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Online exhibition: From Here to There, Richard Layzell

We are pleased to share a new film by Richard Layzell retracing and remembering his journey to Waterlow Park.

Since the Summer of 2018 artist Richard Layzell has been in residence at LUX as our Creative Ecologist, helping us to think about and interpret the environment of Waterlow Park, in which LUX is located, as part of his wider research project The Naming. Like all of us Richard is under lockdown in London, but living in N4 he can walk to Waterlow Park during his allotted daily exercise. In his affecting new work, From Here to There he reflects on this journey and the park where he has been based for the last two years.

The Naming is a research project challenging and questioning how, through categorization and naming, we distance ourselves from aspects of the natural world and the cultural world. Inspirational figures are Jane Jacobs, Arne Naess (who chained himself to Mardalsfossen waterfall in Norway in 1970 to prevent a dam being built), First Nations beliefs in general and especially the Mi’kmaq community in Nova Scotia and the ancient Greek philosopher Heraclitus. The work he is producing includes discussions, performances, ‘interventions’, audio recordings, video, photography, ‘imprints’ using the earliest form of printing known as Takuhon, and an ongoing body of creative writing. He is celebrating particular trees and the songs of particular birds, especially the pied butcherbird from Australia.

Richard Layzell works in performance, video and installation – and with industry and communities – has been recognised internationally.

He has been commissioned by most of the major public galleries and museums across the UK and completed many international artist residencies. As an experienced facilitator he’s led creative workshops with people of all ages and backgrounds internationally. His groundbreaking interactive installation Tap Ruffle and Shave, commissioned by Glasgow Museums, toured to London, Manchester and Newcastle and was seen by 100,000 people. He developed a series of innovative residencies in industry, defining the role of the visionaire, expanding the artist’s role in redefining corporate culture and the community of the workplace. He subsequently applied this experience in the cultural sector with an expanded socially engaged practice, working on ambitious projects with communities in Bristol, Swindon, Glasgow, Coventry, Colchester, Liverpool, London, Shanghai, and Perth (Australia), amongst others.

His current work The Naming is manifesting in many different forms and locations, including Ephesus (Turkey), Mardalsfossen (Norway), Nova Scotia, New Brunswick, Montreal, Vancouver, Skyros (Greece), London, Bristol, Colchester, Seoul, Sydney and Alice Springs.

Visit the LUX website to watch the film and download an audio transcript.

https://lux.org.uk/online-exhibition/from-here-to-there-richard-layzell

Online exhibition: From Here to There, Richard Layzell

We are pleased to share a new film by Richard Layzell retracing and remembering his journey to Waterlow Park.

Since the Summer of 2018 artist Richard Layzell has been in residence at LUX as our Creative Ecologist, helping us to think about and interpret the environment of Waterlow Park, in which LUX is located, as part of his wider research project The Naming. Like all of us Richard is under lockdown in London, but living in N4 he can walk to Waterlow Park during his allotted daily exercise. In his affecting new work, From Here to There he reflects on this journey and the park where he has been based for the last two years.

The Naming is a research project challenging and questioning how, through categorization and naming, we distance ourselves from aspects of the natural world and the cultural world. Inspirational figures are Jane Jacobs, Arne Naess (who chained himself to Mardalsfossen waterfall in Norway in 1970 to prevent a dam being built), First Nations beliefs in general and especially the Mi’kmaq community in Nova Scotia and the ancient Greek philosopher Heraclitus. The work he is producing includes discussions, performances, ‘interventions’, audio recordings, video, photography, ‘imprints’ using the earliest form of printing known as Takuhon, and an ongoing body of creative writing. He is celebrating particular trees and the songs of particular birds, especially the pied butcherbird from Australia.

Richard Layzell works in performance, video and installation – and with industry and communities – has been recognised internationally.

He has been commissioned by most of the major public galleries and museums across the UK and completed many international artist residencies. As an experienced facilitator he’s led creative workshops with people of all ages and backgrounds internationally. His groundbreaking interactive installation Tap Ruffle and Shave, commissioned by Glasgow Museums, toured to London, Manchester and Newcastle and was seen by 100,000 people. He developed a series of innovative residencies in industry, defining the role of the visionaire, expanding the artist’s role in redefining corporate culture and the community of the workplace. He subsequently applied this experience in the cultural sector with an expanded socially engaged practice, working on ambitious projects with communities in Bristol, Swindon, Glasgow, Coventry, Colchester, Liverpool, London, Shanghai, and Perth (Australia), amongst others.

His current work The Naming is manifesting in many different forms and locations, including Ephesus (Turkey), Mardalsfossen (Norway), Nova Scotia, New Brunswick, Montreal, Vancouver, Skyros (Greece), London, Bristol, Colchester, Seoul, Sydney and Alice Springs.

Visit the LUX website to watch the film and download an audio transcript.

https://lux.org.uk/online-exhibition/from-here-to-there-richard-layzell

Online exhibition: From Here to There, Richard Layzell

We are pleased to share a new film by Richard Layzell retracing and remembering his journey to Waterlow Park.

Since the Summer of 2018 artist Richard Layzell has been in residence at LUX as our Creative Ecologist, helping us to think about and interpret the environment of Waterlow Park, in which LUX is located, as part of his wider research project The Naming. Like all of us Richard is under lockdown in London, but living in N4 he can walk to Waterlow Park during his allotted daily exercise. In his affecting new work, From Here to There he reflects on this journey and the park where he has been based for the last two years.

The Naming is a research project challenging and questioning how, through categorization and naming, we distance ourselves from aspects of the natural world and the cultural world. Inspirational figures are Jane Jacobs, Arne Naess (who chained himself to Mardalsfossen waterfall in Norway in 1970 to prevent a dam being built), First Nations beliefs in general and especially the Mi’kmaq community in Nova Scotia and the ancient Greek philosopher Heraclitus. The work he is producing includes discussions, performances, ‘interventions’, audio recordings, video, photography, ‘imprints’ using the earliest form of printing known as Takuhon, and an ongoing body of creative writing. He is celebrating particular trees and the songs of particular birds, especially the pied butcherbird from Australia.

Richard Layzell works in performance, video and installation – and with industry and communities – has been recognised internationally.

He has been commissioned by most of the major public galleries and museums across the UK and completed many international artist residencies. As an experienced facilitator he’s led creative workshops with people of all ages and backgrounds internationally. His groundbreaking interactive installation Tap Ruffle and Shave, commissioned by Glasgow Museums, toured to London, Manchester and Newcastle and was seen by 100,000 people. He developed a series of innovative residencies in industry, defining the role of the visionaire, expanding the artist’s role in redefining corporate culture and the community of the workplace. He subsequently applied this experience in the cultural sector with an expanded socially engaged practice, working on ambitious projects with communities in Bristol, Swindon, Glasgow, Coventry, Colchester, Liverpool, London, Shanghai, and Perth (Australia), amongst others.

His current work The Naming is manifesting in many different forms and locations, including Ephesus (Turkey), Mardalsfossen (Norway), Nova Scotia, New Brunswick, Montreal, Vancouver, Skyros (Greece), London, Bristol, Colchester, Seoul, Sydney and Alice Springs.

Visit the LUX website to watch the film and download an audio transcript.

https://lux.org.uk/online-exhibition/from-here-to-there-richard-layzell

In 1890 the Impressionist painter Claude Monet bought a property at Giverny, a village to the northwest of Paris. He redesigned the grounds and diverted water from a nearby stream to create a lily pond with a Japanese bridge. In these gardens he found an infinite source of creative inspiration for his late paintings, nowadays considered his greatest achievements.

Talks start at 6.00pm each Tuesday and will be delivered by Zoom. There will be a short question and answer session at the end, using the Chat facility on Zoom.

Please register for a Tuesday Talk by noon on the day of the talk.

Zoom invitations will be sent out on the afternoon of the talk.

NB Start time: 6.00pm
Waiting Room open 5 minutes before.
Booking will close at 12 noon.

Proposer: Paul Kafno, television producer and writer

Opposer: Martyn Bond, former BBC producer and foreign correspondent

Please join us to debate the live topic of the BBC, enlightened by the arguments of expert speakers, supported by ‘seconders’ from local sixth forms. Speakers from the floor will be able to make contributions to the debate, which will have the same format as usual.

Please note: start time 6pm

Booking closes at 12 noon

https://members.hlsi.net/Event-Booking/EventId/108

This month Catherine Budgett-Meakin interviews Martin Adeney.

Martin Adeney worked as a journalist, reporting on labour and British industry for the Guardian, Sunday Telegraph and the BBC. He had his own public relations agency and is the author of a book published just before the Brexit vote, ‘Baggage of Empire; reporting politics and industry in the shadow of imperial decline’.

At this time, the interviews will be on Zoom, but we hope they will be able to take place in the HLSI in due course.

Please register by 12 noon on Friday 17th July.
Zoom invitations will be sent out on the day.
NB Start time: 4.00pm
Waiting Room open 5 minutes before.

Join Tim Blanning, Professor Emeritus of Modern European History at the University of Cambridge and a Fellow of the British Academy, on a journey down the valley of the River Danube.

Talks start at 6.00pm each Tuesday and will be delivered by Zoom. There will be a short question and answer session at the end, using the Chat facility on Zoom.

Please register for a Tuesday Talk by noon on the day of the talk.

Zoom invitations will be sent out on the afternoon of the talk.

NB Start time: 6.00pm
Waiting Room open 5 minutes before.
Booking will close at 12 noon.

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk

www.jasonsumray.com

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk

www.jasonsumray.com

Register online to be sent the zoom link

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

See website for more details

Highgate Literary& Scientific Institution

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved

What’s in a Jug?  Paintings and etchings by Jason Sumray     11-24 September 2020

For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes.  He takes ordinary objects and gives them new meanings;  grouping and juxtaposing them as if they are protagonists in table-top dramas.

The series began with an interest in images where the human presence was still strongly felt but figures were absent.  Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table.  Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning.  In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects;  where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.

Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’;  images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761).  Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.

Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink.  He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge.  He etches from his paintings;  they inform each other.

Jason Sumray lives and paints in North London.  He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions.  He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017.  His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012.  In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer.  Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings.  In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.

For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com

Ticket details on website

Highgate Literary& Scientific Institution

Handmade in Highgate the Summer  Fair 2020 will take place on 25 – 27 September. Come and find some of the UK’s most talented designer/makers at the Highgate Literary & Scientific Institution, entrance is FREE and everyone is welcome.

Times:

Friday 25 September: 5pm – 8pm

Saturday 26 September: 10am – 6pm

Sunday 27 September: 11am – 5pm

Handmade in Highgate the Summer  Fair 2020 will take place on 25 – 27 September. Come and find some of the UK’s most talented designer/makers at the Highgate Literary & Scientific Institution, entrance is FREE and everyone is welcome.

Times:

Friday 25 September: 5pm – 8pm

Saturday 26 September: 10am – 6pm

Sunday 27 September: 11am – 5pm

Handmade in Highgate the Summer  Fair 2020 will take place on 25 – 27 September. Come and find some of the UK’s most talented designer/makers at the Highgate Literary & Scientific Institution, entrance is FREE and everyone is welcome.

Times:

Friday 25 September: 5pm – 8pm

Saturday 26 September: 10am – 6pm

Sunday 27 September: 11am – 5pm

For details see website

Highgate Literary& Scientific Institution