Grand Opening Event
Artwork exhibited by Laura Tucker, slideshow of Tomasz Piotrowski's work & food served by the New Viceroy Restaurant
Saturday 3rd December 2016 1pm - 6pm with official opening by the Mayor and Mayoress of Weston-ssuper-Mare, Councillor & Mrs Alan Peak.
The Chairman of North Somerset Council, Councillor John Crockford-Hawley attended and kindly also gave a speech
Tuesday 13th December 2016 - Tuesday 7th February
Preview Saturday 10th December 2-4pm
Sonia uses pastels, watercolour, her own handmade paper to make collage work and creates prints using various methods including screen printing, mono printing & lithography.
Her work has a natural, organic life to it. Life, inspiration, the process of making, teaching and talking about art; these are all seamless for Sonia. She allows a freedom to the carefully crafted pieces so that each has its own character and strength. The more you look at them, the more you see. You may have to stand a certain distance away for some of them to ‘come into focus’, and then like magic, a jumble of pastel marks becomes a flowing river; or a mass of coloured paper and threads reveals a nebulous galaxy, or a partridge surrounded by pears in a tree - which is beautifully and richly worked.
With economy of line irrespective of the medium used, faces have real expression ranging from comical to wistful to thoughtfully curious. A tiny figure on a shoreline can be seen to walk with determination and narrow focus; seemingly intent on reaching a destination other than where they are.
She also uses pattern and surface marks to great effect. Light shimmers off the ripples of the Goldfish Pool and the expertly rendered shapes, colours and layering of the fish show them to be swimming under the surface.
This exhibition aims to bring you a cross-section of her work over the years which we hope you will greatly enjoy.
Friday 10th February - Tuesday 28th February 2017
Preveiw Drinks Thursday 9th February 4-7pm
"When the Painting Gets a Chance to Speak"
Saturday 18th February 3-4pm
Guided tour by the artist of her exhibition
Bring your questions, enjoy a drink and join in the discussion
It is important to the artist for those who want to buy from exhibitions and begin their own small collection so as to have a daily conversation with original paintings which seem to 'speak their language' are able to do so. Prices for her work in this exhibition start from £120 and all are available for purchase.
Armloads of Spring, 2016
All of Ursula's works are about place, time, light; and that which lies always at the threshold of consciousness. Each painting is a glimpse of another reality always there, but often unnoticed. It is hoped that the viewer standing before one of her works and fully absorbing it has a sense of newness. Over the years Ursula has tried various ways of exploring these ideas: in landscape paintings, interiors, still life and hand-printed fabrics.
"When I look at my work, and that of other painters, it seems that what we do is an expression of who we are, how we experience the world, and the thoughts and feelings which sustain us. Every painting is a statement and a celebration. I hope that people looking at my paintings will feel a pull. That is also what I experience as I paint. First, the materials engage the eye and senses, then intuitive gestures form shapes or planes of colour. Then curiosity is engaged and decisions are made about what needs to have clearer expression. I often work on several paintings at once, giving time to go and come, to form relationships and allow a ‘conversation’ between the emerging works.”
- Ursula Newell-Walker
Colours in the Thaw, 2015
Taking Flight, 2016
Friday 3rd March - Tuesday 21st March 2017
Preview Drinks Thursday 2nd March 4-7pm
Raffle tickets to win a print of 'Alice Eight Years Old' signed by the artist will be available to buy during the Preview Drinks
Alice will be making a painting a day in the gallery on
Tuesday 7th, Thursday 9th, Friday 10th & Saturday 11th March
Alice Eight Years Old
I have always had an interest in colours and shapes. Encouraged by my art teacher, I went to Art College in Bucharest (Technician in Easel Painting) at sixteen and graduated in 2009. My interests range from Fine Art to Textiles to Interior Design and even Fashion Design and Photography. I found out that Weston College have a Foundation Course which covers quite a broad area of subjects and techniques including Fashion Design, so I moved to the UK to study their one year UAL Foundation Diploma in Art and Design. I enjoyed trying new techniques and the different aspects and challenges of the course. I have found in art a way to express and evolve; it is through art I am the person I am today and it will help me to grow as a fine artist.
Continually inspired by great artists like Pablo Picasso, Amedeo Modigliani and Henri Matisse, I enjoy creating abstract art using powerful colours, shapes and lines. I lose myself in a different world when I am painting, concentrating on the canvas so that everything else around me becomes a blur. Each painting is a unique setting. In studying one of my paintings, the viewer is transported into a story. Sometimes my initial thoughts about what a painting is going to look like are nothing like the final composition as I develop my ideas on the canvas. The best paintings are not made with a purpose, or expectation; either mine or anyone else’s expectation.
I find myself dreaming with my eyes open sometimes – taking inspiration from everything in life and using the language of art to express things which are difficult to put into words; or just better expressed through the action of painting for me. I paint when I feel and what I feel, and then it works. My art is personal to me and it can be difficult to talk about it; and in many ways the art should speak for itself to whoever is looking at it.
Art that is different.
- Alice Mania
'Landscapes, Sea, Cats and the Girl from my Youth'
Friday 24th March - Tuesday 11th April 2017
Preview Drinks Thursday 23rd March 4-7pm
'Influences and Ways of Working'
A talk by the artist about her work
Saturday 1st April 2-4pm
'I went to Somerset College of Art at the age of 16. Fifty two years later I am still painting and drawing. My training and work as an Art Therapist for 35 years has kept me closely in touch with creativity and has influenced my expressive style.
In 1971 I completed a course of Art in Education at Dartington College of Arts. That experience has stayed with me and helped me develop my original way of working.
My subject matter is the world around me – trees, birds, the sea, landscape, cats and people. Somerset is a constant inspiration. I also like to let go and see what happens and then this is when a female face often emerges and is sometimes connected from the girl from my youth.
I use whatever media is suited to the subject I am depicting, and this includes oils, acrylics, pastels, watercolour.'
Thursday 13th April - Tuesday 2nd May 2017
Preview Drinks Saturday 15th April 4-7pm
Thursday 4th May - Tuesday 23rd May 2017
Preview Drinks Saturday 6th May 1-7pm
I can remember myself with a pencil drawing on a piece of paper at a very early age. I love it because it is my ‘antidepressant’. You can tell tales of the most tragic or the most beautiful images using very modest commodities.
Contrary to common belief, the painter doesn’t know exactly what he sets out to do, nor does he know how to do it. He simply hopes that he can react correctly to the dilemmas that the art brings about. The anticipation of the correct reaction gives birth to passion for painting.
That’s what painting is to me- the pleasure and the acknowledgement that you are in fact just a child; a continuous pursuit and a harsh resistance to obligatory adulthood. It is the possibility to preserve one additional nature; that of being an adult but retaining the right to enjoy life, even when life is not so pleasurable, simply by ‘opening windows…’
- Panayiotis Marlagoutsos
Thursday 25th May - Tuesday 13th June 2017
Preview Drinks Saturday 27th May 1-4pm
I started painting in 1991.
Paintings are a translation which can be interpreted by anyone in different ways.
Paintings have a beginning, middle and end.
Starting one can put you in a trying situation in that you can’t give up until it’s finished, which means dedicating time away from one’s usual business which can lead to other frustrations. Nevertheless, the experience is well worth it and I therefore I recommend anyone trying this pleasure.
A good painting on the wall can deflect your thoughts away from things that may be concerning you too much and put you into another space.
Light, elements, weather, travel, people, news, stories and friends have influenced my art.
Should you end up with a painting, I wish it a good home and hope it gives you pleasure well into the future, particularly when looking at it for its reflection of the combination of colour and light.
- Tim Warren
Jack has previously exhibited at the Royal Academy of Arts, the Institute of Contemporary Arts, Wells Art Contemporary, Bath Society of Artists, A2 Gallery (Wells), the Royal West of England Academy and Devizes Museum.
Thursday15th June - Tuesday 4th July 2017
Preview Drinks Thursday 15th June 5-8pm
"Over many years my artistic practice has developed into an intense engagement with the landscape; both man-made and natural.
I am fascinated with drawing from direct observation, seeking to respond creatively to each particular place and my sense of its past and present.
My drawings inform an experimental process in the studio, as I try to develop them into meaningful and expressive paintings through the exploration of materials, techniques and visual elements.
The possibilities are endless and compelling.
The challenge is always in balancing the observed with the imagined, the controlled with the accidental, the familiar with the unknown, and in maintaining the integrity of that process."
- Jack Hicks
Drawings from Jack's sketchbooks:
Thursday 6th July - Tuesday 25th July 2017
Drinks Event Saturday 8th July 4-7pm
Thursday 3rd August - Tuesday 15th August 2017
Workshop on the Grand Pier Friday 4th August
Drinks Event Saturday 5th August from 11am with talk by Nicki about her work, 'Chasing the Light' at 2pm
Thurs 17th Aug - Tues 5th September 2017
Drinks Event Saturday 19th August 4 - 6pm
with a talk by Eammon about his work at 5pm
Eammon has lived in West Somerset most of his life; currently in Taunton with his family including three young children with mental disabilities. He has worked as a plasterer for 30 years but has always had an aptitude and enjoyment of art.
He was accepted to study Contemporary Art at Weston College and has just graduated with a BA degree. He will start a Masters and teaching degree there next year.
Eammon has recently exhibited in Taunton at Scrumpers and The Brewhouse, in Bristol at Centrespace Gallery, in Bath at 44AD and at various locations in Weston-super-Mare.
“Primarily a painter working with oils, I attempt to paint my culture; the people and places that have influenced and shaped my life form the basis for my work. Family, friends, familiar surroundings and personal objects all come together in bright, vibrant colour to help document who I am. Colour turns the sometime mundane, everyday existence into something beautiful." - Eammon Sully
Thursday 7th - Tuesday 26th September 2017
Drinks Event Friday 8th September 4pm - 8pm
Aleks with be painting live in the gallery on Saturday 16th September 10am - 4pm
"This exhibition brings together a collection of my dreams transferred onto canvas by brush and paint. I write about my dreams in my diary every morning and sketch them so I will remember them.
Visitors to the gallery will be able to see how colourful, fascinating and different dreams are. You can be in world full of fantasy, magic creatures and incredible places; and you probably are during every night’s sleep, but the magic trick is to remember those dreams in the morning and share through painting them what you saw with others. Some of the paintings are from my trips into deep meditation and Out Of Body Experience."
- Aleksander Nocny
Thursday 28th September -
Tuesday 3rd October 2017
Drinks Event Thursday 28th September 6-8pm
Watercolour paintings by Stephen Chapman and acrylic paintings by Roger Ellicott; selected to be shown together by LT Gallery for this exhibition. The artists did not know each other previously, and although Roger has successfully exhibited in other galleries and has been part of the North Somerset Arts Week more than once, this is the first time Stephen is exhibiting his watercolours.
Roger creates wonderful spaces in his paintings which often have a poetic presence, or set the scene of a narrative; lying somewhere between the real and imaginary. For this show we have included a selection of his paintings which derive from landscapes or trees to correlate with Stephen's, but the subject matter of his paintings varies. Stephen's paintings have their own feel or mood which is more ethereal; sometimes moving into abstraction.
Thursday 5th - Tuesday 24th October 2017
Drinks Event Sunday 8th October 2-4pm with Artist's Talk at 3pm
"I trained at Bath Academy of Art and have lived and worked in North Wiltshire as a teacher and artist for about 40 years.
I have exhibited widely in the UK throughout this time and my work is in many private collections.
My working process is driven by discovery rather than plan. This often starts when I find, by chance, an object, place, image or situation which resonates in some as yet indefinable way. Typically I will draw in 2D and 3D, paint, write about, film, sound record, and any other exploratory means to find some reasons for the attraction and to make some objectives.
Here are some elements and qualities which either typically influence or are included in my art : colour, people, questions, structures, mystery, ambiguity, paradox, nostalgia, humour, absurdity, solitude, process, openness, excitement, disturbance, pathos.
The drive to make art derives from childhood. When young all experiences are first experiences and therefore have the deepest and most lasting effect. As one grows experiences are increasingly repeats.
My outcomes are most often paintings, which may result from developmental work in drawing, collage, composition and three dimensions. They tend to be scenarios for interpretation rather than descriptions to be understood.
I constantly remind myself that art is so serious and life is so short that making art must be fun. Naturally fun has a price - routine and the rigorous practice of drawing."
- Paul Deacon
with Photographic Portraits of the Artists by Rupert Barker
Thursday 26th October -
Tuesday 7th November 2017
Drinks Event Saturday 28th October 4-7 pm
Dan will be painting live in the gallery during the event and there will be a video showing Jo's working practice
Dan and Jo work independently in their own studios in Malmesbury, but they have exhibited together before and chose to do so again for this show at LT Gallery. They join a tradition of artists who combine modern techniques with cultural or vintage references. Their approach to their work is skilled, clever and often humorous. Both artists have an intuitive appreciation of the ways our attention can be drawn to an object by changing or enhancing it.
Dan specialises in airbrushing, pinstriping and working with enamels. He will usually find, buy or be given a pre-existing (often manufactured) object such as a saw, LP, old metal sign or car/bike/trailer to work with. Jo might start from scratch for her tile work to realise an idea, or might equally be inspired by a found, bought or acquired object. Music and album cover art have provided source material for her most recent work.
Also in this exhibition are photographic portraits of the artists by Rupert Barker. They are part of his self-set 'Weekly Portrait' project, which is a beautiful collection of images of people he knows. Rupert studied fine art before specialising in photography and has his own business also in Malmesbury.
Thursday 9th - Tuesday 28th November 2017
Preview Thursday 9th November 7-9 pm
There will be a special late night opening on Carnival Night, Friday 10th November 6-10 pm
Ros will give a demonstration in the gallery of how she works on Saturday 11th November 2-4 pm
and an informal talk about her work on Saturday 18th November 2:30-3:30 pm
"Making art from discarded stuff, giving it a new and poetic function alongside paint and drawing materials is an immense pleasure, an adventure. Working with collage is like putting a disruptor in the mix. If I have an idea for a painting, collage can lead me on a merry dance before I get the painting resolved. It will provide accidental associations, colours, texture and so on, and will also challenge me to find a resolution to the visual problems I have generated which will lead to an unanticipated outcome. I like the way collage can inject energy, bite, humour and instability to both process and result."
- Ros Cuthbert
Videos from Demonstration by Ros on Saturday 11 November
Videos from Informal Talk by Ros on Saturday 18 November
Friday 1st - Tuesday 19th December 2017
Private View Thursday 30th November 7-9 pm
'The Wilder Shores of Watercolours'
Tuesday 5th Dec 8-9:30pm (arrive from 7:30pm)
A talk by David about his work and influences to include The Chicago Hairy Who and English Surrealism. The talk will take place in the Learning Room of Weston-super-Mare Museum. Tickets are £5 each and are available on the door or please contact us to purchase in advance.
"The paintings in this exhibition come from two periods in my career as an artist. The recent watercolours are from a series inspired by a visit to Coney Island, Brooklyn, New York. I saw this fun fair and seaside resort in the winter when it was deserted and snow covered which lent it a mysterious and magical quality. The empty rides and carousels became, in my imagination, scaffolding into which I could present figures from recent history and ancient myth. Coney Island became a site for lucid dreaming.
The older work from the late 80s and early 90s was not inspired by a particular place but are teeming with household vessels – cups, jugs, and teapots. Many are whimsical or play with the erotic suggestiveness of jugs, vases and kitchens.
Some paintings do refer to specific places, such as Lady Hamilton’s Column which shows a transformed Trafalgar Square. The Polish Bus Shelter was based on a collage that I made during the Polish Solidarity campaign of the 1980s. At that time one of my students, who was Polish, had mixed feelings about what was going on and I think I absorbed some of that ambivalence and expressed it in the work.
Ambiguity and openness to interpretation is common to both sets of work. I aim to avoid certainty and definite messages. The paintings are decorative souvenirs formed from the muddle of everyday life."
- David Cuthbert
Videos of David's Talk, 'The Wilder Shores of Watercolours' on 5 December 2017 at Weston Museum
David’s work is made by bringing together images and ideas from many different sources. It could be said that the resulting paintings form matrices of association. The paintings are also celebrations of the physical possibilities of technique and manual dexterity. Sometimes the starting point for a piece will be a collage from which a painting may evolve. Sometimes a sequence of drawings will develop, each leading to the next, the forms morphing and shifting: a drawing from a drawing from a drawing. His most recent painting, ‘Second Temptation of St Anthony at Coney Island’, went through a tremendous process including digital collage using Photoshop. The pink figure comes from a poster for a French film about the Foreign Legion. There is a wooden boy riding a bicycle which he found in the Brooklyn Museum. The interior space of the painting also derives from a massive room in the Brooklyn Museum which he has interwoven with elements from Coney Island. The section in the middle of the painting including the soldier and the fireworks comes from a paper collage called ‘The Assault’ made in 1983. The green and violet stripes result from consecutive transformations of a photograph of a nude model striped with the light from a venetian blind. The model is no longer discernible in David’s painting but the stripes were subtly altered in tone and colour using Photoshop. The source of the image of St Anthony which appears at the top of the painting was a Mexican engraving. David has transformed the grey net of the original engraving around St Anthony into gold.
The works in this show date from two periods: 1988-92 and 2013-17. They sit well together but there are marked differences to be seen. In the late eighties and early nineties, he was rather obsessed with all sorts of ordinary, everyday vessels: cups, pots, jugs, teapots. They were partly fun; you could do things with them. And they have strong erotic possibilities, for example La Dame aux Cruches, is a painting that could be seen as an inversion of Picasso’s anthropomorphic ‘Still Life with Pitcher and Apples’ (c.1920). In Picasso’s painting there is a curvaceous jug of austere colour with a saucer and a couple of apples on top of it which immediately looks like a female torso. David chose to title his painting in French as a nod to Picasso’s work. Another earlier work with a link to Picasso, which has not been exhibited before since David painted it in 1992, is ‘The Cubist’. A friend had given David copious collage material with which he was working at the time. He folded one piece so that the image of a horse’s head which was on the back came to the front. David decided to use that in the painting.
‘Nouvelle Cuisine’ was painted in 1990 but it comes from a painting David made in 1971 as a student which was shown in the Mall Galleries in 1972. It is the painting which has the longest trail in the history of David’s art. It evolved from a long series of drawings, the first of which was done from a photograph that his girlfriend (now wife) Ros sent to him. It depicted a little plastic nurse’s outfit, which she found in a comic, with a metal punctured dome used for flower arranging. From this unlikely origin a series of about ninety drawings were made, each one morphed from the previous one in a kind of graphic evolution. When the pots became the focus of his work he thought of these and went back to the drawings and used some of the imagery afresh. ‘Nouvelle Cuisine’ has two intersecting s-shapes in the bottom half, a phallic shape in the top left and a shield-like shape in the top right which derive from that early series of drawings. You could call the painting symbolic erotic.
The title for ‘Agony in the Kitchen’ is perhaps a slightly flippant reference to a painting by Arshile Gorky, an artist who has been a very big influence on David since his student days. What interested David about Gorky’s work is how his organic imagery played with ambiguity. There was some serious analysis of Gorky’s work in the 1980s when previously overlooked photographs of the interior of his house were looked at afresh by scholars who noticed how much they could be compared to his paintings. It became apparent that a lot of his paintings which were previously seen as erotic, esoteric fairy stories, he had made from abstractions of his front room. David found this liberating and humorous when he read about it and bolstered his analogous approach of refiguring domestic, everyday objects and interiors.
David and his wife Ros spent some months in Italy where he painted ‘Tuscan Fantasia’ in Fiesole and ‘Stage Set, San Gimagnano’. The composition of ‘Tuscan Fantasia’ echoes the church architecture of the area, also rows of cypresses are a common sight. The little Tuscan flag he saw at a festival. The picture references Roman Catholic iconography such as the Sacred Heart of Jesus, the little cherub, and the lilies David saw in the convent where they were staying. Another stay was at a monastery in St Gimagnano. Other guests there included members of the cast of Madam Butterfly, the stage set for which is depicted in David’s painting ‘Stage Set, San Gimagnano’ in front of the church. Towers behind rise into the sky like a Medieval Manhattan.
‘Counting House’ was made about the same sort of time and developed from a series of precise pencil drawings he was working on. He drew it up with similar precision and turned it into a painting. It is a combination of architectural elements and geometric pattern, and it is different from his other paintings in that it has no figures or jugs; it is a grouping of interior spaces. The patterns are rich, medieval-looking; possibly stores of wealth, and the title references the nursery rhyme, ‘Sing a Song of Sixpence’.
‘Limp White Bread’ is a motif about our industrial lives, with pylons in the background and the soft barely edible rubbish occupying the foreground is being cut with a beautifully engineered knife.
The lino cut ‘On the Shelf’ relates to three paintings of more or less the same image, which came from a nudie magazine figure superimposed into a kitchen-like environment complete with teapots and other vessels. One of the three, measuring around 70 x 90 cm, has since been sold. David likes playing with forms and sees the curious shape at the top right as a cross between the sun, a frying pan, a clock and a keyhole. There is a famous and notorious book; one of Picasso’s favourites, called ‘The Story of the Eye’ by Georges Bataille. Aside from the erotic thread of the book there are very strong recurring visual images: eggs, eyes, dishes – they reappear in different forms. You can see the relationship between them, but they are interestingly changed. This happens in two ways: through psychological association (something reminds you of something or makes you think of something); and/or producing an image which does become transformed into something else, or you actually see that happening as you look at it. This malleability appealed to Picasso as it does to David, although he doesn’t set out to consciously achieve particular associations in his work; it’s just what occurs and what he chooses to leave as he works. The buttock and thigh of the figure in ‘On the Shelf’ could also be a keyhole or phallic shape on the right-hand side. It wasn’t until looking at ‘On the Shelf’ hanging in his show at LT Gallery that David realised that the top of a teapot with its spout could also be read as an eye.
‘Green Tea’ is just a little composition with fairly recognisable objects: a large tea pot and small cups, a purple pot with blue squiggles which is based on a pot that one of David’s students made.
‘Lady Hamilton’s Column’ is a riff on Nelson’s Column with a transformed Trafalgar Square where teapots replace lions and jugs replace buses and the National Gallery is a heap of broken Formica. Lady Hamilton is standing shamelessly on one leg with a ribbon spiralling around it as a kind of celebration of feminine defiance.
‘Lamentation #57’ and ‘Lamentation #60’ are from a series derived from a drawing by Rembrandt, ‘Lamentation at the Foot of the Cross’, c. 1634-35. David spent about two years on the series using different media and combinations of media: pencil drawings, pen and ink, chalk, watercolours, acrylic and oil. The two in this exhibition are hung adjacent to three other paintings, which by coincidence all have Eastern European reference. ‘Kolo’ is Czech for bicycle. David lifted the wheel image from a pile of bicycles in a photograph by Czech photographer Miroslav Tichý. In the background there is a structure and a figure (just about visible on the right-hand side) derived from a Francesca Woodman photograph. The very limited colour in the work as a whole is loosely based on Tichý’s ‘palette’. His methods were very homemade and artistically very primitive. He made his own camera and enlarger all held together with tape. Many of his photographs were not fixed properly so they are stained with strange chemical colours, but are also quite beautiful.
‘Kolo’ was accepted and hung in the Royal West of England Academy ‘Drawn’ exhibition a couple of years ago.
The title for his work ‘Chemical Change’ is taken from the song ‘Rejoyce’ by Jefferson Airplane and is pertinent to the change David’s artistic process was going through when moving on from the Lamentation series, and also to the chemical changes which occur in developing photographs. Referencing the photographs helped to shake off the series and, although he was still using a similar pictorial space for the subsequent works. The black lines in ‘Kolo’ come from the Lamentations series. It is therefore interesting that the figure in the photograph he chose to reference by Francesca Woodman is a woman in a cage.
Hung between these two works is ‘Polish Bus Shelter’. At the time of the Solidarity campaign David had a Polish student who was able to tell him something about the tensions in Poland between the Communist authorities, the unofficial trade unions and the Catholic Church. David asked her why people reverted to the Catholic Church and she said that was the only place where they could hear the truth. Church-goers were able to exchange information among themselves. In David’s work, the bus shelter is a crappy piece of corrugated metal, juxtaposed with the vaulting of the Cathedral Częstochowa which he has turned upside down. The whole painting is a rather dubious icon of the period with a somewhat ghostly female head at the top and back of the picture and an allusion to Polish piety towards the ‘Mother of God’.
‘Hostages to Fortune’ is a work which has the complexity of his more recent Coney Island pictures, even though it was made much earlier. There is an aspect of Hypnagogia to it; from patterns and images which form and change behind closed eyelids prior to sleep. David has watched images in dense layers continually disappearing and reappearing and been fascinated by this phenomenon since childhood. At the time he was working on this image, he was looking at religious and political propaganda. Nationalism and national costumes, religion and flowing robes, communists and muscle bound workers are clichés that carry a lot of emotion. Traditional Scottish dress can easily be parodied, but he hasn’t done that with the Scotsman in ‘Hostages to Fortune’. He has split the figure into two; one with a gun on the right and the other in front of a group of figures who derive from a Mormon painting of the disciples of Christ. This second figure is the hostage and exists in the painting symbiotically as a shadow and shrouded presence. It is unknowable. It’s wrapped up but underneath it’s non-existent. So, the figure with the gun is threatening something that doesn’t actually exist. This is the only painting from that time in which David wrestles with a kind of religious theme. He says, ‘If I had produced it [‘Hostages to Fortune’] more recently, I might have made a connection with the American bible in one hand and a gun in the other...I don’t think that was what was in my mind then’.
‘Cerne Abbas Giant’ is a more simple painting, bringing together different elements with the well-known hill figure and one of David’s teapots.
‘Reading Allowed’ just happened into existence during a life drawing session and the title is a double entendre with reading aloud. It is not finished in the expected sense, but purposefully left to show initial bare drawing. The male figure with a pencil behind his ear seems either not interested or is just leaving the nude figure. It could be David himself, or the visual analogy of his decision to leave the work as it is?! He went on to make the painting ‘Quarter Past Four’ which is hanging next to it. Ros was David’s model for ‘Quarter Past Four’, having body-painted her with teapots and jugs first, as you see in the painting. The green teapot has a jaunty, sexual connotation and the same fish-shaped clock which is in the lino cut also appears. Although the view out of the window is fantastical, he would concede that it is very, very loosely based on Crook Peak.
There is ambiguity in ‘Boots Rap’ due to the crazy amalgam of David’s pictorial furniture coming together. In front of the heel there is a kind of candy twist and immediately behind is an arch and to the left of the candy twist is the hint of an arch but made insubstantial. There are two shoes, one small one more or less complete but the big one combines with an arch, a spoon and a strap with a buckle. The flying things are a reference to the surrealist novel ‘Les Chants de Maldoror’ (which was immediately banned when it was first published in France in 1871) by Comte de Lautréamont (the pseudonym of the Uruguayan-born French writer Isidore-Lucien Ducasse). André Breton insisted that new members to the surrealist movement read passages from it aloud in the café where they met. Isidore Ducasse was a teenager when he wrote it in Paris in 1868-9. His only other known writing is ‘Les Poésies’ which presents the reader with the complete contradiction to the blasphemy and black humour of Maldoror. The vaguely phallic flying things in the sky in ‘Boots Rap’ are a reference to the winged flying octopi in Chant 2. The teapot is almost unrecognisable – it looks more like a flower with a heart, perhaps the Sacred Heart of Jesus, at the centre.
‘The Brew’ relates to ‘Boots Rap’ and is very similar to the top section of ‘Boots Rap’ with the teapot, arch and flaming heart of tea drinkers.
Following on from this show, David is talking of a trip to Austria in order to make work based on its many wayside shrines.
Thursday 11 - Tuesday 30 January 2018
Drinks Event Sunday 14 January 1-4pm
Jamie Chapman lives in Weston-super-Mare and graduated with a BA from Weston College in the summer of 2017 following a two-year Foundation Diploma. He was awarded Creative Arts Higher Education Student of the Year 2017. He has an artistic soul; naturally finding beauty in the urban environment of Peckham, South London where he grew up. Camberwell College was at the end of his road and gave him a dream of studying art, which took a couple of decades to become a reality. In the meantime, employment on building sites involved practical work with metal, fasteners, plaster etc. Hospital ducting for instance needed to be clean and dust-free for its functional purpose, but new structures like that don’t have the same potential which Jamie sees in ugly, decayed, dirty, rusted objects and buildings. Things which are discarded or overlooked by most people; things which are part of, but get lost in, urban environments have meaning for Jamie. He is interested in how to give them a window, an audience, a different context; to somehow allow them to be seen as things of beauty in their own right.
He started using materials in his artwork which were waste or ready to be recycled, and materials which could rust or otherwise change their appearance and form in a chemical way. He found rusted incinerator dustbins down an alley at the back of someone’s house they had thrown away. He felt they needed to be given a different context as part of his artwork and had the idea of entering a finished piece to the Royal Academy Summer Show. It was accepted and got through the first and second round of the selection process. His work has also been exhibited through the Longford Trust in Church House, Westminster.
He has experimented with soaking nails in different solutions like salt water, lemon juice and coca cola. Salt water produced a warm autumnal colour which he chose to work with further. He uses whatever scale seems appropriate and has no apprehensions about making larger work. He has an intuitive and confident way of working with materials, allowing them to retain their natural appearance and properties, often intervening just enough to push them or combine them or change them or form them in ways which result as art. It is an interactive process in which he observes and learns from what is happening as he works. Huge canvases covered in white plaster combined with nails rusting into its water content create uniquely beautiful and poetic works which approach imagery but remain being the raw materials which make them up. Rusting metal cubes piled on top of each other are open to interpretation. They could be a representation of city tower blocks but there is no literal meaning. His experimental approach has lead him to make prints from the rust on metal plates and from dead leaves, to stitch bark onto paper and to make films. Ideas run parallel with experimentation and sometimes cross over in his work. These can be new ideas for minimalist work or more subject or pictorially based.
Thursday 1 - Tuesday 20 February 2018
Drinks Event Sunday 4 February 4-7 pm
‘Soul Reflections’ presents a selection of works by Norwegian artist, Anne Helene Ytreoy.
In 1973, aged 18, Anne Helene left her home town of Bergen for warmer climes, spending several years sailing the Mediterranean and Ionian seas before settling down to a new life in England.
Emigrating from Norway thwarted Anne Helene’s intentions to enroll at The Bergen College of Fine Art. Another 30 years would pass, consumed by travel, marriage and raising four children, before she fulfilled her artistic ambitions. After completing a two-year Foundation course in Art and Design at Weston College, followed by a three-year course in Fine Art, Anne Helene graduated with a degree in Fine Art in 2005.
After experimenting with different mediums and techniques, and a series of local exhibitions and bespoke commissions, today, Anne Helene’s art shuns preconceived subject matter or destinations. The content of each piece evolves only as the canvas takes shape. Driven by spontaneous emotional responses to the moment, Anne Helene’s work presents highly personal, sometimes uplifting, sometimes troubling, but always true reflections of her innermost soul. In more perhaps, than just a passing nod to her Viking heritage, every blank canvas beckons a therapeutic journey of exploration, destination unknown, until her emotions are spent.
Many of her abstracts represent strength, a sense of belonging, through a sharpness and clarity of form that borrow heavily from her Motherland’s clean, glacially-carved seascapes and landscapes.
Some abstracts are tempered with elements of realism, to convey the ever-present euphoria, despair and humour that life brings, a sense of family, sometimes broken, sometimes whole.
An odyssey into the emotions of the soul can be a lonely journey, with no final destination. As Anne Helene continues exploring new techniques and styles, ‘Soul Reflections’ is the latest staging post on a deeply personal journey.
'Awaiting', clay, 9 x 9 x 23 cm
Thursday 22 February - Tuesday 13 March 2018
Drinks Event Saturday 24 February 1-4 pm
After completing an Art and Design Diploma, Mari Em decided to study photography but changed to a BA in Fine Art because she felt like she wanted to make things. She worked with metal to start with and then in the first year of her degree made ‘Left Over’ using plaster, string, wire, cable and ink. This was the beginning of several works using similar materials - some of which you can see in her show, 'Ripped Apart' at LT Gallery. She is currently in her final year of the BA.
Although she might not know why she wants to make something exactly, ideas come to her of what she wants to make, and she usually knows exactly what each is going to look like before making it. She finds it contrived to force herself to make any preparations - be it sketches, maquetes or writing. She creates when she feels moved to; because she needs to, and the consequence of this is that her mood and energy at the time are transferred into what are very immediate and powerful works of art. She works quickly and is just making; it’s just happening naturally. She will usually finish a piece in a few hours or a day. Each one has a different, or different emotions. Each one is (an inner) her and is not trying to express something universal.
She does not feel the same way all the time as when she is in the process of making them. She has chosen particular pieces for this show because of the way they relate to each other. There is a disconnection between who she is generally and the strong emotions she sometimes experiences which inform her artwork. These can be stirred by memories of loneliness from when she was younger or by difficult life events. Many people have similar experiences but may be affected to a greater, lesser or different extent. It has been said that if you cannot explain something in words you may be able to express it in art – which is what she does. She is dedicated to, and serious about her art.
Her work is creative and not destructive. It shows an understanding of emotion rather than an outpouring of uncontrollable personal expression. Plaster, metal and wood are used in construction to provide structure and stability, but in her art, they become organic, visceral, burnt and fragile at the same time. She sees red as a strong colour in her work and black is not all about the dark side of life – she likes it. It was important for her that the work she was first making was life size. Their bodily presence conveys more than a mutilated physical reality; there is emotional meaning. This is not a new concept - the analogy of a broken heart to describe sadness or loneliness for instance has been around for over 3000 years.
Mari Em’s work has developed as she has progressed within herself and she has chosen to use clay for her newest work due to its more solid materiality. Her clay sculptures do not have the frayed or crumbling outline of her previous work; they are more defined and contained. She considered making them life size as well, but the lengthy and restrictive process involved would jar with her immediate way of working and produce work lacking in spontaneity. She is thinking about how to portray the soul in her artwork next – mind and feelings.
'Late Afternoon', Oil on canvas, 30" x 24"
Thursday 15 March - Tuesday 3 April 2018
Drinks Event Saturday 17 March 5-8 pm
Artist's Talk 'The Endurance of Landscape Painting'
Wednesday 21 March 6 - 8 pm at the Learning Space, Weston Museum
Chris grew up in Winscombe and after Art School in Bath and Norwich, has lived and taught in Weston for many years. He has exhibited in London, Bristol and North Somerset.
Whilst based loosely on locations in Somerset, Chris’s semi-imagined scenes are intended as a retreat into the fiction of a nostalgic rural idyll: a landscape of shadows; at dusk or in the cool morning light in which we might call to mind, birdsong or the wind rustling the leaves on a tree. Such a world is transient and insubstantial and so, in seeking to capture it, the specifics of a scene give way to shape, colour and pattern that remain in the mind’s eye after the detail has faded from memory.
Chris takes his cue from a variety of sources; notably 19th and mid-20th century British landscape painting. Although he employs all the tropes used at these times: water, sunsets, churches hidden among trees and paths leading into the distance, he remakes them by heightening the colour or altering the size and scale of objects and their shadows. In doing so, he is re-modelling various forms of Romanticism, in particular that which found a renewal in the abstracted forms of British painting, when the visual experience or sensation of a space became synonymous with its organisation. These connections will form part of the talk Chris will give at the Museum on 21st March.
The paintings in 'Indefinite Places' are not fixed by time or location: instead, a collection of transient moments are depicted within the same still image, each relying upon strong linear elements to fix them in the landscape. As such, the importance of drawing and composition is evident in Chris’s paintings and it is good to see a selection of line and tonal drawings alongside them.
Video of Chris's talk, 'The Endurance of Landscape Painting' in three parts
Videos of Chris talking about his work in the gallery 31 March 2018
'Mostar, Bosnia Herzegovina', Watercolour, 35" x 26"
Thursday 5 - Tuesday 24 April 2018
Drinks Event Thursday 5 April 5-7 pm
At the age of 17 Peter volunteered for the Fleet Air Arm and when his time on ‘reserve’ came to an end he reported to HMS St Vincent in June 1944. Peter trained in Canada to be a pilot with the Royal Navy. At 18 he got his ‘Wings’ becoming a Petty Officer and later a Chief Petty Officer. Peter attended St Paul’s Teacher Training College in Cheltenham from 1946-48 and took Art and Craft, Art, and Geography. After about 15 years as a Primary Teacher in all subjects, Peter felt he needed additional qualifications to progress and completed a Bristol University course achieving his Advanced Certificate in Education (ACE).
It was here Peter was encouraged to try 3D, initially stone and marble and then wood which he found very sympathetic and a pleasure to work with. Using very simple tools like a surform plane with a wooden handle, Peter started to work trunks and roots by hand. Some of these early sculptures are still in his possession and you can see them in this exhibition.
Peter has held various teaching roles in Essex, Gloucestershire and in 1965 gained a Headship at Milton Junior School in Weston-super-Mare, which he held for twenty years. Married and with a family, his wife sadly passed away four years ago and since then he has filled his time by returning to watercolours. Peter finds himself attracted to buildings and boats, often picking out patterns in what he sees. Initially working outside from life, he now works more from photos or images he has found. Peter’s watercolour technique is one which he has developed himself and which satisfies him greatly. He has a modest paint box and manages to get remarkable results out of it.
Harold Sayer ARCA RWA (1913-1993) whose works include etchings of the Rotunda at Cheltenham, was his art lecturer at college and instilled in Peter a life-long love of art. Barbara Hepworth was the encouragement for his wood carvings - “she was an inspiration” like Paul Nash. Some of his paintings could be likened to Edward Hopper’s watercolours such as that of Salcombe in Devon. He doesn’t reference any artists in particular however and creates his own original work. His watercolours are cleanly executed with keen choices of palette, which often lead the mood or light of each painting, although the decisive compositions and geometries are predominant.
Joan Dunne, Acrylic on Paper
Susan Underwood, Watercolour on Paper
Thursday 26 April - Tuesday 15 May 2018
Drinks Event Sunday 29 April 2-6pm including a talk by Joan at 3pm and an informal discussion with Susan at 4pm
LT Gallery selected artists Susan Underwood and Joan Dunne to be shown together for this joint exhibition. The artists have been brought together by LT Gallery to both contrast and compliment each other. Susan works primarily in watercolour and mixed media to create colourful works, while Joan uses acrylic on canvas to create realistic idyllic scenes.
Joan paints the places she would like to be and relates to; either well known or imagined. She is very much inspired by the Victorian and Edwardian period, Realism and painters such as Constable, Turner and Monet. She often includes water, boats and people; composing scenes intuitively.
Susan also works intuitively, drawing inspiration from various sources to create paintings. She likens her method of using paint to working in sculpture; treating elements in a
three-dimensional way, considering their environment and the balance and feel of the finished work.
Talk by Joan Dunne during the Drinks Event on Sunday 29 April 2018
Talk by Susan Underwood during the Drinks Event on Sunday 29 April 2018
Painting Demonstration by Joan Dunne on Saturday 5 April 2018
'Garden Remembrance', acrylic on board
Thursday 17 May - Tuesday 5 June 2018
Drinks Event Saturday 19 May 3-6 pm
Elsbeth was a Swiss citizen until the late 80's when she managed to become a member of the United Kingdom. This was rather a lengthy process due to her spending fifteen years in business in Jersey in the Channel Isles. The citizenship was not granted until the 80's, therefore she was treated as an alien all those years. She came to England in 1947 on a permit for a year but due to her involvement with an English family, with whom she became friends, she is still living here now at Cuckoo Paddock, Nempnett Thrubwell, where she is happy painting on her balcony. Pictures of times and places remembered.
Some of her paintings were bought during a local Art Weekend. About ten paintings went with her nephew to Basel where they were exhibited and sold two years ago.
For many years she has been a Friend of Bristol Art Gallery, and has been to many exhibitions in London, which helped keep her mind active to what is happening in the art world. Also she has felt keen to visit local gallery exhibitions and this has given her the inspiration to paint whenever time permits.
We very much hope you enjoy her exhibition at LT Gallery which includes thirty seven of her paintings, making use of an upstairs room for extra hanging space.
Thursday 7 June - Tuesday 19 June 2018
Drinks Event Saturday 9 June 5-8 pm including
Artist's Talk at 6pm
Over eighty vernacular photographs selected by the artist for this exhibition, which individually capture moments of visual interest and together reveal threads of ideas weaving between them. Taking photographic elements and the principles of photographic art into consideration, they explore the nature of light, paint, object/reality vs image, the image in relation to the flat picture surface of the photograph and the aesthetically pleasing.
The photos are taken spontaneously using a mobile phone camera and without preconception or staging; often while travelling and of the overlooked. Laura gained a foundation diploma from the Byam Shaw School of Art in 2001 and a BA in Fine Art from the University of the Arts, London in 2004. Dividing her time between work and various art projects since then, she ran an art collective for three years before setting up LT Gallery with Tomasz Piotrowski in 2016. Taking photographs is part of her art practice which is not limited to any particular media. She has exhibited work at the Phoenix Cinema, London, the Octagon Gallery, Bath, the View Gallery, Bristol and the John Bowen Gallery, Malmesbury.
Videos from the talk by Laura during the Drinks Event for her exhibition on Saturday 9 June 2018
Thursday 21 June - Tuesday 10 July 2018
Drinks Event Thursday 21 June 5 - 8 pm including Artist's Talk at 6 pm
Jacqueline paints every day and also writes poetry and makes music. Her preferred medium is oils, however health has meant she has been working more in acrylic; or oil on top of acrylic. Her work has recently explored the figurative; the figure and its relationship to space. Boundaries and walls have become a recent obsession. These have been on a relatively small scale and she is thinking of painting them on larger canvases. She likes being able to move paint around with the freedom of movement and gesture afforded when working on a large canvas. Weather permitting, she will put four crates on the ground out in her garden and lay a canvas on top to paint on.
She describes her work as an expressive reaction to, and an inner imaginative interpretation of, the environment and events around her. She says she always feels the desire to be as inventive as she can with each work.
Stories, poems, and folklore also play an important part in the process. Like a painting, each myth and legend takes on a new interpretation and comes alive in texture and brushstroke. Her paintings are often raw in colour and emotion but are not without humour or empathy with ordinary life. There are connections with nature, Greek mythology and the deeper emotions of the human condition. She doesn't always know what a painting will be about, although she will have ideas for each one from the outset. Sometimes the meaning will come about in the process of painting it or at the end. One of her paintings has to do with homelessness and vulnerability, but she has an uneasy relationship with it and is not quite sure of its full meaning even after finishing it. Having said that, she also knows when a painting has achieved all that she wants it to and she is particularly pleased with one of her paintings which has a lot of content, a jazzlike assemblage of balanced colours and reveals more the more you look at it. Her influences are many and include the Dutch Masters, Abstract Expressionism, the paintings of Karel Appel - all of life is food for her art!
Videos from Jacqueline's Talk during her Drinks Event on Saturday 23 June
Thursday 12 July - Tuesday 31 July 2018
Family-friendly kids' collage workshop with Sarah
Saturday 14 July 12-3 pm
Drinks Event Saturday 14 July 3-6 pm
Artist's Talk Sunday 22 July 3-5 pm in the Learning Space, Weston Museum, Burlington St, BS23 1PR
£5 tickets for this talk are available from LT Gallery or the artist directly - the exhibition & workshop are free for all to attend
#HILANG Airways welcomes you on-board.
This mixed media exhibition offers to take the audience on a journey through Sarah’s research-based practice and a process of learning to fly, photographically, which began over 10 years ago along Weston-super-Mare promenade.
This exhibition explores our changing experience and understanding of the photographic image, the human, the animal and the landscape, as they all seek to co-exist in the increasingly dualistic landscape of the physical and virtual environments. The changing experience of the landscape through programmes such as Google Street View, and the physical process of land reclamation, remain at the heart of her investigative yet playful practice, whilst she remains always conscious of one’s ability to get lost, of whether one can, and questions if this is still possible through technology and for photography?
The task of remaining ‘located’ is increasingly difficult for all and becomes the ultimate aim of any 21st century explorer. Through an ever-sensory relationship to the photographic image, the location of the image is brought into question offering numerous possibilities for engagement across multiple time zones with a disregard for Cartesian notions of time and space. In doing so the image today, has the chance to push the experience of it and the user to the very edge.
This playful exhibition offers an alternative visual and sensory journey whilst never leaving the ground. In doing so through photography, film and installation you are invited to have your boarding card ready, take your seat, and take flight to explore unchartered territories offering everyone the chance to reclaim land, locate the image or simply just get lost.
Video recordings of Sarah's Talk at Weston Museum on 22 July 2018
Banging the Drum, oil on canvas, 1100 x 1080 mm
'A Brave New World'
Thursday 2 August - Tuesday 21 August 2018
Drinks Event Saturday 4th August 4-7 pm including Artist's Talk, 'What Doing Does' at 5pm
This exhibition explores my process of discovering how by ‘doing’ the purpose for what is done becomes apparent.
The work on display documents this process from 2015 to the present day.
There are two aspects to the work. Firstly a series of landscape, still-life and portrait paintings all painted directly from observation (the ‘doing’). Following these there is a selection of current work that is concerned with our industrialised world, it’s relationship with nature, and explores an imagined world that we may be creating.
These last paintings are the result of the ‘doing’ part of this exhibition and my research into how we have, since the industrial revolution seen nature as a resource to be used to fuel apparently perpetual economic growth, and how the depletion of these resources will ultimately make this unsustainable.
It is this synthesis of practical experimentation, other areas of research, and my individual life experience that reveals the purpose behind ‘what doing does.’
This process has also had other unexpected consequences, it has revitalised and informed my interest in garden design, and I have started walking the 630 mile South West Coast Path with my partner and two dogs!
Videos from Ian's talk, "What Doing Does" during the Drinks Event for his exhibition on Saturday 4th August 2018
'Blue and Black No. 1', mixed media, 29 x 28 cm
Thursday 23 August - Tuesday 11 September 2018
Drinks Event Saturday 25 August 4 - 7 pm including Artist's Talk, 'Life in the Studio' at 5 pm
This exhibition shows several series of experimental paintings I have been making over the past year. It is about combining colours, shapes, marks, and surfaces to achieve a dynamic, exciting or interesting image. Following an instinctive rather than a planned method of working, I work impulsively, taking risks, composing as I go along. I find it exciting putting things together randomly and seeing what emerges. Quite often, disappointing next day, but always a constant fascination.
This use of found materials is a method which goes back to my MA project a little over 10 years ago, in which my degree show featured a painted palings fence called “Rhythm” hung against the white gallery wall. Other work at that time used pieces of wood or metal to make minimalist type sculptural pieces.
Sadly, due to lack of storage no longer with me. At present I am retrieving those ideas and developing new ways of using old bits of fabric, canvas, paper, wood and so on.
I also make paintings on canvas. Since acquiring a new and bigger studio a few months ago I have been engaged on several diverse ideas concurrently, and I enjoy the variety of pursuing different things according to the mood of the moment.
Although painting most of my life, it was in the early 2000s that I did formal college training and achieved a BA(Hons) Fine Art degree followed by an MA in 2007. During my working life before that I was a Sunday painter, showing many of my landscapes in local galleries.
I live in Colchester, Essex and work in a new studio in the garden. Previously I was an artist tenant for 10 years at Cuckoo Farm Studios in Colchester, where I made many artist friends and contacts and got to know the local art scene.
Videos from Brenda's Talk
Thursday 13 September - Tuesday 2 October 2018
Drinks Event Sunday 16 September 3-6pm
with Artist's Talk at 4pm
“Averted vision is a technique for viewing faint objects which uses peripheral vision. It involves not looking directly at the object, but looking a little off to the side, while continuing to concentrate on the object.” - Wikipedia
Roger is self-taught, and his medium of choice is Acrylics which he loves for their vibrant colours and quick-drying properties. Although he dabbled with painting at school, where he obtained an A level in Art, he never really got to grips with it.
That is until 15 years ago when, after a chance remark, he picked up a painting brush and began to paint in earnest. Since then he has been exploring and interpreting the world around him through the medium of Acrylic paint and his “have a go” mentality has resulted in a diverse range of pictures.
Although his inspiration comes from the world around him it is not a direct copy of reality but something a little to the side of it. Like painting an object seen in the corner of your eye, the possibilities of what it is or might actually be are endless. It is only when you turn to look directly at the object that it’s form becomes concrete and what has been created may only have a passing resemblance to it.
Pineapple, acrylic on paper, 28 x 33 cm (framed)
“Painting is like going on a journey. When you set off you have a set destination in mind, but on the way, you make a few diversions and end up in a completely different place.” – Roger Ellicott
Artist's Talk by Roger Ellicott on Saturday 15 September
Untitled, acrylic on canvas, 90 x 76 cm
Thursday 4 October - Tuesday 23 October 2018
Drinks Event Saturday 6 October 3 - 6 pm
with Artist's Talk at 4pm
For all of us there is a certain uncertain space in our memory that we (often subconsciously) yearn to return to. The sense that somehow we're not quite at home niggles at even the otherwise happy soul. It comes from a moment before language, in earliest childhood, when some door or other was literally or metaphorically opened for us onto a scene of transcendental delight that enthralled us and enthrals our thoughts for the rest of our life, but which we can never quite name.
So that a certain arrangement of colours, a certain smell, a specific confluence of paths, the texture of sand, the glint of something or other at the corner of one's eye, the mesmerising quality of light faceting water, a golden glow, a blue shadow, a bird's call - something, somewhere sits at the very centre of our mind, like a limpid pool of light, beguiling us dishevelled exiles from our first intrauterine home. Some of the paintings here attempt to describe that space and journey.
They say I was born in Glasgow just after the end of the great conlonial war, when everything was coloured khaki and nothing cost much more than life, if there was anything to buy at all. (I once heard about a pomegranate, but I never believed it). A very long-haired student at the Glasgow School of Art sometime in the sixties, I learned perseverance and an unrequited love of drawing. It has just been one damn thing after another since then, though I seldom ever exhibit nowadays.
Videos from William's Talk on Saturday 6 November
Apologies for the incorrect orientation of this video which will be rectified as soon as possible
The Big Draw at LT Gallery
Thursday 25 October - Tuesday 6 November 2018
LT Gallery invites you to be part of our two-week Big Draw event to encourage creativity and
bring the wider community of Weston-super-Mare and beyond together through art and drawing.
The Big Draw was founded in 2000 and is the world’s largest drawing festival. Events take place around the world from September to November and this year LT Gallery is taking part...and you can too! Everyone is invited to join in and draw, doodle, sketch, paint or just make marks with meaning, as we celebrate the importance of drawing and of visual literacy. Find out lots more including other venues which are taking part at the Big Draw official website thebigdraw.org
Please click on the poster image to download a copy
Who can participate? Anyone! Everyone from professional artist to those who have never drawn before are encouraged to take part. All entrants will receive a certificate of participation.
How much is it to take part? Its free! All submissions to The Secret A5 Art Show can be made for free and if your artwork sells, you will make 70% of the sale price. Voluntary contributions towards use of the materials and space at LT Gallery will be appreciated if you would like to drop in and create. We have A5 sized cartridge paper to use for entries to The Secret A5 Art Show.
What medium can I use? Any creative process is encouraged in any media or combination of media including photography, graphics, pencil, pen, crayon, oil, acrylic, mixed media etc.
What size does my artwork have to be? A5 is a standard size (a piece of A4 paper folded in half) chosen so that we can display as many works in the gallery as possible! We ask that your artwork has your signature, media used to create it and name clearly printed on the back (no signatures or names on the front please) along with your preferred contact details. Experimental, preparatory, warm-up, try-outs not being submitted to the show can be any size!
Why anonymous? To keep in the spirit of the fun, playful Big Draw Festival we are inviting everyone to participate anonymously so the works are appreciated independently of age, experience, etc. We will not be revealing any of the artists’ names with the work until an artwork sells - only then will the artist’s identity be revealed and only to the buyer.
Will I get my artwork back? All artworks submitted to the gallery will be put up on display as we receive them throughout the two-week exhibition period - up to three entries per person, at the discretion of LT Gallery and space allowing. All artworks will be for sale at the same price of £5 each. If your artwork sells, we will contact you to arrange payment. If your artwork does not sell, it will be available for collection from 4pm on Tuesday 6th November from LT Gallery.
Will I get the money from my artwork selling? Anyone who displays their work and has a piece sold will receive 70% of the commission (£3.50) and the gallery will take a 30% commission (£1.50). All sales profits will be made to the artists after the exhibition closing date.
When is it running? LT Gallery will start displaying the artworks from Thursday 25th October. Submissions are accepted any time up until 4pm on Saturday 3rd November and we encourage both groups and individuals to start drawing now! Sunday 4th November is LT Gallery’s Big Draw Event Party running from 2pm to 4pm for everyone to come and see all the work up.
Will my artwork be put up in the gallery? We aim to display all artworks submitted up to three per person but hanging will be at the discretion of the gallery. Please do not frame or mount your work – we will carefully fix your artwork to the wall for you.
How many artworks can I submit? There is no limit to how many artworks you can submit, however we will only display up to three works per person space allowing.
Each workshop is £5 per person and £3 per additional family member. All materials will be provided. There are ten places available per workshop so please book in advance to avoid disappointment. Bookings can be made either in person in the gallery or through email at LTgallery@hotmail.com. All ages are welcome but children under 16 must be accompanied by an adult.
Workshop One with David Cuthbert
Thursday 25th October 5pm - 7pm
Artist David Cuthbert (Dip AD, ATD) has been practicing and teaching art since leaving college in 1974 and is offering a two-hour workshop focusing on drawing for all ages. This workshop will explore using unconventional materials in the process of designing your own illustrated letter.
Workshop Two with Andrea Oke
Experimental and Memory Drawing
Saturday 27th October 10:30am – 1pm
Use your mind like a camera! Fun & informative workshop with Andrea Oke, an experienced multi-disciplinary artist whose work is linked to storytelling and the preservation of memories.
Workshop Three with Gail Mason
Trace Monotype and Collage
Sunday 28th October 10:30am – 1pm
A creative and experimental taster session exploring mark-making with oil-based trace monotype. Trace monotype printing is a simple low-tech process that can be done without a printing press. It has a fuzzy line quality and can be quick and expressive. This two-hour workshop will give you an insight into the process which will give a lively interpretation of your drawings. Collage, textural marks and lines are used to create unique images.
Workshop Four (Morning) & Five (Afternoon) with Paul Deacon
Drawing on the Right Side of the Brain
Saturday 3rd November 10am – 12:30pm and 1:30pm – 4pm (each with half hour break)
Release your creativity through drawing! These hands-on workshops will take you through drawing exercises that are used by artists such as continuous line drawing, blind drawing, drawing with the hand you wouldn’t normally use, speed drawing… The afternoon workshop will cover similar exercises to the morning workshop, leading to focus on drawing from the imagination and working on A5 scale with the same energy and approach as working bigger.
You can book to attend just the morning, or just the afternoon, or both workshops.
• A5 Artist Quality Cartridge Paper
• Big Draw Stickers
• Certificate of Participation
• Learning Through Drawing Guide
• Artist-written Drawing Workshop Guide
• Your Artwork on Display at LT Gallery
• Suggested Material Guide
Workshop Packs and Prices:
Workshop packs can be collected and paid for at LT Gallery (located in Weston Town Centre). Costs just go towards pack contents and with each pack including everything listed above, you will have all you need except your chosen art materials to get you started and teaching your own Big Draw workshop! Please contact us in advance to arrange pack preparation and collection email@example.com or firstname.lastname@example.org
£5 for a group of 20 or below
£10 for a group of 40 and below
£15 for a group of 50 and below
Helen Nock and Sinclair Taylor
Thurs 8 November - Tues 27 November 2018
Drinks Event Sat 10 November 2-5pm including a brief introduction to their work by the Artists at 2:30pm
Taster Session Workshops at the Old Town Quarry for 16 & over on Sat 17 November
Make and fire with Sinclair Taylor 10:30-12:30
and make with Helen Nock 12:30-2:30
£15 per workshop per person for up to five people including materials and refreshments
The Rowan Tree Tea Room will be open
Marks, makers, mindful, memories, journey
- Sinclair Taylor
Experiment always...organic, intuitive motion.
Walks along the shore to see what the tide rolls up.
Paint and draw in between.
- Helen Nock
Helen Nock’s furniture and sculpture emerges from a balanced relationship between finding and imagining. Her work needs to be planned and functionally feasible, but her highly individual surfaces are inspired by memories, thoughts and feelings; ideas evoked and the actual materials she is drawn to. Helen grew up immersed in rural and coastal environments, in the old ways of make-do-and-mend and deeply connected with nature. The details and remembered joys and challenges of those experiences, a practical intelligence and love of ancient, weathered, ambiguous objects, architecture, and slower hand-driven technologies are all reflected in her work. The majority of the 3D surfaces are formed slate reclaimed from local Somerset yards and Cornwall, sea-worn glass, ship-wrecked pottery, durable metal, and anything else interesting she acquires. She also uses stained and slab glass for special effects.
Helen’s background is in painting. She gained a BA Honours degree in fine Art as a mature student, and prior to that she was a self-taught ceramicist. Higher education unexpectedly opened a door to teaching for a number of years before embarking on her full-time practice.
Helen’s studio is based at the Old Town Quarry in Weston Super Mare. And it is there, whilst establishing a direction for her practice, she undertook a year’s apprenticeship with the Quarry’s resident professional blacksmith, Nathan Bennett.
A combination of mixed media and metal for out door work naturally followed and she now commissions Nathan to make her bases and armatures. Helen’s work is in private collections across Europe, Canada and the US. She participates in one or two good exhibitions a year, and private commissions form the bulk of her patronage.
She also runs workshops from her studio.
Helen and Sinclair introducing their work in the gallery on 10 November 2018 during their Drinks Event
Thursday 29 November - Tuesday 18 December 2018
Drinks Event Saturday 1 December 3-6pm
Dan Bryce creates art using mixed media. He is interested in patterns found in the natural world both microscopic and macroscopic and uses these as source material. He is also influenced by phosphene patterns, tribal art, Japanese art and modern art especially Surrealism and Abstract Expressionism.
He works in an intuitive approach utilising the accidental, experimenting with media including ripping, cutting and bending paper and canvas and also splitting layers of pages open to reveal different textures and bled through inks. He is interested in portraying glimpses into alternate fantasy universes contrasting with maximising awareness of the specific material's contexture mixing the sublime and mundane.
Thursday 12 January - Tuesday 12 February
A collection of work previously exhibited in the gallery by artists who had their own show with us
A-Level Creative Pathway
Thursday 14 February - Tuesday 12 March 2019
Private View Sunday 17 February 1:30-4pm
A-level students at Weston College taking the Creative Pathway present an exhibition of their work, which LT Gallery is grateful to have seen in progress and discuss with them in the run-up to their show.
The young learners navigate through masses of potential influences and information available in today's world, learning skills, techniques and an understanding of art history under the guidance of course lecturer Nicola Stent.
For this show they have created exhibition-ready work which is uniquely their own in a short space of time. With the benefit of the facilities and materials available at Weston College, you will be able to see original prints, self-developed film photography, digitally created imagery, cast sculpture, painting, drawing and more! Their work is inspiring and demonstrates an astute approach to creativity.
A Somerset Sunset
This piece is inspired by the beautiful sunsets we often get in Weston, the vibrant shades of magenta and burnt orange blended with the beautiful clouds on the edge of the horizon. This piece captures the pinacol of the perfect Instagram-able moment where the sun is just about to dis-appear below the sea. I have a love and passion for classic art, therefore I wanted to create a series of landscapes personal to me.
The Steep Holm Islands
This painting is a landscape including the two steep holm islands, I decided to paint these because they represent the personal side of my art. Having Lived in Weston for the majority of my life, I see them as quite an iconic and recognisable part of our seafront. I wanted to create a fun aesthetic to the islands, incorporating my unique style of painting with use of bright colours and expressive brush strokes. Taking inspiration from the brilliant classic painters like Van-Gough and Monet.
Weston Winters Sunrise
The Grand Pier is an iconic tourist attraction for Weston and puts our small seaside town on the map. The pier has huge history in Weston super mare with grand Victorian architecture and tragic disasters, it’s a big part of the town. Therefore, I wanted to paint it. The pink, purple and blue shades are very relaxing, a mini escape. To me that’s what art is, escaping everyday normality and expressing yourself.
Brash Grand Pier
“Expressing the insanity, creativity and wildness of my thoughts” This painting truly shows my personality, I wanted to create happiness, something that brightens your day when you walk past it in the morning. I have a love and passion for creativity which I am proud and honoured to be able to express in LT Gallery.
After investigating many different art styles, I have decided that the Hockney-meets-Burgess style, is the one for me. I love the block colours and how they are so effective, yet so simple, and I love the cartoony, yet professional appearance that the art presents. However, to make this piece my own, I needed to do something different, something more ‘me’. I wanted to make people do a double-take on my work and look a bit closer. This is why I added the optical illusion inspired road. I really like the way the black and white blocks contrast with the brighter colours used on the buildings, and how it is so different to the florescent, bright trees, yet they match beautifully.
So why don’t you focus on the illusion and see what you find?
I practice photography because I like being able to take a moment in time and freeze it, to capture the momentum of an action. I also like the aspect of being able to capture anything and everything at a moment’s notice. The piece displayed is part of a 70s inspired shoot, which is apparent in this photo due to the over-sized sunglasses. I decided to sew into my work to create more of an obvious focal point. I did the starburst pattern in bright colours to link in with the psychedelic art of the 70s.
After changing my idea surrounding African tribal art numerous times, I finally decided to produce a piece I've been wanting to do for a while- an animal's head on a doll’s body. I bought an unwanted doll on eBay and after using its head as a planter, took it off and replaced it by juxtaposing the body with my clay lion head. It was refreshing knowing that it has been loved, reused for different purposes and perhaps even passed along to different people before me. Using clay as my main material has strong connections to African culture and reminded me of how pottery reached central Africa in 900AD. This also reminded me of my love and passion for African aesthetics, hence my recreation of my favourite shirt.
Nicola Stent, Creative Pathway course leader and Dr Paul Phillips CBE PhD DLitt EdD, Principal and Chief Executive of Weston College welcoming visitors to the exhibition during the Private View on Sunday 17 February.
My work is inspired by Glam rock and all things unusually and chaotically beautiful. The objects hidden in my work allow you to treasure every detail but enjoy the bigger picture. At a glance the use of acrylic and pen create a busy atmosphere. However, when you explore further the lines create a calm and relaxing energy.
“Secrets aren’t secrets. They are just hidden treasures, waiting to be exploited.” - Stephen White
I was inspired by the ethos within my own friendship group, who all have different styles, within these images and used one of my best friends as the model. In the 19th century, pink was viewed as a masculine colour while blue was viewed as a feminine; today that has been reversed.
Why limit a girl to be feminine? A boy to be masculine?
My photographs lack colour which allows the viewer to see past the role of colour in gender and expectations and chrysanthemum often symbolises loyalty and friendships.
My inspiration for these pieces is my adoration for travelling and the idea of adventure – mainly adventuring through cities and landmarks, particularly during night time to see the glowing of streetlights, and one artist that has inspired me is Agnes Cecile, who is a watercolour artist who posts her work on the art website DeviantArt. The media I work with is ink spreading on sketch paper. I chose ink spreading because I love how the ink spreads through the water on the page like a tourist getting through a crowd in a foreign, popular city like Venice. My main theme in my collection is countries and cities; here, I’ve taken images of Venice, London, Greece, Japan, and New York City and drawn them, then coloured individual parts by outlining with fine liner and brushing water onto the lines and into the area being painted with a thin brush and allowing the colour to spread.
Typically, the mediums that my work remains within is mixed along with surrealist/distortion painting, as distortion can represent many different meanings in a piece. Such as in my modern works they represent a distorted vibrant female figure leaving questions with the viewer; what is beauty? To create this piece, I made a laser cutting of a previous drawing made on a digital illustration programme. Then painted into the indentations- using acrylic paints- on the laser cutting to create depth into each line in this piece to make them appear as veins. Hence the blue figure and red background as these are the two symbolistic colours of blood. Throughout I used the creation of this as a stress reliever. As the continuous lines in the drawing process distracted my mind from the busy atmosphere around me, as I would be solely focused on the lines and form of the body.
Art is my passion, so my pieces reflect that with my love on how “Dia de los Muertos” (Day of the Dead) celebrates a morbid topic in a colourful and energetic way by remembering loved ones. I loved the bold patterns and eye-catching colours that people wear and I wanted to display the beauty and love of this Mexican holiday. I used watercolours to achieve layers of colour and depth to the faces and acrylic to create texture and a bold colour. All the backgrounds link together with the stamped design that I made inspired by Mexican patterns and tiles.
My artwork is a galaxy background with different parts of the world on top then forming into a mask in the central piece. In the artwork there are two different types of processes using paint, one is screen printing and the other is a sponging technique. Both techniques give off different outcomes, the sponge can give a textural feel to the piece and the screen printing give a fabric look towards it.
The meaning behind my work is that it shows how much of the world is falling apart because there are only a couple of countries shown in the mask but most of them look like they are beginning to crumble away. My intention of the piece to show awareness of the world and everything that is happening.
When making my artwork, I looked at a range of artists to find out what I wanted to create and I then found the artist, Anna Koliadych, who does galaxy pieces in water colour which however I changed to using acrylics as it would add more colour. Her work looks more of a fantasy type of look which I really liked about the art piece.
This piece was inspired by the French artist Francoise Nielly, applying vibrant and colourful paint to create close up, abstract portraiture. The messy application, creates a cluttered and disordered appearance, highlighting how art doesn’t have to appear pristine to be appealing. The overall aesthetics of this painting was enhanced by using acrylics and palette knives, creating a raised texture and adding to the vibrancy within the colours. The harsh strokes creates movement and definition, adding to the geometric and surreal tone. Despite the disorganised, uneven composition a positive tone is created by the intense colour palette used.
My artwork has been influenced by an artist called Danny O’Connor.
My work has been made using mainly Acrylic paints. I use this paint because I find it easier to use and the colour stands out more than what watercolour does.
Before starting the project, I had never painted before, so I gain the opportunity to learn about methods which make drawing and painting easier, and also how to make a range of shades from only using primary colours.
I chose O’Conner for my reference as I like the fact that his art work isn’t perfectly executed, but you can tell what the image is of and that models are still the main part of the painting.
For my work, I used O’Conner’s style, but made it my own, by not covering the face too much and making the face be the only part to have bright colours, for it to stand out.