Folkestone Art Society Art Review 2015 by Folkestone Art Society

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Folkestone Art Society | ART REVIEW

This book has been designed and printed by: FOLKESTONE ART SOCIETY Folkestone Art Society (FAS) was formed in 1928 by a number of local artists who were meeting in one another’s homes. Since then the membership has grown to 200 or more. The first exhibition was in 1935 and held in the now defunct Pleasure Gardens Theatre. Exhibitions have been held every year since then except for the war years. Since 1997 major exhibitions have been held at The Grand as well as at other venues. President: Alan Luff

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INTRODUCTION

eople sometimes ask me if there is any member of the Folkestone Art Society that they might have heard of. My usual answer is, “Sir Winston Churchill”. The Society has a long and distinguished history! Thinking of that history, it is tempting to speculate what the founding members of our Society, meeting for the first time in 1928, would have made of our current range of activities. Through exhibitions, lectures, demonstrations and workshops the Society continues to promote a wider understanding of the visual and creative arts. Through its work with young people and schools it encourages excellence in art and design. Attracting over 5000 visitors last year, the Society’s exhibitions remain important events in the Folkestone artistic calendar. If those founding members could see this Art Review they would also be reassured that the quality of art work remains as high as ever. Alive and engaging these are artworks for people with passion in their hearts filled with ideas and aesthetics which flow into the different media forms. So as you browse the 2015 FAS Art Review and read the commentaries by each artist on their featured work, I invite you to remember those founding members whose vision, 87 years ago, created the vibrant Folkestone Art Society of today. Whilst they could not know what the Society would become, we can certainly appreciate and enjoy the fruits of their vision. Sue Brelade Chair, Folkestone Art Society

Girl with Cello by Sue Brelade

CONTENTS

llustrations by FAS members, each with a short narrative about the subject, are, in alphabetical order:

Ted Battersea, Silvano Bistazzoni, Jeanette Cook, Christine Crane, Pauline Fitzpatrick, Victoria Fontaine-Wolf, Denise Friend, Diana Harrison, Yvonne Hutchcraft, Marie Holloway, Pauline Lewis, Phil Lightman, Julian Ludgrove, Alan Luff, Esther Mace, Mary Herrington Ara Moradian, Benjamin Norris, Simona Richmond, Malcolm Ritchie, Joanna Simms, Kamilla Sztyber, Dee Taylor, Stephen Thompson, Janine Umbers, Anne Wimsett, Deborah Woodward, Britta von Zweigbergk, Guest Contributor: Charles Newington CONTACTS: Editorial: editor@folkestoneartsociety.co.uk Advertising: secretary@folkestoneartsociety.co.uk Membership: membership@folkestoneartsociety.co.uk Website: www.folkestoneartsociety.co.uk

Folkestone Art Society Art Review ÂŠFolkestone Art Society 2015. All images remain the property of the individual artists. No images may be reproduced without the permission of the artist. Artists can be contacted through the Society.

EDITORIAL

ollowing the success of our first Art Review in 2014, we have stuck to the same formula for 2015. We have 28 contributions by FAS members, using as many as ten different media, watercolour being the most popular. The subject matter which artists have chosen to illustrate or model likewise varies widely, local scenes and holiday destinations being popular, as well as portraits and 3D works. We also have a short article and illustration from this year’s guest contributor, Charles Newington, who is famous for his White Horse on the hillside, which anyone approaching Folkestone from the west by road or rail may observe. It has also been adopted by Shepway District Council as their logo. The Art Review enables us to share our artwork – the ideas, the thoughts, and the insights which lie behind them − not only within the Society but also within the local Arts community and, through the website, further afield … even worldwide! John Sussams Editor

Cliffs near Hastings by John Sussams

THE SANCTUARY OF SAN CONSTANTINEâ&#x20AC;&#x201A; (Silvano Bistazzoni)

he Sanctuary of San Constantine the Great and its history inspired me to paint this picture.

It was a late summer evening in Sedilo, Sardinia, Italy. I was struck by the magical moment. The 16th Century Sanctuary looked unreal at that moment. The sky, which looked pale pink, lit by the rising moon, was entirely reflected by a pond at the base of the church. The night was advancing from the top of the church. The silence and beauty created a moment of peace. The origins of the Sanctuary were attributed to the popular legend of a miraculous intervention from a Roman Emperor. In the middle ages, the coasts of Sardinia were constantly exposed to pirate raids that came from Africa and Spain. During those raids, the Moors captured a noble young landowner of the area, who was taken in chains to Africa and sold in the public slave-market to a rich man of the place.

In his sad captivity, the slave one day had a vision of a noble character who, claiming to be Roman Emperor Constantine the Great, promised him liberation and asked that he build a church for him in the middle of the island. A short time later, the slave would get his freedom. He returned to his land and raised the church to San Constantine in the place indicated. Today, pilgrims from the island and the world visit the Sanctuary and leave something they treasure in exchange for a blessed intervention. I promised myself to go back one day and leave something I treasure.

The Sanctuary of San Constantine by Silvano Bistazzoni

MAGICAL SUNSET (Pauline Fitzpatrick)

t was winter a couple of years ago and had been raining all day − not just raining but bucketing down. My granddaughter Elizabeth and her niece (my great granddaughter) were staying with me and my youngest daughter, Polly, for the half term holiday. We had been stuck in all weekend. ‘OK,’ I said. ‘Let’s take the dog for a walk,’ and off we went to the Country Park. Well, it rained; the wind blew; the leaves − what was left of them − whirled around us … and we were cold! We stood it for fifteen minutes and then decided enough was enough and turned to go back. Suddenly, the rain stopped as if by magic and the sun came out, and it was the most magical sunset. It turned all the wet trees and leaves to gold; and it glistened like molten treasure in the puddles on top of the beach-hut roofs. I just had to take a picture and, when I saw it. I had to paint it. We do have the most amazing light down here on the South Coast.

Magical Sunset by Pauline Fitzpatrick

A PROFESSOR FROM MUNICH (Victoria Fontaine-Wolf)

his is a painting I did for Briony Kapoor’s IMOS Foundation’s EU Portraits Project. I was chosen to paint a German, as I was visiting Munich anyway. I’d arranged to meet a friend I thought might be suitable. I saw a very distinguished looking gentleman emerging from the underground. He seemed to me to be the perfect subject. I approached him and explained the project and he agreed to let me paint him. On my way home I put his contact details in a really safe place and haven’t seen them since. I can’t remember his name, but he was a Professor at one of Munich’s technical colleges.

A Professor from Munich by Victoria Fontaine-Wolf

A HISTORY OF SCRIPT (Yvonne Hutchcraft)

paint subjects that interest or amuse me, especially pictures for schools. I started Art History for schools where FAS artists and historians work together on themed projects, making tapestries and mosaics. The present illustration was originally provided for an exhibition at the Library on “Scriptism”. It has been used in primary schools in reading and writing classes to make children think about how the written word affects their lives. We take them through cave painting, hieroglyphics and parchments with text from around the world, various alphabets, written music and Braille for the blind. I prefer to use quick drying acrylics in vibrant colours. The effects are different depending on how thick the paint is. Sometimes, I use paint from the tube but generally I prefer to mix my colours.

A History of Script by Yvonne Hutchcraft

THE LANTERNSâ&#x20AC;&#x201A; (Benjamin Norris)

he painting depicts a scene, which I observed, standing at the back of the Lanterns Bar, situated at the top of Grace Hill. I sought to capture the clash between the vibrancy that heritage possesses and the solidity and grittiness of modern, urban decay within Folkestone. I felt inspired to emphasise how the buildings had become lost behind the mouldy and crumbling outer shell. To me, that was what now defined the atmosphere of the situation â&#x2C6;&#x2019; not the architecture itself. I used only my hands, card, cloth and an atomizer when working on the canvas, In order to apply the media in a more violent and organic way, to further capture the grittiness that I had felt within that environment. Coupled with the perspective, I varied the colour range to try and force greater depth. I also varied shades of grey and black to contrast soft areas with firmness, whilst still trying to maintain a blanketing appeal to the fog.

The Lanterns by Benjamin Norris (Winner Gloria Gordon Award 2013, A-Level Category)

I wanted to create an image and a situation which felt suffocating and all-consuming, just as I had felt, when I first saw the scene.

JAGUAR XK120 (Phil Lightman)

ike many of my paintings, this one arose out of a conversation with the owner at a classic car show. He wanted me to portray the car against a backdrop of the petrol station where I grew up, based on an earlier painting I’d shown him of the same setting. To avoid it being too similar to the one I had previously done, I reversed the orientation. I was initially sceptical that the detailed background would detract from the car itself, and I did a quick pencil sketch to show the client. He approved − and wanted the sketch as well! I completed the car first, based on many reference photos I took of it at various events. I then used several templates and photocopies to plan the layout and perspective of the background, until I had an acceptable arrangement. There is an awful lot of detail in the background, especially the sales kiosk with legible lettering on the posters in the windows. The background actually took much longer to paint than the car did! A late idea I had was for the client’s other car to make a cameo appearance in the workshop. The final touch was

the MOT sign on the workshop. Overall I am fairly pleased with the image (although always self-critical), and dedicate it to the memory of my late parents, who encouraged my childhood art. The painting is mainly in gouache on a hotpressed watercolour block. I’ve also used various other media to create the level of detail I wanted. The car is a Jaguar XK120 drophead coupé dating from 1954, the last year of production before the car was superseded by the XK140. The XK120 caused a sensation when it came out in 1948, and the demand was instrumental in changing Jaguar’s fortunes.

Jaguar XK 120 by Phil Lightman

FLOWERS (Deborah Woodward)

ainting is like trying to design a rainbow that will please everyone. And that will never happen. So Art, as they say, is a very personal choice. From fine art to dabs of one colour on a piece of board, we all like different kinds of art. My personal love is flowers − bright, blousy, blooming ones all planted higgledy-piggledy in a border or a wild meadow, bringing back childhood memories: picking rose petals and trying to make perfume from them; or walking down to the allotments grabbing handfuls of daisies and making chains. It’s the colours of flowers: matching them to the colours of paint (tubes or watercolour blocks). It’s quite hypnotic − like gems all sparkling; and needing to get the colours out onto the canvas; painting quickly with some recognition or resemblance of the actual image, before the light fades. And once the painting panic is over, you hope it looks like what was in your head or on the photo you took before you started even picking up a brush. That’s why I love to paint.

Flowers by Deborah Woodward

ST CLEMENT’S, OLD ROMNEY (Ted Battersea)

love painting in watercolour as it is demanding and suits my attempts at painting the moods of the English countryside and its weather. It is of course a never-ending journey. Many years ago the late John Piper did a series of the Romney Marsh Churches. I am still a great admirer of his work. I am therefore doing a series of the Romney Marsh Churches as I see them. I find this a great challenge but very fulfilling. To date I have completed six studies. What artist said ‘Art is long, life is short’? St Clement’s, Old Romney by Ted Battersea

SOFT SUMMER GARDEN A KILN FUSED GLASS PANEL MOUNTED ON AN OAK STAND (Jeanette Cook)

y studio has a window that looks out across a garden. I see a pond from which the sharp leaves of irises rise to create dramatic shapes against surrounding planting. A rustic pathway and lawns lead across to trees and hedges. Abstracted, but not beyond the point of recognition, I have made a series of pieces in response to this view throughout the changing seasons. ‘Soft Summer Garden’ is just one of these.

Soft Summer Garden by Jeanette Cook

POMEGRANATESâ&#x20AC;&#x201A; (Diana Harrison)

or me, making an artwork is a journey where something quite specific inspires the start of the making process but, by the end, what emerges is much more and probably very different from the original thought. This painting began, because I had passed these pomegranates many times on the road to a house I owned in Spain, as they glowed in the sunlight. For me, the fruit was the thing that grabbed me but, as the painting developed, it became just as exciting to work out how to depict the mass of foliage around the fruit and also to capture a sense of the bright blue, shimmering light which is typical of Mediterranean countries. Working my way through the process of creating an artwork is, for me, a wonderful problem-solving exercise and a voyage of discovery, where something new always emerges.

Pomegranates by Diana Harrison

LOOK OF PRIDE (Denise Friend)

fter discovering art only in 2013, I found that friends and family would say that I had a natural ability to bring out the character of the animal I was painting, whether it were a domestic animal or wildlife. I mainly use pastels and pastel pencils to add lots of detail to my animal, in order to bring them alive on the velour paper that I use. This lion was a delight to paint in pastels and I enjoyed watching it come alive as the layers were built up. I have named this piece of art “Look of Pride”. Art is a kind of therapy. You can lose hours creating wonderful paintings in any medium − pastels, oils, or acrylics to name only three. Using photographs or still life to work from can also be rewarding. I would recommend anyone to have a go at being “arty”. So why not give it a go. You won’t be disappointed!

Look of Pride by Denise Friend

AUDREY HEPBURN (Pauline Lewis)

have always admired Audrey Hepburn since I first saw her in a film in the sixties. I find her so elegant and demure, with such timeless dress sense, which she wears so beautifully. So I decided I would like to do her portrait.

Audrey Hepburn by Pauline Lewis

KINGSGATE BAY (Julian Lovegrove)

am an enthusiastic warm-weather â&#x20AC;&#x2DC;plein airâ&#x20AC;&#x2122; painter of coastal and landscape subjects, especially in and around Kent. This view is a watercolour of Kingsgate Bay near Broadstairs, which is not far from my studio. I work in watercolour, acrylics and inks.

Kingsgate Bay by Julian Lovegrove

ART TATUM (Alan Luff ) Portrait painting is an untreated addiction for me. It is a double pleasure to paint and thus create a record of a lifetime music hero. Jazz artists are more ideally suited than composers who, save Debussy, are too formal, prosaic, and lacking the sort of fire and excitement that is needed. Watercolour artists may care to note that nearly a third of Art Tatumâ&#x20AC;&#x2122;s face is not painted at all.

Art Tatum by Alan Luff

FALLEN ANGEL (Ara Moradian) Over the last four years, I have been experimenting with the technique of dipping fabric in clay and then firing the finished work at very high temperatures in the kiln (around 1200c). The fabric burns away leaving behind the impregnated clay. This approach has allowed me to push the clay to its limits, resulting in an extremely thin layer of clay, which looks and drapes like realistic fabric. Draping clay in this way has allowed me to achieve, in clay, the feel and translucency of real fabric. With my background in theatrical costume design, I try to bring the same elements of storytelling into my sculptures by using fabric and costume to convey a certain mood and feeling. Getting as close to the real thing, but in clay, has been a real challenge. A ‘cracking’ journey! My latest work, ‘Fallen Angel’, uses the motion and flow of fabric to capture the act of falling. Inspired by Puccini’s Tosca (my favourite opera), I have tried to capture the drama of falling. Fallen Angel by Ara Moradian

LIFE SUCKS (Simona Richmond)

y cartoons are made of fun, joy and laughter. I use various media to transform a particular thought into reality. I am very keen to create small installations on canvas, to draw attention to “slaves” of social and cultural idiosyncrasies. We have become so accustomed to living in the “Life Sucks” paradigm, that it never occurs to us that another reality, a happy reality, is possible without material possessions and artificial beauty. My cartoon-installation was cut out of chip board and glued on a dark canvas. It depicts a plump lady covered in tattoos and crawling on the floor and who wants to admonish people: “DON’T GO TO A BLACK FRIDAY WEARING STILLETTO SHOES!” The tattoos read: Twitter is my religion; Proud to be fashionista; My buttock is cool; I google you; Skype me; Glad to be mad; Tattoos R Us; What’s up?

Life Sucks by Simona Richmond

SIR TOM JONES (Malcolm Ritchie)

have been a great fan of Sir Tom Jones for many years now. He is a brilliant singer and always seems to have a lot of time for other people, as one can see on “The Voice”. As you are probably aware, my first love is portraits. Well, what a great subject to get one’s teeth into. I have used one pencil for this piece; that was a graphite pencil, grade “F”. I am a lover of graphite because it is such a versatile medium and this makes for an easier life when tackling portraits.

Sir Tom Jones by Malcolm Ritchie

RESURFACE (Esther Mace)

y picture Resurface is a mixed-media work (etching, collage, and watercolour, on Fabriano paper). I am exploring the unsettling aspects of human nature within my practice. In this context, ‘practice’ is a word which my tutor uses to indicate the practical aspects of making a work of art as well as the genre. This series, based on fears and phobias, not only conveys the defining characteristics of terror, both ancient and modern, but is also an attempt to understand why some people find horror so fascinating.

‘Resurface’ by Esther Mace (Student Member)

CHASING GIANTS (Charles Newington)

eing a fully committed professional artist is both a gift and a curse. There is no choice but I would not have it any other way. What is has given me is freedom and the opportunity to travel the world, although my roots are firmly in South East England, having settled myself into the ever-evolving creative world of Folkestone’s art quarter. My work can be seen in gallery 66 in the Old High Street, which I run together with my old friend, the sculptor Frank Hirshfield. Last year, we ran three shows in quick succession to coincide with the highly successful Triennial in its third year, starting with my own new work Cornwall to Cuba together with Frank’s bronze marquette sculptures. This was followed by ‘What Ever Floats Your Boat’ a show stopper filled with RA greats. The last was a ‘Stuckist’ show, with Folkestone members of that group, Eamon Everall and John Hosking – who really know how to

paint, which contrasted and helped balance what we saw as a predominance of ‘conceptual art’ on the Triennial trail. I have always been drawn to the sea with its shorelines and harbours littered with the low tide detritus or anchors, chains, fisherman’s paraphernalia and boats stranded in the mud, leaning at crazy angles waiting for the tide to turn. This has been the subject matter for the ‘Sea Odyssey’ series of paintings which began in St Ives in 2012 and has taken me all over the coastline, including filming for The BBC Coast programme, playing the roll of William Daniell, painting the same view in Cornwall that he made 200 years previously for his famous series of aquatints ‘A Voyage Around Great Britain.’ En route in Plymouth, I visited the original site of the two lost giant hill figures called Gog and Magog, which were known to have existed on Plymouth Hoe until the 17th century. The two huge mythological giants were of wrestling warriors Corineus and Gogmagog, in the days when Britain was known as Albion. Corineus won, becoming ruler of the West Country

and, legend has it, inspired the naming of Cornwall. Their position in Plymouth marks the root of the legend of the race of British giants, which has spread diluted and adapted to the Gogmagog hills in Cambridge and to London, where they were enlisted as guardians of the city. Comical effigies are still wheeled around London at the annual Lord Mayors Parade. Plymouthâ&#x20AC;&#x2122;s giants were lost when the citadel was constructed but now with my particular interest in ancient chalk cut hill figures I realised the opportunity and potential for re-imagining and reinstating them on their original site. The plans were embraced by the city council and much planning has ensued. These projects can take years to complete. We are now in the process of constructing the figures in canvas some sixty feet high, a process that will take place here in Kent and later be transported to The Hoe. The permanent construction is hoped will take place in the next two years. Creating giants has become a bit of a habit for me with other large-scale commissions in Kent and Essex in the offing.

Imagining them is one thing, but realising them is a hard task and due credit has to be given to my wonderful team who enable me to dream on. My main focus now is back to pure imagination the paintings that I am working on now began in Cuba last year in the spiritual footsteps of Wifredo Lamb, Cubaâ&#x20AC;&#x2122;s greatest artist. A blend of primitive and animist, magical surrealism which has always been my true path, enriching the soup of inspiration I have collected on the way from Palaeolithic art, the Maya trail, Africa and India. Charles Newington www.charlesnewington.com

Chasing Giants by Charles Newington

DIAPHANOUSâ&#x20AC;&#x201A; (Kamilla Sztyber)

y work is inspired with the manipulation and relationship between materials taken from everyday life, creating a contemporary twist on traditional methods and materials. The combinations of these create pieces of beauty, which are intriguing, fragile and sensual. Recently, I have rediscovered my passion for textiles and colour and am incorporating these into my art work, using the body and body-casting as an influence and starting point for installations as well as 3D pieces.

Diaphanous by Kamilla Sztyber

BIG YELLOW TAXI (Dee Taylor) ‘Big Yellow Taxi’. is one of a series which evokes the Film Noir genre of the 1940s and 50s urban America. The dark, atmospheric lighting, the long shadows, the brooding malevolence: these are the visual emotions that fascinate me and inspire my art.

Big Yellow Taxi by Dee Taylor

HARVESTâ&#x20AC;&#x201A;(Joanna Simms)

andscape is not my favoured subject for painting but just occasionally a view will captivate and inspire me, such as this scene, which I passed while on the no.18 bus to Canterbury. I love the scale and roundness of the bales, the density of the deciduous woodland framing the cornfield and the typically English sky. There are indeed few things lovelier than what is left of the Kent countryside.

Harvest by Joanna Simms

ESTUARY, SAINT BRIAC, BRITTANYâ&#x20AC;&#x201A; (Janine Umbers)

taying in France, we walked out for an evening meal and passed this intriguing view. The road ran high above the beach and the lowering sun caught the dazzling bright ebbing water in the bay, and cast dark shadows. The stranded boats lay about at odd angles. Nearer boats were tethered on long ropes which spread over the rocks just below where I stood â&#x20AC;&#x201C; a strange effect. The light was unusual: blue/green rather than red/yellow. I had to paint it. So other plans were scrapped and I was there ready, the following evening, trusting on similar effects. Supper was late that night.

Estuary, St Briac, Britanny by Janine Umbers

FOLKESTONE SANDS, DAWN OF A NEW DAY (Christine Crane)

his is a favourite subject for me: the dawn of a new day in summer. The sea is almost opalescent and surrounded by the dark shadows of the cliffs, with the emerging sun colouring the sky and the sand in a few fleeting moments of astounding glory. I have painted this many times in various media but watercolour in this picture helps me to convey the transient nature of the scene.

Folkestone Sands, Dawn of a New Day by Christine Crane

BEFORE AND AFTER (Marie Holloway)

ack in 2003, together with a few other students at KIAD, Canterbury, I took part in an exhibition called ‘Inspirations from the Cathedral’ which was held in the Chapter House, Canterbury Cathedral. One of my pieces was inspired by the stained-glass windows. Last year I decided to recycle this large mixed-media wall-hanging. Cutting out shapes, it became like a huge jigsaw. I’ve always enjoyed working with collage, finding the colours and shapes that work together. Once all the pieces were in place, I used some good glue to fix them. I’d completely finished three new pictures in three days.

Before and After by Marie Holloway

AFTER THE RAIN (Stephen Thompson)

s a painter I am affected by sensations of light and colour, often fleeting, but charged with significance. My imagery is often abstracted in an attempt to synthesise a subjective and objective reality. Whilst working, I become immersed in the materials, allowing for unexpected changes as the work develops, all an exciting part of the process. ‘Moment, the Moment in and out of time, The distraction fit, lost in a shaft of sunlight, The wild thyme unseen, or the winter lightning Or the waterfall, or music heard so deeply That it is not heard at all, but you are the music While the music lasts.’ (T.S. Elliot, Four Quartets)

After the Rain by Stephen Thompson

FOLKESTONE FROM TOP OF SUGAR LOAF HILLâ&#x20AC;&#x201A; (Anne Wimsett)

his is a painting which I painted for the Methodist Church with the view from Sugar Loaf Hill, with the crosses, and the churches in Folkestone.

Folkestone from top of Sugar Loaf Hill by Anne Wimsett

CLAYWORKâ&#x20AC;&#x201A; (Britta von Zweigbergk)

laywork, like pictures, can provide a direct means of narrative and can depict a struggle as powerfully as paint or words. In a former life as an art therapist, I often used clay to suggest, symbolically, the struggles and difficulties we may go through in our search for identity.

Claywork by Britta von Zweigbergk

FOLKESTONE HARBOURâ&#x20AC;&#x201A; (Mary Herrington)

olkestone harbour is a particular favourite of many local artists - I like to paint it when the tide is out!

Folkestone Harbour by Mary Herrington

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