.com Tel: 01208369007

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Whitewater Contemporary offers a mix of collections by artists from Cornwall and further afield, including large scale paintings, exceptionally beautiful studio ceramics, and wonderful objects from the cutting edge of contemporary applied art. Central to the gallery’s offering is a year-round series of Featured Artist exhibitions of new work, on show in its dedicated solo exhibition space.

Take a 3D tour of each show via our website

The Parade, Polzeath, PL27 6SR | 01208 869 301 art@whitewatercontemporary.co.uk | whitewatercontemporary.co.uk @Whitewatercontemporary

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09/12/2021 10:14 06/12/2021 12:24