River's Edge

BallroomArts 52A High Street,Aldeburgh 7-19 June, 2022

Picus Plasticus (2016)/7) 27 x 12 x 17 cm Steel, plastic, brass Sculpture by Emily Mayer

An exhibition curated by Paul Barratt and Paul Vater of Contemporary and Country and held at BallroomArts, Aldeburgh. From June 7 – 19, 2022 THE COURTYARD GALLERY Artists and makers from across East Anglia Debby Besford, Sue Blandford, Simon Carter, Katarzyna Coleman, Will Cutts, Katayoun Dowlatshahi, Amanda Edgcombe, Ruth Howes, Suzi Joel, Ed Lee, Martin Mitchell, Pandora Mond, Maria Pavledis, Ann Payne, Peter Rodulfo, Carol Saunderson, Ivy Smith, Liz Taunt, Paul Wolterink, Peter Wylie, Jonathan Clarke, Judith Ellis, Roger Hardy, Stewart Hearn, Katharina Klug, Stephen Murfitt, Tim Plunkett, Annie Turner, Steven Will

www.contemporaryandcountry.com

OPPOSITE LEFT

Stripes 1, 2021 49 x 58 cm Gesso painting on board Framed work by Amanda Edgcombe

Orford 1, 2021 41 x 40 cm Carborundum monoprint 1/1 Framed work by Amanda Edgcombe OPPOSITE RIGHT

Dockside I, 2022 50 x 70 cm Acrylic and charcoal on canvas Unframed work by Katarzyna Coleman

Dockside II, 2022 50 x 70 cm Acrylic and charcoal on canvas Unframed work by Katarzyna Coleman

TOP RIGHT

High Dive (2015) 21 x19.5 x 12 cm wood, copper, plastic Sculpture by Emily Mayer BELOW RIGHT

Various cutting boards

by Tim Plunkett

Whitlingham Marsh, Winter and Whitlingham Marsh, Snow 34 x 38.5 cm Coloured Etching 12/20 Etching AP III/V Framed works by Ivy Smith

Whitlingham Marsh, Norfolk, 2004 89 x 118 cm Woodcut on Mulberry Paper (ed 5) Framed work by Ivy Smith

LEFT

Suffield Norfolk, Spring, 2022 40 x 46 cm Oil on Canvas Framed work by Will Cutts

The Alde at Blaxhall, Suffolk, 2022 34.2 x 44.5 cm Oil on Canvas Framed work by Will Cutts

OPPOSITE

Old Willow

By Martin Mitchell Framed 42 x 45 cm Mezzotint 12/40

River Yare Morning

By Martin Mitchell Framed 52 x 59 cm Mezzotint 6/40

Fogou with Capstone

By Catherine Headley Framed 50 x 48 cm 2nd Pull Print

Hidden Entrance

By Catherine Headley Framed 39 x 37 cm 11/15 edition

ABOVE Clockwise

River Ladders and Tide Lines, 2022 40 x 3.5 cm Ceramic forms by Annie Turner

Various objects Sculpture by Roger Hardy, ceramics by Katharina Klug and glass zest bowl by Stewart Hearn

Eel Catcher (2004/07) 50.5 x 47 x 40 cm Steel, plastic, copper Sculpture by Emily Mayer

OPPOSITE

Various paintings, 2022 From left: Simon Carter; Peter Wylie; Suzi Joel; Amanda Edgcombe

Various objects, 2022 From left: Wooden trug by Jane Crisp; ceramics by Katharina Klug; sculpture by Jonathan Clarke; glass bowl by Stewart Hearn.

FROM LEFT

Various objects, 2022 From left: glass tumblers and wine glasses by Stewart Hearn; cutting boards and tables by Tim Plunkett; Wooden trugs by Jane Crisp; sculpture by Jonathan Clarke.

Various framed works (paintings and prints), 2022 Peter Rodulfo; Ann Payne; Sue Blandford; Simon Carter; Peter Wylie, Suzi Joel; Amanda Edgcombe and Katarzyna Coleman.

ABOVE

Various framed works (paintings and prints), 2022 Catherine Headley; Carol Saunderson;

ABOVE FROM LEFT

Various objects, 2022 Wooden trugs by Jane Crisp; sculpture by Jonathan Clarke; Raku ceramics by Stephen Murfitt

Various objects, 2022 Birdflight books by Judith Ellis; ceramics by Steven Will RIGHT

Various objects, 2022 Glass - spotty jugs by Stewart Hearn; Raku ceramic by Stephen Murfitt OPPOSITE

Various framed paintings, 2022

By Ann Payne

OPPOSITE

Plas - tic - tockus (2005/7) 79 x 44 x 41.5 cm wood, plastic, steel Sculpture by Emily Mayer RIGHT

Lyme Boat, 2022

By Sue Blandford Unframed 47 x 45 cm Acrylic on Board

In Your Harbour, 2021

By Sue Blandford Framed 37 x 35 cm Acrylic on Board

IN THE BALLROOM New sculpture by Jack Wheeler, Beth Groom and by the late Emily Mayer.

With paintings of Norfolk Chalk rivers by Kate Giles

Flare. Spring Light in the Valley of the Nar, 2022 153 x 153 cm Oil on Linen

Ophelia (A Willow Grows Aslant the Bure), 2022 120 x 100 cm Oil on Linen

Litus, 2022

By Jack Wheeler 23 x 60 x 68 cm Lime wood and urushi lacquer

Light – Loom, 2022 90 x 90 cm Oil on Linen £ 4,300

Sentinel I (Road as River), 2022 90 x 90 cm Oil on Linen

Sentinel II (Road as Road), 2022 90 x 90 cm Oil on Linen

Untitled I 2022

By Beth Groom 20 x 47 cm Ceramic and Oak

Untitled II, 2022

By Beth Groom 25 x 11 cm Ceramic and Oak

Scoria, 2022

By Jack Wheeler 85 x 110 x 75 cm Bleached lime wood

Chiffchaff. Itteringham, 2022 50 x 50 cm Oil on Linen £ 1,950

After the Downpour. Field Irrigation, 2022 40 x 40 cm Oil on Linen £ 1,700

Rapt I, 2022 40 x 40 cm Oil on Linen £ 1,700

From the Pylon’s Point of View, 2022 30 x 38 cm Oil on Board £ 1,650

On the Brink. Bure Valley, 2022 37 x 45 cm Oil on Board £ 1,800

The Slow Claim of the Buzzard’s Hand I, 2022 30 x 38 cm Oil on Board £ 1,650

The Slow Claim of the Buzzard’s Hand II, 2022 30 x 38 cm Oil on Board £ 1,650

Covenant of Light, 2022 38 x 30 cm Oil on Board

In the Wake of Wind. Scudding Sun, 2022 30 x 38 cm Oil on Board

Contre Jour I, 2022 30 x 38 cm Oil on Board

Contre Jour II, 2022 30 x 38 cm Oil on Board

Unfurls its Undercloud. Valley of the Nar, 2022 30 x 38 cm Oil on Board

The Spider Clings to his Craft, 2022 30 x 38 cm Oil on Board

Rutted. Itteringham, 2022 30 x 38 cm Oil on Board

Glint I, 2022

Glint II, 2022

17.5 x 21 cm Oil on Board

17.5 x 21 cm Oil on Board

Between Belief and Place, 2022

By Jack Wheeler 155 x 34 cm Ø Painted lime wood

Contemporary and Country (C&C) present contemporary art and handmade objects by established artists and makers from the east of England in pop-up exhibitions in non-gallery spaces that celebrate our rural surroundings. C&C work with artists and makers who live and work in East Anglia, or who include the natural world in their subject matter or production process.

They bring about a closer understanding of the countryside, what makes the east of England landscape so unique and have insight about the people that live there.

They look creatively beyond the passing trend and encourage greater consideration for nature, as its appreciation and preservation becomes ever more prescient to our time. C&C has been established by Paul Barratt and Paul Vater to create pop-up exhibitions featuring contemporary art and handmade objects by artists and makers from across Norfolk, Suffolk, Essex and Cambridgeshire. These temporary exhibitions have taken place in the Stables at Houghton Hall, Norfolk, alongside international exhibitions of sculpture by Tony Cragg, Anish Kapoor, Henry Moore, Damien Hirst and Richard Long. Paul and Paul have organised smaller-scale pop-up exhibitions at Creake Abbey near Burnham Market and Morston on the North Norfolk coast and in Norwich.

CURATORS PAUL BARRATT Paul started working in contemporary art galleries in 1989, having graduated in Fine Art from Goldmsiths College, London University. He initially worked at Anthony d’Offay Gallery, one of the contemporary art galleries that dominated the London art market in the 80s and 90s. He was approached by the Lisson Gallery to be gallery manager for the influential art dealer Nicholas Logsdail. This was followed by a period in New York at Gladstone Gallery, to work for visionary art dealer Barbara Gladstone.

PAUL VATER Paul conducts studio visits to maintain strong relationships with artists, designers and craftspeople who show their work with us. He manages the main C&C website and has developed the online shop where selected works are presented for sale.

On his return to London, Paul secured a place on the prestigious postgraduate curatorial course at the Royal College of Art, to complete an MA. After graduation in 2001, he worked as an independent curator on several projects in Oslo, London, Brighton and Basel, before joining Paul Vater at his design agency Sugarfree in London in 2004. He has worked with Paul ever since.

Paul established his design company, Sugarfree, in 1990 and quickly gained a reputation for delivering fresh, effective marketing campaigns and brand identities for clients including Save the Children Fund, United Nations Association and UNHCR. Over the years those added to the roster include IPC Magazines, Arts Council England, The Roundhouse, Barbican Centre, Arts Marketing Association, Look Ahead Housing and Care, Paddington Waterside, BBC Worldwide, Commonwealth Foundation, Prestel, City of London Corporation, The Kennedy Trust and the University of East Anglia.

paulbarratt@contemporaryandcountry.com

paulvater@contemporaryandcountry.com

CONTACTS

SOCIALS

For more details of work for sale or previous exhibitions please visit our online shop or contact us on the email links below: CONTEMPORARY AND COUNTRY Paul Vater 07943 291834 https://contemporaryandcountry.com/

TWITTER @cc_art_handmade INSTAGRAM @ contemporary_and_country FACEBOOK contemporaryandcountry LINKEDIN https://www.linkedin.com/in/paulvater

BIOGRAPHIES DEBBY BESFORD A documentary photographer and lecturer with more than twenty-five years’ professional experience, Debby Besford’s love of Norfolk stems from her own upbringing in Great Yarmouth.

She has a portfolio that ranges from international personal projects to the commercial and commissioned, each of Debby’s images captures her particular style of intimacy and authenticity.

Inspired by the stories behind her subjects, Debby’s collection of work demonstrates her natural ability to capture a visual truth.

Her recent series of portraits of model boat builders in Yarmouth and another captures competitive roller skaters offering a fascinating insight into these worlds.

SUE BLANDFORD Sue looks for beauty but often find it glowing in the dark or uneasy. Actual figures are rare in her paintings, perhaps a silhouette on a tent wall. She prefers to use objects that infer a human presence or absence.

She says that being mixed race was probably part, but not all of feeling herself to be occupying an ‘in-between’ place growing up.

Sue’s subject matter reflects the spaces between the city where she currently lives and nature that she has a longing to return to.

Small manmade objects taking a space and resonating amongst the elemental.

SIMON CARTER Simon is an artist and curator who was born in Chelmsford, Essex in 1961. He studied at Colchester Institute (1980–81) and then North East London Polytechnic (1981–84). He is President of Colchester Art Society and has been Artist-in-residence at the University of Essex and Firstsite, Colchester. In 2013 formed the artist led group Contemporary British Painting with artist Robert Priseman and then the ‘East Contemporary Art Collection’, the first dedicated collection of contemporary art for the East of England which is housed at the University of Suffolk, Ipswich.

London and has lived and worked for many years in Great Yarmouth.

While in London she studied at Hornsey College of Art 19791982, followed by Manchester College of Art (Manchester University) 1982-1983, gaining an MA in Fine Art.

impact the visual experience we have of our rural surroundings in the UK. His viewpoints are carefully selected to give us a sense of familiarity, while showing us something new about these ancient roads, hedgerows, open fields and woodlands.

JANE CRISP Jane is an international awardwinning designer maker working from her home studio and workshop surrounded by beautiful countryside in Hale Fen, Cambridgeshire. Her sculptural designs are made to use and love, amplifying traditional techniques in a contemporary way, experimenting with the method-ologies of making and evolutionary crafts. The inspiration for her small batches of steam-bent trugs comes from the Norfolk reeds and draws on her creative personal connections with local heritage and low-tech processes. Steam-bending, the clinker like construction and the use of copper nails and roves derive from traditional boatbuilder’s techniques.

KATAYOUN DOWLATSHAHI Katayoun is an artist, print-maker and fine art photographer with 27 years of experience in the field of public art, lecturing, mentoring and strategic development work.

She has pioneered Carbon Prints that are enormously difficult, time consuming and expensive to make but no other pigmentbased process can produce blacks and depth of shadows as dark as the carbon process. Another highly sought-after characteristic of the medium is the depth of the pigmented gelatin layers that render the image with a subtle relief. Black & white or full colour carbon transfer prints can be produced using a single, double or triple transfer method.

A highly versatile method readily transferred to a variety of surfaces, in particular paper and glass.

JONATHAN CLARKE Born in 1961 and raised near Bury St Edmund’s, Suffolk Jonathan was was apprenticed to his father, the renowned sculptor Geoffrey Clarke (RA.. He works in sandcast aluminium, initially building and carving his sculpture in polystyrene. This method relies on the destruction of the original mould as it is vaporised by pouring molten aluminium into the sand-cast, resulting in a unique WILL CUTTS sculpture.

Will is a landscape painter based in North Norfolk. His landscapes KATARZYNA COLEMAN Katazyna’s work explores the of Norfolk and Suffolk capture the impact of monumental structures hidden byways and open views of the ‘unplanned’ manmade painted plein-air in an open, fluid, landscape of former smoke contemporary way, in traditional houses and examples of hangar oils or watercolour. He paints architecture that surround her on board or canvas. His work studio in South Denes, in the reminds us that the patterns harbour area of Great Yarmouth. and abstracted consequences Katarzyna is originally from of highly mechanised farming

AMANDA EDGCOMBE Amanda grew up in London, completing her BA in fine art at Trent Poly, specialised in print making for Postgrad at the Slade School of Art, London (UCL). She went on to study architectural glass at Central Saint Martin’s London (University of the Arts London), for which she was awarded a Fellowship in

Architectural Glass. Her varied career working for architects and as an independent designer and artist reflect her visceral experience of city life, with its creative diversity, culture and identity. Since moving to Suffolk her increasing familiarity with the rural landscape has changed her ideas of scale, colour, comparative viewpoint toward a new body of work.and Pakistan.

JUDITH ELLIS Judith is an author and bookbinder and self-taught independent publisher. In her former career as a country vet she often had to handle birds and was always moved by the lightness of their being. She has developed her own version of the flag book and combines a love of drawing with her lifelong interest in the natural world, particularly birds. The Birdflight series of artist books are all individually hand painted

by Judith and no two will ever be quite the same.

KATE GILES Qualities common to the landforms created by these two chalk streams suffuse Kate Giles’ treatment of her subject matter. Far from being a passive experience, it is a realm brought about by restless agency, carved by alterations in the direction of their flow over centuries. Rich pasture, deeply shadowed foliage, and thorny thickets are alluded to with deft, urgent strokes capturing the vitality of the scene before her. The fluidity of subject

matter encourages comparisons to earlier painters. Kate Giles has been working in this way for many years, with sufficient insight to have extended the taxonomy of the English landscape more suited to a contemporary audience. Art Historian and Broadcaster Andrew Graham-Dixon, summarises why Kate Giles’ affinity with the work of English landscape painter John Constable indicates something more substantial, beyond a shared interest in the genre: ‘Constable shattered the clear glass of traditional representation and put something else in its place: the painting as web or skein of broken brushstrokes, which communicated the simple but profound truth that we all see everything in just such a broken or fractured way. In other words, when we look at nature, we see it through the turbulence of our own nature… …It is this tradition of painting – far from dead, anything but conventional and surely open to continuation, as long as people have feelings, and paintbrushes – that I would place Giles’ painting.

What they show us is neither nature nor human nature, but a place where both are interwoven.’

BETH GROOM Beth’s practice engages with a wide variety of materials and processes. Ideas are usually instigated through a playful manipulation of objects and forms of the everyday. The resulting work is often curious and ambiguous and questions perceptions of functionality and

familiarity. Beth graduated from Norwich School of Art and Design (Norwich University of the Arts) with a BA Honours Degree in Fine Art Sculpture in 2003, where she met fellow sculptor and maker Jack Wheeler. They live and work together in Norfolk with their young family. Alongside her studio practice Beth also works parttime facilitating in the Art Barn at Barrington farm, a unique and inspiring studio supporting self-taught artists with learning difficulties.

ROGER HARDY Roger Hardy is a sculptor based in Suffolk. His sculpture is figurative, made from reclaimed wood, metal and with clay additions, configured to create the human form. His figures represent individuals of all types, either single figures or assembled in groups. They most closely resemble nomadic tribesman. The starting point for his creative process begins with natural erosion and seasoning of his wooden component parts, often in the local river, the Alde, that brings a sense of worn age to the finished sculptures or construction.

CATHERINE HEADLEY Catherine Headley gained a BA (Hons) at Bath Academy of Art in 1977, under the tutelage of Adrian Heath. She has exhibited in the Royal Academy Summer Exhibition nine times. Her prints have been exhibited across the Uk. In the last twenty years

Headley has made regular visits to Brisons Veor, the artist’s retreat on Cape Cornwall, from where she draws most of her inspiration. Headley is a member of the Leicester Society of Artists and Leicester Print Workshop. She runs a successful contemporary painting group in Stamford Arts Centre and has a painting studio in the building.

She does her printmaking in a print studio in her garden in Rutland.

STEWART HEARN Cambridgeshire based Stewart is a glass maker and designer of thirty years. Using traditional skills he interprets his contemporary visions and exhibits in many contexts and countries internationally. Stewart’s was acknowledged, when he was Winner of The Gold Medal at the third (Hejian) Craft Glass Creation & Design International Competition, in China. He also acts as a consultant for production and bespoke commissioning, contract work and restoration, making glass for others.

RUTH HOWES Ruth Howes’ two dimensional papercut work of the last decade is evolving into relief and sculpture with an emphasis on balance of form, while maintaining a minimalism of materials. Her playful, engaging and micro-works and new prints explore line, mass, human and environmental connections.

Unbound from single sheet

papercuts, there is a lyrical interpretation of environments in her work. The context of Avant Gardeners sits happily with the landscapes and spaces her small people occupy; narrating moments of isolation and gatherings of many. Often taking an aerial viewpoint as a starting place, the effect of light casting shadows on Ruth’s work reminds the viewer of human movement and evokes a sense of place.

SUZI JOEL Suzi lives and works in North Norfolk on the coast. She paints found objects, mostly fragments of wood and board washed up on the shore near where she lives.

Her work is informed by the characteristics already present within each salvaged piece. These are flotsam and jetsam washed onto the shore after high tides and storm events. Each of these pieces have a unique look and colour, some older than others, some with existing colour some naked from colour, each worn by the action of the water and shoreline.

KATHARINA KLUG Cambridge based Katharina’s hand-drawn lines make the work lively, rough, immediate and unique and preserve the moment of mark-making. Lines are jumping out at her in almost anything. The other integral part of Katharina’s work is colour.

Marked by strong opposites, not only between shape and pattern but also between the inside and

the outside of her pots. Using her own glazes based on recipes which she has developed and refined over the years, she creates high contrast pieces.

ED LEE Ed is a successful photographer working mostly in advertising.

He first picked up a camera aged eleven and has not put one down since. Ed studied at the Birmingham School of Photography (now part of Birmingham City University), graduating with a Distinction as the top student of his year.

Aside from a commercial career his passion for creative ideas has led him to experiment with alternative imagery.

EMILY MAYER Emily attended Norwich School of Art studying Fine Art Sculpture BA (Hons). She introduced taxidermy to sculptural production and changed perceptions of what ‘natural’ could be in sculpture.

As her career developed she was fabricating sculptures for Damien Hirst, honing her skills on larger animals and developing extraordinary techniques like erosion moulding. She has returned time and again to found and recycled objects - piece of rubber inner tube or the vice-like plastic clamp from a work bench trick the eye into believing the appearance of a wing or a webbed foot, but it is the angle of a head or the sharp accuracy of a plumbing tool for a beak that sets Emily’s distinctive touch.

MARTIN MITCHELL Born in 1965, Martin moved to Norwich in 1989 and set up an etching studio. Sadly, around 2000, poor health forced him to give up etching and begun to concentrate almost exclusively on mezzotint. In 1995 Martin founded the Norwich Print fair, partly to help raise awareness of fine art printmaking among the public and to create opportunities for other printmakers to show their work. In 2015 & 2017 he took part in the International Mezzotint Festival in Yekaterinburg, Russia.

Martin was elected an Associate of the Royal Society of Painter Printmakers (ARE). “I have has always been influenced by a love of landscape and an interest in the natural environment. My work always begins with physically being in the landscape producing lots of location drawings and taking photos. Ill health means that a short trip in the countryside has become an adventure, so the work is deeply observed with a quiet melancholy. The memories held within the landscape itself as much as my own.”

PANDORA MOND Educated at the Ruskin School of Drawing and Fine Art in Oxford Pandora has painted all her adult life. She lived for many years on Exmoor before returning to her roots in Norfolk. Her inspiration and reference have always been the natural world.

Her works present the greatest challenges and seduction, a place of tranquillity and threat,

vastness, and peace. Pandora’s solitary trees possess a powerful physical presence. Not simply because of the sheer size of each canvas and the iconic nature of their presentation, but because their natural surface becomes a vehicle for her exploration of the surface quality of the paint.

In this way each image is given character and is brought to life.

STEPHEN MURFITT Stephen completed a foundation course in Art and Design at the Cambridge School of Art. He then completed a degree in 3D Design specialising in Ceramics at the West Surrey College of Art and Design in 1977. He then gained a post graduate A.T.C. at Middlesex Poytechnic. Farnham provided a life changing experience and many influences from fellow students as well as inspirat-ional tutors including Paul Barron and personal tutor Sebastian Blackie.

MARIA PAVLEDIS Maria is a Norwich based artist and printmaker whose powerful images take inspiration from the natural world of animal life around us, such as insects and birds, and connect these with mythology and the symbolism in stories and folklore.

Her smoke drawings are created using the smoke from burning candles, creating rhythmic and hypnotic images.

To make the smoke drawings, Maria works from underneath the drawing, lying down and then ‘works into’ the smoke image with a variety of tools.

ANN PAYNE Painting has been a life-long passion for Ann. The society portrait painter Sir Herbert James Gunn saw some of her early drawings and recommended that she enrol at the then independent art school Byam Shaw Art School, London. The school was small, well-resourced, and based in Campden Hill London. Ann had tutors like the illustrator E.H. Shepard who drew the original illustrations for Winnie the Pooh.

During the 50s the school had an academic approach to drawing and painting. It was considered an alternative to Slade School of Fine Art and Royal Academy. It was absorbed into Central Saint Martins twenty years ago. The 60s opened a narrow chink for woman artists into an art world dominated by male artists that simply had not been available to them Ann married and moved to rural Norfolk. Life in Norfolk lead to a new set of artistic influences much closer to home like Norfolk based Alfred Cohen, Brüer Tidman and Gwyneth Johnstone.

Key figures like the landscape painter Edward Seago where part of her social circle.

TIM PLUNKETT With a BSc in Environmental Science and a deep passion in opposing the destruction of ancient forests and cultures, it is important to Tim that all his work is made from locally sourced wood. Entirely self-taught through trial (and often painful error) he strives to produce elegant,

functional pieces with graceful, uncluttered lines, for the kitchen and table. This includes cutting boards, iPad stands, bowls, candlesticks and tables.

PETER RODULFO Peter (born 1958, Washington DC) is a British artist and sculptor who spent much of his childhood travelling across India and Australia, before settling in Norwich where he studied at the School of Art and Design (now NUA) between 1975 to 1979. His work can be found in both private and public collections. His art is thematically and, arguably, stylistically similar to the work of Paul Klee, Max Ernst and the British surrealist Leonora Carrington (1917–2011). His work possesses a variety of meanings and addresses itself directly to both the viewers powers of association and imagination.

CAROL SAUNDERSON Carol was born into a farming family in East Anglia. Her work as a painter, for more than 25 years, has remained strongly connected to the land and its creatures.

The hours spent walking in the landscape around her Suffolk home provide the inspiration for Carol’s paintings. She does not record exact scenes, focussing instead on atmosphere. With an emphasis on colour, light and composition, her semi-abstract works record moments of thought and experience. During her career, her work has been exhibited at galleries around the

UK. It has been reproduced as invents ciphers and shorthand to greetings cards and prints and describe her particular reality. appeared in magazines.

ANNIE TURNER IVY SMITH Annie makes ceramic sculpture Ivy is a Norwich-based painter that references the sea’s and printmaker, with a well- geological impact and natural established interest in depicting processes that the River Deben people and landscape. Having and Suffolk shoreline. Born in trained at the Royal Academy Suffolk, she has included natural Schools and Chelsea College components in her work like of Art, Ivy Smith has attained a fossilised shark teeth and other BA Honours degree and a Post- detritus she has picked up on Graduate Diploma in Fine Art coastal walks, close to where Painting and Printmaking. Ivy she grew up, lending a sense often works on commissions, of the personal and locational larger painted portraits, these specificity to the work. There can be family groups or single is an alchemical reaction that figures. The drawings establish takes place on the application the composition of the painting, of glaze, that once fired gives and carry visual information about her work texture and balance the sitters. Public commissions that encourages continuity in an include a portrait of Sir David and object’s origin. Familial forms Sir Richard Attenborough for the of Ladders, Sinkers, Drifters, National Portrait Gallery 1987 Sluices, are steeped in a maritime (currently hung in the NPG’s 20th rind that highlights the colour Century Display). and complexity of her disarmingly open sculptural forms.

LIZ TAUNT Liz Taunt grew up in Cambridge JACK WHEELER and went to art school in Jack Wheeler studied fine art Cambridge, Devon and London. Liz sculpture at Norwich Art School. uses many different printmaking After graduating in 2003 he set techniques including dry point, up a workshop in rural North lino, collagraph and monoprint, Norfolk and has since continued and has recently been making to study and develop a diverse collages from discarded prints. skill set all within the orbit of It seems to her that while we all traditional woodworking. Jack spend most of our time engaged is a carpenter based in Norfolk with the realities of life - from the specializing in the design mundane to the wonderful - we construction and repair of timber also spend some of our time in a framed structures and buildings. parallel world of abstraction and With a particular interest in imagination. Liz likes to get lost utilizing locally grown trees and (in a nice way) in this world and a preference for working with

traditional hand tools. Jack is a graphic communications and committed craftsman and works type in The Netherlands and only to the highest standards. at NUA Norwich. Paul studied traditional type and sign writing STEVEN WILL by hand, and completed a BA Out on the marshes, heaths and Graphic Design at School of the in the woods, Steven collects Arts Utrecht, under guidance of interesting finds and records the graphic designer and lecturer W. landscape through photography, H. Lucas. He is a Visiting Lecturer print making and drawing. Found at Norwich University of the Arts muds and clays are dug, washed, (NUA) in Norfolk. sieved, dried and ground to a powder. When combined with PETER WYLIE wood ash from bonfires and wood Peter was born in Lowestoft burners and transformed by the and completed a Foundation heat of the kiln, delicate and site- there in 1975. He gained a BA specific glazes are formed, each (Hons) degree in Fine Art from telling a tale. Changing career Canterbury College of Art 1978. from being a botanist Steven After several decades pursuing took an Art Foundation Course in his career, and continuing to Brighton and then the Ceramics paint, he decided to enrol on Diploma at London City Lit. He the MA Fine Art Printmaking currently works from his studio at Camberwell College of Art, near Orford on the Suffolk Coast. London (University of the Arts London) 2017. “To hear people who PAUL WOLTERINK still sail out there, compliment For Paul the message is me on the believability of what clear. Information is key, its I have created in paint is a transmission is accessible. And, validation.” - Peter Wylie talking like music can do, people may about his ongoing series North rapidly identify with the direct Sea Studies. Peter returned to visual language of the prints. painting full-time in 2007. It was In Holland Paul studied at a his series of works that he called crafts school that still taught ‘Buildings’, a re-examination of the traditional techniques of the legacy of Twentieth Century sign writing and advertising Modernism in architecture, that painting by hand. His reputation has been the chief focus in his after art school (graphic design) practice over these years and varied from working as a solo cemented his reputation. He designer, to small partnerships, has exhibited his work across as well as working in smaller and the east of England, throughout bigger design studios. creating the UK, and in London at the a steady output of commercial Royal Academy, Whitechapel Art design work, mainly in the Gallery, Royal-Overseas-League cultural sector, and as a lecturer and in China, France and Cyprus.

CLOCKWISE FROM TOP LEFT

February. Snowdrops I, 2022 48 x 36 cm Oval Monotype

Sharp Set, 2022 48 x 36 cm Oval Monotype

Edge of the Wood - Hawthorn, Catkins, Snowdrops IV, 2022 48 x 36 cm Oval Monotype

February. Snowdrops II, 2022 48 x 36 cm Oval Monotype

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