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 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 20^thCentury 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 20^thCentury 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 20^thCentury 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 20^thCentury 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 20^thCentury 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 20^thCentury 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 20^thCentury 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 20^thCentury 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 20^thCentury 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 20^thCentury 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 20^thCentury 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 20^thCentury 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

From the comfort of your home, follow in a virtual tour in Charles Dickens’ footsteps in a walk from Highgate to the hamlet of North End on the border with Hampstead and Hampstead Garden Suburb. We will follow some of Bill Sikes escape route after murdering Nancy in Oliver Twist, see houses that Dickens stayed in; learn about his friendship with philanthropist Baroness Angela Burdett-Coutts; peep into Highgate Cemetery and follow the Gordon rioters in Barnaby Rudge towards Lord Mansfield’s country estate at Kenwood (Caen Wood).

We will pay a visit o the Spaniard’s Inn, featured in the Pickwick Papers and continue across the grounds of Kenwood towards North End and Hendon. We finish in North End where we view the 17th century farmhouse that Dickens lodged in.

This is a live virtual tour hosted via Zoom video conferencing where your guide will give an illustrated presentation of the tour route with an accompanying talk. There will be opportunities for questions and interaction both during and after the virtual to tour.

https://www.eventbrite.co.uk/e/virtual-tour-the-heights-of-dickens-tickets-170366438604?aff=ebdsoporgprofile

  Image:  Archer:  felt collage 35x35cms. C. Sue Pearl 2020. All rights reserved.

For their next exhibition at Highgate Gallery, ‘The Northern Line’, East Finchley Open Artists are creating images that relate to a Northern Line station of their choice.  Each work will respond to the chosen station’s name, and artists have already selected a wide range of stations for inspiration including Colliers Wood, Oval, Angel and High Barnet.

Expect some interesting interpretations and commentary.  The exhibition will comprise an exciting variety of wall-hung work including paintings, pastels, prints ceramics, glass, textiles and automata.

All artists have prepared new works especially for the exhibition.  Among them Pat Marvell has created an exciting glass piece titled ‘White Hot Embers in Colliers Wood’ which was originally the site of charcoal-making kilns.  Laura Fishman has made an abstract acrylic painting, ‘Golders Green, Green to Gold’, exploring the richness of greens and yellows mingling with swirls of red which hint at the richness of the foliage of the nearby Golders Green Park.  Meanwhile Cathy Burkinshaw has chosen Woodside Park as one of her inspirations.  She has many fond memories of the station: “It was so pretty when we first moved to Woodside Park, surrounded by trees with a really large tree in the forecourt.”  How times have changed.

Founded in 2004, East Finchley Open Artists is a group of artists and craftspeople – including painters, printers, photographers, ceramicists, glass makers, jewellers, sculptors, textile artists and basket makers – ranging from those who are starting out in their creative careers to well-established professional artists and lecturers.

Every summer the EFOA hosts Open House weekends, as well as other public events throughout the year.

For information about upcoming events and activities, membership, and to sign up for the monthly e-newsletter, see: www.eastfinchleyopen.org.uk

Exhibition continues until 25 November.  Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.

  Image:  Archer:  felt collage 35x35cms. C. Sue Pearl 2020. All rights reserved.

For their next exhibition at Highgate Gallery, ‘The Northern Line’, East Finchley Open Artists are creating images that relate to a Northern Line station of their choice.  Each work will respond to the chosen station’s name, and artists have already selected a wide range of stations for inspiration including Colliers Wood, Oval, Angel and High Barnet.

Expect some interesting interpretations and commentary.  The exhibition will comprise an exciting variety of wall-hung work including paintings, pastels, prints ceramics, glass, textiles and automata.

All artists have prepared new works especially for the exhibition.  Among them Pat Marvell has created an exciting glass piece titled ‘White Hot Embers in Colliers Wood’ which was originally the site of charcoal-making kilns.  Laura Fishman has made an abstract acrylic painting, ‘Golders Green, Green to Gold’, exploring the richness of greens and yellows mingling with swirls of red which hint at the richness of the foliage of the nearby Golders Green Park.  Meanwhile Cathy Burkinshaw has chosen Woodside Park as one of her inspirations.  She has many fond memories of the station: “It was so pretty when we first moved to Woodside Park, surrounded by trees with a really large tree in the forecourt.”  How times have changed.

Founded in 2004, East Finchley Open Artists is a group of artists and craftspeople – including painters, printers, photographers, ceramicists, glass makers, jewellers, sculptors, textile artists and basket makers – ranging from those who are starting out in their creative careers to well-established professional artists and lecturers.

Every summer the EFOA hosts Open House weekends, as well as other public events throughout the year.

For information about upcoming events and activities, membership, and to sign up for the monthly e-newsletter, see: www.eastfinchleyopen.org.uk

Exhibition continues until 25 November.  Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.

  Image:  Archer:  felt collage 35x35cms. ©Sue Pearl 2020. All rights reserved.

 For their next exhibition at Highgate Gallery, ‘The Northern Line’, East Finchley Open Artists are creating images that relate to a Northern Line station of their choice.  Each work will respond to the chosen station’s name, and artists have already selected a wide range of stations for inspiration including Colliers Wood, Oval, Angel and High Barnet.

Expect some interesting interpretations and commentary.  The exhibition will comprise an exciting variety of wall-hung work including paintings, pastels, prints ceramics, glass, textiles and automata.

All artists have prepared new works especially for the exhibition.  Among them Pat Marvell has created an exciting glass piece titled ‘White Hot Embers in Colliers Wood’ which was originally the site of charcoal-making kilns.  Laura Fishman has made an abstract acrylic painting, ‘Golders Green, Green to Gold’, exploring the richness of greens and yellows mingling with swirls of red which hint at the richness of the foliage of the nearby Golders Green Park.  Meanwhile Cathy Burkinshaw has chosen Woodside Park as one of her inspirations.  She has many fond memories of the station: “It was so pretty when we first moved to Woodside Park, surrounded by trees with a really large tree in the forecourt.”  How times have changed.

Founded in 2004, East Finchley Open Artists is a group of artists and craftspeople – including painters, printers, photographers, ceramicists, glass makers, jewellers, sculptors, textile artists and basket makers – ranging from those who are starting out in their creative careers to well-established professional artists and lecturers.

Every summer the EFOA hosts Open House weekends, as well as other public events throughout the year.

For information about upcoming events and activities, membership, and to sign up for the monthly e-newsletter, see: www.eastfinchleyopen.org.uk

Exhibition continues until 25 November.  Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.

  Image:  Archer:  felt collage 35x35cms. C. Sue Pearl 2020. All rights reserved.

For their next exhibition at Highgate Gallery, ‘The Northern Line’, East Finchley Open Artists are creating images that relate to a Northern Line station of their choice.  Each work will respond to the chosen station’s name, and artists have already selected a wide range of stations for inspiration including Colliers Wood, Oval, Angel and High Barnet.

Expect some interesting interpretations and commentary.  The exhibition will comprise an exciting variety of wall-hung work including paintings, pastels, prints ceramics, glass, textiles and automata.

All artists have prepared new works especially for the exhibition.  Among them Pat Marvell has created an exciting glass piece titled ‘White Hot Embers in Colliers Wood’ which was originally the site of charcoal-making kilns.  Laura Fishman has made an abstract acrylic painting, ‘Golders Green, Green to Gold’, exploring the richness of greens and yellows mingling with swirls of red which hint at the richness of the foliage of the nearby Golders Green Park.  Meanwhile Cathy Burkinshaw has chosen Woodside Park as one of her inspirations.  She has many fond memories of the station: “It was so pretty when we first moved to Woodside Park, surrounded by trees with a really large tree in the forecourt.”  How times have changed.

Founded in 2004, East Finchley Open Artists is a group of artists and craftspeople – including painters, printers, photographers, ceramicists, glass makers, jewellers, sculptors, textile artists and basket makers – ranging from those who are starting out in their creative careers to well-established professional artists and lecturers.

Every summer the EFOA hosts Open House weekends, as well as other public events throughout the year.

For information about upcoming events and activities, membership, and to sign up for the monthly e-newsletter, see: www.eastfinchleyopen.org.uk

Exhibition continues until 25 November.  Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.