Starting this Saturday 2nd October is an exhibition of etchings and engravings by printmaker Arthur Hackney (1925-2010). Arthur Hackney died earlier this year after a life time printmaking, painting and teaching. 
His early etchings and engravings made in the late 1940s and early 1950s are particularly beautiful. There are scenes of life from another time - with potato pickers, allotments, woodmen people feeding pigeons or selling chestnuts. The copper plates on which he made his etchings and engravings had been carefully stored by him over several decades and some of the editions have just recently been printed.
The exhibition will have prints available for sale and on display will also be some of the copper plates - beautiful objects in themselves.
"Arthur Hackney; etchings & engravings" 2nd - 23rd October 2010
The exhibition is at the Emma Mason Gallery in Eastbourne, East Sussex. Emma Mason will also be exhibiting work by printmakers including Arthur Hackney at the Palace Art Fair in October.
Emma Mason Gallery (open Thurs, Frid, Sat 10-5)
3 Cornfield Terrace
Eastbourne
East Sussex
BN21 4NN
Tel. 01323 727545
www.emmamason.co.uk
Wednesday, 29 September 2010
Exhibition of Etching & Engravings
Monday, 27 September 2010
Artist of the Week - Dan Llywelyn Hall
Dan Llywelyn Hall's paintings from his most recent series including 'Heads of Women' and 'Juxtapositions' will be exhibited at the inagural Palace Art Fair.
Where did you train? What did training teach you and what do you wish it had taught you?
I trained at the University of Westminster, Harrow Campus. I was fortunate to have a printmaking workshop at my disposal and spent most of my time screen-printing. I suppose I learnt that I really could live as an artist and that there are many ways to do so. It was a luxury to go to the studio each day and not worry a jot about where the money would come from. I only wish university taught me how to handle money more wisely!
When and where did you first want to do what you do?
One night around 5 years ago I was begining to feel a little disillusioned with painting. I remember one night when there was this most spectacular red moon that seemed huge outside my pokey flat window. I literally spent the next two hours chasing it from street to street with watercolours and a roll of paper in my arm. I simply had to find a spot to paint it! By the time I completed the painting sat on someone's driveway I felt prettry sure I could keep myself busy for a lifetime doing such things.
One favourite living artist?
George Condo. He strikes the balance well between reverance of the past, playful in his medium and visionary in his outlook.
One favourite historical artist?
Chaim Soutine. His paintings seem to be a direct translation of his soul. I am totally gobsmaked when I study his surfaces and always learn more about painting.
Where do you get most of your inspiration from?
Travel is always a great way of rejuvinating the ideas bank. I like exploring the world and seeing how I fit in amongst it - it helps to broaden ones horizons.
What is the most interesting / fun job you have had?
I was fortunate to be commissioned to paint some murals on the island of Mustique in the Caribbean. I even managed to thumb a lift by Paul McCartney after some painting on one of the beaches. It was a surreal place and certainly a paradise island. My murals - although a physical challenge - were a success and adorn the guestrooms in 'Taliesin' for those of you fancying a visit.
Click Here to Read More..
Where did you train? What did training teach you and what do you wish it had taught you?
I trained at the University of Westminster, Harrow Campus. I was fortunate to have a printmaking workshop at my disposal and spent most of my time screen-printing. I suppose I learnt that I really could live as an artist and that there are many ways to do so. It was a luxury to go to the studio each day and not worry a jot about where the money would come from. I only wish university taught me how to handle money more wisely!
When and where did you first want to do what you do?
One night around 5 years ago I was begining to feel a little disillusioned with painting. I remember one night when there was this most spectacular red moon that seemed huge outside my pokey flat window. I literally spent the next two hours chasing it from street to street with watercolours and a roll of paper in my arm. I simply had to find a spot to paint it! By the time I completed the painting sat on someone's driveway I felt prettry sure I could keep myself busy for a lifetime doing such things.
One favourite living artist?
George Condo. He strikes the balance well between reverance of the past, playful in his medium and visionary in his outlook.
One favourite historical artist?
Chaim Soutine. His paintings seem to be a direct translation of his soul. I am totally gobsmaked when I study his surfaces and always learn more about painting.
Where do you get most of your inspiration from?
Travel is always a great way of rejuvinating the ideas bank. I like exploring the world and seeing how I fit in amongst it - it helps to broaden ones horizons.
What is the most interesting / fun job you have had?
I was fortunate to be commissioned to paint some murals on the island of Mustique in the Caribbean. I even managed to thumb a lift by Paul McCartney after some painting on one of the beaches. It was a surreal place and certainly a paradise island. My murals - although a physical challenge - were a success and adorn the guestrooms in 'Taliesin' for those of you fancying a visit.
Do you work mostly on your own? Have you had any interesting work related collaborations?
I have worked on several collaborations with writers and visual artists. My first serious exhibition was a touring exhibition in collaboration with poet Owen Sheers. I found the interchange of ideas refreshing and helped open up new perspectives on my work. Apart from exhibitions designated to a collaboration I find the only way to actually go deeper into ones ideas is to spend time alone and avoid distractions!
At age 18 who most influenced your style?
At 18 I guess I was very drawn to the illustrations in a book called Masquerade. I was perplexed with the images as they were essentially a visual puzzle. It demonstrated how powerful and multi-layerd images can become. In terms of painters, I guess Rembrandt was my first exploration of another artist's work. I loved isolating sections of his paintings and seeing how rich the surfaces were and the potential of paint.
How much do you bend your 'vision' to suit the marketplace - if at all?
I have thought about it once or twice with certain paintings being 'popular' but fortunately always steered clear of bending my vision.
Who would you say buys your work?
They are (thankfully) usually interesting people who have a knowledge about painting. People I enjoy talking to. My work does not tend to scream out so they are normally quite observant, sensitive people... I have to say that!
Where and what is your studio?
Harrow-on-the-Hill.
Do you have a good work/life balance?
I think I do. I probably try a little hard at squeezing life in around my work - this generally means late nights!
What one word would describe your feeling of doing your work?
Bittersweet.
If you could be doing anything else what would it be?
Playing the piano in an exotic bar somewhere hot.
If you could exhibit in any gallery in the world which would it be?
The Guggenheim in Venice. It's a very beautiful meandering space that is manageable and intimate. Plus Venice hits all the right notes for me.
Please list any exhibitions you have had in the past 12 months.
'BP Portrait Award' - National Portrait Gallery, London
'Transfiguration' - National Gallery of Wales, Cardiff
'Transfiguration 2' - Guildhall Art Gallery, London
'Juxtapositions' - Old Speech Room Gallery, Harrow School
Any other relevant information?
I have work in the collection of the Imperial War Musuem, Royal Collection, National Museum of Wales and Contemporary Art Society of Wales.
I have worked on several collaborations with writers and visual artists. My first serious exhibition was a touring exhibition in collaboration with poet Owen Sheers. I found the interchange of ideas refreshing and helped open up new perspectives on my work. Apart from exhibitions designated to a collaboration I find the only way to actually go deeper into ones ideas is to spend time alone and avoid distractions!
At age 18 who most influenced your style?
At 18 I guess I was very drawn to the illustrations in a book called Masquerade. I was perplexed with the images as they were essentially a visual puzzle. It demonstrated how powerful and multi-layerd images can become. In terms of painters, I guess Rembrandt was my first exploration of another artist's work. I loved isolating sections of his paintings and seeing how rich the surfaces were and the potential of paint.
How much do you bend your 'vision' to suit the marketplace - if at all?
I have thought about it once or twice with certain paintings being 'popular' but fortunately always steered clear of bending my vision.
Who would you say buys your work?
They are (thankfully) usually interesting people who have a knowledge about painting. People I enjoy talking to. My work does not tend to scream out so they are normally quite observant, sensitive people... I have to say that!
Where and what is your studio?
Harrow-on-the-Hill.
Do you have a good work/life balance?
I think I do. I probably try a little hard at squeezing life in around my work - this generally means late nights!
What one word would describe your feeling of doing your work?
Bittersweet.
If you could be doing anything else what would it be?
Playing the piano in an exotic bar somewhere hot.
If you could exhibit in any gallery in the world which would it be?
The Guggenheim in Venice. It's a very beautiful meandering space that is manageable and intimate. Plus Venice hits all the right notes for me.
Please list any exhibitions you have had in the past 12 months.
'BP Portrait Award' - National Portrait Gallery, London
'Transfiguration' - National Gallery of Wales, Cardiff
'Transfiguration 2' - Guildhall Art Gallery, London
'Juxtapositions' - Old Speech Room Gallery, Harrow School
Any other relevant information?
I have work in the collection of the Imperial War Musuem, Royal Collection, National Museum of Wales and Contemporary Art Society of Wales.
Photography exhibitions across Sussex; October/November 2010
This weekend saw a major exhibition of photographs by Robert Mapplethorpe open at the Towner Gallery in Eastbourne, East Sussex. There are 60 of Mapplethorpe's most defining works and they look great in the new Towner. Mapplethorpe is considered on of the most significant photographers of the 20th century. The exhibition runs from now until 21st November 2010.To read about it see the review in The Guardian newspaper:
The exhibition coincides with the Brighton Photo Biennial 2010 - a celebration of contemporary photography and the largest curated photography festival in the UK. There are lots of events and exhibitions across Brighton & Hove and related events at galleries in Sussex; Towner, Pallant House, De La Warr Pavilion. It runs from 2nd October to 14th November 2010.
Saturday, 25 September 2010
Brighton Art Fair 2010
We're recovering after a busy and mostly successful Brighton Art Fair. (and gearing up for the inaugural Palace Art Fair)
Visitors said BAF10 was the best fair so far, in terms of the quality and variety of the art on show and like the atmosphere and friendliness of the event.
We managed to get round before the show opened and before it filled up to take some of the highlights.
Above Kate Walters earthy, grounded and rather pagan paintings.
Lisa Traxlers abstract paintings and Matthew Chambers geometric stoneware sculptures.
Sarah Young's yearbook paintings, and prints.
and Guy Holder's transformational ceramic sculptures. Made up and impossible annimals, some silly some verging on the unsettling but all exuberant and fantastical.
Thanks to all the artists who came and made the show a visual success and to the visitors who come each year in increasing numbers.
See you next year?
Tuesday, 21 September 2010
Artist of the Week - Elizabeth Ockford
Elizabeth Ockford works with images that relate closely to her childhood memories, and which demonstrate her love of colour and mark making.
Where did you train? What did training teach you and what do you wish it had
taught you?
I trained first at Chelsea School of Art in Textile Design, in the 1980's. It was an excellent course, very commercially attuned, and it gave me a good basis to move into my first job as a fashion fabrics designer. What they can't teach you at Art School is how to work to a commercial deadline, how to remain creatively inspired while still delivering something on time. I think you can only learn that on the job.
I then went on to work in Interior Fabrics and Wallpapers at Osborne and Little, and working under somebody as inspiring as the founder of that company, Antony Little, and alongside a group of talented designers - you learn so much .
The biggest thing I learnt as a designer that I wasnt taught at Art School ,though, was an appreciation of colour, an eye for good and 'bad' colour choices, and most importantly how to mix colour, in paints. This skill has stayed with me throughout the years - and now is invaluable in my work as an artist.
When I went back to Art School in Brighton as a mature student, I was amazed at how little colour knowledge some of my fellow students had - and it made me realise what an important skill it is. I think its a real shame that Colour Theory isn't taught at most Art Schools these days.
When and where did you first want to do what you do?
Going through school I always wanted to make my living in a creative way - I cant remember when I decided that - perhaps it wasn't a conscious choice. I chose Textiles when I was 18 , and on a foundation course having just left a very accademic Grammar school - I thought I had found Heaven! I first realised that I wanted to go back and study Fine Art in 2000, when I went to Italy to study watercolour painting as my summer holiday. I realised that this was the missing element in my life, and I haven't looked back since.
One favourite living artist?
Peter Doig- because he PAINTS. His canvasses show the marks he has made, include gestural marks, drips, blobs, runs etc. His images have something ethereal about them, they make me want to know more about the story behind them. And because he is a clever colourist - one of my favourites is of a man in a long orange canoe, on a deep blue lake.
One favourite historical artist?
Milton Avery - an American artist who came to prominence in the 50's and 60's. Because his pieces have such beautiful colours and simple compositions I find them inspiring, but I can never make my work as simple as he did, no matter how I try- I get an irresistible urge to add more!
Where do you get most of your inspiration from?
For the last two years I have been painting things that are in my 'back yard'- the landscape and animals around my studio in Sussex. They are my most direct source of inspiration- but when I travel I get excited by different cultures, landscapes, different light, and that always has an impact on my work when I return to my studio.
There is also an undercurrent in my work of my memories from childhood- of bedtime stories, narratives, little sayings and superstitions, and of nostalgia for good times, and places that I fondly remember.
What is the most interesting / fun job you have had?
This is it, now. I get to do such a diverse number of things - sometimes I'm designing wallpapers, another teaching a teenager who wants to improve their art, or making a large brash painting for a hotel lobby in Saudi, as I did recently to commission. Now I have the best of all worlds in my life.
Do you work mostly on your own? Have you had any interesting work related
collaborations?
I work on my own when painting and designing. But recently I put on a show in Lindfield as part of the Arts Festival there last May, and that was a good collaboration with 8 other artists- putting the show together.
That is how it will be at the Palace Art Fair in Fulham - as Memo, I will be showing my work, but also that of my colleagues and friends, who I respect and admire.
At age 18 who most influenced your style?
Ooh- Talking Heads and Meg Ryan ! Maybe also Matisse, and David Hockney and Peter Blake, both of whom had retrospective shows in London at the end of the 80s' , and seeing those had a big impact on me.
How much do you bend your 'vision' to suit the marketplace - if at all?
When I am working to commission, then I have to 'bend' to accomodate what that client wants- be it a painting or watercolour... But generally I am lucky in that my work seems to appeal to a broad range of people.
Who would you say buys your work?
Its too diverse a bunch of people to describe!
Where and what is your studio?
My studio is a converted cowshed, in Sussex. Its made of large stone bricks though, with high windows, a wide door that I leave open when I am working, and inside it is double height- which is great for the scale I work at. Recently I met a man in my village pub, who happily told me that he had once owned the farm and buildings where I work- and that he had tied his bull up in my studio! I love living somewhere with such a sense of community, and where people have lived and worked all their lives.
Do you have a good work/life balance?
Probably not- my work invades my life, (its an intrinsic part of me) but having my studio away from my house (it's in the next village), is definitely healthy for me. It means I have to switch off sometimes!
What one word would describe your feeling of doing your work?
Meditative. I'm in a different place when I'm working- cut off from all that is going on around me.
If you could be doing anything else what would it be?
I'd enjoy running a B&B somewhere hot like southern France or Italy- I like meeting people. And I'd be able to decorate it using all the lovely fabrics and colours that I know are out there.
But I'd have to be able to paint as well!
If you could exhibit in any gallery in the world which would it be?
Aiming high - the Met in New York- because then I'd be next to some of the best pieces of work in the world!!!
Please list any exhibitions you have had in the past 12 months.
Memo at Lindfield Art Festival 2010
Showing at Ingo Finke Clapham, on a regular basis, and they also took my work to the Affordable Art Fair in 2009.
Graduate show- Camberwell MA, July 2009
I set up Memo with my Partner, Margaret Meldrum, last year. We want to enable artists to get their work into the public eye, and to enable the public to see and experience work by upcoming artists, who otherwise would not have been given exposure. We both want to use our commercial experience to work in partnership with the artists, to assist them in achieving their dreams, and in making the best work that they can. Its no fun being an artist, but being unable to earn a living- we want to help them along that road.
taught you?
I trained first at Chelsea School of Art in Textile Design, in the 1980's. It was an excellent course, very commercially attuned, and it gave me a good basis to move into my first job as a fashion fabrics designer. What they can't teach you at Art School is how to work to a commercial deadline, how to remain creatively inspired while still delivering something on time. I think you can only learn that on the job.
I then went on to work in Interior Fabrics and Wallpapers at Osborne and Little, and working under somebody as inspiring as the founder of that company, Antony Little, and alongside a group of talented designers - you learn so much .
The biggest thing I learnt as a designer that I wasnt taught at Art School ,though, was an appreciation of colour, an eye for good and 'bad' colour choices, and most importantly how to mix colour, in paints. This skill has stayed with me throughout the years - and now is invaluable in my work as an artist.
When I went back to Art School in Brighton as a mature student, I was amazed at how little colour knowledge some of my fellow students had - and it made me realise what an important skill it is. I think its a real shame that Colour Theory isn't taught at most Art Schools these days.
When and where did you first want to do what you do?
Going through school I always wanted to make my living in a creative way - I cant remember when I decided that - perhaps it wasn't a conscious choice. I chose Textiles when I was 18 , and on a foundation course having just left a very accademic Grammar school - I thought I had found Heaven! I first realised that I wanted to go back and study Fine Art in 2000, when I went to Italy to study watercolour painting as my summer holiday. I realised that this was the missing element in my life, and I haven't looked back since.
One favourite living artist?
Peter Doig- because he PAINTS. His canvasses show the marks he has made, include gestural marks, drips, blobs, runs etc. His images have something ethereal about them, they make me want to know more about the story behind them. And because he is a clever colourist - one of my favourites is of a man in a long orange canoe, on a deep blue lake.
One favourite historical artist?
Milton Avery - an American artist who came to prominence in the 50's and 60's. Because his pieces have such beautiful colours and simple compositions I find them inspiring, but I can never make my work as simple as he did, no matter how I try- I get an irresistible urge to add more!
Where do you get most of your inspiration from?
For the last two years I have been painting things that are in my 'back yard'- the landscape and animals around my studio in Sussex. They are my most direct source of inspiration- but when I travel I get excited by different cultures, landscapes, different light, and that always has an impact on my work when I return to my studio.
There is also an undercurrent in my work of my memories from childhood- of bedtime stories, narratives, little sayings and superstitions, and of nostalgia for good times, and places that I fondly remember.
What is the most interesting / fun job you have had?
This is it, now. I get to do such a diverse number of things - sometimes I'm designing wallpapers, another teaching a teenager who wants to improve their art, or making a large brash painting for a hotel lobby in Saudi, as I did recently to commission. Now I have the best of all worlds in my life.
Do you work mostly on your own? Have you had any interesting work related
collaborations?
I work on my own when painting and designing. But recently I put on a show in Lindfield as part of the Arts Festival there last May, and that was a good collaboration with 8 other artists- putting the show together.
That is how it will be at the Palace Art Fair in Fulham - as Memo, I will be showing my work, but also that of my colleagues and friends, who I respect and admire.
At age 18 who most influenced your style?
Ooh- Talking Heads and Meg Ryan ! Maybe also Matisse, and David Hockney and Peter Blake, both of whom had retrospective shows in London at the end of the 80s' , and seeing those had a big impact on me.
How much do you bend your 'vision' to suit the marketplace - if at all?
When I am working to commission, then I have to 'bend' to accomodate what that client wants- be it a painting or watercolour... But generally I am lucky in that my work seems to appeal to a broad range of people.
Who would you say buys your work?
Its too diverse a bunch of people to describe!
Where and what is your studio?
My studio is a converted cowshed, in Sussex. Its made of large stone bricks though, with high windows, a wide door that I leave open when I am working, and inside it is double height- which is great for the scale I work at. Recently I met a man in my village pub, who happily told me that he had once owned the farm and buildings where I work- and that he had tied his bull up in my studio! I love living somewhere with such a sense of community, and where people have lived and worked all their lives.
Do you have a good work/life balance?
Probably not- my work invades my life, (its an intrinsic part of me) but having my studio away from my house (it's in the next village), is definitely healthy for me. It means I have to switch off sometimes!
What one word would describe your feeling of doing your work?
Meditative. I'm in a different place when I'm working- cut off from all that is going on around me.
If you could be doing anything else what would it be?
I'd enjoy running a B&B somewhere hot like southern France or Italy- I like meeting people. And I'd be able to decorate it using all the lovely fabrics and colours that I know are out there.
But I'd have to be able to paint as well!
If you could exhibit in any gallery in the world which would it be?
Aiming high - the Met in New York- because then I'd be next to some of the best pieces of work in the world!!!
Please list any exhibitions you have had in the past 12 months.
Memo at Lindfield Art Festival 2010
Showing at Ingo Finke Clapham, on a regular basis, and they also took my work to the Affordable Art Fair in 2009.
Graduate show- Camberwell MA, July 2009
I set up Memo with my Partner, Margaret Meldrum, last year. We want to enable artists to get their work into the public eye, and to enable the public to see and experience work by upcoming artists, who otherwise would not have been given exposure. We both want to use our commercial experience to work in partnership with the artists, to assist them in achieving their dreams, and in making the best work that they can. Its no fun being an artist, but being unable to earn a living- we want to help them along that road.
Thursday, 16 September 2010
Brighton art fair
Well all the artists seem to have turned up. It's been a reasonably relaxed set up, no major problems (yet) no collapsing stands or artists forgotten.
It is looking absolutely fantastic, really great artists bringing in new and interesting work.
I think it's looking like being the best fair yet.
Brighton Art Fair private view opens in 2 hours.
-- Post From My Phone
Location:Pavilion Buildings,Brighton,United Kingdom
Click Here to Read More..Wednesday, 15 September 2010
Brighton Art Fair - nearly built
Just a few hours after we started, the show structures are almost built.
And the electrics are going in ready for the first artists to arrive first thing in the morning.
With Sarah exhibiting again this year I'm heading home at 6.00 to finish framing and mounting new work.
-- Post From My Phone
Location:Blenheim Pl,Brighton,United Kingdom
Click Here to Read More..
Subscribe to:
Posts (Atom)
