Kurt Jackson - Wheat: From Plough to Plate (2021)

K u r t J a c k s o n Wheat from plough to plate

for caroline

Kurt Jackson Wheat from plough to plate

KU R T J AC K S O N Editions 2020

Wheat from plough to plate For many years the building that houses the Jackson Foundation Gallery was part of Warrens Bakery. It was here that their lorries and other vehicles were serviced, repaired and maintained.

Other areas were for storage. Great heaps and pallets of crated dry cake mix and other baking ingredients sat wrapped and waiting. From here, forklift trucks darted back and forth taking their loads to the bakery up the road, where the sweet aromas of baking bread and cakes, sausage rolls and pasties emanated, perfuming the town, filling the streets. Warrens claimed to be the oldest pasty makers in Cornwall, and they have held this accolade for a long time before the company slowly shrank. Once a major employer in town, now the bakery in St Just has gone.

I recognised the importance of Warrens in St Just before their demise started, and in 2012, for part of my This Place – St Just-in-Penwith project, I painted and drew inside the factory. I sketched the lines of pasty crimpers working in their red plastic gowns and hats, a witness to their cheerful banter and humour as they chatted back and forth, across and up and down their conveyor belt. Their busy hands prepared and filled the dinner platesized pastry rounds, expertly crimping identical pasty after pasty. I saw the trolleys loaded with decorative cakes, the saffron buns and heavy cake,

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loaves and loaves of white and brown bread.

I then painted and made bronze sculptures of the pasties, celebrating this staple of Cornwall, this icon of Cornish heritage.

A few years later when the Foundation came about, it seemed relevant to continue on this theme – bread – and the rest of the process: the chain of events that lead from plough to plate, the wheat being grown and harvested in those green and golden fields, the grinding of the flour, the whole gamut. Everywhere I went on my travels wheat seemed to be grown. Sometimes on a huge industrial landscape scale and sometimes smaller, the odd field here or there. My eyes opened to its presence; I became aware of it. The sharp emerald green of new growth transforming into summer’s blue-green beauty and then the ripe gold ready for harvest. The massive combines, the quaint old machines still kept running, the vintage vehicles

Warrens Bakery, the pasty crimpers. 2012 mixed media on paper 42 × 29 cm

at the rallies, the threshing and thrashing. The stacks of bales, the stubble with flocks of rooks and gulls amassed above.

I parked my old van in the corner of the field and climbed up onto the roof to get a buzzard’s-eye view of the field below. I spread my gear out around me on the hot metal roof, legs hanging over the edge, focused on the activity out there in front. The old yellow St. Buryan combine trundled noisily up and down the field, alarming in its close approach, the rotating cutting arms gobbling up the cereal heads and stems and spitting out the straw from its rear-end. An arm shot the flowing spilling grain into the cruising tractor trailer keeping up alongside. The air was clouded with dust and chaff and beautifully perfumed with rich delicious smells.

Horseflies bit, dust got in the paint, mid-summer’s heat reflected off the van’s roof; this place filled the senses. The harvest is a fast process nowadays, efficient and speedy with neighbouring farmers helping and sharing the load. Multiple vehicles of all ages join in; a few hours and the field is cut, empty, and my pages are full. Everyone moves on leaving the field suddenly bare and quiet, finished with, silent. And I join the convoy, following them to another location to paint some more.

Look in a botanical book at the species ‘wheat’ and you find the actual plant, Triticum aestivum, ‘resembling Couch Grasses in having a solitary stalkless spikelet at each node of the inflorescence,

Thrashing, St Buryan. 2018 mixed media on museum board 23 × 24 cm

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I sit on the ground, leaning against the big back wheel of an old tractor and discreetly paint this bucolic scene from the bygone era of my father’s childhood in its antiquated charm.

And then the rain starts to fall once more.

but are annual . . . glumes and lemmas are broadoval, blunt and convex, 5 to 7 veined and rough on the keels’ (Grasses, Sedges, Rushes and Ferns of the British Isles by Francis Rose 1989). This is the plant that has fueled our own species’ growth and success.

The cultivation of wheat has evolved in parallel with our own development in culture and sophistication, from the Middle East 10,000 years ago to the West and worldwide; along with maize and rice we have grown to depend on this crop, this unique grass.

A summer’s evening 2014, and I sit in a warm gently sloping field of stubble near Kelynack, a sketchbook open on my lap. A line of cars are drawn up along the hedge, a small crowd of people stand huddled together as a small audience. The field has all been harvested except for one small piece where a few elderly hatted men stand chatting. Singing starts, some in English, ‘we plough the fields and scatter . . . ’, some in Cornish and then one of the two men takes a scythe and with a few swipes cuts some of the last of the corn. A handful of stalks are tied; this is the ‘neck’. The neck is grasped and held up,

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brandished at the sky, at the sinking sun. The men chant, repeating their bizarre phrases, ‘I have ’im, I have ’im, a neck, a neck. What have ee? A neck, a neck, hooray, hooray.’ More singing from the crowd and then it is over. The annual ‘crying of the neck’ has been performed, the ritual is finished, the harvest is finished, the cycle is complete, tradition has been maintained and everyone goes home happy.

St Buryan Rally. It’s summer time but the sky is dark with heavy rain clouds and as I pull up in the big temporary car park in the field on the edge of the village the heavens open. I want to paint one of the reenactments of the old threshing process that I have been told takes place each year at this rally.

Waiting for a break in the weather I dash across the field to the main arena where lines and lines of parked vintage farm machinery and cars are on display.

Dozens of post-war and even pre-war tractors and ploughs, steam engines and traction engines sit proudly pristine, washed and gleaming in the now weak sunshine breaking through. The threshing machine itself is a huge magnificent faded red to

almost pink 1930s Ransomes creation. Boxy, wooden, a mass of whirling wheels, spinning cogs and turning belts connected to a great smoking traction engine.

Men are stood all around and on it, busy with pitchforks and rolled up sleeves in a hive of activity. It is alive with clouds of chaff and bits of stalk, straw and dust. There is a clanking and banging, a whooshing and a lot of chat and comment. I sit on the ground, leaning against the big back wheel of an old tractor and discreetly paint this bucolic scene from the bygone era of my father’s childhood in its antiquated charm. And then the rain starts to fall once more.

Immediately the machines are turned off, the rumbling goes silent, comes to a standstill and big black sheets of contemporary plastic are dragged up and over. The threshing stops for the moment.

Caroline makes our daily bread. This is something that has always happened from the earliest days of our relationship. She quietly prepares the ingredients in the morning before work, puts the big bowl with its yeast, flour and warm water on the sideboard, mixed, and covered with a clean tea towel. It is not something that was ever discussed - that she would be the baker in our household, it just happened, unlike the general cooking and meal preparation that we share. In my own childhood my mother didn’t make bread, my father made a little in my teens; (the solid bricks from a potter’s hands) whereas Caroline’s mother did all the cooking, including the baking. The only time I get involved in putting bread on the table is when we have been camping wild with an open fire; then I have made big ethnic looking pitta breads over the flames.

Caroline selects her flour with great care – always organic but the type varies depending on what sort of loaf she feels like making – brown or white, granary, with a bit of rye, a few oats or seeds, malty, a mix, the nature of the baking can vary endlessly. And then there are the exotic one-offs: the beetroot bread, the walnut and raisin loaves, baguettes, the olive bread.

The only real physical effort seems to be with the kneading but that passes quickly and quietly as well.

Just placid routine. The rolled-up sleeves, the floury striped pinny, leaning forwards into the big Scott Marshall bowl (that he made specially for her just for this purpose), pushing into the toil, the bowl moving slightly, shifting under pressure, clumping on the granite work surface. The ripping open of the flour bags, the crumpling up of the empty paper bags afterwards; there’s a satisfaction there. The bread rising in the corner of the kitchen, knocked out; the banging of the bread tins, the clang of the oven door, all is so familiar. Sound, smell, routine, delight and contentment. She examines each final loaf, normally the next day at breakfast, that first cut, the crust, the crumb, the structure, the smell, the taste; no shop-bought loaf can ever replace that.

Kneading the bread dough. March 2018 pencil on paper 46 × 22 cm

5

Bright mist, wheat stubble. 2016 mixed media on wood panel 60 × 60 cm

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A flurry of gulls and crows above the stubble. 2017 mixed media on museum board 20 × 20 cm

7

Devon oak and wheat stubble. 2017 mixed media on museum board 20 × 22 cm

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Stubble into grass. 2017 mixed media on wood panel 60 × 60 cm

9

Ploughing in the stubble. 2017 mixed media on museum board 22 × 22 cm

10

Ploughing in the stubble and drilling the grass seed. 2017 mixed media on wood panel 60 × 60 cm

11

Green desert. Winter wheat sprouts through stubble and flint. 2017 mixed media on wood panel 60 × 60 cm

12

Sussex winter wheat, new shoots, old stubble. 2017 mixed media on wood panel 60 × 60 cm

13

Spring wheat, orange tips and skylarks. 2018 oil on wood panel 20 × 35 cm

Young wheat. 2017 mixed media on canvas 122 × 122 cm

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Cornish field of wheat. 2018 mixed media on canvas board 61 × 51 cm

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Pengold

Swing off the main road’s traffic rumble Into, onto a field of arable A prairie planted in wheat A plane of plain grey brown All rasping heads of corn The neighbouring hedge is a strip of colour Agrimony, daisy and elder A marginal band of diversity The campion, the dock, the trefoil A contrasting reservation for the pretty For the monocultural square I paint this crop a dull ochre The hedge, the entire palette Every shape, hue and every colour Seed heads, leaves, bushes and flower The field is silent, just the breeze While the hedge sings and hums With finch, grasshopper and wren The buzz of those flies and bees This is where my focus should lie For colour equals life it seems viii 2018

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18

Evening blackbird song at the edge of the wheat field. 2018 mixed media on linen 80 × 120 cm

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19

Edge of a wheat field, Suffolk. 2017 mixed media on museum board 22 × 22 cm

20

Summer fields. 2018 mixed media on wood panels 60 × 60 cm

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22

And every field had a name. 2019 mixed media on linen 200 × 239 cm

23

Padstow, Tregirls, durum wheat mixed media on paper 57 × 61 cm 2018

24

Dorset arable and oak. 2018 mixed media on paper 57 × 61 cm

25

Fieldscape. 2018 mixed media on paper 57 × 61 cm

26

Across Dorset fields 2017 mixed media on paper 57 × 61 cm

27

Up a summer field. 2017 mixed media on wood panel 60 × 60 cm

28

Hot day between two Somerset wheat fields. 2017 mixed media on wood panel 60 × 60 cm

29

Wheal Alfred field. 2008 mixed media on paper 28 × 28 cm

30

Into a North Cornish wheat field. 2018 mixed media on museum board 22 × 25 cm

31

Fields of grain, Somerset. 2017 mixed media on museum board 17 × 19 cm

32

Summer across Somerset. 2017 mixed media on museum board 17 × 19 cm

Summer’s eve across the fields to the sea. 2018 mixed media on museum board 19 × 21 cm

Hot corn field above the beach. 2018 mixed media on museum board 20 × 23 cm

33

Silver sea, golden field. 2017 mixed media and collage on wood panel 60 × 60 cm

34

Silver sea, golden field. 2019 mixed media on wood panel 60 × 60 cm

35

Waxing moon over a wheat field. 2017 mixed media on museum board 20 × 20 cm

36

Chiff chaff calling, evening wheat field. 2017 mixed media on museum board 20 × 21 cm

Big moon rising over the wheat field. 2017 edition of 30 etching plate size 20 × 25 cm

In a Cornish wheat field late summer’s evening. 2018 mixed media on museum board 29 × 20 cm

37

Ripe corn blue seas. 2018 mixed media on museum board 22 × 23 cm

38

Harvesting the eight acre field, dust of the chaff. 2018 mixed media on museum board 51 × 52 cm

39

There is the sweet perfume of the harvest and there’s horse flies. 2018 mixed media on museum board 51 × 50 cm

40

Dusty sweet smelling harvest time. 2018 mixed media on museum board 55 × 58 cm

41

Hot fast harvest, another trailer full. 2018 mixed media on museum board 51 × 52 cm

42

Hot harvest, distant sea. 2018 mixed media on museum board 41 × 43 cm

43

Willy’s old thrasher, Truthwall. 2020 mixed media on museum board 60 × 60 cm

44

The old combine. 2017 oil on museum board 21 × 22 cm

45

Cothele Mill, autumn leaves. 2017 mixed media on museum board 39 × 45 cm

46

Cotehele Mill, 50 kilos of flour every two and a half hours. 2017 mixed media on wood panel 60 × 60 cm

47

The stream that powers the water mill that grinds the bread flour. 2017 mixed media on wood panel 60 × 60 cm

48

The miller, Cothele. 2017 mixed media on museum board 22 × 22 cm

Checking the hopper Cothele Mill. 2017 mixed media on museum board 22 × 19 cm

49

Chamomile from a wheat field margin. 2018 mixed media on museum board 25 × 25 cm

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The Breadbasket of England

I looked across the breadbasket of England That immense patchwork of square and rectangle Flung out under the breaking skies Motoring clouds Steering the sunlight To choose individual fields and farms Tracts, plots and lots To shine and show Biscuit-coloured, tanned Of straw, evening sky and sand Each framed in dark hedgerow And dotted with the ash and oak Spotted, scattered across Or rather left behind Tolerated By these busy determined farmers Intensive one-track-minded Landscape shifters and shapers Who choose the colours of these acres Hills and contours A land of enclosed wheat Shaking and swaying Parting for the westerly breeze Bowed down by the rain’s beating And the sun’s heat. viii 2018

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The small jug with field bindweed from a corn field, Padstow. 2018 mixed media on museum board 20 × 23 cm

52

Poppy, corn marigold, cornflower. 2018 mixed media on museum board 19 × 18 cm

Corn marigolds, corn flowers, poppies, corn chamomile and wild rocket. 2018 mixed media on museum board 29 × 27 cm

53

La Boulangerie, Roscoff. 2018 mixed media on museum board 21 × 22 cm

54

St Just pasty shop. 2018 mixed media on museum board 21 × 22 cm

55

Two large white loaves from the bakers in town. 2017 mixed media on wood panel 60 × 60 cm

56

An evening firing of the bread oven

Leaning in arms out to gather the loaves in that dark cave of warmth and wooden smoke, golden ochre log–like loaves primeval half wheat half spelt B–R–E–A–D objects of comfort and desire like hot water bottles in winter beds objects of love kneaded and needed to be embraced and cuddled into the arms into the kitchen onto the table. ix 2009

57

Half brown, half white. 2018 mixed media on museum board 20 × 22 cm

58

Truro saffron buns. 2017 mixed media on museum board 20 × 20 cm

Bun. 2017 oil on wood panel 15 × 20 cm Good brown bread. 2017 mixed media on museum board 18 × 17 cm

59

Bath bun, Belgian bun, Suffolk. 2017 mixed media on museum board 22 × 22 cm

60

Yellow dolly mix and pink fancy, Warren’s St Just. 2017 mixed media on museum board 20 × 23 cm

61

Walnut, honey sweetened raison loaf and 50:50 white brown loaf. 2016 mixed media on wood panel 38 × 52 cm

62

Bread and water. 2016 mixed media on museum board 22 × 23 cm

63

Bread and water. 2020 mixed media on museum board 22 × 22 cm

64

Caroline’s loaf and the bakery’s almond and cherry slice, Scilly. 2018 mixed media on museum board 21 × 22 cm

Bread and jam. 2020 mixed media on museum board 22 × 22 cm

65

Baker Tom’s organic sour dough. 2017 mixed media on museum board 25 × 25 cm

66

Sour dough from the Little Bakehouse, Launceston. 2018 mixed media on museum board 21 × 22 cm

67

A balanced meal 2020 bronze and stainless steel, unique 16 × 23 × 14 cm

68

Pasty quoit 2020 bronze unique 22 × 17 × 22 cm

Devon 2020 bronze and stainless steel unique 19 × 19 × 17 cm

Oggy tree 2020 bronze unique 18 × 12 × 9 cm

69

Kurt Jackson

A dedicated environmentalist and true polymath, Jackson’s holistic approach to his subject seamlessly blends art and politics providing a springboard to create a hugely varied body of work unconstrained by format or scale.

Jackson’s artistic practice ranges from his trademark visceral plein-air sessions to studio work and embraces an extensive range of materials and techniques including mixed media, large canvases, print-making and sculpture.

The son of artists, Jackson was born in Blandford, Dorset in 1961. While studying Zoology at Oxford University he spent most of his time painting and attending courses at Ruskin College of Art. On gaining his degree he travelled extensively and independently, painting wherever he went before putting down roots in Cornwall with his wife Caroline in 1984.

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Jackson’s focus on the complexity, diversity and fragility of the natural world has led to artist-inresidencies on the Greenpeace ship Esperanza, the Eden Project and for nearly 20 years Glastonbury Festival which has become a staple of his annual working calendar.

Over the past thirty years Jackson has had numerous art publications released to accompany his exhibitions. Four monographs on Jackson have been published by Lund Humphries depicting his career so far; A New Genre of Landscape Painting (2010), Sketchbooks (2012), A Kurt Jackson Bestiary (2015) and Kurt Jackson’s Botanical Landscape (2019).

A Sansom & Company published book based on his touring exhibition Place was released in 2014.

Jackson regularly contributes to radio and television and presents environmentally informed

art documentaries for the BBC and was the subject for an award winning BBC documentary, ‘A Picture of Britain’.

He has an Honorary Doctorate (DLitt) from Exeter University and is an Honorary Fellow of St Peter’s College, Oxford University. He is an ambassador for Survival International and frequently works with Greenpeace, WaterAid, Oxfam and Cornwall Wildlife Trust. He is a patron of human rights charity Prisoners of Conscience. He is represented by Messum’s in Cork Street, London and is an academician at the Royal West of England Academy.

Kurt Jackson and his wife Caroline live and work in the most-westerly town in Britain, St Just-in-Penwith where in 2015 they set up the Jackson Foundation.

They have three grown children and seven young grandchildren.

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The French stick 2019 bronze unique 543 × 7 × 10 cm

72

Jackson Foundation North Row | St Just | tr17 7lb info@kurtjackson.com jacksonfoundationgallery.com

+44 (0) 1736 787638

f jacksonfoundation @jacksonfgallery @jacksonfgallery

front cover Breadbasket. 2018 mixed media on paper 57 × 60 cm

First published in 2021 for the exhibition Wheat, from plough to plate Published by Kurt Jackson Editions in 2021 www.kurtjackson.com isbn 978-1-9995829-8-2 Publication copyright Kurt and Caroline Jackson Ltd All images, words and poetry copyright Kurt Jackson 2021 Portrait photography copyright Caroline Jackson 2021 Art Photography by Fynn Tucker and PH Media Design by Lyn Davies www.lyndaviesdesign.com Printed by Park Lane Press, Corsham, on fsc® certified paper, using fully sustainable, vegetable oil-based inks, power from 100% renewable resources and waterless printing technology.

Print production systems registered to iso 14001, iso 9001 and over 97% of waste is recycled.

KU R T J AC K S O N Editions 2021

Jackson Foundation

K U R T J A C K S O N page

title / media

Wheat, from plough to plate dimensions

price

f cover English bread basket. 2018

mixed media on paper

page 2

Warrens Bakery, the pasty crimpers. 2012

mixed media on paper

3

Thrashing, St Buryan. 2018

mixed media on museum board

5

Kneading the bread dough. March 2018

pencil on paper

6

Bright mist, wheat stubble. 2016

mixed media on wood pane

price list

page

title / media

dimensions

25

Dorset arable and oak. 2018

57 × 60 cm

£8,500

mixed media on paper

26

Fieldscape. 2018

42 × 29 cm

£4,250

mixed media on paper

27

Across Dorset fields 2017

23 × 24 cm

£3,500

mixed media on paper

28

Up a summer field. 2017

46 × 22 cm

£4,000

mixed media on wood panel

29

Hot day between two Somerset wheat fields. 2017

60 × 60 cm

£8,500

mixed media on wood panel

30

Wheal Alfred field. 2008

20 × 20 cm

£3,000

mixed media on paper

31

Into a North Cornish wheat field. 2018

20 × 22 cm

£3,500

mixed media on museum board

32

Fields of grain, Somerset. 2017

60 × 60 cm

£8,500

mixed media on museum board

32

Summer across Somerset. 2017

22 × 22 cm

£3,500

mixed media on museum board

33

Summer’s eve across the fields to the sea. 2018

£8,500

mixed media on museum board

7

A flurry of gulls and crows above the stubble. 2017

mixed media on museum board

8

Devon oak and wheat stubble. 2017

mixed media on museum board

9

Stubble into grass. 2017

mixed media on wood panel

10

Ploughing in the stubble. 2017

mixed media on museum board

11

Ploughing in the stubble and drilling the grass seed. 2017

mixed media on wood panel

60 × 60 cm

12

Green desert. Winter wheat sprouts etc. 2017

mixed media on wood panel

13

Sussex winter wheat, new shoots, old stubble. 2017

mixed media on wood panel

14

Young wheat. 2017

mixed media on canvas

15

Spring wheat, orange tips and skylarks. 2018

oil on wood panel

16

Cornish field of wheat. 2018

mixed media on canvas board

18

Evening blackbird song at the edge of the wheat field. 2018

mixed media on linen

20

Edge of a wheat field, Suffolk. 2017

mixed media on museum board

21

Summer fields. 2018

mixed media on wood panels

22

And every field had a name. 2019

mixed media on linen

24

Padstow, Tregirls, durum wheat. 2018

mixed media on paper

57 × 61 cm

£8,500

57 × 61 cm

£8,500

57 × 61 cm

£8,500

60 × 60 cm

£8,500

60 × 60 cm

£8,500

28 × 28 cm

£4,500

22 × 25 cm

£3,500

17 × 19 cm

£3,000

17 × 19 cm

£3,000

19 × 21 cm

£3,000

20 × 23 cm

£3,500

£8,500

33

Hot corn field above the beach. 2018

£8,500

mixed media on museum board

34

Silver sea, golden field. 2017

£8,500

mixed media and collage on wood panel 60 × 60 cm

35

Silver sea, golden field. 2019

122 × 122 cm £30,000

mixed media on wood panel

36

Waxing moon over a wheat field. 2017

20 × 35 cm

£4,000

mixed media on museum board

36

Chiff chaff calling, evening wheat field. 2017

61 × 51 cm

£8,250

mixed media on museum board

37

In a Cornish wheat field late summer’s evening. 2018

£28,000

mixed media on museum board

60 × 60 cm

60 × 60 cm

80 × 120 cm

22 × 22 cm

£3,500

60 × 60 cm

£8,500

200 × 239 cm £65,000

57 × 61 cm

£8,500

price

60 × 60 cm

£8,500

20 × 20 cm

£3,250

20 × 21 cm

£3,500

29 × 20 cm

£4,000

37

Big moon rising over the wheat field. 2017

edition of 30 etching (Unframed) plate size 20 × 25 cm

£405

38

Ripe corn blue seas. 2018

mixed media on museum board

39

Harvesting the eight acre field, dust of the chaff. 2018

mixed media on museum board

40

There is the sweet perfume of the harvest etc. 2018

mixed media on museum board

22 × 23 cm

51 × 52 cm

51 × 50 cm

£3,500

£7,250

£7,250

JacksonFoundation North Row, St Just tr19 7lb | t 01736 787638 | e info@kurtjackson.com | w jacksonfoundationgallery.com | jacksonfoundation | @jacksonfgallery

K U R T J A C K S O N A Prehistoric Cornwall

price list

page

title / media

41

Dusty sweet smelling harvest time. 2018

mixed media on museum board

42

Hot fast harvest, another trailer full. 2018

mixed media on museum board

43

Hot harvest, distant sea. 2018

mixed media on museum board

44

Willy’s old thrasher, Truthwall. 2020

mixed media on museum board

45

The old combine. 2017

oil on museum board

46

Cothele Mill, autumn leaves. 2017

mixed media on museum board

47

48

The stream that powers the water mill etc. 2017

mixed media on wood panel

49

The miller, Cothele. 2017

mixed media on museum board

49

Checking the hopper Cothele Mill. 2017

mixed media on museum board

50

Chamomile from a wheat field margin. 2018

mixed media on museum board

52

52

Poppy, corn marigold, cornflower. 2018

mixed media on museum board

53

Corn marigolds, corn flowers, etc. 2018

mixed media on museum board

54

La Boulangerie, Roscoff. 2018

mixed media on museum board

55

St Just pasty shop. 2018

mixed media on museum board

56

Two large white loaves from the bakers in town. 2017

mixed media on wood panel

58

Half brown, half white. 2018

mixed media on museum board

continued

dimensions

price

page

title / media

58

Truro saffron buns. 2017

mixed media on museum board

59

Good brown bread. 2017

mixed media on museum board

59

Bun. 2017

oil on wood panel

60

Bath bun, Belgian bun, Suffolk. 2017

mixed media on museum board

61

Yellow dolly mix and pink fancy, Warren’s St Just. 2017

mixed media on museum board

62

Walnut, honey sweetened raison loafetc. 2016

mixed media on wood panel

Cotehele Mill, 50 kilos of flour every two and a half hours. 2017

63

Bread and water. 2016

mixed media on wood panel

mixed media on museum board

64

Bread and water. 2020

mixed media on museum board

64

Caroline’s loaf and almond and cherry slice, Scilly. 2018

mixed media on museum board

65

Bread and jam. 2020

mixed media on museum board

66

Baker Tom’s organic sour dough. 2017

mixed media on museum board

The small jug with field bindweed from a corn field, Padstow. 2018

67

Sour dough from the Little Bakehouse, Launceston. 2018

mixed media on museum board

mixed media on museum board

68

A balanced meal. 2020

bronze and stainless steel, unique

68

Pasty quoit. 2020

bronze unique

69

Devon. 2020

bronze and stainless steel unique

69

Oggy tree. 2020

bronze unique

72

The French stick. 2019

bronze unique

55 × 58 cm

£8,250

51 × 52 cm

£7,250

41 × 43 cm

£6,250

60 × 60 cm

£8,500

21 × 22 cm

£3,500

39 × 45 cm

£6,000

60 × 60 cm

£8,500

60 × 60 cm

£8,500

22 × 22 cm

£3,500

22 × 19 cm

£3,250

25 × 25 cm

£4,000

20 × 23 cm

£3,500

19 × 18 cm

£3,000

29 × 27 cm

£4,500

21 × 22 cm

£3,500

21 × 22 cm

£3,500

60 × 60 cm

£8,500

20 × 22 cm

£3,500

dimensions

price

20 × 20 cm

£3,250

18 × 17 cm

£3,000

15 × 20 cm

£3,000

2 × 22 cm

£3,500

20 × 23 cm

£3,250

38 × 52 cm

£6,500

22 × 23 cm

£3,500

22 × 22 cm

£3,500

21 × 22 cm

£3,500

22 × 22 cm

£3,500

25 × 25 cm

£3,500

21 × 22 cm

£3,500

16 × 23 × 14 cm £10,000

22 × 17 × 22 cm £10,000

19 × 19 × 17 cm £10,000

18 × 12 × 9 cm £8,500

543 × 7 × 10 cm £50,000

JacksonFoundation North Row, St Just tr19 7lb | t 01736 787638 | e info@kurtjackson.com | w jacksonfoundationgallery.com | jacksonfoundation | @jacksonfgallery