Assembleยบ 20 CORNWALL | LONDON
TREGONY GALLERY
Assembleยบ 20 CORNWALL | LONDON
January 21 - 1 February 2020
Assembleยบ 20 exhibition at 54 The Gallery, 54 Shepherd Market, Mayfair, London W1J 7QX
“A wonderful and varied exhibition, a visit to the gallery is an essential part of our annual trip to Cornwall a gallery like all galleries should be.”
“A stylistic diversity and eclecticism, even within the bounds of a strongly figurative artistic stable, is everywhere in evidence and while establishing a something-for-everyone populist tone, does not preclude a serious aesthetic and intellectual integrity emerging from within this lively contemporary gallery’s commercial and cultural purpose” Peter Davies, St Ives Times & Echo
“Very uplifting and adventurous work exhibited offering challenging ideas and colourful expressions”
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Brian and Judi Green have built a powerful bridge between Cornwall and London since running Tregony Gallery from 2015. They embraced the opportunity and started a major re-branding and
repositioning of its identity and direction by building relationships with artists and collectors, culminating in an artist run gallery focusing on distinctive figurative painting.
After thirty five years working in the creative industries, Brian and Judi came with the ability to spot artists that have something different in the way they see and interpret the world.
Now, Tregony Gallery boasts an impressive roster of distinguished artists and is the perfect venue to enjoy a balance of original work by modern British and contemporary artists.
The gallery’s distinctive programme of exhibitions has formed new relationships with visitors, collectors and the creative media.
Located in the heart of the ancient village of Tregony, known as the ‘gateway’ to the stunning
Roseland Peninsula, the gallery is close to St Mawes, Portscatho, the Eden Project and the world famous Lost Gardens of Heligan.
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Forward
My first encounter with Tregony Gallery was on a holiday visit to Cornwall a year or two ago. Idylically located a few miles from Truro, the gallery is an oasis of calm. Yet immediately on
entering it, I felt excitement. The quality and diversity of the work on display was breathtaking.
Everything had soul. And despite the diversity, there was a real sense of conversation between
the pieces. This integrity is a rare quality, and is the hallmark of an artist-run gallery. Brian and Judi Green’s initial homely yet professional welcome soon evolved into a far-ranging discussion about art and artists that I will long remember.
It was several months later that I approached Brian and Judi about exhibiting my own work in the Tregony Gallery. Having felt such an affinity for the art I had seen there previously, I was hopeful that my work belonged there too. Their response was rapid, encouraging, and affirmative. I was
(and remain!) delighted to be exhibiting alongside other artists that I so much admire. Since that
first visit, I have seen them curate several shows with the same combination of professionalism, authenticity and passion that I saw then. They have a unique artistic sensibility that is global yet also Cornwall; contemporary yet heartfelt. I feel privileged to be among the artists represented by the Tregony Gallery and know that their other artists feel the same. Henry Jabbour
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Brian and JudiGreen possess a passionate vision for contemporary art and in five years they have curated twenty two exhibitions that brilliantly juxtapose an array of creative achievement and temperament.
As experienced artistic practitioners they understand the creative process and offer judicious support and unlimited encouragement to their established artists and also nurture young and emerging talent from art schools and colleges with their annual Tregony Gallery Art Prize.
As a unique team, they both work tirelessly to provide new opportunities for all their artists and collectors and their innovation and vigour has created a dynamic focus for contemporary art in Cornwall and the UK.
The gallery promotes meaningful work and their selected artists are all genuinely engaged with their exploratory and experimental approaches to uncover their distinct emotional responses.
Tregony Gallery’s significant achievements and dedication attracts national and international
recognition as a distinguished gallery for artists and a destination for enthusiasts and collectors. Mark Dunford
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“ We’ve explored many villages in Cornwall looking for art that appealed to us and who would have thought we’d stumble upon the gem that is Tregony Gallery. A great find.... we’ll be back.”
“the enterprising way in which artist Judi Green and her partner Brian took over the well-established but quite
traditionally oriented Tregony Gallery some five years ago and turned it into the very model of what good
contemporary gallerists with a bit of venture and
commitment in their bones could hope to achieve in the promotion of what I sometimes like to term ‘proper painting’!”
Nicholas Usherwood, Galleries Magazine.
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Assembleº 20 CORNWALL | LONDON
Tregony Gallery is delighted to present its second exhibition in central London at 54 The Gallery Mayfair, London. Assembleº 20 will introduce our impressive contemporary artists to a new audience and share our distinctive vision and approach to curating and collecting art.
Assembleº20 brings together a group of artists for whom appearances is the touchstone of their practice and is rendered through their diverse perspectives and modes of expression.
Distinctive approaches, structural compositions and deeply layered planes of colour and a
natural radiance drawn from a deeper well than simply the technical ability to reproduce an object, person or place.
The gallery’s artists are divergent but share a common sensibility to their work; a natural sensitivity that enables the viewer’s direct engagement with their subject and intangible influences that led to the creation of each work.
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TREGONY GALLERY | JAMES BLAND James Bland is a figurative artist who enjoys the surprises and the surrender of control that oil painting uniquely offers. Memory, folklore and dreams are the main subjects of his work and his paintings offer tantalising glimpses of narratives alongside the rigorously-observed depictions of light and form. James studied at Canterbury Christ Church University and is a member of the New English Art Club and Contemporary British Portrait Painters. James paints in oils but first develops his ideas in sketchbooks before setting up his compositions in the studio with models and homemade props. As they progress, his paintings move away from being purely from direct observation towards memory and imagination. James revises his paintings substantially, giving them latitude to change and depart from the original motif - a method inspired by Giorgione and Georges Braque. Objects, locations and figures might be painted out or in, canvases re-stretched and colour schemes completely altered. The alchemy of this unpredictable process is what gives each painting its unique character and excitement.
Left, ‘Roses on Blue I’, Oil on Canvas, 30 x 40 cm, Right, ‘Roses on Blue II, Oil on Canvas, 40 x 50 cm.
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TREGONY GALLERY | JAMES BLAND
Left, ‘Despina’, Oil on Canvas, 45 x 42 cm, Centre, ‘Night Mirror’, Oil on Canvas, 46 x 41 cm,
Right, ‘Carousel VI’, Oil on Canvas, 50 x 55 cm.
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TREGONY GALLERY | VIRGINIA BOUNDS Virginia Bounds studied Fine Art at Falmouth College of Art and currently works from the historic Anchor Studio in Newlyn Cornwall. Virginia paints from direct observation transversing between figuration and abstraction. The more one looks the more abstract something becomes. “I work intuitively with the goal to find a balance between these polar opposites in painterly terms, to develop my language and realise my vision. The outcome of the paintings is not planned as I rather shift shapes and composition around on the surface until the painting itself emerges through the layers. Working on a series prompts discoveries and ideas feed into each other with several paintings in progress at the same time. Resolution rarely comes quickly as there is that fascination with the difficulties caused by the great and sublime design of nature, the complexities and wonder of forms that takes time and concentration to express honestly and convincingly. This and the environment which I inhabit and all the relationships therein is the task that I have set myself as a painter, to communicate the world as I see it, and how to render my feelings, emotions and reactions in relation to nature, through the materiality of paint. As a painter I am concerned with the process of seeing, I do not wish to describe . I aim to convey an approximation of what the eyes see and the real experience gained from engaging directly with a subject. Mysterious elements come into play on the surface, within the materiality of paint and the illusion of space, there is a magic that occurs in the jesterdays”.
Left, ‘Gathering Sun’, Oil on Canvas, 41 x 48 cm, Centre, ‘Between Night And Day’, Oil on Linen, 60 x 50 cm,
Right, ‘Close To The Edge’, Oil on Panel, 110 x 81 cm.
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TREGONY GALLERY | VIRGINIA BOUNDS
Left, ‘The Tree, The Bay’, Oil on Linen, 110 x 90 cm, Right, ‘Anchor Studio Garden I’, Oil on Linen, 150 x 160 cm.
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TREGONY GALLERY | JASON BOWYER PP NEAC “My paintings come from an emotional visceral response, ideas of light and visual tension. I enjoy the craft and conceptual challenge of painting, the process of building layers to create images. My desire is always to find the essence of a subject using the constant element of observation, painting and drawing places and people, trying to follow the path that is my own abstracted vision”. Jason Bowyer 1957-2019 Jason was the former president of the New English Art Club and founded their School of Drawing in 1993. He was an elected member of the Pastel Society and the Royal Society of Portrait Painters. His residences have included Fulham Football Club, the Grove Park Music Festival and in the Summer of 2012 he was the Championship Artist at the All England Lawn Tennis Club at Wimbledon. Jason was also an official war artist in Afghanistan for the Royal Electrical Engineers (REME) at Camp Bastion in 2013, a lecture and exhibition followed at the Ashmolean Museum, Oxford in 2014. Jason graduated from Camberwell School of Art in 1979, followed by a Post Graduate Diploma in Painting from the Royal Academy Schools in 1982. He has had nine one man exhibitions in London and the South-East. In 2003, he won the Changing Faces Award from the Royal Society of Portrait Painters and the Prince of Wales Portrait Drawing Prize in 2015.
Left, ‘Museum Garden’, Oil on Board, 61 x 61 cm, Above, ‘Studio Still Life’, Oil on Canvas, 41 x 41 cm,
Right, ‘Flowers in the Studio’, Oil on Board, 60 x 50 cm.
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TREGONY GALLERY | JASON BOWYER PP NEAC
Above, ‘Gardener’s Pathway’, Oil on Board, 90 x 60 cm, Right, ‘Forge Light’, Oil on Canvas, 122 x 122 cm.
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TREGONY GALLERY | JOHN BRENTON Cornishman John Brenton is an artist who prefers to paint from life using oils, the subject matter is the motivation of the painting for most artists and the principal aim in each work is to express a personal response to a landscape. His work is directed towards meeting the challenge of painting the awe-inspiring beauty of the rugged Cornish coastline where he was born and raised. John has established himself as a leading contemporary landscape artist, exhibiting widely including the Royal Academy Summer Exhibition and the Royal Society of British Artists. His paintings are in private collections worldwide. “The focus and specific direction of natural light and how it illuminates the landscape is the vital starting point for my initial explorative approach to painting. Much of my primary observation is centred on the inherent contrasting existing linear occurrences within a location which subsequently form the emerging compositional markers in the development of a work. Examples of which are static and mobile evidential forms such as hedgerows; rock fissures; and breaking waves which all contribute to my purpose and inspiration when starting a new painting.”
Left, ‘Cow Parsley and Campion’, Oil on Board, 20 x 20 cm, Above, ‘Dusk at Waters Edge’, Oil on Board, 20 x 20 cm, Right, ‘Summer Colours’, Oil on Board, 20 x 20 cm.
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TREGONY GALLERY | JOHN BRENTON
Above, ‘Cape Cornwall to Lands End’, Oil on Canvas, 92 x 92 cm.
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TREGONY GALLERY | DAVID BURROWS David’s work is influenced by, and often references, 19th and 20th century art and design. The effect of time and nature is what interests him. Decay, the ageing of the human body, the play of mosses and lichens on stone, the peeling of paint, the weathering of dead trees, the sun’s fading of plastics, these are the textures and tones he tries to echo in his work. “A lifelong devotion to aged objects began at a young age when I could be found digging on the sites of Victorian rubbish tips across the north of England. I would turn up earthenware pots, glass bottles and children’s porcelain toys. I was enthralled by the differing effects of time, temperature and the elements on the ceramics and glazes. I went on to study at Bradford College of Art then moved to London. After a decade in the music business, I found work as an illustrator. My continued fascination with patina and ancient things then led me into antique restoration, specialising in the carving and gilding of 18th and 19th century French mirrors and Church art, particularly statues. Now I employ those techniques in the sculpting of my own pieces.”
Left, ‘Hare I’, Raku Fired, Fuji Clay, 45 x 15 cm, Centre, ‘ Hare II’, Raku Fired, Fuji Clay, 49 x 15 cm, Right, ‘Hare V’, Raku Fired, Fuji Clay, 41 x 13 cm.
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TREGONY GALLERY | DAVID BURROWS
Above, Front and Side View of ‘The Bather’, Raku Fired, Fuji Clay 63 x 45 cm including Base.
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TREGONY GALLERY | JUNE COLLIER June Collier studied at the Slade School of Fine Art ( 1961-1964 ) and was awarded a French Government Scholarship in painting and the Derwent Art Prize in 2018. She has taught at Liverpool College of Art and then Camberwell School of Art. She has exhibited widely, including the Royal Academy Summer Exhibition, the Boundary Gallery, London, the Thumb Gallery and Camden Art Centre and Art Space Gallery, London. “It was never my conscious intention but I see now that in its’ own way my work shows the story of my life as it emerged from deep inside me. I try to get the charcoal or paint to become the thing it is describing so that whatever I am speaking about feels real and very present and summons you to be present too. I usually paint in series which take maybe two or three years to complete. Most of my works consist of many layers and it’s a long time before I know how to resolve them. They are alive, exciting moments that get hidden forever by the work on top. I often take photos of these and document the working process. At some point each working day I have to be able to step aside and let the paintings come through me, trust that they will paint themselves if I give them the chance, that part of me knows exactly how to do it if only I can give it the freedom to speak. The rest of the time doing the work is extraordinarily difficult.”
Left, ‘Portrait Of Phil, IV’, Oil on Canvas, 81 x 66 cm, Right, ‘John At The Cosmo, II’, Oil on Canvas, 100 x 120 cm.
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TREGONY GALLERY | JUNE COLLIER
Above, ‘A Walk By The Stream, V’, Oil Paint and Pencil on Canvas, 102 x 120 cm.
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TREGONY GALLERY | MARK DUNFORD LG Mark celebrates the tension between surface and space by closely observing his motif. He locates visual relationships and composes his subjects and their surrounding spaces using calibrations, grids and visible reworking. Responding directly to the visual world and seeking inspiration from the work of Cézanne, Piero della Francesca, Constable, Chardin, Mantegna and many others, he continues a direct line from the teaching of Euan Uglow, William Coldstream, Howard Brown, Norman Norris and Patrick George. Mark’s palette of muted and saturated colour provides the viewer with an awareness of his ideas and an insight into his process of building space on a two-dimensional surface. Mark Dunford studied at the Slade School of Fine Art, University College London (1982-1987) where he was awarded the Richard Ford Award from the Royal Academy and has been an elected member of The London Group since 2001. He exhibits in the UK, including Cornwall and London and internationally and has shown at Dulwich Picture Gallery, the Barbican and Whitechapel Art Galleries, the Cello Factory, Southampton City Art Gallery and in Italy, the Netherlands and at the University of Wisconsin, USA. “My primary concern is looking. I draw to understand the amazing interaction of forms, surfaces, spaces and shapes. I try to understand appearances by building relationships and strive to make ‘contact’ with their intangible and continuously changing presence. Colour is used in different ways; it might be copied or adjusted to work. I am driven by how beautiful something is and I attempt to balance observation, invention and imagination.”
Left, ‘Supported Artichoke’, Oil on Board, 23 x 23 cm, Centre, ‘Threes’, Oil on Board, 48 x 48 cm, Right, ‘Trumpet Lily’, Oil on Board, 23 x 20 cm.
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TREGONY GALLERY | MARK DUNFORD LG
Above, ‘Creek, Evening Spring Light, Oil on Board, 26.5 x 59 cm.
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TREGONY GALLERY | GETHIN EVANS Gethin Evans moved to London in 1974 from Maesteg, South Wales to study on the Foundation Course at the Byam Shaw School of Art. From there he went on to study Fine Art at Camberwell School of Art 1974-78 where he was awarded the Rotary Club Travelling Award to Florence and Rome. On this trip he was particularly influenced by the Masaccio frescoes in the Brancacci Chapel. In 1978 he took up a place for postgraduate study at the Slade School of Fine Art and during his two years there he was awarded the David Murray Landscape Award and the Melville Nettleship Prize for Figure Composition. His paintings hint at storylines hidden within the narrative of the ordinary. Gethin says of his work: “A sense of light at particular times of day drives the image. Colour, structure, surface and space reference the tradition of figurative painting and the popular culture of film, comic book imagery, literature and photography contribute to the way I think about my ideas and images. I make numerous drawings and thoroughly worked colour studies on paper and board, prior to the realisation of the paintings on a larger scale and the surface is often reworked over months and sometimes years before the images are fully realised. Edward Hopper and Pierre Bonnard remain key influences.”
Left, ‘Snowbound II’, Oil on Linen, 52 x 67 cm, Right, ‘Services’, Oil on Panel, 76 x 122 cm.
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TREGONY GALLERY | GETHIN EVANS
Left, ‘Vertical Cupcake’, Oil on Panel, 86 x 36 cm, Centre, ‘Holloway Road’, Oil on Linen, 55 x 60 cm, Right, ‘Arezzo’, Oil on Linen, 60 x 70 cm.
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TREGONY GALLERY | DANA FINCH Dana Finch graduated from Dartington College of Arts in 1996. She moved to Oxford, where she was an active member of Magdalen Road Studios, and then to London where she became a member of South London Women Artists, exhibiting in group shows at the Bankside Gallery, Dulwich Library, Dulwich Festival and other venues in London. In 2015 she moved to Cornwall, where she has a studio at Trewidden Gardens, near Penzance. “In my paintings I am examining my relationship with the natural world, and my place within it. We don’t see in frames when we really experience the world, we look around and different things capture our attention in a non-linear way. So my work consciously tries to undo the conventions of perspective, and to allow different forms emphasis, according to a pictorial logic, rather than a representational one. I try to inhabit the space I am trying to convey, to immerse myself in a memory of a place, a journey, a topographical awareness. I hope this will resonate with the viewer and that they may recognize their own experience of nature in my work. Each painting is a slow layering and editing process until I feel I have evoked a sense of place and mystery. I try to strike a balance between describing the bold forms of plant life and nature, and a lightness of brushstroke that simply enjoys the paint.”
Left, ‘Wild Blue Yonder’, Oil on Board, 60 x 80 cm, Right, ‘Forest In Deep Time’, Oil on Canvas, 70 x 100 cm.
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TREGONY GALLERY | DANA FINCH
Above, ‘The Kingdom And Its Crown’, Oil on Canvas, 90 x 120 cm.
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TREGONY GALLERY | RICHARD FITTON Richard Fitton is a figurative painter from Oldham with a Fine Art Degree from Loughborough University. He became the youngest ever member of the Manchester Academy of Fine Arts (MAFA) whilst still a student. Richard attempts to push boundaries, and the challenge in moving out of the comfort zone of what can be easily achieved. Richard is constantly searching, feeling and evolving new ways in which to convey his work. The paint, the quality of the brushwork and the immediacy of the lines that define the work is paramount. Each painting is a means to another. Another beginning, the potential always there, that is what drives him. “I was born in Oldham, Greater Manchester, and have only ever wanted to be a painter. It is more than a job - it is simply who I am. Art classes with John McCombs, the former president of the Manchester Academy of Fine Art, showed me how this dream was possible, and I later went to Loughborough University. Studios in Sheffield, Rochdale and now Hyde have given me access to new sitters, new surroundings and inspirations, all mixed with the day-to-day struggles, joys and tests we all face. I force myself into new experiences and situations, my work is all about an emotional reaction to a subject or sitter and I need to generate stimulus and responses in myself to achieve satisfaction. My life never stands still, it can’t, it’s just not in me.“
Left, ‘Nat, Seated Semi-Nude’, Oil on Board, 30 x 38 cm, Right, ‘Studio Nude’, Oil on Board, 61 x 40 cm.
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TREGONY GALLERY | RICHARD FITTON
Left, ‘Portrait of Mark’, Oil on Board, 24 x 24 cm, Centre, ‘Olivia’, Oil on Board, 35 x 27 cm, Right, ‘Olivia Sleeping’, Oil on Board, 30 x 30 cm.
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TREGONY GALLERY | DEAN FISHER Dean Fisher has exhibited extensively throughout the U.S. in prominent galleries such as Hirschl & Adler Modern, New York, NY; The Tatistcheff Gallery, New York, NY; Cacciola Gallery, New York, NY; and Prographica Gallery in Seattle, WA. In the late 1980s and early 1990s, Dean spent eight years in Spain, France and England painting, studying and copying the masters in major European museums as a form of study. Dean’s paintings and drawings can be found in many private and corporate collections throughout North America and Europe. “There are certain things I see which I know I have to paint, this can be many different subjects but is usually an assemblage of forms and colours which create a compelling compositional structure. Just about any object bathed in light is extremely beautiful to me, this can be difficult because I want to paint everything…but I try to keep it limited to those subjects which scream “paint me” the loudest. I really don’t want to analyze beforehand why a subject speaks to me so much because this is very complex, so many things enter into this equation. By defining the reasons too much I fear that my response to the subject will be too pre-meditated, based on assumptions and a fragment of what is really there, all which I believe can inhibit the outcome. Instead I just jump in and with my knowledge, experience and skills try to put everything I see, think and feel about the subject into the painting. This most often leads to a more satisfying result and a painting which I feel is a more complete representation of who I am.”
Left, ‘Plant Life II’, Oil on Panel, 40 x 60 cm, Right, ‘Plant Life I’, Oil on Panel, 46 x 49 cm.
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TREGONY GALLERY | DEAN FISHER
Left,‘Still Life With Reflections’, Oil on Panel, 45 x 45 cm, Right, ‘Still Life From Above, Oil on Panel, 50 x 56 cm.
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TREGONY GALLERY | JUDI GREEN Judi Green studied Graphic Design at Kingston School of Art returning to painting at the Slade School of Fine Art. Judi was awarded a place in 2001 on The Drawing MA programme at the Royal Drawing School. Artist Residencies include Kensington Palace 2009, Dumfries House 2015 and 2020. Her painting ‘Gold Beach, Jig Sector’, was selected for the Threadneedle Prize 2009, her painting ‘Seeing Differently’ was selected for the Ruth Borchard Self-Portrait Prize Exhibition 2019. Group shows include RA Summer Exhibition, Lynn Painter-Stainers Prize, The Discerning Eye, Royal Society of Portrait Painters, Medici Gallery ( Cork Street ), Royal West Academy and Royal Society of Oil Painters. Widely collected, Judi’s work can be found in numerous private collections including The Royal Collection, Mr. Anthony Van Laast CBE, Dawn French, Sir Clive Woodward OBE, Dumfries House Collection and Sir Lenny Henry CBE. Echoing her background in graphic design, Judi uses a scaffold of drawing to inquire into the compositional forces of the painting, a balance between movement and stability. “My landscapes rely on repetition, finding their forms and colours potent emblems of the fluid and fleeting nature of all human experience.”
Left, ‘The Cornfield, La Gozinere #1’, Oil on Panel, 30 x 40 cm, Centre, ‘‘The Cornfield, La Gozinere #2’, Oil on Panel, 30 x 40 cm, Right, ‘Living Under Blue Skies, Early Summer, #7’, Oil on Linen, 51 x 86 cm.
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TREGONY GALLERY | JUDI GREEN
Above, ‘Amidst The Swell Of Space, Diptych’, Oil on Linen, 41 x 123 cm, Below, ‘In Hold of the View, Diptych’, Oil on Linen laid on Board, 24 x 60 cm.
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TREGONY GALLERY | MARK HANSON Mark Hanson studied Fine Art at Margaret Street, Birmingham University and graduated in 2006. He attended the Drawing Year at the Royal Drawing School and graduated in 2014 with a Masters in Drawing. He had his first solo show In 2016 at Mercer Chance Gallery, London. More recently, he had a solo show in 2018 at B. Sakata Garo. Sacramento, California and in 2019 he participated in the group show, Parent Portraits at Westbeth Gallery in New York. “Although my figurative practice engages entirely in the pursuit of the thing seen, the formal qualities of painting are also of equal importance to my work. Forms are ‘drawn out’ from the process of looking and observing. My aim is to discover the image through a series of hard won battles, which result in a collection of lost and won attempts. This continuous process, the act of constructing and deconstructing form, winning and losing the drawing, is of great value and interest within my work. This process creates different qualities of marks that exist along a continuum. My intention is to amalgamate these opposing, contradictory and separate languages into a coherent whole. The result being a fusion of marks that seem to have a dichotomist quality. Therefore, opposing forces are common themes in my work and my aim is to depict the tension that fuses both disparate parts.“
Above, ‘Nude Study’, Oil on Aluminium, 21 x 51 cm.
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TREGONY GALLERY | MARK HANSON
Left, ‘Abate’, Oil on Aluminium, 17 x 18 cm, Centre, ‘Fallback’, Oil on Aluminium, 17 x 18 cm, Right, ‘Aback’, Oil on Aluminium, 17 x 18 cm.
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TREGONY GALLERY | CLARE HAWARD Clare Haward is a south London based painter, whose work has been exhibited at the ING Discerning Eye, the Threadneedle Prize and the Lynn Painter-Stainers prize. Clare is a current recipient of a prestigious Elizabeth Greenshields Award and has been a contestant on Sky Arts Landscape Artist of the Year. Clare studied Fine Art at Camberwell College of Art and Leeds University, as well as the Cyprus College of Art and the Jerusalem Studio School. Clare was recently elected a member of the New English Art Club (NEAC). The interplay between light and shadow often becomes the motif in Clare’s paintings. Clare’s still life compositions are meticulously observed and rearranged until the objects and their shadows interact, attract or repel each other, exploring the tension between revelation and concealment that is activated by light. Whether in the landscape or the studio, she finds herself preoccupied with the idea that a shadow is indivisible from the object, and under changing light conditions is a moving attribute of the objects stillness.
Left, ‘Still Life, Winter Light’, Oil on Linen laid on to Board, 30 x 32 cm, Right, ‘Still Life with Lemon’, Oil on Linen laid on to Board, 25 x 26 cm.
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TREGONY GALLERY | CLARE HAWARD
Left, ‘Still Life with Bird’, Oil on Linen laid on to Board, 30 x 40 cm, Right, ‘Still Life ( Late Afternoon)’, Oil on Linen laid on to Board, 30 x 40 cm.
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TREGONY GALLERY | CLAIRE IRELAND Claire writes, “My working practice as a ceramic sculptor is changing and I have made a conscious decision to focus on a more sculptural approach, studying the form in relationship to the surface with more clarity. I use my studio location, based in the grounds of a historical steam museum to inform my practice, absorbing the industrial heritage surrounding me, it has been a significant element when developing ideas. I am a dedicated hand builder and revel in how ideas develop out of process, experiments with materials and techniques. I will often create a series of small sculptural forms that serve as working maquettes. Recently I have been drawn to a more minimal and reductive strategy, simplifying the structures, but constantly enhancing and developing the surface. It is crucial that the surfaces I achieve envelop my ceramic forms and are integral to the whole. I find great enjoyment and creative impulse through making collections and arranging man made and natural forms. The discipline of drawing, my continuous studies and a renewed passion for printmaking, are all essential components. I seek to catch the eye but hold the form in my sculptural pieces and strive to and achieve a balance and fluidity between intuition, craft and concept in clay.”
Left, ‘Typologies #1’, Grey Stoneware, Terracotta Crank and Saggar Fired Porcelain, 20 x 28 x 12 cm, Centre, ‘Typologies #2’, Black Stoneware, Terracotta Crank, Saggar Fired Porcelain, White Stoneware with Engobe, 23 x 28 x 12cm, Right, ‘Typologies #3’, Saggar Fired Porcelain, Grey Stoneware and Black Stoneware, 29 x 28 x 12 cm.
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TREGONY GALLERY | CLAIRE IRELAND
Above Left, ‘Typologies #4’, Black Stoneware, Saggar Fired Porcelain and Terracotta Crank with White Underglaze, 23 x 28 x 12 cm, Above, ‘Full Circle’, Grey Stoneware Ring with Saggar Fired Stoneware Pebbles, freestanding, 46cm x 5cm, Below Left, ‘Segmented Form’, Saggar Fired, Ceramic and Steel, 45cm x 33cm.
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TREGONY GALLERY | HENRY JABBOUR Henry Jabbour trained in the visual arts in Edinburgh and New York where he obtained a Master of Fine Art in Painting and Printmaking. Henry has exhibited widely in the UK as well as in Paris, Beirut, and New York. He has won several awards and his work is in private
collections around the world. Henry was the recipient of The Davison Award for Oil Painting and The Winsor and Newton Painting Award at the Royal Society of British Artists, 2019.
Henry’s work generally focuses on the human figure. He is interested in the emotive qualities of body gesture, colour and mark making. His work is a quest to subvert the specific in search for the universal. Each piece is a search beyond mere appearance, attempting to connect the vulnerability, fragility and impermanence of the individual with a sense of common and shared humanity. Henry’s work
embraces both the familiar and the unexpected. Although much of his work has a biographical element, his intention is that each piece develops a visual presence that is independent of him, or his original artistic intentions, so that the viewer can continue the search that he has initiated.
Left, ‘A Bunch In Yellow’, Oil on Linen, 95 x 80 cm, Centre, ‘Standing Figures’, Two Plate Etching on Paper, 79 x 69 cm ( paper size ), Right, ‘A New Road To Travel’, Oil on Linen, 51 x 46 cm.
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TREGONY GALLERY | HENRY JABBOUR
Left, ‘The Beauty There May Be’, Oil on Linen, 61 x 56 cm, Right, ‘My Infinite Dreams Live’, Oil on Canvas, 80 x 65 cm.
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TREGONY GALLERY | BRIDGET MACKLIN Bridget studied Applied Art at Bath Spa and then took a ceramics diploma with City Lit College, London. Her influences range far and wide. Within the world of ceramics the two people who have influenced her thinking most are Adam Buick and Fred Gatley. Bridget is a ceramic artist with a fascination for stories with geology at their core. Every piece of work begins with the same blank canvas: a thin sheet of pure white porcelain with its connotations of beauty, value and fragility. Into this she mixes local raw materials which she finds in the side of a river; in the excavation of a hole; at the edge of a car park. These interact with the porcelain to build vibrant strata of colour and personal interest where the only limit to interpreting the finer detail is the viewer’s imagination. She delights in taking risks with materials, repeatedly refining them and constantly striving for thinner, more lustrous work which only reveals its full nature on closer inspection. Bridget is an elected as an Associate Member of the Devon Guild of Craftsmen. “Because of the experimental nature of my work opening the kiln is always greatly anticipated and done with a degree of nervousness. Sometimes I am confronted with Armageddon, sometimes it feels like Christmas.”
Left, ‘Mono Landscape Series’, Porcelain with Minerals, 15 x 14 x 10 cm each, Centre, ‘Black Bowl’, Porcelain with Minerals, 9 x 12 cm, Right, ‘Mono Landscape Series’, Porcelain with Minerals, 15 x 14 x 10 cm, each,.
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TREGONY GALLERY | BRIDGET MACKLIN
Left, ‘Meridian Lines Series’, Porcelain with Minerals, 18 x 15 x 10 cm each, Right, Detail, Porcelain with Minerals.
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TREGONY GALLERY | KAREN McENDOO SWAc Karen McEndoo studied Graphics and Illustration at Somerset College, Taunton but more recently has moved toward abstraction in her painting. She spends much of her time walking the North and South Cornish and Devon coastlines, the wild cliffs and rich colours reviving memories of Africa which are often reflected in her work. “Many artists find the idea of a blank canvas daunting and I am no exception. My first task is to break the whiteness by putting down a base colour which, because of the nature of my work, shines through and becomes an intrinsic part, uniting the picture as a whole. It is rare that I plan the picture, the antithesis of what was drummed into me at college, preferring instead to allow the work to develop its own language. Colour is everything to me and I spend a good deal of time mixing the hues and tones until I have arrived at a coherent palette, something I find a genuine pleasure. The rest is generally, albeit an oxymoron, ordered chaos. Whilst working it is important for me is to disengage the thinking brain and allow instinct to take over, this can often take a good while to achieve but once you get there it is from where the very best work is born. The act of placing paint onto any surface is rich in possibilities but every bit as fraught with challenges and frustration. Herein lies the crux of the exciting nature of painting, the never knowing what will arrive before you”.
Left, ‘Sunset On The Clays’, Acrylic and Mixed Media on Canvas, 30 x 40 cm, Right, ‘Chasing The Sunset’, Acrylic on Canvas, 50 x 40 cm.
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TREGONY GALLERY | KAREN McENDOO SWAc
Above, ‘The Weir’, Acrylic On Canvas, 80 x 60 cm.
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TREGONY GALLERY | EUAN McGREGOR Euan McGregor studied at the Glasgow School of Art from 1994-1998 and completed a BA ( Hons ) in Printmaking. Euan has won numerous awards at the Royal Glasgow Institute and became a Diplomate of the historical Paisley Arts Institute in 2015. From his degree show Euan won the Royal Glasgow InstituteTravelling Scholarship and spent six months exploring and painting in Catalonia while based in Barcelona. Euan’s influences are wide and varied including Edward Hopper, Eric Ravilious, Milton Avery, Keith Vaughan and John Piper. Euan’s work has a strong sense of shape and subject, he uses his printmaking skills to give the illusion of depth by adding texture in thinly applied layers. His work is striking, yet subtle in its makeup. Euan has a particular love of fringe or marginal spaces linking land and sea. His recent series of work took him around the UK exploring outdoor pools and lidos from some of our more established treasures to more derelict remnants of a once thriving ‘holiday at home’ culture. “I have an idea which I flesh out as a photo montage, I superimpose photos and pieces of old paintings together to give me a starting point. Even at this early stage the work is undetermined and goes through a series of stripping back and layering forward to get to the desired look”.
Left, ‘Cawsand’, Acrylic on Board, 40 x 60 cm, Right, ‘Sea Haze Roofs’, Acrylic on Board, 36 x 36 cm.
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TREGONY GALLERY | EUAN McGREGOR
Left, ‘Orange and Blue Harbour’, Acrylic on Board, 36 x 36 cm, Right, ‘Rinsey Cliff House’, Acrylic on Board, 41 x 51 cm.
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TREGONY GALLERY | DAVID MOORE “Over time my paintings have evolved in recognising the importance of how chance and an instinctive approach to mark- making play a major role in producing emotional effects. There are many ways to achieve the results that contribute to this end. My preferred method is to explore with different methods of application to the canvas surface, using not only brush and knife but other material that can transfer paint either thickly or thinly to the canvas. An important part of my development is to draw into the wet paint that gives the painting a certain structure or as I like to call it scaffolding, but it is important that the lines are considered very carefully in the sense that they do not look manufactured and without the nervous energy required. Sometimes the lines are partially covered with the next application of paint or score the areas of paint. A movement that is necessary for the best results is one that relies on an instinctive approach by the hand rather than the eye. The distance at which one stands away from the canvas to paint or draw is important to the instinctive approach, my personal way is to draw into the paint from a distance where I cannot see the whole of the work, but only what I am drawing into. At other times standing a distance away can be the means of measuring the balance of the whole with small adjustments made by scraping off or an emphasis applied with further contrast or tonal adjustment.”
Left, ‘Composition Of Form’, Oil on Canvas, 66 x 89 cm, Centre, ‘Red Chair’, Oil on Canvas, 109 x 98 cm, Right, ‘Tracts’, Oil on Board, 35 x 46 cm.
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TREGONY GALLERY | DAVID MOORE
Above, ‘Westcotts Quay’, Oil on Canvas, 137 x 122 cm.
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TREGONY GALLERY | JENNIFER POCHINSKI “It has taken me a long time to figure out how to handle paint. I moved to California from Greece a number of years ago. I was encouraged to paint the figure. My painterly marks were reminiscent of the Bay Area Figurative tradition. I laid it on thick with gusto. I was seduced by the sensuousness of paint. But I spent a number of frustrating years feeling stuck and felt I could not progress. My marks always had a rapid gestural quality and I wanted to bring the element of time into my work, but always reached an obstacle within”. Jennifer Pochinski studied at the University of Hawaii from 1991 and completed a Bachelor of Fine Arts in Painting, and then a Diploma of Higher Education in Interior Architecture at Middlesex University AKTO Athens, Greece. In 2002-3 she returned to the University of Hawaii. Jennifer exhibits widely and her work can be found in the collections of Triton Museum, Santa Clara, California, Alexandros Tombazis Architect, Athens, Greece, the David & Pamela Hornik Collection and Shasta College Collection, as well as many private collections. More recently Jennifer has completed a major public work ‘Museum View’ at the Davis Enterprise Building, Davis, California.
Left, ‘Hot Day’, Oil on Paper, 50 x 40 cm, Centre, ‘Maillot’, Oil on Paper, 50 x 40 cm, Right, ‘North Sea’, Oil on Paper, 60 x 50 cm.
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TREGONY GALLERY | JENNIFER POCHINSKI
Left, ‘Man Running’, Oil on Panel, 50 x 40 cm, Centre, ‘Family’, Oil on Panel, 61 x 61 cm, Right, ‘Blonde, White Chair’, Oil on Panel, 50 x 40 cm.
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TREGONY GALLERY | DANIEL PREECE LG Spanning both rural and urban landscapes, Daniel Preece’s everyday subjects lack human presence yet capture the traces of our lives. His paintings narrate moments that are often overlooked or unseen, elevating them through tight compositions and the use of vivid colour. By confronting the viewer with a deep stillness, Daniel asks us to pause and survey the balance of structural form and interrelated plains of colour held within the richly layered paint. Daniel Preece studied at Chelsea School of Art 1988–89, graduated from Slade School of Fine Art in 1993 and the Royal Drawing School in 2007. He was runner up in the Laing Landscape and Seascape Award in 2001 and won second prize in the Gilchrist Fisher Memorial Prize for Landscape Painting in 1997. His work has been exhibited widely and internationally including the Creative Cities Collective at the Barbican, The London Group at Southampton City Art Gallery; The First International Invited Exhibition of Emei Contemporary Art, China; Allen Gallery, New York; Purdy Hicks and Flowers Gallery in London. He has had solo shows at One Paved Court; The Project Gallery, Capsticks Solicitors, and at Gillions Art. Daniel’s work is held in a number of private and public collections including The Chinese Government Collection, University College London, Dumfries House Collection, Unilever plc, Bayer plc, and the Canary Wharf Group.
Left, ‘Suburbs’, Oil on Board, 25 x 30 cm, Centre, ‘Battersea Bridge’, Oil on Board, 25 x 30 cm, Right, ‘Deli’, Oil on Board, 25 x 30 cm.
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TREGONY GALLERY | DANIEL PREECE LG
Above, ‘Drop and Carry’, Acrylic on Canvas,168cm x 172cm.
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TREGONY GALLERY | NICOLE PRICE Nicole’s painting practice is concerned with the captured moment and the relationship of the onlooker to the work in bringing their personal experiences, memory, and imagination to the viewing experience. She collects family photos and film-stills and from these she photocopies, splices, collages and draws to select the visual information for the paintings. The work from photographs is often small scale, painted on aluminium plates to create a more intimate viewing experience. In contrast the paintings from film references are slightly larger reflecting the immersive feeling of television and cinema. The paintings have a tension created from the ambiguity and unreachable narrative in the images. Nicole studied at Leeds University, Heatherley’s and Wimbledon College of Arts (UAL) for her MFA and is currently on the Turps Banana Painting Programme. Her work has been exhibited regularly in group exhibitions including the Royal Academy Summer Exhibition, the Lynn Painter–Stainers, the ING Discerning Eye and the SWA at the Mall Galleries, Paper Cuts at the Saatchi Gallery, the NOA and the RWA.
Above, ‘Holding Hands’, Oil on Linen, 51 x 66 cm.
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TREGONY GALLERY | NICOLE PRICE
Above Left, ‘Twiddling Fingers’, Oil on Linen, 20 x 23 cm, Above Right, ‘iPhone Landscape’, Oil on Linen, 17 x 23 cm, Bottom Left, ‘Sandals’, Oil on Linen, 17 x 23 cm, Bottom Right, ‘Lunchtime’, Oil on Linen, 20 x 23 cm.
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TREGONY GALLERY | SARA LEE ROBERTS Sara trained at the Byam Shaw School of Art. She also studied Chemical Physics at Sussex University and trained as a restorer at the Hamilton Kerr Institute, Cambridge. After working on paintings in the Wallace Collection and the Royal Collection, she moved to Paris where she started painting full time and showing her work. Her early work showed a particular interest in the creation of light and space within the confines of observational painting. Her work from this period is in many private and public collections including Jesus College Cambridge, Unilever and Charterhouse Securities. In 1999 she won the Discerning Eye Chairman’s prize. In 2008 Sara gained a scholarship to study full time at the Royal Drawing School on their Drawing Year. At the end of this year she won the Paintings in Hospitals prize. Her work moved away from straight observational painting and towards working from memory, from drawings and from paintings of other artists. She is now also making purely abstract work and seeks a synergy between the figurative and the abstract. Sara teaches at the Royal Drawing School and at the Wallace Collection. “ When I work, I am looking for the moment at which, in either abstract or figurative work, the image emerges as a presence – a person, or a space and a light – which I can only recognise at the moment it reveals itself to me in paint. “
Left, ‘Portrait in Pink’, Oil and Acrylic on Gesso Panel, 53 x 41 cm. Centre, ‘The Girl With Red Hair, Diptych’, Oil on Gesso Panel, 54 x 112 cm, Right, ‘Delacroix’s Bed’, Oil on Canvas, 132 x 120 cm.
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TREGONY GALLERY | SARA LEE ROBERTS
Above, ‘Rembrandt, Triptych’, Oil on Three Gesso Panels, 53 x 106 cm.
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TREGONY GALLERY | JOSEPHINE ROBINSON “I see my studio as a laboratory and my painting as a continual experiment. I use the world I find around me as my subject matter. I like to try to “un-know” the subject in my painting, because ultimately, I would like the representation of the “subject” in my painting, to speak only for and of itself. I actually began this experimental quest, working with 16mm film. I felt at home with images, because I found that they can possess realms of possibilities of meanings. There is no end to how one can read an image. The painter or film maker can direct, or manipulate the viewer , through the imagery, to follow a certain direction, but more interestingly, the image can also be directed to offer only a suggestion, a proposition, so the eventual “ outcome” or lack thereof, ultimately is dependent upon the psychology of the individual viewer. When the imagery suggests, it is then that the viewer becomes engaged. This is why I have fallen in love with the world of paintings, images and films”.
Left, ‘Three Together’, Oil on Board, 20 x 25 cm, Centre, ‘Lying Low’, Oil on Panel, 30 x 38 cm, Right, ‘Rainy Day’, Oil on Panel, 23 x 30 cm.
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TREGONY GALLERY | JOSEPHINE ROBINSON
Left Above, ‘An Interior’, Oil on Panel 26 x 23 cm, Left Below, ‘Interior II’, Oil on Panel, 26 x 23 cm, Right, ‘Close Up’, Oil on Panel, 43 x 30 cm.
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TREGONY GALLERY | SARAH SPACKMAN RBA Sarah Spackman is a contemporary figurative artist. Her work is distinguished by a strength of drawing, together with a delicate and subtle
use of colour. Sarah studied at Byam Shaw School of Art 1978-79 and Camberwell School of Art 1979-81. She won The Winsor and Newton Young Artists Award at the Royal Institute of Oil Painters Exhibition. In 2019 Sarah was elected as a member of the the Royal
Society of British Artists and won the Gordon Hulson Memorial Prize. Sarah has exhibited with the NEAC, the ROI and the RBA, she has
also had work selected for the Discerning Eye and the Jerwood Drawing prize. Since the early 1980s Sarah has exhibited widely and regularly, both in the UK and abroad. A number of Sarah’s paintings were selected for the contemporary art collection of the Allied Irish Bank, she also has work in many private collections internationally. Sarah has become particularly well known for her still-life paintings. She works in a quiet
considered way applying the principle that good drawing is the basis of good painting. Sarah uses colour to enhance the organisation and
definition of observed form. Sarah considers the setting up of a still life a crucial part of the process. Focusing on the objects themselves, everyday objects that are often looked at but not seen, how they re- late to each other and the space in which they sit. When painting Sarah pursues the development of these relationships through constantly looking, contemplating, redrawing and colour adjusting. “I am often inspired by the specific beauty of an organic form be it a nasturtium picked from the allotment or a particularly handsome fig at the market. My way of expressing my response to these objects is through drawing and painting”.
Left, ‘Three Of Us’, Oil on Linen, 20 x 25 cm, Centre, ‘Ballybranagan’, Oil on Linen, 25 x 30 cm, Right, ‘Little White Orchid’, Oil on Linen, 46 x 41 cm.
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TREGONY GALLERY | SARAH SPACKMAN RBA
Left, ‘What Do You Think?’, Oil on Linen, 30 x 35 cm, Right, ‘Still Life With Aubergine’, Oil on Linen, 38 x 54 cm.
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TREGONY GALLERY | KAY VINSON Kay Vinson studied at the Slade School of Fine Art, achieving a first class Degree and MA in painting. Her awards include The Boise Scholarship and she is a two time recipient of the Canadian Elizabeth Greenshield’s Foundation Award for figurative painting. The Slade awarded her the William Coldstream Prize for the most promising newcomer, the Rosa Morrison scholarship and the Douglas Woolf Award. Kay has exhibited at the Royal Academy Summer Exhibition, Leighton House, London and the Millennium Gallery, Penlee House and Tregony Gallery since 2016. She has work in private and public collections, including University College London and Jesus College Cambridge. ‘My concern with the flat pattern across the rectangle and the spatial movement within the subject is a thread that runs through my work; doorways, windows, indistinct reflections, layering inside and outside. These things are beautiful for their web of shapes and the mystery they take on in the particular light of a Cornish day. My influences include De Hooch, Rembrandt, Ingres, Diebenkorn and Chardin. I work directly in front of the motif. I try to make its presence as tangible and resonant as possible. I tend not to think about colour – colour is remembered with closed eyes. I think about touching with painted equivalents for my visual sensations’.
Left, ‘Blackthorn’, Oil on Panel, 25 x 28 cm, Centre, ‘Across The Glass’, Oil on Panel, 30 x 21 cm, Right, ‘Reflected Blues’, Oil on Linen laid on Panel, 32 x 23 cm.
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TREGONY GALLERY | KAY VINSON
Left, ‘Sitting in the Conservatory, Oil on Linen laid on Panel, 49 x 34 cm, Right, ‘Threshold Tree’, Oil on Linen, 76 x 56 cm.
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TREGONY GALLERY | GREGORY WARD Gregory Ward initially studied teaching at the Froebel Institute where he became interested in painting. He then went to the Byam Shaw School of Art followed by Post graduate studies at the Slade School of Fine Art in 1981-83. While at the Byam Shaw and the Slade he was granted a number of awards and scholarships including the Ernest Jackson Memorial award, a Leverhulme Scholarship and the Jubilee Scholarship. After post graduate studies Gregory went to America on a Boise Travelling scholarship and a year later he was awarded the Elizabeth Greenshield Foundation Award. Gregory has continued painting ever since leaving art school and has been involved in part time teaching for a large part of his life, mainly at Byam Shaw UAL where he was an Associate Lecturer, a Senior Lecturer at Canterbury Christ Church University and a tutor at The Prince’s Drawing School (now the Royal Drawing School) as well as various short courses at the Slade Summer School and the RA. In 2012 Gregory stopped teaching and moved from London to Devon in order to spend more time painting. He is mainly involved with making paintings of landscapes, paintings of interiors and still lives. He has exhibited widely and has work in public and private collections. “I paint from direct observation or from drawings which are also made from direct observation. The main thing about painting for me is the journey I make inside my head whether I am working on a painting or looking at paintings. In my work I try to organise the multitude of phenomenological imperatives ‘out there’ and on the canvas itself by connecting and integrating them into the process of painting.”
Left, ‘September Light’, Oil on Canvas, 20 x 20 cm, Centre, ‘After Bellini’, Oil on Canvas, 17 x 22 cm, Right, ‘Orange Dream’, Oil on Canvas, 26 x 20 cm.
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TREGONY GALLERY | GREGORY WARD
Above, ‘The Tree Outside’, Oil on Canvas, 40 x 51 cm.
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Notes
Tr e g o n y G a l l e r y | A s s e m b l e ยบ 2 0 66
The Cornwall Community Foundation is the largest grant-awarding charity in Cornwall and the Isles of Scilly. Since it began in 2003, it has invested over £8m in more than 4,800 grass-roots volunteer-lead community projects addressing the effects of hardship and deprivation. Many are surprised to find that behind its beautiful coastline, Cornwall remains the poorest county in England where, in some areas, 1 in 4 children lives in poverty. The Foundation’s Cornwall Club, made up of supporters based outside Cornwall, raises funds to specifically support affordable housing, crisis management and homelessness projects. All the money raised stays in Cornwall and makes a very significant difference to communities far and wide across the county.
Tr e g o n y G a l l e r y | A s s e m b l e Âş 2 0 68
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WITH THANKS TO;
Contact: Brian Green. Tregony Gallery,58 Fore Street, Tregony, CORNWALL TR2 5RW
T: 01872 530505 | M: 07496 953471 | info@tregonygallery.com | www.tregonygallery.com
All content © Tregony Gallery 2020, Assembleº 20 exhibition and their respective owners. Assembleº 20 exhibited at 54 The Gallery, 54 Shepherd Market, Mayfair W1J 7QX. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of the copyright holder. Catalogue record for this publication is available from the British Library, ISBN 978-1-5272-5231-8. Measurements are given in centimetres, height before width, and does not include framed dimensions. E&OE. Not all works featured in this publication will be part of the Assembleº20 exhibition. The publication presents a selection of artists represented by Tregony Gallery, Cornwall. For further details do email through or visit the website. www.tregonygallery.co.uk
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