Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Christina Eberhart: Do you Hear the Flowers Sing?
1-14 July 2022
The title of Christina Eberhart’s exhibition ‘Do you hear the flowers sing?’ is a reference to the work of Anthropologist Natasha Myers, whose study of our interconnectedness with nature has inspired the artist. Plants have an agency and a unique intelligence which needs to be acknowledged.
‘The recognition that plants are breathing us into being, that their exhaling is the possibility of our inhale’ – Natasha Myers
The exhibition includes paintings, drawings, prints and cyanotypes.
The paintings are playful celebrations of colour and shape, and a sensory response to the exuberance found in plant life. Christina Eberhart is exploring and experimenting with how to show nature in art. She invents or paints from memory, then simplifies and refines the imagery, so that the paintings sit at the intersection between representation and abstraction. The intention is to provide a liminal space, with scope for the viewer to respond to them in their own personal way.
Plants and trees are an absolute necessity and integral to our lives and Christina explores and examines our relationship to them. Recent science is making astonishing discoveries about the behaviour of plants: their ability to communicate and procreate while rooted to the spot is helped by their unique sensory faculties and strategic choices of colour, light and environment.
For the works on paper, Christina applies a range of methods and processes that lend themselves particularly well to responding and capturing different types of phenomena and natural elemental influences. She works with plant dyes on textiles, and with an early photographic method called cyanotype.
The artist finds cyanotypes endlessly fascinating because the outcome depends directly on light and water. She will be showing several in the exhibition, and offering a workshop on the subject during the show for those who are interested in making their own.
Included in the exhibition is a series of paintings and drawings depicting crows and ravens, which add an element of ancient naturistic symbolism to the show. In the world of mythology and augury there are countless interpretations pertaining to these clever birds, from foretelling death and renewal to a change in circumstances. Hence they are apt symbols for the challenging times we live in.
Christina Eberhart is an artist living and working in London. She trained at Central St. Martins (2001) and her work has been included in numerous shows in London and abroad and is enjoyed by private collectors.
Drop-in Cyanotype workshop Sunday 10 July during Gallery opening hours.
Christina Eberhart: Do you Hear the Flowers Sing?
1-14 July 2022
The title of Christina Eberhart’s exhibition ‘Do you hear the flowers sing?’ is a reference to the work of Anthropologist Natasha Myers, whose study of our interconnectedness with nature has inspired the artist. Plants have an agency and a unique intelligence which needs to be acknowledged.
‘The recognition that plants are breathing us into being, that their exhaling is the possibility of our inhale’ – Natasha Myers
The exhibition includes paintings, drawings, prints and cyanotypes.
The paintings are playful celebrations of colour and shape, and a sensory response to the exuberance found in plant life. Christina Eberhart is exploring and experimenting with how to show nature in art. She invents or paints from memory, then simplifies and refines the imagery, so that the paintings sit at the intersection between representation and abstraction. The intention is to provide a liminal space, with scope for the viewer to respond to them in their own personal way.
Plants and trees are an absolute necessity and integral to our lives and Christina explores and examines our relationship to them. Recent science is making astonishing discoveries about the behaviour of plants: their ability to communicate and procreate while rooted to the spot is helped by their unique sensory faculties and strategic choices of colour, light and environment.
For the works on paper, Christina applies a range of methods and processes that lend themselves particularly well to responding and capturing different types of phenomena and natural elemental influences. She works with plant dyes on textiles, and with an early photographic method called cyanotype.
The artist finds cyanotypes endlessly fascinating because the outcome depends directly on light and water. She will be showing several in the exhibition, and offering a workshop on the subject during the show for those who are interested in making their own.
Included in the exhibition is a series of paintings and drawings depicting crows and ravens, which add an element of ancient naturistic symbolism to the show. In the world of mythology and augury there are countless interpretations pertaining to these clever birds, from foretelling death and renewal to a change in circumstances. Hence they are apt symbols for the challenging times we live in.
Christina Eberhart is an artist living and working in London. She trained at Central St. Martins (2001) and her work has been included in numerous shows in London and abroad and is enjoyed by private collectors.
Drop-in Cyanotype workshop Sunday 10 July during Gallery opening hours.
Christina Eberhart: Do you Hear the Flowers Sing?
1-14 July 2022
The title of Christina Eberhart’s exhibition ‘Do you hear the flowers sing?’ is a reference to the work of Anthropologist Natasha Myers, whose study of our interconnectedness with nature has inspired the artist. Plants have an agency and a unique intelligence which needs to be acknowledged.
‘The recognition that plants are breathing us into being, that their exhaling is the possibility of our inhale’ – Natasha Myers
The exhibition includes paintings, drawings, prints and cyanotypes.
The paintings are playful celebrations of colour and shape, and a sensory response to the exuberance found in plant life. Christina Eberhart is exploring and experimenting with how to show nature in art. She invents or paints from memory, then simplifies and refines the imagery, so that the paintings sit at the intersection between representation and abstraction. The intention is to provide a liminal space, with scope for the viewer to respond to them in their own personal way.
Plants and trees are an absolute necessity and integral to our lives and Christina explores and examines our relationship to them. Recent science is making astonishing discoveries about the behaviour of plants: their ability to communicate and procreate while rooted to the spot is helped by their unique sensory faculties and strategic choices of colour, light and environment.
For the works on paper, Christina applies a range of methods and processes that lend themselves particularly well to responding and capturing different types of phenomena and natural elemental influences. She works with plant dyes on textiles, and with an early photographic method called cyanotype.
The artist finds cyanotypes endlessly fascinating because the outcome depends directly on light and water. She will be showing several in the exhibition, and offering a workshop on the subject during the show for those who are interested in making their own.
Included in the exhibition is a series of paintings and drawings depicting crows and ravens, which add an element of ancient naturistic symbolism to the show. In the world of mythology and augury there are countless interpretations pertaining to these clever birds, from foretelling death and renewal to a change in circumstances. Hence they are apt symbols for the challenging times we live in.
Christina Eberhart is an artist living and working in London. She trained at Central St. Martins (2001) and her work has been included in numerous shows in London and abroad and is enjoyed by private collectors.
Drop-in Cyanotype workshop Sunday 10 July during Gallery opening hours.
Christina Eberhart: Do you Hear the Flowers Sing?
1-14 July 2022
The title of Christina Eberhart’s exhibition ‘Do you hear the flowers sing?’ is a reference to the work of Anthropologist Natasha Myers, whose study of our interconnectedness with nature has inspired the artist. Plants have an agency and a unique intelligence which needs to be acknowledged.
‘The recognition that plants are breathing us into being, that their exhaling is the possibility of our inhale’ – Natasha Myers
The exhibition includes paintings, drawings, prints and cyanotypes.
The paintings are playful celebrations of colour and shape, and a sensory response to the exuberance found in plant life. Christina Eberhart is exploring and experimenting with how to show nature in art. She invents or paints from memory, then simplifies and refines the imagery, so that the paintings sit at the intersection between representation and abstraction. The intention is to provide a liminal space, with scope for the viewer to respond to them in their own personal way.
Plants and trees are an absolute necessity and integral to our lives and Christina explores and examines our relationship to them. Recent science is making astonishing discoveries about the behaviour of plants: their ability to communicate and procreate while rooted to the spot is helped by their unique sensory faculties and strategic choices of colour, light and environment.
For the works on paper, Christina applies a range of methods and processes that lend themselves particularly well to responding and capturing different types of phenomena and natural elemental influences. She works with plant dyes on textiles, and with an early photographic method called cyanotype.
The artist finds cyanotypes endlessly fascinating because the outcome depends directly on light and water. She will be showing several in the exhibition, and offering a workshop on the subject during the show for those who are interested in making their own.
Included in the exhibition is a series of paintings and drawings depicting crows and ravens, which add an element of ancient naturistic symbolism to the show. In the world of mythology and augury there are countless interpretations pertaining to these clever birds, from foretelling death and renewal to a change in circumstances. Hence they are apt symbols for the challenging times we live in.
Christina Eberhart is an artist living and working in London. She trained at Central St. Martins (2001) and her work has been included in numerous shows in London and abroad and is enjoyed by private collectors.
Drop-in Cyanotype workshop Sunday 10 July during Gallery opening hours.
Christina Eberhart: Do you Hear the Flowers Sing?
1-14 July 2022
The title of Christina Eberhart’s exhibition ‘Do you hear the flowers sing?’ is a reference to the work of Anthropologist Natasha Myers, whose study of our interconnectedness with nature has inspired the artist. Plants have an agency and a unique intelligence which needs to be acknowledged.
‘The recognition that plants are breathing us into being, that their exhaling is the possibility of our inhale’ – Natasha Myers
The exhibition includes paintings, drawings, prints and cyanotypes.
The paintings are playful celebrations of colour and shape, and a sensory response to the exuberance found in plant life. Christina Eberhart is exploring and experimenting with how to show nature in art. She invents or paints from memory, then simplifies and refines the imagery, so that the paintings sit at the intersection between representation and abstraction. The intention is to provide a liminal space, with scope for the viewer to respond to them in their own personal way.
Plants and trees are an absolute necessity and integral to our lives and Christina explores and examines our relationship to them. Recent science is making astonishing discoveries about the behaviour of plants: their ability to communicate and procreate while rooted to the spot is helped by their unique sensory faculties and strategic choices of colour, light and environment.
For the works on paper, Christina applies a range of methods and processes that lend themselves particularly well to responding and capturing different types of phenomena and natural elemental influences. She works with plant dyes on textiles, and with an early photographic method called cyanotype.
The artist finds cyanotypes endlessly fascinating because the outcome depends directly on light and water. She will be showing several in the exhibition, and offering a workshop on the subject during the show for those who are interested in making their own.
Included in the exhibition is a series of paintings and drawings depicting crows and ravens, which add an element of ancient naturistic symbolism to the show. In the world of mythology and augury there are countless interpretations pertaining to these clever birds, from foretelling death and renewal to a change in circumstances. Hence they are apt symbols for the challenging times we live in.
Christina Eberhart is an artist living and working in London. She trained at Central St. Martins (2001) and her work has been included in numerous shows in London and abroad and is enjoyed by private collectors.
Drop-in Cyanotype workshop Sunday 10 July during Gallery opening hours.
Enjoy an evening of Music Hall with Orla Roberts, Cathy Joyner, Sheila Miller, Sue Yager, Fiona Slater, & Martin Nail, with Racker Donnelly in the Chair and Derek Marcus at the piano.
Come and find up to 30 brilliant designer/makers at The Highgate Literary & Scientific Institution this September. The fair opens on Friday 9 September: 2pm – 7pm, Saturday 10 September: 10am – 6pm, Sunday 11 September: 11am – 5pm. The HLSI library will also be hosting a book sale. Entrance is FREE and everyone is welcome!
Daisy is doing her best to keep her chin up and her head down – but as the first anniversary of her mum’s death approaches she begins to realise grief isnʼt something she can put aside indefinitely, and whether she’s willing to admit it or not, things aren’t fine.
From the silly to the sublime to the scary to the ridiculous, Daisy wrestles (sometimes literally) with her grief – Ian, a 6-foot invisible bald guy with a lot of luggage – eventually discovering that by letting him into her world she is able to reconnect with the memory of her mother.
Combining physical comedy with striking aerial acrobatics and an original, constantly moving aerial set, the debut live show from She Said Jump draws on theatre clown, circus and puppetry to tackle the themes of grief and bereavement with a light and playful touch.
Suitable for ages 8+
Come and find up to 30 brilliant designer/makers at The Highgate Literary & Scientific Institution this September. The fair opens on Friday 9 September: 2pm – 7pm, Saturday 10 September: 10am – 6pm, Sunday 11 September: 11am – 5pm. The HLSI library will also be hosting a book sale. Entrance is FREE and everyone is welcome!
Come and find up to 30 brilliant designer/makers at The Highgate Literary & Scientific Institution this September. The fair opens on Friday 9 September: 2pm – 7pm, Saturday 10 September: 10am – 6pm, Sunday 11 September: 11am – 5pm. The HLSI library will also be hosting a book sale. Entrance is FREE and everyone is welcome!
Anne McNeill Pulati – Allegories and Metaphors
16-29 September 2022
Anne McNeill Pulati uses the figure as a vehicle, metaphorically and pictorially, in her creative practice. These images are her personal reflections of human experience and spirituality.
Inspiration and research for the work includes ancient and modern belief systems, myths and legends, and cultural variations from around the world, particularly regarding the journey of the soul. For many years she has been interested in metaphor and often incorporates motifs and symbols, ignoring compositional perspectives and using metaphysical landscapes.
Symbols which are commonly understood, such as figures, angels, flowers, rivers, and shadows appear frequently. Anne states that she is principally a colourist. The medium of paint offers her the freedom to tell a narrative through colours, textures and surfaces and allows an immediacy that encourages her imagination.
Art-making has enabled Anne to develop an understanding of the journey in life which she follows. The essence of Quakerism sits in her life’s journey. The making of a painting has come, for her, from a place which at that point is a “story beginning to unfold.”
“Through the act of creativity, I enter a process which delivers something that usually surprises me and also is not consciously designed. In this process, I receive insights and a fulfillment only by entering this activity.”
She believes that we all have gifts that are not our own, but are to share, and which may possibly benefit others. The fact that we should share our gifts is the point, and it is usually fear of failure that stops us. She says: “It doesn’t matter what you share, it’s the intention behind it that people will see.” In showing her work she hopes that those who see it, will be able to ponder on their own responses.
For more information contact the artist: info@annemcneillPulati.com
View the website: https://www.singulart.com/en/artist/anne-mcneill-pulati-10683
To subscribe to newsletter: https://landing.mailerlite.com/webforms/landing/h5d5y8
Contact Co-ordinator for Highgate Gallery: bethrobertson@blueyonder.co.uk
Gallery open Wed-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00
Anne McNeill Pulati
Allegories and Metaphors
16-29 September 2022
Anne McNeill Pulati uses the figure as a vehicle, metaphorically and pictorially, in her creative practice. These images are her personal reflections of human experience and spirituality.
Inspiration and research for the work includes ancient and modern belief systems, myths and legends, and cultural variations from around the world, particularly regarding the journey of the soul. For many years she has been interested in metaphor and often incorporates motifs and symbols, ignoring compositional perspectives and using metaphysical landscapes.
Symbols which are commonly understood, such as figures, angels, flowers, rivers, and shadows appear frequently. Anne states that she is principally a colourist. The medium of paint offers her the freedom to tell a narrative through colours, textures and surfaces and allows an immediacy that encourages her imagination.
Art-making has enabled Anne to develop an understanding of the journey in life which she follows. The essence of Quakerism sits in her life’s journey. The making of a painting has come, for her, from a place which at that point is a “story beginning to unfold.”
“Through the act of creativity, I enter a process which delivers something that usually surprises me and also is not consciously designed. In this process, I receive insights and a fulfillment only by entering this activity.”
She believes that we all have gifts that are not our own, but are to share, and which may possibly benefit others. The fact that we should share our gifts is the point, and it is usually fear of failure that stops us. She says: “It doesn’t matter what you share, it’s the intention behind it that people will see.” In showing her work she hopes that those who see it, will be able to ponder on their own responses.
For more information contact the artist: info@annemcneillPulati.com
View the website: https://www.singulart.com/en/artist/anne-mcneill-pulati-10683
To subscribe to newsletter: https://landing.mailerlite.com/webforms/landing/h5d5y8
Contact Co-ordinator for Highgate Gallery: bethrobertson@blueyonder.co.uk
Gallery open Wed-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00
Anne McNeill Pulati
Allegories and Metaphors
16-29 September 2022
Anne McNeill Pulati uses the figure as a vehicle, metaphorically and pictorially, in her creative practice. These images are her personal reflections of human experience and spirituality.
Inspiration and research for the work includes ancient and modern belief systems, myths and legends, and cultural variations from around the world, particularly regarding the journey of the soul. For many years she has been interested in metaphor and often incorporates motifs and symbols, ignoring compositional perspectives and using metaphysical landscapes.
Symbols which are commonly understood, such as figures, angels, flowers, rivers, and shadows appear frequently. Anne states that she is principally a colourist. The medium of paint offers her the freedom to tell a narrative through colours, textures and surfaces and allows an immediacy that encourages her imagination.
Art-making has enabled Anne to develop an understanding of the journey in life which she follows. The essence of Quakerism sits in her life’s journey. The making of a painting has come, for her, from a place which at that point is a “story beginning to unfold.”
“Through the act of creativity, I enter a process which delivers something that usually surprises me and also is not consciously designed. In this process, I receive insights and a fulfillment only by entering this activity.”
She believes that we all have gifts that are not our own, but are to share, and which may possibly benefit others. The fact that we should share our gifts is the point, and it is usually fear of failure that stops us. She says: “It doesn’t matter what you share, it’s the intention behind it that people will see.” In showing her work she hopes that those who see it, will be able to ponder on their own responses.
For more information contact the artist: info@annemcneillPulati.com
View the website: https://www.singulart.com/en/artist/anne-mcneill-pulati-10683
To subscribe to newsletter: https://landing.mailerlite.com/webforms/landing/h5d5y8
Contact Co-ordinator for Highgate Gallery: bethrobertson@blueyonder.co.uk
Gallery open Wed-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00
Anne McNeill Pulati
Allegories and Metaphors
16-29 September 2022
Anne McNeill Pulati uses the figure as a vehicle, metaphorically and pictorially, in her creative practice. These images are her personal reflections of human experience and spirituality.
Inspiration and research for the work includes ancient and modern belief systems, myths and legends, and cultural variations from around the world, particularly regarding the journey of the soul. For many years she has been interested in metaphor and often incorporates motifs and symbols, ignoring compositional perspectives and using metaphysical landscapes.
Symbols which are commonly understood, such as figures, angels, flowers, rivers, and shadows appear frequently. Anne states that she is principally a colourist. The medium of paint offers her the freedom to tell a narrative through colours, textures and surfaces and allows an immediacy that encourages her imagination.
Art-making has enabled Anne to develop an understanding of the journey in life which she follows. The essence of Quakerism sits in her life’s journey. The making of a painting has come, for her, from a place which at that point is a “story beginning to unfold.”
“Through the act of creativity, I enter a process which delivers something that usually surprises me and also is not consciously designed. In this process, I receive insights and a fulfillment only by entering this activity.”
She believes that we all have gifts that are not our own, but are to share, and which may possibly benefit others. The fact that we should share our gifts is the point, and it is usually fear of failure that stops us. She says: “It doesn’t matter what you share, it’s the intention behind it that people will see.” In showing her work she hopes that those who see it, will be able to ponder on their own responses.
For more information contact the artist: info@annemcneillPulati.com
View the website: https://www.singulart.com/en/artist/anne-mcneill-pulati-10683
To subscribe to newsletter: https://landing.mailerlite.com/webforms/landing/h5d5y8
Contact Co-ordinator for Highgate Gallery: bethrobertson@blueyonder.co.uk
Gallery open Wed-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00
How to survive in a world that seems to tip over at any moment?
Two persons, castaways, stranded on the beach of their imagination meet each other, get to know each other, get to trust each other. Together they loose and find balance, using simple, seemingly worthless objects: a wooden board, a cardboard tube, a rope, driftwood. Exploring their limits, they quest for a common equilibrium.
La fin demain is a creative piece of optimism in these strange times. A call for complicity and simplicity.
Zirkus Morsa is known for their fresh, simple and poetic approach to circus arts and stunning balances, both in a figurative context as in their amazing hand to hand technique on the rola bola.
Anne McNeill Pulati
Allegories and Metaphors
16-29 September 2022
Anne McNeill Pulati uses the figure as a vehicle, metaphorically and pictorially, in her creative practice. These images are her personal reflections of human experience and spirituality.
Inspiration and research for the work includes ancient and modern belief systems, myths and legends, and cultural variations from around the world, particularly regarding the journey of the soul. For many years she has been interested in metaphor and often incorporates motifs and symbols, ignoring compositional perspectives and using metaphysical landscapes.
Symbols which are commonly understood, such as figures, angels, flowers, rivers, and shadows appear frequently. Anne states that she is principally a colourist. The medium of paint offers her the freedom to tell a narrative through colours, textures and surfaces and allows an immediacy that encourages her imagination.
Art-making has enabled Anne to develop an understanding of the journey in life which she follows. The essence of Quakerism sits in her life’s journey. The making of a painting has come, for her, from a place which at that point is a “story beginning to unfold.”
“Through the act of creativity, I enter a process which delivers something that usually surprises me and also is not consciously designed. In this process, I receive insights and a fulfillment only by entering this activity.”
She believes that we all have gifts that are not our own, but are to share, and which may possibly benefit others. The fact that we should share our gifts is the point, and it is usually fear of failure that stops us. She says: “It doesn’t matter what you share, it’s the intention behind it that people will see.” In showing her work she hopes that those who see it, will be able to ponder on their own responses.
For more information contact the artist: info@annemcneillPulati.com
View the website: https://www.singulart.com/en/artist/anne-mcneill-pulati-10683
To subscribe to newsletter: https://landing.mailerlite.com/webforms/landing/h5d5y8
Contact Co-ordinator for Highgate Gallery: bethrobertson@blueyonder.co.uk
Gallery open Wed-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00
Suitable for ages 3 – 5
Two hapless storytellers with their big boxes of story and their terrible rhymes share
the magic of shadows, live songs and the unique, loveable puppets TouchedTheatre are renowned for in this totally unique tale of friendship and courage. Join us on a brilliant puppetry adventure to find the mysterious monster that’s made everyone else run away.
Created specially for younger audiences by an award-winning team.
A sure-fire hit for all your little monsters and their friends.
Suitable for ages 3 – 5
Two hapless storytellers with their big boxes of story and their terrible rhymes share
the magic of shadows, live songs and the unique, loveable puppets TouchedTheatre are renowned for in this totally unique tale of friendship and courage. Join us on a brilliant puppetry adventure to find the mysterious monster that’s made everyone else run away.
Created specially for younger audiences by an award-winning team.
A sure-fire hit for all your little monsters and their friends.
Anne McNeill Pulati – Allegories and Metaphors
16-29 September 2022
Anne McNeill Pulati uses the figure as a vehicle, metaphorically and pictorially, in her creative practice. These images are her personal reflections of human experience and spirituality.
Inspiration and research for the work includes ancient and modern belief systems, myths and legends, and cultural variations from around the world, particularly regarding the journey of the soul. For many years she has been interested in metaphor and often incorporates motifs and symbols, ignoring compositional perspectives and using metaphysical landscapes.
Symbols which are commonly understood, such as figures, angels, flowers, rivers, and shadows appear frequently. Anne states that she is principally a colourist. The medium of paint offers her the freedom to tell a narrative through colours, textures and surfaces and allows an immediacy that encourages her imagination.
Art-making has enabled Anne to develop an understanding of the journey in life which she follows. The essence of Quakerism sits in her life’s journey. The making of a painting has come, for her, from a place which at that point is a “story beginning to unfold.”
“Through the act of creativity, I enter a process which delivers something that usually surprises me and also is not consciously designed. In this process, I receive insights and a fulfillment only by entering this activity.”
She believes that we all have gifts that are not our own, but are to share, and which may possibly benefit others. The fact that we should share our gifts is the point, and it is usually fear of failure that stops us. She says: “It doesn’t matter what you share, it’s the intention behind it that people will see.” In showing her work she hopes that those who see it, will be able to ponder on their own responses.
For more information contact the artist: info@annemcneillPulati.com
View the website: https://www.singulart.com/en/artist/anne-mcneill-pulati-10683
To subscribe to newsletter: https://landing.mailerlite.com/webforms/landing/h5d5y8
Contact Co-ordinator for Highgate Gallery: bethrobertson@blueyonder.co.uk
Gallery open Wed-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00
After moving from Germany to London over ten years ago to live and work in a more diverse community, renowned sword swallower, circus artist and dazzling burlesque artist Livia Kojo Alour learned that life-long feelings of self-hatred and otherness are part internalised racism and part survival techniques. With a successful career under her stage name MisSa, but tiring of playing someone else full-time, Black Sheep has been long in the making, serving as a candid autobiographical work and a euphoric reclamation of Livia’s identity and ongoing fortitude.
Black Sheep is a story about a Black woman finding love and a testament of personal strength, developed through transcending the white gaze, overcoming institutional racism and leaning into radical vulnerability. Securing her place as a pivotal UK Queer Black voice while telling her story via a heady mix of physical theatre, spoken word, song and sword swallowing, Black Sheep is timely, unsettling and deeply personal.
Suitable for ages 14+
After moving from Germany to London over ten years ago to live and work in a more diverse community, renowned sword swallower, circus artist and dazzling burlesque artist Livia Kojo Alour learned that life-long feelings of self-hatred and otherness are part internalised racism and part survival techniques. With a successful career under her stage name MisSa, but tiring of playing someone else full-time, Black Sheep has been long in the making, serving as a candid autobiographical work and a euphoric reclamation of Livia’s identity and ongoing fortitude.
Black Sheep is a story about a Black woman finding love and a testament of personal strength, developed through transcending the white gaze, overcoming institutional racism and leaning into radical vulnerability. Securing her place as a pivotal UK Queer Black voice while telling her story via a heady mix of physical theatre, spoken word, song and sword swallowing, Black Sheep is timely, unsettling and deeply personal.
Suitable for ages 14+
After moving from Germany to London over ten years ago to live and work in a more diverse community, renowned sword swallower, circus artist and dazzling burlesque artist Livia Kojo Alour learned that life-long feelings of self-hatred and otherness are part internalised racism and part survival techniques. With a successful career under her stage name MisSa, but tiring of playing someone else full-time, Black Sheep has been long in the making, serving as a candid autobiographical work and a euphoric reclamation of Livia’s identity and ongoing fortitude.
Black Sheep is a story about a Black woman finding love and a testament of personal strength, developed through transcending the white gaze, overcoming institutional racism and leaning into radical vulnerability. Securing her place as a pivotal UK Queer Black voice while telling her story via a heady mix of physical theatre, spoken word, song and sword swallowing, Black Sheep is timely, unsettling and deeply personal.
Suitable for ages 14+
After falling asleep on the last train, the long journey home will be something he never forgets…
Temper Theatre return to Jacksons Lane with their signature mix of fluid muscular movement, soul-shaking soundscapes and fragmented imagery.
★★★★ “Vehement but cogently delivered” The Herald
After falling asleep on the last train, the long journey home will be something he never forgets…
Temper Theatre return to Jacksons Lane with their signature mix of fluid muscular movement, soul-shaking soundscapes and fragmented imagery.
★★★★ “Vehement but cogently delivered” The Herald
The Cycle of Life, a recurring theme in the work of Marilyn Simler, took on a deeper and more penetrating exploration during this time. Simler says, “For the first time in years, I was able to focus on creating a new body of work, working every day immersed in the flow with little interruption”. Emerging from lockdown, and being presented with the openness and thrill of the vastness of the landscape and enduring positivity of the world, explains the title of the exhibition.
What has emerged is a series that has come from within, which considers the impact of the pandemic and of being more solitary.
Simler’s works reference the magnitude of the natural world which becomes a metaphor for the life cycle. Her preoccupation is with the organic structure of plants and seed pods, and the celebratory glory of flowers, the journey from germination, sprouting, growing, budding, flowering, fading, drooping, folding in, dying, drying, merging…..to re-emergence. She observes the variety of seasonal landscapes, the sea and its treasures of shells and lumps of coral, in turn creating worlds within worlds and explored in mixed media.
Marilyn works intuitively allowing the work to develop in an unplanned exploratory manner; each piece becoming a journey of its own. The work has recognisable and abstracted forms that are integrated into abstract spaces, and she uses a variety of media including drawing, watercolours, acrylics and collage on both paper and canvas. Often a few surprise elements are integrated into the surface of the ground.
The vibrant colours and textures of Southern Africa are inherent in Simler’s work, having spent her formative years growing up there and gaining a BA Honours in Fine Arts at Wits University. After emigrating to the UK with her family she obtained an MA in Fine Arts at Middlesex University.
She has exhibited widely in both group and solo exhibitions, including the Cadogan Gallery and the Royal Opera House.
Her work is held in Public Collections, including the Rolls Building, Unilever, and the V&A print collection portfolio with the PMC Publications. Awards include the Print prize at Middlesex University, St Cuthbert’s Mill Award for the National Open Print and the Zenith Purchase Prize at the Mall Gallery London. Commissions include Royal Caribbean Cruise line, and many corporate and private commissions.
For more information www.marilynsimler.net
After falling asleep on the last train, the long journey home will be something he never forgets…
Temper Theatre return to Jacksons Lane with their signature mix of fluid muscular movement, soul-shaking soundscapes and fragmented imagery.
★★★★ “Vehement but cogently delivered” The Herald
The Cycle of Life, a recurring theme in the work of Marilyn Simler, took on a deeper and more penetrating exploration during this time. Simler says, “For the first time in years, I was able to focus on creating a new body of work, working every day immersed in the flow with little interruption”. Emerging from lockdown, and being presented with the openness and thrill of the vastness of the landscape and enduring positivity of the world, explains the title of the exhibition.
What has emerged is a series that has come from within, which considers the impact of the pandemic and of being more solitary.
Simler’s works reference the magnitude of the natural world which becomes a metaphor for the life cycle. Her preoccupation is with the organic structure of plants and seed pods, and the celebratory glory of flowers, the journey from germination, sprouting, growing, budding, flowering, fading, drooping, folding in, dying, drying, merging…..to re-emergence. She observes the variety of seasonal landscapes, the sea and its treasures of shells and lumps of coral, in turn creating worlds within worlds and explored in mixed media.
Marilyn works intuitively allowing the work to develop in an unplanned exploratory manner; each piece becoming a journey of its own. The work has recognisable and abstracted forms that are integrated into abstract spaces, and she uses a variety of media including drawing, watercolours, acrylics and collage on both paper and canvas. Often a few surprise elements are integrated into the surface of the ground.
The vibrant colours and textures of Southern Africa are inherent in Simler’s work, having spent her formative years growing up there and gaining a BA Honours in Fine Arts at Wits University. After emigrating to the UK with her family she obtained an MA in Fine Arts at Middlesex University.
She has exhibited widely in both group and solo exhibitions, including the Cadogan Gallery and the Royal Opera House.
Her work is held in Public Collections, including the Rolls Building, Unilever, and the V&A print collection portfolio with the PMC Publications. Awards include the Print prize at Middlesex University, St Cuthbert’s Mill Award for the National Open Print and the Zenith Purchase Prize at the Mall Gallery London. Commissions include Royal Caribbean Cruise line, and many corporate and private commissions.
For more information www.marilynsimler.net
Suitable for ages 3 – 8
A wardrobe can take you to magical spaces, to all sorts of stories and wonderful places. Lyngo’s is a portal to the wild wood where something is roaming the forest, animals are mysteriously going missing and a little girl has just received a beautiful red cloak from her granny. Open the doors and it all comes alive through puppetry, songs and music from hidden hatches and secret compartments.
All the better to thrill you with!
“50 minutes of pure childhood joy!” number9reviews
Suitable for ages 3 – 8
A wardrobe can take you to magical spaces, to all sorts of stories and wonderful places. Lyngo’s is a portal to the wild wood where something is roaming the forest, animals are mysteriously going missing and a little girl has just received a beautiful red cloak from her granny. Open the doors and it all comes alive through puppetry, songs and music from hidden hatches and secret compartments.
All the better to thrill you with!
“50 minutes of pure childhood joy!” number9reviews
The Cycle of Life, a recurring theme in the work of Marilyn Simler, took on a deeper and more penetrating exploration during this time. Simler says, “For the first time in years, I was able to focus on creating a new body of work, working every day immersed in the flow with little interruption”. Emerging from lockdown, and being presented with the openness and thrill of the vastness of the landscape and enduring positivity of the world, explains the title of the exhibition.
What has emerged is a series that has come from within, which considers the impact of the pandemic and of being more solitary.
Simler’s works reference the magnitude of the natural world which becomes a metaphor for the life cycle. Her preoccupation is with the organic structure of plants and seed pods, and the celebratory glory of flowers, the journey from germination, sprouting, growing, budding, flowering, fading, drooping, folding in, dying, drying, merging…..to re-emergence. She observes the variety of seasonal landscapes, the sea and its treasures of shells and lumps of coral, in turn creating worlds within worlds and explored in mixed media.
Marilyn works intuitively allowing the work to develop in an unplanned exploratory manner; each piece becoming a journey of its own. The work has recognisable and abstracted forms that are integrated into abstract spaces, and she uses a variety of media including drawing, watercolours, acrylics and collage on both paper and canvas. Often a few surprise elements are integrated into the surface of the ground.
The vibrant colours and textures of Southern Africa are inherent in Simler’s work, having spent her formative years growing up there and gaining a BA Honours in Fine Arts at Wits University. After emigrating to the UK with her family she obtained an MA in Fine Arts at Middlesex University.
She has exhibited widely in both group and solo exhibitions, including the Cadogan Gallery and the Royal Opera House.
Her work is held in Public Collections, including the Rolls Building, Unilever, and the V&A print collection portfolio with the PMC Publications. Awards include the Print prize at Middlesex University, St Cuthbert’s Mill Award for the National Open Print and the Zenith Purchase Prize at the Mall Gallery London. Commissions include Royal Caribbean Cruise line, and many corporate and private commissions.
For more information www.marilynsimler.net
Suitable for ages 3 – 8
A wardrobe can take you to magical spaces, to all sorts of stories and wonderful places. Lyngo’s is a portal to the wild wood where something is roaming the forest, animals are mysteriously going missing and a little girl has just received a beautiful red cloak from her granny. Open the doors and it all comes alive through puppetry, songs and music from hidden hatches and secret compartments.
All the better to thrill you with!
“50 minutes of pure childhood joy!” number9reviews
Suitable for ages 3 – 8
A wardrobe can take you to magical spaces, to all sorts of stories and wonderful places. Lyngo’s is a portal to the wild wood where something is roaming the forest, animals are mysteriously going missing and a little girl has just received a beautiful red cloak from her granny. Open the doors and it all comes alive through puppetry, songs and music from hidden hatches and secret compartments.
All the better to thrill you with!
“50 minutes of pure childhood joy!” number9reviews
The Cycle of Life, a recurring theme in the work of Marilyn Simler, took on a deeper and more penetrating exploration during this time. Simler says, “For the first time in years, I was able to focus on creating a new body of work, working every day immersed in the flow with little interruption”. Emerging from lockdown, and being presented with the openness and thrill of the vastness of the landscape and enduring positivity of the world, explains the title of the exhibition.
What has emerged is a series that has come from within, which considers the impact of the pandemic and of being more solitary.
Simler’s works reference the magnitude of the natural world which becomes a metaphor for the life cycle. Her preoccupation is with the organic structure of plants and seed pods, and the celebratory glory of flowers, the journey from germination, sprouting, growing, budding, flowering, fading, drooping, folding in, dying, drying, merging…..to re-emergence. She observes the variety of seasonal landscapes, the sea and its treasures of shells and lumps of coral, in turn creating worlds within worlds and explored in mixed media.
Marilyn works intuitively allowing the work to develop in an unplanned exploratory manner; each piece becoming a journey of its own. The work has recognisable and abstracted forms that are integrated into abstract spaces, and she uses a variety of media including drawing, watercolours, acrylics and collage on both paper and canvas. Often a few surprise elements are integrated into the surface of the ground.
The vibrant colours and textures of Southern Africa are inherent in Simler’s work, having spent her formative years growing up there and gaining a BA Honours in Fine Arts at Wits University. After emigrating to the UK with her family she obtained an MA in Fine Arts at Middlesex University.
She has exhibited widely in both group and solo exhibitions, including the Cadogan Gallery and the Royal Opera House.
Her work is held in Public Collections, including the Rolls Building, Unilever, and the V&A print collection portfolio with the PMC Publications. Awards include the Print prize at Middlesex University, St Cuthbert’s Mill Award for the National Open Print and the Zenith Purchase Prize at the Mall Gallery London. Commissions include Royal Caribbean Cruise line, and many corporate and private commissions.
For more information www.marilynsimler.net
The Cycle of Life, a recurring theme in the work of Marilyn Simler, took on a deeper and more penetrating exploration during this time. Simler says, “For the first time in years, I was able to focus on creating a new body of work, working every day immersed in the flow with little interruption”. Emerging from lockdown, and being presented with the openness and thrill of the vastness of the landscape and enduring positivity of the world, explains the title of the exhibition.
What has emerged is a series that has come from within, which considers the impact of the pandemic and of being more solitary.
Simler’s works reference the magnitude of the natural world which becomes a metaphor for the life cycle. Her preoccupation is with the organic structure of plants and seed pods, and the celebratory glory of flowers, the journey from germination, sprouting, growing, budding, flowering, fading, drooping, folding in, dying, drying, merging…..to re-emergence. She observes the variety of seasonal landscapes, the sea and its treasures of shells and lumps of coral, in turn creating worlds within worlds and explored in mixed media.
Marilyn works intuitively allowing the work to develop in an unplanned exploratory manner; each piece becoming a journey of its own. The work has recognisable and abstracted forms that are integrated into abstract spaces, and she uses a variety of media including drawing, watercolours, acrylics and collage on both paper and canvas. Often a few surprise elements are integrated into the surface of the ground.
The vibrant colours and textures of Southern Africa are inherent in Simler’s work, having spent her formative years growing up there and gaining a BA Honours in Fine Arts at Wits University. After emigrating to the UK with her family she obtained an MA in Fine Arts at Middlesex University.
She has exhibited widely in both group and solo exhibitions, including the Cadogan Gallery and the Royal Opera House.
Her work is held in Public Collections, including the Rolls Building, Unilever, and the V&A print collection portfolio with the PMC Publications. Awards include the Print prize at Middlesex University, St Cuthbert’s Mill Award for the National Open Print and the Zenith Purchase Prize at the Mall Gallery London. Commissions include Royal Caribbean Cruise line, and many corporate and private commissions.
For more information www.marilynsimler.net
The Cycle of Life, a recurring theme in the work of Marilyn Simler, took on a deeper and more penetrating exploration during this time. Simler says, “For the first time in years, I was able to focus on creating a new body of work, working every day immersed in the flow with little interruption”. Emerging from lockdown, and being presented with the openness and thrill of the vastness of the landscape and enduring positivity of the world, explains the title of the exhibition.
What has emerged is a series that has come from within, which considers the impact of the pandemic and of being more solitary.
Simler’s works reference the magnitude of the natural world which becomes a metaphor for the life cycle. Her preoccupation is with the organic structure of plants and seed pods, and the celebratory glory of flowers, the journey from germination, sprouting, growing, budding, flowering, fading, drooping, folding in, dying, drying, merging…..to re-emergence. She observes the variety of seasonal landscapes, the sea and its treasures of shells and lumps of coral, in turn creating worlds within worlds and explored in mixed media.
Marilyn works intuitively allowing the work to develop in an unplanned exploratory manner; each piece becoming a journey of its own. The work has recognisable and abstracted forms that are integrated into abstract spaces, and she uses a variety of media including drawing, watercolours, acrylics and collage on both paper and canvas. Often a few surprise elements are integrated into the surface of the ground.
The vibrant colours and textures of Southern Africa are inherent in Simler’s work, having spent her formative years growing up there and gaining a BA Honours in Fine Arts at Wits University. After emigrating to the UK with her family she obtained an MA in Fine Arts at Middlesex University.
She has exhibited widely in both group and solo exhibitions, including the Cadogan Gallery and the Royal Opera House.
Her work is held in Public Collections, including the Rolls Building, Unilever, and the V&A print collection portfolio with the PMC Publications. Awards include the Print prize at Middlesex University, St Cuthbert’s Mill Award for the National Open Print and the Zenith Purchase Prize at the Mall Gallery London. Commissions include Royal Caribbean Cruise line, and many corporate and private commissions.
For more information www.marilynsimler.net
Following their sell-out, award-winning show Enter The Dragons, A&E Comedy (Abigail Dooley and Emma Edwards, “a brilliant comedy coupling” Total Theatre) return with a spell-binding, surreal and darkly hilarious tale, directed by Cal McCrystal.
“I think they are amazing!!” Phoebe Waller-Bridge
Witch Hunt weaves a cautionary fairytale for our time. It celebrates the wisdom of the witch, unpacks the notion of predator and conjures a world of coven-ready weird sisters.
“Watch out, there are wild women about. Knicker-Wettingly funny” Total Theatre
A ritualistic voodoo brouhaha designed to enchant and hex the pricks and predators; imagine Vic and Bob doing The Crucible.
Using buffoon, puppetry and magic and armed with a ‘wiccan’ sense of humour, A&E Comedy ask “can we use witchcraft to take down the Patriarchy?” Yes we can!