Sid Burnard. Birds, Boats and Mythical Beasts.

SID BURNARD

goldmark

There is something irresistible in the way Sid turns random detritus into objects of movement, elegance and wit. It takes a special eye to see the potential beauty in what others discard. His work always makes me smile.

Simon Beaufoy

(Slumdog Millionaire, The Full Monty, Salmon Fishing in the Yemen)

Catalogue ÂŁ10

Sam Llewellyn

SID BURNARD

Birds, Boats & Mythical Beasts

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SID BURNARD Birds, Boats & Mythical Beasts Sam Llewellyn

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goldmark

MMXII

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SID BURNARD I lodged in an inn overlooking the bay, and went to bed in my upstairs room with all the windows open. As I lay there in the midst of the roaring wind and driving clouds, I felt myself to be in a world totally different from the one I was accustomed to.

Matsuo Basho The Narrow Road to the Deep North Sid Burnard’s studio sits on the edge of a little village in the hills of Radnorshire in the Welsh marches. It is a county with a population density smaller than that of the Outer Hebrides – a land of green hills with heathery tops, sheep arranged on steep slopes; a place empty enough for minds to travel undistracted, where the mountains of Wales rise to the west, descending at last to the thinly-populated shores of Cardigan Bay.

taught me how to use my eyes. When I was five or six years old and we would go along the beach together, she would say, ‘Look for a bit of pencil, duckie.’ In those days, tradesmen always had a bit of pencil behind their ear. And of course I used to find other things: money, watches. Then as I got a bit older I started picking up pieces of wood and metal, interesting things, and they became my currency, my treasure.’

Sid’s studio has little to do with the pastoral qualities of the landscape outside it. It is more intimately connected with the wildness to the west of him and the sea beyond it. It is a sense of man as part of wild nature that has shaped his life and work.

After a peripatetic childhood Sid set out on the road, sleeping rough by the seaside in Cornwall, and Brighton, and anywhere else he happened to find himself. The things that had obsessed him in childhood – the objects he found on the beach, the birds on the ancient posters that decorated the bedroom wall of his infancy – returned to his life.

Birds in particular became a dominant feature in his days. He studied their postures, not their science. Rain and shine, camped in the dunes or lying in the short turf on a cliff-edge, he absorbed their lives in his. ‘You’re never alone with a bird,’ he says. ‘Can you think of a funnier sight than an oystercatcher, with the carrot for a nose and the 'peep-peep' voice?’

His earliest and most significant influence was his Romany grandmother. The Burnards lived in Brighton, and from his earliest years Sid was at home in the peculiar wildness of beaches: of piers, flint and pebble groynes, rusting iron, bleached wood, capstans, buoys, winches, ropes, nets, fishermen’s huts, ramshackle sheds, the salty tang of the sea and the cries of gulls. ‘My grandmother (opposite) 22.

Llewellyn’s Wader

Sid’s objects are unmodified. There is no alteration, no whittling or carving, no painting.

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56. Hope An extra-special one for me. Louis was on a school-trip to Normandy to mark the D-Day landings. He’d been chosen to be the boy to plant an oak tree to commemorate the event. In the studio, I was listening to a programme on the radio, from Bayeaux, describing the scene.

It was the day before Louis’ 15th birthday.

Having had a major sort out of material, I found myself looking down at quite a pile of driftwood. Amongst the pile, two pieces stood out. I picked them up, introduced them and this bird happened. The upward stance is full of hope to me. A strong, simple, bleached base was all it needed.

I love it!

It was during these travels that he discovered the seventeenth-century Japanese poet and traveller Matsuo Basho, who was to become his companion and mentor in life and meditation. Basho’s writings are close examinations of the natural world. Their simplicity is filled with the spiritual light that shines through the physical universe. Basho continually navigates between desire, aspiration and the purity of art. ‘At one time it wanted to gain security by entering the service of a court, and at another it wished to measure the depth of its ignorance by trying to be a scholar, but it was prevented from either because of an unquenchable love for poetry.’ It is this unquenchable love for the sublime that animates Sid. In time, he found himself working as a clerk at the BBC. The authorities noticed his talent, and suggested to him that he might like to go to film school. This offer, for which many of his contemporaries would have done murder, failed to tempt him. He left the BBC and worked as a gardener instead.

Then one day, in one of the serendipitous moments typical of his life and art, he offered to carry home the shopping of a woman who (it turned out) was married to the boss of a tarmacking gang. The husband offered him a job driving an eight-ton diesel roller. At the helm of this behemoth Sid 8

travelled west down the A4, arriving after four years in Bristol, where he got a job at the Bristol Guild of Applied Arts, founded in 1908 in the William Morris tradition. Here his personal vision made contact with the practice of visual arts, design and craftsmanship, and he began to make things.

His first work was a series of fantasy cars, made in slab pottery – idiosyncratic conveyances with powerful personalities and strong sculptural qualities. These were a grounding in making objects for people. ‘I don’t seek to represent, I seek to suggest – it’s the viewer who actually does the work.’ The cars became famous, and earned him a place on the TV sets of western Britain.

But Sid was off again, travelling the highways and byways of Britain, driven by urges his Romany grandmother would perhaps have recognized. He took to selling baskets – things with which he felt an instinctive connection, objects made by simple people with inherent skills, working with materials that grew in the hedgerows. He settled in the small town of Kington in the Marcher hills, dividing his time between a cottage in the country nearby and a mobile home in Borth, on the wild shores of Cardigan Bay. Here his making entered a new phase.

By now he had married Jo, a potter with a powerful sense of form and colour. Their son, Louis, is passionately

attached to wildlife. At the age of seven he declared that he wanted to make a difference, and started Arkworks, a campaign for the preservation of endangered species, supported by a range of animal cards that he painted himself. Sid made his son an ark to put in the window of the Burnard shop in Kington, to draw people’s attention to the idea. The ark was built from four planks of driftwood Sid had found on the beach at Borth. People saw it, and asked for more driftwood sculptures.

Sid’s beachcombing had left him with large supplies of interesting flotsam and jetsam. The first pictures were boats and shorescapes. There followed a series of driftwood birds, uncannily accurate in posture and attitude. Word spread rapidly in Britain and beyond. Soon he was being hailed as a master of the objet trouvé.

Sid’s sculptures are made of found materials, unmodified except in that they are combined with other found materials. How far he fits in to the objet trouvé tradition – or indeed any tradition of art, except that of constructing objects to express his thoughts and the realities of nature – is debatable.

The objet trouvé has a chequered history. Starting with Marcel Duchamp’s urinal, moving on through the works of Kurt Schwitters, and culminating in Tracy Emin’s notorious bed, it has been used by self-conscious artists as a way

42. Black Backed Gull One of the first pieces of burnt wood to be used, the body sat in our back-yard for some years, whilst the charring washed off. The head is also partly burnt, leaving exquisite markings. Very simple, very strong, like its namesakes!

66. Wreckage A heavy, simple log shape was required to set the colourful part of a boat wreck appropriately. Another contrast of man made and simple organic pieces. And the wreckage provides a fine perch for a simple bird shape to swivel upon. Great fun!

of making remarks – many of them satirical – about the nature of art itself.

Sid’s sculptures are the reverse. They are entirely unselfconscious. They use the products of nature, or the works of man modified by nature – pieces of driftwood, slabs of melted plastic, the business end of an old shaving brush – to pay tribute to nature. His work is not making a statement about art, but about life, and being, and seeing. The closest he gets to Marcel Duchamp is in a piece titled The Looseatania, a boat with a hull constructed from half a wooden lavatory seat. He politely rejects the Duchamp/Emin axis as irrelevant to his concerns. Indeed, he admits no influences except nature and his grandmother. An early patron sent him to Kettle’s Yard in Cambridge, home of the splendid collection of Alfred Wallis paintings made by Francis Ede. ‘I didn’t even know about Alfred Wallis in those days,’ he says. While acknowledging the beauty and singularity of the Wallis oeuvre, he denies that it has had any effect on his own work.

Basho is a poet in the Japanese tradition that shows the spiritual through the natural, and Sid’s work expresses the same thing. His life has been a chapter of happy accidents, shot through by a golden thread of synchronicity. Obviously this is a valuable talent for a beachcomber. It is said that great sculptors do not carve stone into shapes, but liberate the shapes already 12

inherent in the stone. Sid does a parallel thing with his found materials. A pebble of wood from the eroded debris of a beach bonfire becomes a note-perfect duck’s body, its scorched grain making entirely correct feathers. Two pieces of wood, found eleven years apart but proceeding visibly from the same enormous log, make a perfect head and body for a bird. Much of his beachcombing takes place at night – preferably on nights of no rain after a storm has hurled driftwood up the beach, subjecting it to the serendipitous grinding that gives it the organic forms Sid treasures. In the moonlight, shapes stand out from the pebbles on the beach; once it has rained, the wet destroys the difference in texture that make the shapes stand out.

Sid’s objects are unmodified. There is no alteration, no whittling or carving, no painting. The forms are as the waves left them, the colours too, distressed, eroded, graded by sea and sand. They fill the rooms they inhabit with light. The art is in Sid’s recognition of their sculptural potential, and in his combination of one with another. What he is doing is perhaps an unconscious echo of the french Symbolist poet Paul Valery. For Valery, the human collective unconscious was a sea. Individual consciousnesses inhabit the edge of the sea. Ideas held in common are like chunks of driftwood ground and shaped by the sea’s margins. It is the

job of poets to take the pieces of driftwood, recognize their merit, and present them in forms in which their beauty and truth can be recognized by other humans.

This would almost certainly strike Sid as an over-portentous way of explaining the things he makes. He exists in a state of clear-sighted enthusiasm for the universe, walking round his studio explaining the glory of a boat-rib taken from the wreck of the boat once used by the district nurse of the Blaskets to visit her patients, and extolling the glory of a dodo’s head made from an old shoe. An early patron speaks of him setting out ‘with no clear plan, like a dog on a walk on a spring morning.’ When pressed, he agrees that this is a not inaccurate assessment. Life is full of serendipitous delight, whether it is driving from London to Bristol on a road roller or finding the ingredients for a wooden bird in the sea-wrack. Sid Burnard’s world is strong, and beautiful, and hilarious, and strange, and natural. It is our good fortune that through his art we can share it with him.

With a bit of madness in me Which is poetry I plod along like Chikusai Among the wails of the wind.

Matsuo Basho Sam Llewellyn, 2012 Novelist, columnist, historian and editor

(opposite)

74. Moby Dick and Two Ships

39. Yellow Booted Dumbstruck Over the last few years, Mike Goldmark has encouraged me to develop my work whilst keeping to the original, simple philosophy of working with what nature and the elements does to man-made and organic material. Every now and then a bit of madness creeps in and a more unusual piece emerges. This is an example.

A couple of years ago, Louis ran excitedly from the top of the pebbles, with the yellow plastic remains of a child’s sand-rake.

‘Look Sid. Buzzards’ feet’! He was quite right. Buzzards’ feet are bright yellow, and his idea slowly brought this composition to completion. There wasn’t an appropriate body in the studio, so the legs sat in their box and patiently waited.

On the 30th Dec 2011, we were staying in Penzance. It was cold, wet and windy as Jo and I beach-combed along Mounts Bay towards Newlyn Harbour. The beach ended and I suggested we climb the steps and call it a day. Jo declined and carried on over difficult, slippery rocks and an incoming tide. This is a classic example of Jo’s enthusiasm and indefatigable energy. Against all the odds, the body for this piece appeared, edged in the rocks forming the entrance to Newlyn. I think it’s Scotch Pine, wonderfully shaped, full of character. It immediately asked for yellow feet! By now we had the large, strong, purple base, found about four years ago.

We had two thirds of a bird. What would make an ideal head? Wood seemed an easy option, so that was out of the question. Let’s see what happens, I thought. On a walk down to the dunes, on a stretch where we don’t often find anything, there was just the right piece.

I think it’s secateurs, or possibly a glass cutter. Whatever, it made an ideal head.

What a character. A real family effort.

Feet by Louis, body by Jo, head by Sid!

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17. The Race

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44. Ibis with Egg (opposite) When the conditions are unfriendly it becomes difficult to locate material.

However, bleached and weathered ivy does stand out amongst the seaweed, pebbles and detritus. This beautiful piece offered a stable base, perch and nest place, all in one. (I may come back as a Northern Bald Ibis one day!). Such a base required a bird of elegance, and I believe this has been achieved. The pebble egg makes it come alive.

13. Rockpool No. 1 Childhood memories prompted these compositions. Imagine having played in a low-tide rockpool and investigated all the creatures and features, one might have built a sandcastle. Called for picnic lunch, the little spade is stuck into the nearest spot. Whilst enjoying your sandwiches and lemonade, a little bird might use the perch you’ve left.

The pink and white marine ply base was selected simply because it suited the tiny shovel. Rust appearing gives an orangepink combination, highly unlikely! With only the shaft of the tool left, it needed a very small bird. Two different woods, the knot on the head gives two different personalities. All items in this piece were collected over two or three summers, after families have holidayed. Nostalgia here.

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71. Sarah Jayne

78. Keeping Fat (opposite) The body of this piece turned up about four years ago. Well bleached and simple strong shape, it had a well-rounded pot belly. Only when the head appeared a while later, did the potential show. What a face. What a profile. And in scale. The limbs were the next requirement; they took a while to find. Exaggerated movement

achieved by swinging arms. Short legs, emphasising the body. Then the small part of a finger from a yellow glove, complete with ear flaps, for a hat, this comical figure has caused many, many smiles.

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49. On The Ball (see also page 38)

79. Home Visit

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24. Emperor Bird 23

60. For Pablo Neruda One of the most rewarding aspects of our work is the special folk we meet through it. I knew nothing of Pablo Neruda until one such patron visited one of Neruda’s homes and sent me a handwritten copy of one of his poems, about beachcombing, all the way from Chile. He had an amazing life. Poet, diplomat, politician, champion of the common man. This composition has a battered base; rusty metal, large, old nails. It is long and thin, like Chile. The bird’s body is very unlikely.

Again, elongated and slender, blown by the wind. The head is splendid, noble and defiant. Like Neruda. Another very personal piece of work.

1. Courtship Display

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77. Green Sea

52. A Downcast Squat (opposite) These three pieces of wood are all from our regular beach. All very strong in shape.

All very different. The dark, simple body was last to appear and when it ‘hatched’, Louis and I laughed out loud and agreed, it reminded us of some of the animals invented by James Thurber. Hence Louis’ naming of it.

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35. Two Friends Started with the unusual green base. It would ‘lift’ any composition. The shape allowed a long piece so the contrast of a bleached piece of gorse root, writhing, had to be a small snake. Gorse has lots of ‘eyes’, but by putting the end of a copper nail to suggest a tongue, the creature became alive. A companion offered dialogue and rather than another snake, a small bird seemed to be right. This one

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has a long bill and a startled expression.

Are either of them vulnerable? Does the bird want the serpent as a meal? I like to think they are young friends. A real mix of materials. Painted wood, gorse, bark, bleached wood, copper and bike spokes, collected over three years at least.

69. Loo-seat-ania The half seat had to become a boat. The steam from her funnel is sheep’s wool from the field in front of our studios. This was made nine or ten years ago and has caused a lot of smiles.

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53. Water Fowl An elegant pose, this bird has settled on a post at the edge of a lake. It has a benign character, possibly about to have a snooze.

The head is settling down and one wing is slightly raised to suggest that all is well.

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(opposite)

38. Fable

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29. Bird in Tutu (opposite) Inspired by Degas’ studies of ballet dancers, this young lady unwisely enrolled at ballet classes, when roller-skating might have been more realistic. How did a Thermalite block wash up? I don’t know, but it did. It offered a completely fresh base. The bird’s simple, strong body is enhanced by the suggestion of tail feathers. The head has two splendid eyes, and is left to swivel around. Poor girl. I think I feel sorry for her.

8. Fledgling on Nest Started by the long wire rod, (how such material washes up I cannot imagine!), I love making such pieces. They allow that lazy, swaying and precarious platform.

Some birds start their lives from such a home! The base of the nest, marine ply, is glued through the rope nest to the underneath of the bird’s body; a well worn and rounded piece of bleached wood.

Sadly, a lot of plastic litters our shores, so to utilise such material serves some purpose. Thus the orange beak and ungainly pose, completed by the sprig of burnt orange plastic tail feathers, found by Jo. Hard to imagine this fledgling will develop into a beautiful adult bird!

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55. Caught in Flight This unusual body appeared about two years ago. What a curious shape, and what strange markings. I have seen slices of beech with such appearance. It took a year and a half to dry out and I had no idea what sort of head it needed. Then another odd item of wood arrived and offered what I felt were the right characteristics. It seems to be flying, hence the title.

43. Disappearing Worm The remains of a child’s blue, spiky ball started this construction. We had a simple, broad head, with two good eyes, but it lacked character. By placing the ball atop, it took on a comical look. The body was in proportion. Rather than simply stand, it

needed to show movement. There was a hole in the marine-ply base and so the curly piece of wood provided a worm, trying to escape back into the ground.

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37. Rio

30. Sacred Bird While filming at the coast with Jay and Alex from Goldmark Gallery I picked up a piece of wood that looked destined to become part of boat. When I turned it round however, it was obviously a bird’s head, complete with eye. I remembered another piece that I had put aside several years earlier planning to use it as a base for a small bird. Also a moped spoke stored in the studio. Arranged together, they became a graceful bird.

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10. Wash ‘n’ Brush Up

62. Tipsy

(opposite top left)

(opposite top right)

90. The Big Fight

48. Cock-a-hoop! & 49. On the Ball

47. Yellow Mohican

(above)

(opposite bottom left and page 20)

(opposite bottom right)

There is a box in the studio, full to overflowing with the most amazing collection of unusual shaped driftwood.

I constantly sieve through it in complete wonderment and rack my brains as to how to use them. Whilst both the creatures in this piece, are strong enough in their own right, placing them together offers greater fun. The crab with his/her prominent eyes and arms raised, reminiscent of a bare-fist boxer of long ago. The chameleon, with huge eye and long tongue, whose leg positions only came about after watching one of Louis’ documentaries on these fabulous creatures. Hopefully, more inventive interpretations will appear in a similar vein. To share the fantastic material is the aim in such an exercise.

Seaside amusements, fun fairs, piers, candy-floss and toffee-apples. These two compositions of carefree childhood times in Brighton. One day, in the studio, I was looking through a box of beach-combings.

The only saddle, the remains of a fishingnet, a buoy, blue and yellow plastic. The challenge was how to interpret this collection of disparate items into recognisable characters. ‘Roll up, roll up.

See the trick cyclist jump through a hoop.

Watch the bird walk the ball.’ I can see it all and hear the cheers!

From time to time, pieces of yellow plastic arrive. Because of the varying size and shape, I think they are broken discs from some type of cleaner. Whatever they are, they make wonderful plumes and add colour and additional options for interpretation. Louis sometimes works voluntarily at a Small Breeds Farm and Owl Centre, which shows several types of pheasant and exotic game. This bird is inspired by those. The well-defined head is perfectly sufficient on its own, but add the crest and it becomes very handsome!

The graceful curved body was to scale and didn’t need anything else, but hey, why not go for it, hence the exuberant tail feather.

The marine ply base gives a natural grass setting.

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6. Young Cassowary

41. Rare Parrot

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18. Flat Mates

68. Fly Past

20. Myfanwy (opposite) One very wet and windy morning this great body washed up. In conditions like this it is very difficult to see thoroughly. Raindrops constantly hit one’s specs; the wind makes one’s eyes run to tears. So it was very pleasing to spot this the moment we started our walk. I knew we had one piece of treasure at least!

I have been saving pieces, like the base, for up to 10 years, in readiness to support such a heavy bird as Myfanwy became.

Her neck was made from a reinforcing bar; the thickest steel rod I’ve used to date, it provides appropriate dimensions plus the sort of wrinkles characteristic of an older bird! The dramatic head came from the

north shore of the Y Dyfi estuary. It was, by now, extremely heavy (thinking of her makes my back twinge!). It took 3 hours of serious persuasion to install her sheepcrack (sheep-feed trough) steel legs, at just the right angles, into the base.

Exhausting but worth it.

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81. Palm Beach (opposite top)

92. Blue Fish Van (opposite bottom)

27. Eyefull Tower Bleached ivy offers wonderful material. Jo was understandably excited to find this piece. We studied it together on a winter morning, wondering whether to introduce a rope nest into the natural cage feature, half-way up. It had great architectural character and suggested a tower to me, so it became the Eyefull Tower. The little bird is made of partly burnt gorse root, its body and curved tail hovering over the upper structure. Its curious head and whistling beak recognisable as a slice from a bough. I guess something not old or very tough because the innermost part has disappeared. Beautiful and fun at the same time.

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23. Comb Over Knots of rope offer a number of interpretations and usually feature as bird plumes or tail feathers. This composition started with the fluffy, soft, sea-worn rope that immediately suggested a hair-style adopted by a chap who is making the most of what’s left of his hair. He’s brushed it forward and hopes he looks rather dashing.

Leonard Cohen wrote a song about a man whose ‘style was obsolete’. This could be him! His body is worn and creaky, simply a log. His head, wrinkled and pitted, pale and tired. His crowning glory a dead giveaway. You could feel sorry for this piece, but admit it, he’s still up for it!

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EXHIBITION CATALOGUE 1 Courtship Display 87 x 88 cm

2 Mother and Child 187 x 31 cm

3 King Pelican 121 x 26 cm

4 Free Flight 66 x 25 cm

5 Orange Ruffed Coco Finch 24 x 23 cm

6 Young Cassowary 40 x 28 cm

7 Sprightly Bird 40 x 21 cm

8 Fledgling on Nest 128 x 26 cm

9 Buff Plumed Bird 42 x 21 cm

10 Wash 'n' Brush Up 32 x 25 cm

11 Tiny Raptor 40 x 11 cm

12 Whistling Willie 47 x 23 cm

13 Rockpool No.1 31 x 17 cm

14 Rock 'n' Roll No.1 21 x 18 cm

15 Rope Trick 28 x 33 cm

30 Sacred Bird 68 x 63 cm

31 Variable Seed Eater 23 x 17 cm

32 Thief 43 x 63 cm

33 Bird House 32 x 32 cm

34 Gone Fishing 22 x 42 cm

35 Two Friends 25 x 41 cm

36 King Comb 53 x 29 cm

37 Rio 46 x 44 cm

38 Fable 95 x 72 cm

39 Yellow Booted Dumbstruck 44 x 42 cm

40 Sea Fever 76 x 36 cm

41 Rare Parrot 42 Black Backed Gull 55 x 50 cm

43 Disappearing Worm 35 x 34 cm

44 Ibis with Egg 48 x 64 cm

16 Parrot on Ring

45 Bird of Paradise

82 x 43 cm

118 x 52 cm

17 The Race 61 x 66 cm

18 Flat Mates 71 x 76 cm

19 Boot Camp 24 x 24 cm

20 Myfanwy 78 x 70 cm

21 Eagle 90 x 85 cm

22 Llewellyn's Wader 103 x 94 cm

23 Comb Over 85 x 52 cm

24 Emperor Bird 86 x 51 cm

25 Light Snack 66 x 36 cm

26 Oh Buoy 70 x 31 cm

27 Eyefull Tower 164 x 24 cm

28 Rhinoceros Hornbill with Adoring Female 164 x 76 cm

29 Bird in Tutu 67 x 29 cm

89. El Toro

41 x 21 cm

46 Gemini 53 x 48 cm

47 Yellow Mohican 39 x 52 cm

59 Crate Escape 51 x 20 cm

60 For Pablo Neruda 55 x 31 cm

61 Boy Racer 39 x 28 cm

62 Tipsy 28 x 28 cm

63 While my Guitar Gently Tweets 121 x 37 cm

64 Bird Spirit

48 Cock-a-hoop

70 x 41 cm

42 x 61 cm

65 Rockpool No. 2

49 On the Ball 45 x 34 cm

50 Awaiting Breakfast 37 x 32 cm

51 Portrait of the Artist as an Old Bird 51 x 50 cm

52 A Downcast Squat 42 x 26 cm

53 Water Fowl 41 x 45 cm

54 Bird for Edward Lear 44 x 66 cm

55 Caught in Flight 60 x 51 cm

56 Hope 66 x 46 cm

57 George 51 x 39 cm

58 Pole Dancer 68 x 29 cm

76 Wreck No.1 21 x 41 cm

77 Green Sea 24 x 42 cm

78 Keeping Fat 48 x 28 cm

79 Home Visit 57 x 102 cm

80 Boatyard 42 x 96 cm

81 Palm Beach 38 x 103 cm

82 The Chase No. 2

67 x 26 cm

28 x 49 cm

66 Wreckage

83 The Wave

129 x 30 cm

33 x 59 cm

67 Wedding Outfit

84 Out of the Mist

44 x 31 cm

68 Fly Past 26 x 29 cm

69 Loo - seat - ania 34 x 52 cm

70 Pesca Fish 21 x 58 cm

71 Sarah Jayne 54 x 0570 cm

72 Newlyn 73 x 89 cm

73 Red Motor Launch 55 x 79 cm

74 Moby Dick and Two Ships 30 x 90 cm

75 The Chase No.1 28 x 68 cm

41 x 44 cm

85 On a Pea Soup Sea! 41 x 58 cm

86 Grey & Mauve Shorescape 68 x 59 cm

87 Moose 55 x 34 cm

88 Mythical Beast 40 x 44 cm

89 El Toro 20 x 32 cm

90 The Big Fight 17 x 29 & 11 x 14 cm

91 Roll Along 49 x 59 cm

92 Blue Fish Van 41 x 62 cm

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Published to accompany the exhibition at Goldmark Gallery in May 2012 All rights reserved www.goldmarkart.com

ISBN 978-1-870507-98-1 Essay © Sam Llewellyn 2012 Descriptions © Sid Burnard 2012 Photographs © Jay Goldmark Design Porter/Goldmark

Goldmark Gallery 14 Orange Street Uppingham Rutland, LE15 9SQ 01572 821424

Photograph Jo Burnard

For Emily Loveridge, who taught me to use my eyes, and Jo, Louis and Pongo, my kindred spirits.

3. King Pelican (front cover) The “stem” came down the river. All those knots would have made great bird-heads if they’d arrived individually. However, what a fantastic throne, fit for a King! The Pelican is very simple but has correct proportions.

His roundness enhances his majestic setting.

www.goldmarkart.com