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In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.

Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.

To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.

One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed.

All works are for sale, mostly priced from £400 to £4,000.

Gallery Talk: On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.

Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.

Exhibition continues until 16 February and is free.

In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.

Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.

To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.

One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed. All works are for sale, mostly priced from £400 to £4,000.

Gallery Talk:
On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.

Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.

Exhibition continues until 16 February and is free.

In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.

Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.

To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.

One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed.

All works are for sale, mostly priced from £400 to £4,000.

Gallery Talk:
On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.

Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Exhibition continues until 16 February and is free.

In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.

Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.

To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.

One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed.

All works are for sale, mostly priced from £400 to £4,000.

Gallery Talk:
On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.

Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Exhibition continues until 16 February and is free.

In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.

Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.

To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.

One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed.

All works are for sale, mostly priced from £400 to £4,000.

Gallery Talk:
On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.

Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Exhibition continues until 16 February and is free.

This exhibition entitled Energy shows mixed media land and seascape originals, limited edition prints, and seven small oil paintings illustrating the landform project being created in Cornwall. Elspeth works on the cusp of abstraction and figuration. “I attempt to reveal energy, a vitality which, once engaged, never diminishes with time.” This has been the appeal.

Elspeth qualified as an architect from Liverpool University, practiced for years and was invited to teach soon after qualifying. She has no formal training in painting but as an architect was regularly asked to make substantial commissions in glass and paint, and to lecture abroad.

She designed three large stained windows in West London in 1981, 1989 and 1996, and in 1983 painted a huge political cartoon, a mural in a house in Westminster for an active politician. It was during these projects she realized the power of communication through composition. In 1999 Elspeth was shortlisted for Millennium artist for North Cornwall. Six interactive proposals were made, all local and doable, including a dark skies project down-directing street lighting – all seen as too ambitious.

This exhibition can be seen as a retrospective on 20 years of painting. Three years of blindness (2013-16) make this show a real celebration and a natural transition to any potential new work. Elspeth started painting landscapes in 1991 while teaching design workshops in Australia. In November last year she returned, with improved – but impaired – vision, to Australia to paint the extreme coastal points including Point Lookout in the west and Albany in the south-west, which may lead to an inevitably different style of future work, but for now a celebration of sight and works dated to 2013.

Initially Elspeth exhibited her paintings in themed shows, for example at Salisbury Playhouse in 1996, with 80 small works around the drum to highlight erosion and pollution (the Sea Empress oil spill off west Wales and the breakage of Spurn Point road in Lincolnshire), issues in the environment but always the aesthetics of light, heat and sound as space makers, interactions that make a whole. This interest, focusing on energy and environmental conditions, has been reflected in the choice of subject and titles of earlier exhibitions. She has held a total of 22 exhibitions in London and elsewhere since 1994 and reviews, including the Spectator in 2002, have recommended a wider audience. She has also been interviewed on radio: Woman’s Hour 1994, BBC Radio 4 2013 and Liverpool City Radio 2008. Her paintings are held in collections in the UK and overseas. The concerns reflected in her shows underpin the educational facility in Cornwall as it progresses.

Intensity is a quality that penetrates the images which range from the quietude of a scene on the Thames to a force 9 wave off Land’s End. The interrelationship of abstraction and figuration mentioned earlier remains the prime creative interest to the artist. A timeless zero.

The next few years may prove very different. Elspeth hopes you and your friends will share refreshments with her as this new journey commences. She will be in the gallery throughout the exhibition.

Image: Shadows near Bridge of Orchy © Elspeth Hamilton, 2016. All Rights Reserved
Tuesday-Friday 13:00-17:00; Saturday 11:00-16:00; Sunday 11:00-17:00. Closed Monday
10-23 March

walk feb poster

27^th February
Highgate Modern Homes

Professor David Porter and Elspeth Clements
Highgate is the location of perhaps the largest and finest concentration of modern homes anywhere in Britain, but because of the historic context and the pressure on land many are hidden away. To celebrate the 50^th anniversary of the Highgate Society, Elspeth Clements and David Porter curated an exhibition in the School Museum over the October half-term holiday to showcase Highgate’s pioneering spirit. David Porter is Emeritus Professor of Architecture at the Glasgow School of Art, and Elspeth Clements is a practising architect and Chairman of the Highgate Society Planning Committee.

To be held at 10A – the Highgate Society and NOT at the HLSI, next door! Thanks

Join the Great British Spring Clean campaign, Saturday 4 March 10.15 – 11.30 am

at the Highgate Society 10A South Grove, Highgate   

During the weekend of 3-5 March many people across the country will take part in the Great British Spring Clean campaign. Last year the campaign got 250,000 people outdoors, active and involved in clean up events.

The Highgate Society is organising one such event. We will supply protective gloves and rubbish bags. All we ask is that you bring yourself, some warm clothing and your enthusiasm. We will start with a short briefing at the Highgate Society 10A South Grove at 10.15 am and then leave for approximately an hour’s tidy up in and around Highgate village. Afterwards, if you have time,  we can warm up and enjoy a tea or coffee back at 10A until midday.

You’ll be joining an ever growing band of people who have had enough of other people’s litter, are willing to donate their time to help clear it up and want to see an end to littering. We’ll prepare a short report afterwards to highlight awareness of what we find.

For any questions please contact the organiser Andrew Sulston via the Highgate Society Website.

This exhibition entitled Energy shows mixed media land and seascape originals, limited edition prints, and seven small oil paintings illustrating the landform project being created in Cornwall. Elspeth works on the cusp of abstraction and figuration. “I attempt to reveal energy, a vitality which, once engaged, never diminishes with time.” This has been the appeal.

Elspeth qualified as an architect from Liverpool University, practiced for years and was invited to teach soon after qualifying. She has no formal training in painting but as an architect was regularly asked to make substantial commissions in glass and paint, and to lecture abroad.

She designed three large stained windows in West London in 1981, 1989 and 1996, and in 1983 painted a huge political cartoon, a mural in a house in Westminster for an active politician. It was during these projects she realized the power of communication through composition. In 1999 Elspeth was shortlisted for Millennium artist for North Cornwall. Six interactive proposals were made, all local and doable, including a dark skies project down-directing street lighting – all seen as too ambitious.

This exhibition can be seen as a retrospective on 20 years of painting. Three years of blindness (2013-16) make this show a real celebration and a natural transition to any potential new work. Elspeth started painting landscapes in 1991 while teaching design workshops in Australia. In November last year she returned, with improved – but impaired – vision, to Australia to paint the extreme coastal points including Point Lookout in the west and Albany in the south-west, which may lead to an inevitably different style of future work, but for now a celebration of sight and works dated to 2013.

Initially Elspeth exhibited her paintings in themed shows, for example at Salisbury Playhouse in 1996, with 80 small works around the drum to highlight erosion and pollution (the Sea Empress oil spill off west Wales and the breakage of Spurn Point road in Lincolnshire), issues in the environment but always the aesthetics of light, heat and sound as space makers, interactions that make a whole. This interest, focusing on energy and environmental conditions, has been reflected in the choice of subject and titles of earlier exhibitions. She has held a total of 22 exhibitions in London and elsewhere since 1994 and reviews, including the Spectator in 2002, have recommended a wider audience. She has also been interviewed on radio: Woman’s Hour 1994, BBC Radio 4 2013 and Liverpool City Radio 2008. Her paintings are held in collections in the UK and overseas. The concerns reflected in her shows underpin the educational facility in Cornwall as it progresses.

Intensity is a quality that penetrates the images which range from the quietude of a scene on the Thames to a force 9 wave off Land’s End. The interrelationship of abstraction and figuration mentioned earlier remains the prime creative interest to the artist. A timeless zero.

The next few years may prove very different. Elspeth hopes you and your friends will share refreshments with her as this new journey commences. She will be in the gallery throughout the exhibition.

Image: Shadows near Bridge of Orchy © Elspeth Hamilton, 2016. All Rights Reserved
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
10-23 March 2017

This exhibition entitled Energy shows mixed media land and seascape originals, limited edition prints, and seven small oil paintings illustrating the landform project being created in Cornwall. Elspeth works on the cusp of abstraction and figuration. “I attempt to reveal energy, a vitality which, once engaged, never diminishes with time.” This has been the appeal.

Elspeth qualified as an architect from Liverpool University, practiced for years and was invited to teach soon after qualifying. She has no formal training in painting but as an architect was regularly asked to make substantial commissions in glass and paint, and to lecture abroad.

She designed three large stained windows in West London in 1981, 1989 and 1996, and in 1983 painted a huge political cartoon, a mural in a house in Westminster for an active politician. It was during these projects she realized the power of communication through composition. In 1999 Elspeth was shortlisted for Millennium artist for North Cornwall. Six interactive proposals were made, all local and doable, including a dark skies project down-directing street lighting – all seen as too ambitious.

This exhibition can be seen as a retrospective on 20 years of painting. Three years of blindness (2013-16) make this show a real celebration and a natural transition to any potential new work. Elspeth started painting landscapes in 1991 while teaching design workshops in Australia. In November last year she returned, with improved – but impaired – vision, to Australia to paint the extreme coastal points including Point Lookout in the west and Albany in the south-west, which may lead to an inevitably different style of future work, but for now a celebration of sight and works dated to 2013.

Initially Elspeth exhibited her paintings in themed shows, for example at Salisbury Playhouse in 1996, with 80 small works around the drum to highlight erosion and pollution (the Sea Empress oil spill off west Wales and the breakage of Spurn Point road in Lincolnshire), issues in the environment but always the aesthetics of light, heat and sound as space makers, interactions that make a whole. This interest, focusing on energy and environmental conditions, has been reflected in the choice of subject and titles of earlier exhibitions. She has held a total of 22 exhibitions in London and elsewhere since 1994 and reviews, including the Spectator in 2002, have recommended a wider audience. She has also been interviewed on radio: Woman’s Hour 1994, BBC Radio 4 2013 and Liverpool City Radio 2008. Her paintings are held in collections in the UK and overseas. The concerns reflected in her shows underpin the educational facility in Cornwall as it progresses.

Intensity is a quality that penetrates the images which range from the quietude of a scene on the Thames to a force 9 wave off Land’s End. The interrelationship of abstraction and figuration mentioned earlier remains the prime creative interest to the artist. A timeless zero.

The next few years may prove very different. Elspeth hopes you and your friends will share refreshments with her as this new journey commences. She will be in the gallery throughout the exhibition.

Image: Shadows near Bridge of Orchy © Elspeth Hamilton, 2016. All Rights Reserved
Tuesday-Friday 13:00-17:00; Saturday 11:00-16:00; Sunday 11:00-17:00.  Closed Monday
10-23 March

This exhibition entitled Energy shows mixed media land and seascape originals, limited edition prints, and seven small oil paintings illustrating the landform project being created in Cornwall. Elspeth works on the cusp of abstraction and figuration. “I attempt to reveal energy, a vitality which, once engaged, never diminishes with time.” This has been the appeal.

Elspeth qualified as an architect from Liverpool University, practiced for years and was invited to teach soon after qualifying. She has no formal training in painting but as an architect was regularly asked to make substantial commissions in glass and paint, and to lecture abroad.

She designed three large stained windows in West London in 1981, 1989 and 1996, and in 1983 painted a huge political cartoon, a mural in a house in Westminster for an active politician. It was during these projects she realized the power of communication through composition. In 1999 Elspeth was shortlisted for Millennium artist for North Cornwall. Six interactive proposals were made, all local and doable, including a dark skies project down-directing street lighting – all seen as too ambitious.

This exhibition can be seen as a retrospective on 20 years of painting. Three years of blindness (2013-16) make this show a real celebration and a natural transition to any potential new work. Elspeth started painting landscapes in 1991 while teaching design workshops in Australia. In November last year she returned, with improved – but impaired – vision, to Australia to paint the extreme coastal points including Point Lookout in the west and Albany in the south-west, which may lead to an inevitably different style of future work, but for now a celebration of sight and works dated to 2013.

Initially Elspeth exhibited her paintings in themed shows, for example at Salisbury Playhouse in 1996, with 80 small works around the drum to highlight erosion and pollution (the Sea Empress oil spill off west Wales and the breakage of Spurn Point road in Lincolnshire), issues in the environment but always the aesthetics of light, heat and sound as space makers, interactions that make a whole. This interest, focusing on energy and environmental conditions, has been reflected in the choice of subject and titles of earlier exhibitions. She has held a total of 22 exhibitions in London and elsewhere since 1994 and reviews, including the Spectator in 2002, have recommended a wider audience. She has also been interviewed on radio: Woman’s Hour 1994, BBC Radio 4 2013 and Liverpool City Radio 2008. Her paintings are held in collections in the UK and overseas. The concerns reflected in her shows underpin the educational facility in Cornwall as it progresses.

Intensity is a quality that penetrates the images which range from the quietude of a scene on the Thames to a force 9 wave off Land’s End. The interrelationship of abstraction and figuration mentioned earlier remains the prime creative interest to the artist. A timeless zero.

The next few years may prove very different. Elspeth hopes you and your friends will share refreshments with her as this new journey commences. She will be in the gallery throughout the exhibition.

Image: Shadows near Bridge of Orchy © Elspeth Hamilton, 2016. All Rights Reserved
Tuesday-Friday 13:00-17:00; Saturday 11:00-16:00; Sunday 11:00-17:00. Closed Monday
10-23 March

Sunday, March 12 2017 at 7pm at Upstairs at the Gatehouse, Highgate, “Charles Dickens:  A Life” one man show presented by actor Robert Powell in aid of the Harington Scheme’s “Herbie Hut” appeal.
Tickets £20 (includes a glass of wine) from Upstairs at the Gatehouse Box Office, 020 8340 3488  (credit/debit card fee 50p).

This exhibition entitled Energy shows mixed media land and seascape originals, limited edition prints, and seven small oil paintings illustrating the landform project being created in Cornwall. Elspeth works on the cusp of abstraction and figuration. “I attempt to reveal energy, a vitality which, once engaged, never diminishes with time.” This has been the appeal.

Elspeth qualified as an architect from Liverpool University, practiced for years and was invited to teach soon after qualifying. She has no formal training in painting but as an architect was regularly asked to make substantial commissions in glass and paint, and to lecture abroad.

She designed three large stained windows in West London in 1981, 1989 and 1996, and in 1983 painted a huge political cartoon, a mural in a house in Westminster for an active politician. It was during these projects she realized the power of communication through composition. In 1999 Elspeth was shortlisted for Millennium artist for North Cornwall. Six interactive proposals were made, all local and doable, including a dark skies project down-directing street lighting – all seen as too ambitious.

This exhibition can be seen as a retrospective on 20 years of painting. Three years of blindness (2013-16) make this show a real celebration and a natural transition to any potential new work. Elspeth started painting landscapes in 1991 while teaching design workshops in Australia. In November last year she returned, with improved – but impaired – vision, to Australia to paint the extreme coastal points including Point Lookout in the west and Albany in the south-west, which may lead to an inevitably different style of future work, but for now a celebration of sight and works dated to 2013.

Initially Elspeth exhibited her paintings in themed shows, for example at Salisbury Playhouse in 1996, with 80 small works around the drum to highlight erosion and pollution (the Sea Empress oil spill off west Wales and the breakage of Spurn Point road in Lincolnshire), issues in the environment but always the aesthetics of light, heat and sound as space makers, interactions that make a whole. This interest, focusing on energy and environmental conditions, has been reflected in the choice of subject and titles of earlier exhibitions. She has held a total of 22 exhibitions in London and elsewhere since 1994 and reviews, including the Spectator in 2002, have recommended a wider audience. She has also been interviewed on radio: Woman’s Hour 1994, BBC Radio 4 2013 and Liverpool City Radio 2008. Her paintings are held in collections in the UK and overseas. The concerns reflected in her shows underpin the educational facility in Cornwall as it progresses.

Intensity is a quality that penetrates the images which range from the quietude of a scene on the Thames to a force 9 wave off Land’s End. The interrelationship of abstraction and figuration mentioned earlier remains the prime creative interest to the artist. A timeless zero.

The next few years may prove very different. Elspeth hopes you and your friends will share refreshments with her as this new journey commences. She will be in the gallery throughout the exhibition.

Image: Shadows near Bridge of Orchy © Elspeth Hamilton, 2016. All Rights Reserved
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
10-23 March 2017

This exhibition entitled Energy shows mixed media land and seascape originals, limited edition prints, and seven small oil paintings illustrating the landform project being created in Cornwall. Elspeth works on the cusp of abstraction and figuration. “I attempt to reveal energy, a vitality which, once engaged, never diminishes with time.” This has been the appeal.

Elspeth qualified as an architect from Liverpool University, practiced for years and was invited to teach soon after qualifying. She has no formal training in painting but as an architect was regularly asked to make substantial commissions in glass and paint, and to lecture abroad.

She designed three large stained windows in West London in 1981, 1989 and 1996, and in 1983 painted a huge political cartoon, a mural in a house in Westminster for an active politician. It was during these projects she realized the power of communication through composition. In 1999 Elspeth was shortlisted for Millennium artist for North Cornwall. Six interactive proposals were made, all local and doable, including a dark skies project down-directing street lighting – all seen as too ambitious.

This exhibition can be seen as a retrospective on 20 years of painting. Three years of blindness (2013-16) make this show a real celebration and a natural transition to any potential new work. Elspeth started painting landscapes in 1991 while teaching design workshops in Australia. In November last year she returned, with improved – but impaired – vision, to Australia to paint the extreme coastal points including Point Lookout in the west and Albany in the south-west, which may lead to an inevitably different style of future work, but for now a celebration of sight and works dated to 2013.

Initially Elspeth exhibited her paintings in themed shows, for example at Salisbury Playhouse in 1996, with 80 small works around the drum to highlight erosion and pollution (the Sea Empress oil spill off west Wales and the breakage of Spurn Point road in Lincolnshire), issues in the environment but always the aesthetics of light, heat and sound as space makers, interactions that make a whole. This interest, focusing on energy and environmental conditions, has been reflected in the choice of subject and titles of earlier exhibitions. She has held a total of 22 exhibitions in London and elsewhere since 1994 and reviews, including the Spectator in 2002, have recommended a wider audience. She has also been interviewed on radio: Woman’s Hour 1994, BBC Radio 4 2013 and Liverpool City Radio 2008. Her paintings are held in collections in the UK and overseas. The concerns reflected in her shows underpin the educational facility in Cornwall as it progresses.

Intensity is a quality that penetrates the images which range from the quietude of a scene on the Thames to a force 9 wave off Land’s End. The interrelationship of abstraction and figuration mentioned earlier remains the prime creative interest to the artist. A timeless zero.

The next few years may prove very different. Elspeth hopes you and your friends will share refreshments with her as this new journey commences. She will be in the gallery throughout the exhibition.

Image: Shadows near Bridge of Orchy © Elspeth Hamilton, 2016. All Rights Reserved
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
10-23 March 2017

This exhibition entitled Energy shows mixed media land and seascape originals, limited edition prints, and seven small oil paintings illustrating the landform project being created in Cornwall. Elspeth works on the cusp of abstraction and figuration. “I attempt to reveal energy, a vitality which, once engaged, never diminishes with time.” This has been the appeal.

Elspeth qualified as an architect from Liverpool University, practiced for years and was invited to teach soon after qualifying. She has no formal training in painting but as an architect was regularly asked to make substantial commissions in glass and paint, and to lecture abroad.

She designed three large stained windows in West London in 1981, 1989 and 1996, and in 1983 painted a huge political cartoon, a mural in a house in Westminster for an active politician. It was during these projects she realized the power of communication through composition. In 1999 Elspeth was shortlisted for Millennium artist for North Cornwall. Six interactive proposals were made, all local and doable, including a dark skies project down-directing street lighting – all seen as too ambitious.

This exhibition can be seen as a retrospective on 20 years of painting. Three years of blindness (2013-16) make this show a real celebration and a natural transition to any potential new work. Elspeth started painting landscapes in 1991 while teaching design workshops in Australia. In November last year she returned, with improved – but impaired – vision, to Australia to paint the extreme coastal points including Point Lookout in the west and Albany in the south-west, which may lead to an inevitably different style of future work, but for now a celebration of sight and works dated to 2013.

Initially Elspeth exhibited her paintings in themed shows, for example at Salisbury Playhouse in 1996, with 80 small works around the drum to highlight erosion and pollution (the Sea Empress oil spill off west Wales and the breakage of Spurn Point road in Lincolnshire), issues in the environment but always the aesthetics of light, heat and sound as space makers, interactions that make a whole. This interest, focusing on energy and environmental conditions, has been reflected in the choice of subject and titles of earlier exhibitions. She has held a total of 22 exhibitions in London and elsewhere since 1994 and reviews, including the Spectator in 2002, have recommended a wider audience. She has also been interviewed on radio: Woman’s Hour 1994, BBC Radio 4 2013 and Liverpool City Radio 2008. Her paintings are held in collections in the UK and overseas. The concerns reflected in her shows underpin the educational facility in Cornwall as it progresses.

Intensity is a quality that penetrates the images which range from the quietude of a scene on the Thames to a force 9 wave off Land’s End. The interrelationship of abstraction and figuration mentioned earlier remains the prime creative interest to the artist. A timeless zero.

The next few years may prove very different. Elspeth hopes you and your friends will share refreshments with her as this new journey commences. She will be in the gallery throughout the exhibition.

Image: Shadows near Bridge of Orchy © Elspeth Hamilton, 2016. All Rights Reserved
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
10-23 March 2017

This exhibition entitled Energy shows mixed media land and seascape originals, limited edition prints, and seven small oil paintings illustrating the landform project being created in Cornwall. Elspeth works on the cusp of abstraction and figuration. “I attempt to reveal energy, a vitality which, once engaged, never diminishes with time.” This has been the appeal.

Elspeth qualified as an architect from Liverpool University, practiced for years and was invited to teach soon after qualifying. She has no formal training in painting but as an architect was regularly asked to make substantial commissions in glass and paint, and to lecture abroad.

She designed three large stained windows in West London in 1981, 1989 and 1996, and in 1983 painted a huge political cartoon, a mural in a house in Westminster for an active politician. It was during these projects she realized the power of communication through composition. In 1999 Elspeth was shortlisted for Millennium artist for North Cornwall. Six interactive proposals were made, all local and doable, including a dark skies project down-directing street lighting – all seen as too ambitious.

This exhibition can be seen as a retrospective on 20 years of painting. Three years of blindness (2013-16) make this show a real celebration and a natural transition to any potential new work. Elspeth started painting landscapes in 1991 while teaching design workshops in Australia. In November last year she returned, with improved – but impaired – vision, to Australia to paint the extreme coastal points including Point Lookout in the west and Albany in the south-west, which may lead to an inevitably different style of future work, but for now a celebration of sight and works dated to 2013.

Initially Elspeth exhibited her paintings in themed shows, for example at Salisbury Playhouse in 1996, with 80 small works around the drum to highlight erosion and pollution (the Sea Empress oil spill off west Wales and the breakage of Spurn Point road in Lincolnshire), issues in the environment but always the aesthetics of light, heat and sound as space makers, interactions that make a whole. This interest, focusing on energy and environmental conditions, has been reflected in the choice of subject and titles of earlier exhibitions. She has held a total of 22 exhibitions in London and elsewhere since 1994 and reviews, including the Spectator in 2002, have recommended a wider audience. She has also been interviewed on radio: Woman’s Hour 1994, BBC Radio 4 2013 and Liverpool City Radio 2008. Her paintings are held in collections in the UK and overseas. The concerns reflected in her shows underpin the educational facility in Cornwall as it progresses.

Intensity is a quality that penetrates the images which range from the quietude of a scene on the Thames to a force 9 wave off Land’s End. The interrelationship of abstraction and figuration mentioned earlier remains the prime creative interest to the artist. A timeless zero.

The next few years may prove very different. Elspeth hopes you and your friends will share refreshments with her as this new journey commences. She will be in the gallery throughout the exhibition.

Image: Shadows near Bridge of Orchy © Elspeth Hamilton, 2016. All Rights Reserved
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
10-23 March 2017

Would you like a bit of friendly help with your phone, laptop or tablet? Just head to the Highgate School Library for an afternoon of free, informal one-to-one computer familiarisation sessions over a nice cup of coffee. We do tea as well. And cake!

If you don’t yet possess any electronic gadgets, don’t worry, we do and we’d love you to come and play with them.

“This is so wonderful! It’s easy – when you know how! Thank you” says 75 year old Highgate Coffee & Computers friend, who has just worked out how to move all his pictures from his phone to his tablet.

If you want more info, give Stuart a call on 020 8347 2411 (quoting Highgate Coffee & Computers). You can also email us on highgatecoffeeandcomputers@gmail.com to tell us what you want to know more about.

Please note the volunteers at these sessions are pupils from the school, ranging in age from 11 to 18 years old.  The School has a duty of care to these young people and would be very grateful if you could be mindful of maintaining appropriate interaction with them. Please consider issues such as your language, your expectations regarding the type of matter you raise with the pupils, and the sort of information that the pupils may see on your documents or particular webpages.

If you have any queries then please don’t hesitate to raise them with the members of staff at the session.

If you plan to come, it would be helpful to know, though it is not obligatory.

Warm regards

The Highgate Coffee & Computers volunteers

This exhibition entitled Energy shows mixed media land and seascape originals, limited edition prints, and seven small oil paintings illustrating the landform project being created in Cornwall. Elspeth works on the cusp of abstraction and figuration. “I attempt to reveal energy, a vitality which, once engaged, never diminishes with time.” This has been the appeal.

Elspeth qualified as an architect from Liverpool University, practiced for years and was invited to teach soon after qualifying. She has no formal training in painting but as an architect was regularly asked to make substantial commissions in glass and paint, and to lecture abroad.

She designed three large stained windows in West London in 1981, 1989 and 1996, and in 1983 painted a huge political cartoon, a mural in a house in Westminster for an active politician. It was during these projects she realized the power of communication through composition. In 1999 Elspeth was shortlisted for Millennium artist for North Cornwall. Six interactive proposals were made, all local and doable, including a dark skies project down-directing street lighting – all seen as too ambitious.

This exhibition can be seen as a retrospective on 20 years of painting. Three years of blindness (2013-16) make this show a real celebration and a natural transition to any potential new work. Elspeth started painting landscapes in 1991 while teaching design workshops in Australia. In November last year she returned, with improved – but impaired – vision, to Australia to paint the extreme coastal points including Point Lookout in the west and Albany in the south-west, which may lead to an inevitably different style of future work, but for now a celebration of sight and works dated to 2013.

Initially Elspeth exhibited her paintings in themed shows, for example at Salisbury Playhouse in 1996, with 80 small works around the drum to highlight erosion and pollution (the Sea Empress oil spill off west Wales and the breakage of Spurn Point road in Lincolnshire), issues in the environment but always the aesthetics of light, heat and sound as space makers, interactions that make a whole. This interest, focusing on energy and environmental conditions, has been reflected in the choice of subject and titles of earlier exhibitions. She has held a total of 22 exhibitions in London and elsewhere since 1994 and reviews, including the Spectator in 2002, have recommended a wider audience. She has also been interviewed on radio: Woman’s Hour 1994, BBC Radio 4 2013 and Liverpool City Radio 2008. Her paintings are held in collections in the UK and overseas. The concerns reflected in her shows underpin the educational facility in Cornwall as it progresses.

Intensity is a quality that penetrates the images which range from the quietude of a scene on the Thames to a force 9 wave off Land’s End. The interrelationship of abstraction and figuration mentioned earlier remains the prime creative interest to the artist. A timeless zero.

The next few years may prove very different. Elspeth hopes you and your friends will share refreshments with her as this new journey commences. She will be in the gallery throughout the exhibition.

Image: Shadows near Bridge of Orchy © Elspeth Hamilton, 2016. All Rights Reserved
Tuesday-Friday 13:00-17:00; Saturday 11:00-16:00; Sunday 11:00-17:00.  Closed Monday
10-23 March