Helen de Sybel: Borders. 25 June – 8 July.
Highgate Gallery is pleased to host Borders, an exhibition of paintings by Helen de Sybel. Working in acrylic, oil, collage, charcoal and mixed media, she creates intense and forceful images, with an emphasis on the figure depicted in landscape or cityscape. Colour, dynamic line and challenging themes forge a powerful connection with the onlooker.
Borders first grew out of a deeply felt reaction to the plight of the refugees in the ‘Calais Jungle’ (2016). Through the medium of oil paint and collage she references the conditions of war and displacement that have driven many of these individuals and their families from their countries of origin to seek a better life.
“In this body of work, I have become interested in the separation between the figures which struggle to remain ‘whole’ and the surrounding hostile and unstable landscape in which they find themselves.”
The characters who populate these canvasses are highly ambiguous, in singles and in pairs, sometimes running, sometimes hiding or following or being followed. Much is left open for the viewer to interpret in these charged, vital, expressionistic works.
As the series evolved, Helen has continued to delve into the interior world of metaphorical boundaries, of transgressions and borders crossed, of personal alienation.
About the artist Helen de Sybel studied Art History in Italy and went on to train at Harrow and Camberwell School of Art where she gained a BA (hons) and was selected as part of Christie’s Pick of the Graduates. She works from her studio in East London and exhibits regularly with galleries and as part of the Shoreditch Community. She is currently Artist in Residence at St Martin`s Church, Gospel Oak, London, where she will be exhibiting an installation of twelve paintings based on the Old Testament.
Recent exhibitions include Works on Paper at the Shipton Gallery, and British Paintings II at the Project Space, Bermondsey. Major projects have also included a series of collages based on Milton’s Paradise Lost, now in private collections in the UK and the US, and Urban Journeys (oil and mixed media), an exploration of the human condition depicted through uncertainty and isolation.
Gallery Talk: 6 July, 3.30-4.30pm The artist will talk about the background to, and evolution of her work, including her techniques. Chris Brice, Chair of the London Churches Refugee Fund, will discuss the work of this important charity, which will receive 30% of all artwork sales (www.lcrf.org.uk). To book tickets: www.hlsi.net/highgate-gallery.
For further information please contact: helencdesybel@yahoo.com
Website: http://www.helendesybel.co.uk
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Gallery Talk: 6 July, 3.30-4.30pm
The artist Helen de Sybel will talk about the background to, and evolution of her work, including her techniques. Chris Brice, Chair of the London Churches Refugee Fund, will discuss the work of this important charity, which will receive 30% of all artwork sales (www.lcrf.org.uk).
To book tickets: www.hlsi.net/highgate-gallery.
Helen de Sybel: Borders. 25 June – 8 July.
Highgate Gallery is pleased to host Borders, an exhibition of paintings by Helen de Sybel. Working in acrylic, oil, collage, charcoal and mixed media, she creates intense and forceful images, with an emphasis on the figure depicted in landscape or cityscape. Colour, dynamic line and challenging themes forge a powerful connection with the onlooker.
Borders first grew out of a deeply felt reaction to the plight of the refugees in the ‘Calais Jungle’ (2016). Through the medium of oil paint and collage she references the conditions of war and displacement that have driven many of these individuals and their families from their countries of origin to seek a better life.
“In this body of work, I have become interested in the separation between the figures which struggle to remain ‘whole’ and the surrounding hostile and unstable landscape in which they find themselves.”
The characters who populate these canvasses are highly ambiguous, in singles and in pairs, sometimes running, sometimes hiding or following or being followed. Much is left open for the viewer to interpret in these charged, vital, expressionistic works.
As the series evolved, Helen has continued to delve into the interior world of metaphorical boundaries, of transgressions and borders crossed, of personal alienation.
About the artist Helen de Sybel studied Art History in Italy and went on to train at Harrow and Camberwell School of Art where she gained a BA (hons) and was selected as part of Christie’s Pick of the Graduates. She works from her studio in East London and exhibits regularly with galleries and as part of the Shoreditch Community. She is currently Artist in Residence at St Martin`s Church, Gospel Oak, London, where she will be exhibiting an installation of twelve paintings based on the Old Testament.
Recent exhibitions include Works on Paper at the Shipton Gallery, and British Paintings II at the Project Space, Bermondsey. Major projects have also included a series of collages based on Milton’s Paradise Lost, now in private collections in the UK and the US, and Urban Journeys (oil and mixed media), an exploration of the human condition depicted through uncertainty and isolation.
Gallery Talk: 6 July, 3.30-4.30pm The artist will talk about the background to, and evolution of her work, including her techniques. Chris Brice, Chair of the London Churches Refugee Fund, will discuss the work of this important charity, which will receive 30% of all artwork sales (www.lcrf.org.uk). To book tickets: www.hlsi.net/highgate-gallery.
For further information please contact: helencdesybel@yahoo.com
Website: http://www.helendesybel.co.uk
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Helen de Sybel: Borders. 25 June – 8 July.
Highgate Gallery is pleased to host Borders, an exhibition of paintings by Helen de Sybel. Working in acrylic, oil, collage, charcoal and mixed media, she creates intense and forceful images, with an emphasis on the figure depicted in landscape or cityscape. Colour, dynamic line and challenging themes forge a powerful connection with the onlooker.
Borders first grew out of a deeply felt reaction to the plight of the refugees in the ‘Calais Jungle’ (2016). Through the medium of oil paint and collage she references the conditions of war and displacement that have driven many of these individuals and their families from their countries of origin to seek a better life.
“In this body of work, I have become interested in the separation between the figures which struggle to remain ‘whole’ and the surrounding hostile and unstable landscape in which they find themselves.”
The characters who populate these canvasses are highly ambiguous, in singles and in pairs, sometimes running, sometimes hiding or following or being followed. Much is left open for the viewer to interpret in these charged, vital, expressionistic works.
As the series evolved, Helen has continued to delve into the interior world of metaphorical boundaries, of transgressions and borders crossed, of personal alienation.
About the artist Helen de Sybel studied Art History in Italy and went on to train at Harrow and Camberwell School of Art where she gained a BA (hons) and was selected as part of Christie’s Pick of the Graduates. She works from her studio in East London and exhibits regularly with galleries and as part of the Shoreditch Community. She is currently Artist in Residence at St Martin`s Church, Gospel Oak, London, where she will be exhibiting an installation of twelve paintings based on the Old Testament.
Recent exhibitions include Works on Paper at the Shipton Gallery, and British Paintings II at the Project Space, Bermondsey. Major projects have also included a series of collages based on Milton’s Paradise Lost, now in private collections in the UK and the US, and Urban Journeys (oil and mixed media), an exploration of the human condition depicted through uncertainty and isolation.
Gallery Talk: 6 July, 3.30-4.30pm The artist will talk about the background to, and evolution of her work, including her techniques. Chris Brice, Chair of the London Churches Refugee Fund, will discuss the work of this important charity, which will receive 30% of all artwork sales (www.lcrf.org.uk). To book tickets: www.hlsi.net/highgate-gallery.
For further information please contact: helencdesybel@yahoo.com
Website: http://www.helendesybel.co.uk
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Gallery Talk: ‘From the Olduvai to the HLSI’. 11 July, 6-7pm including questions.
Cuillin Bantock will talk about his show, ‘Hiraeth’ (10-23 July) and how his own work relates to that of earlier painters.
To book tickets: www.hlsi.net/highgate-gallery.
Free to HLSI members though donations welcome. £5 to non-members.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Cuillin Bantock – Hiraeth. 10-23 July 2021
Described by Bantock as ‘a summation of over fifty years of painting’, most of the work in this wide ranging exhibition is new, and seen here at Highgate Gallery for the first time. The pastel drawings and watercolours were made during the lockdowns of 2020 and the oil paintings this year.
The exhibition falls broadly into three categories. The landscapes are in part duneland ‘plein air’ studies in conte or black ink, based on the Harlech Morfa duneland in North Wales, and part non-depictive acrylics and watercolours, also based on maritime Harlech. The third category is made entirely from memory; chalk pastel drawings of Harlech Morfa and gouache paintings of Barnt Green, the Worcestershire village where the Bantock family lived when not in Wales.
All the work conveys a sense of ‘hiraeth’, a Welsh word which cannot be translated exactly, but implies an absence, a longing for homeland that can never be resolved. The external and interior landscapes, whether depictive or abstract, are never nostalgic, but always rigorous in their mark-making, interrogating the ambiguous balance between form and shape, light and space, representation and abstraction. The studies show the gradual simplification of an aesthetic; as Bantock himself once commented, “possibly echoing the composer Chopin’s 1848 remark, ‘Simplicity is the final achievement’.”
Though retaining strong links with his native Wales, Bantock is based in Crouch End and has shown at numerous exhibitions in UK, Canada, USA and Italy. He was Director of the Art in Perpetuity Trust from 1995 to 2015 and has contributed to many art publications as well as being the author of books on Cytogenetics and Evolutionary Ecology, having trained originally as a zoologist. His work is in private and corporate collections in UK, France, Germany, Japan, Australia, USA, Canada, Pakistan, Greece and Mexico.
Bantock’s recent autobiography, ‘Landscapes in the Grain – Recollections of a Zoologist-Painter’, is published by First Servant Books.
Further information: cuillinb@yahoo.com. www.cuillinbantockpaintings.com
Catalogues will be available at the show.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Penny Elder’s exhibition, ‘Beyond Confinement’, gives expression to her feelings during the past year or more of lockdown and the consequent longing for social connection again. Her experience of this troubled time is depicted in a series of acrylic paintings and collages of ‘Lockdown’ and a series of screenprints entitled ‘Together Again’ and ‘Closer’.
The theme of ‘Beyond Confinement’ in her printed images is accompanied by colourful abstract and semi-abstract oil paintings of imagined landscapes. Her use of striking colours applied in deepening layers on the canvas gives rise to a hope for future renewal from the natural world. These fantasised landscapes are inspired by the Scottish countryside with which Penny has become familiar over more than thirty years. She has a studio close to the coast in south-west Scotland where she produced many of the screenprints conceived during lockdown.
Some of her landscapes and abstracts are full of movement and exuberance while others are quieter, more peaceful and reflective. Titles such as Rebirth, Out There, What will Emerge, Connecting and Seeing Beyond, describe images which are looking at the future and the importance of connectedness. Penny enjoys the contrast of oil painting and printmaking which lead to very different images. Her layering technique in both mediums is a strong characteristic of her approach.
This exhibition comes at a time when the restrictions of quarantine are being lessened and people are able to meet up again, although still facing a somewhat unknown and uncertain future. The importance of close relationships has been uppermost in Penny’s mind during the pandemic as is illustrated in her exhibited work.
Apart from participating in many group exhibitions over the years, this is Penny’s ninth solo exhibition in London. She is a retired psychoanalytical psychotherapist who has lived and worked in Muswell Hill for nearly 50 years and who has painted all her life. She has a studio with Collage Arts in Wood Green and has had annual Open Studio weekends in the Chocolate Factory and Artspace 3 for twenty years.
See more of Penny’s work at www.pennyelder.co.uk; www.eastfinchleyopen.org.uk/artist-listing and instagram@pennyelder.
Exhibition continues until 23 Sept. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman
In 2020 and 2021, when waves of pandemic locked down London and elsewhere, the Heath became a place of escape and refuge for many. Rachael Weitzman’s exhibition of paintings made during this period is a celebration of the Heath and the ancient trees that live there.
Rachael describes these paintings as ‘portraits’ of trees, the paint forming a lattice of trunks and branches, dappled with light or silhouetted against the sky – characterful and strange, rather than pretty or picturesque. Her inspiration comes from Japanese prints as well as 20thCentury abstraction; she uses different elements to produce a particular style that conveys the solidity, scale and unique ‘personality’ of each tree.
When she first visited the Heath she was amazed at its size, losing her bearings and loving the feeling of being in an endless wilderness. As she says, “There is something really magical about this area of woodland. It’s so unusual, even outside London, to find such ancient trees in non-agricultural land. The people who manage it have done such a fantastic job of maintaining it in an unspoilt way”.
It is now 150 years since an Act of Parliament saved the Heath from development, after a long campaign by activists to save it. In recognition of the history of the area, its beauty and the way in which it has been of such solace to so many in recent times, ten per cent of sales from this show are being donated to Heath Hands, a charity which organises volunteers to maintain, conserve and educate people about the Heath.
Rachael Weitzman has lived in North London for most of her life. She went to Chelsea College of Art and Design in 1992 and taught there for a number of years while painting and exhibiting at various galleries and art spaces in London.
For further information please contact rachaelkirkby@yahoo.co.uk
Instagram rachaelweitzman