Firing down the fairway - Jan Nelson
PUTTING THE ART IN DARTMOUTH Dart Gallery in Dartmouth is both stunning in terms of aesthetics and also very impressive in commercial terms – even given the challenges of the last few months. After establishing and selling a successful gallery in the New Forest, owners Ed Reach and Tom Butcher took over Dart Gallery six years ago. Scrolling through @dartgallery
MEET DYLAN LLOYD Cover artist Dylan Lloyd is currently showing at Dart Gallery and getting a fantastic reception for his uplifting garden collection. Dylan has a studio on the Island of Portland in Dorset and his work is a ‘painterly’ response to the classic subject matter of the garden. The paintings balance photographic depth of field and pixilation with traditional painting techniques. Built up through thin layers of oil paint, there are areas of intense detail balanced with brushwork, encouraging the viewer to enter the space and be transported into a verdant landscape alongside being absorbed by the surface of the paintings. Many of the gardens are imagined places but they are also a response to the formal and wild gardens of Dorset, Wiltshire and Normandy. From walled gardens to wild hedgerows and beautiful planting in French villages, Dylan looks at rich layers of plants for his imagery. Contemporary developments in garden design, film and photography are important ingredients
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on Instagram is very therapeutic in itself – so much gorgeous artwork, much of which celebrates this beautiful part of the world. Ed and Tom have got a great business – with a very proactive approach to marketing and total buy-in to being as digital as possible to save time and improve efficiencies, while delivering a very personal service.
in the work and allow Dylan to respond to an ever-changing subject matter. Dylan has built a great relationship with Tom and Ed over the last couple of years. He told 4walls that:
“We started with a set of seven or so pieces and this evolved over time. They communicate really well about possible exhibitions, commissions and customer feedback. They understand about the production of work and are very keen to get the right balance between the way the work is developing but also showcasing a variety of scales and imagery.” In terms of where framing comes in to play, he says: “It’s really important to show the work in the best way possible. I always frame thinner profile canvases and the work I make on linen boards. Partly to make sure that they can stand their ground around other work but also to ensure that they are not lost on a wall or overpowered by the backdrop. The white or grey space around them has become increasingly important as the work has become more intense and layered. Larger work needs a feeling of being complete. Good quality deep canvases can give you that, but thinner profile work often needs a space around the edges and the sides to lift it from the wall and add clarity to the image.”
