ARTISTS

ARTIST | Jeremy Annear

Music and light, darkness and dream, pain and joy, decay and rebirth, losing and finding, are the forces that form my work.The discovered surface scraped, revealed and repainted.The insistent questioning line, the ambiguity of space and colour in that place between figuration and abstraction, never wholly one and never wholly another. My work … that is my art … my language … seeks to bring together and express the inner and outer place of my life lived and experienced, where communication is vital to its existence … not as an explanation or description, but rather as a shared recognition … a question… an answer … or the faintest motif of a song breathing life into the conjunction of support and medium.

ARTIST | Neil Canning

The physical act of painting is a voyage of discovery for me.There is always an intense emotion, a strong connection with time or place that I aim to re-create in paint. Memory plays a significant part in paring down excess information until the most dramatic gestures and intense colours remain. I do not wish to copy nature, merely to use it as a starting point.

ARTIST | Louise McClary

There is a place of stillness deep within when all goes quiet. Fragments of memories like shrouds lay abre upon a coloured ground. Fine shoots and tiny flower oush their way through the surface to become reborn again in an eternal spring.

ARTIST | Trevor Bell

I have always enjoyed working on paper – it can be so direct, no nonsense, at the time disposable, and therefore, free. It allows images to arrive unrestricted by the notions which in painting take so long to dismiss.

ARTIST | Magrit Clegg

My work is inspired by archaeology, architecture and the signs and symbols carved in rocks, temples and city walls. I love the strong sense of timelessness and continuity when faced with weathered fragments of our ancient human past. But above all, I am drawn to the power and simplicity of rock, stone, sand and earth – the things our world is made of and which are the source materials of our creativity.

ARTIST | Mark Surridge

The landscapes, ever changing moods, the activities of sky and cloud, half-remembered shapes and distant glimpses – walking through shifting weather conditions can show the same landscape to be different every day.These new paintings explore contrasts found during a moment of change both in the creative process and within the experience of any elemental changes found in the surrounding environment, sometimes arousing emotional and psychological sensations.

ARTIST | Judy Buxton

I work directly from landscape. Familiar places to which I return often, the nearby coastal coves, the inland heath with its roads and tracks scoring and dividing, and the creeks and rivers’ expansive light and deep banks.These re-visited places appear changed and re-created. Working outside provides me with the needed stimuli to create, after which the studio work develops, being rooted throught the making and exploration of the smaller pieces

ARTIST | Naomi Frears

When I’m out of the studio, I’m constantly editing – selecting and rejecting visual information. I notice figures, together and apart, the shape and volume of objects and buildings, the emptiness around them. I see spaces and lines everywhere. I’ve recently realised that these images are my paintings staring back at me. My work really is how I see.

ARTIST | Ralph Freeman

There is a wall-piece in Ralph Freeman’s studio, made from the backs ofbooks.Their stiff carapaces have been spreadeagled, tiled over each other, like a section of ancient terracotta roof, then whitened.You notice the formal rhythms released from the backs of ordinary books – two equal rectangles separated by a narrow rectangle that rises into a half cylinder, reiterated until you forget what these objects are or were.

ARTIST | Sax Impey

“I’m just a wide eyed observer, by turns baffled, awed and mad as hell. I paint to slow the world down.”

ARTIST | Richard Nott

Extract – The slatted plasterboard paintings that went from bottom to top – once you got to the top it was finished, and that’s what I was trying to do … because gestural paintings I’d work on for the rest of my life …( please view pdf catalogue for rest on interview )

ARTIST | John Hopwood

John has been developing a vocabulary of signs and shapes to meet the needs of his artistic language. The series started with paintings which had only one type of mark; now there are many. He also has a broad colour range which he simply puts down to being ‘open to experience’, and ‘using the colours I need for the piece’. He never worries about how they relate to other pieces, but later he finds that they do. He says that it is like his own life. He would never limit where he went or what he looked at or the variety of friends he has, for he sees those as putting blocks on himself which will only hamper creativity.