Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Japan 2018, 121 mins (dir. Hirokazu Kore-eda) starring Sakura Ando and Lily Franky.
In 2019 the Film Society showed Kore-eda’s film ‘Our Little Sister’, and also in 2016 his ‘Like Father, Like Son’.
Kore-eda’s latest, and arguably finest, film is a profoundly moving drama about a poverty-stricken group of individuals who live together ostensibly as a family and who petty-thieve to make ends meet. One cold winter’s night they come across a shivering little girl foraging for scraps and decide to take her in for just a few days. After noticing signs of abuse, however, they resolve to keep her and they all live happily, if scrappily, together until an unforeseen incident reveals the long-buried secrets which test the bonds that unite them. The film paints a picture of poverty in modern Japan rarely seen on our screens.
Doors open at 7.30pm. Free drinks available. Film starts at 8pm.
The Highgate Film Society operates on a membership subscription basis and membership is open to all: you do not have to be a member of the HLSI in order to join.
Subscription films are shown in the Victoria Hall. Except where otherwise stated, doors open at 7.30pm and films start at 8pm. Complimentary wine and juice are available before every performance and, for longer films, during an interval.
The subscription films in our 2019/20 season are listed below. The first film is free. Non-HFS members are also very welcome to attend any non-subscription events taking place during the season.
Two membership options are available and can be bought both through the office and on the door:
- Full Member: one subscription payment of £35 per person for all nine films Join Now
- Associate Member: one subscription payment of £15 per person which allows entry to any film for £5 Join Now
Guests: £8 per ticket. HFS Members only may buy guest tickets in advance from the office, either in person or by telephone payment. Guest tickets will not be available on the door.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Handmade In Highgate, the designer/maker Spring Fair 2020 will take place at the Highgate Literary & Scientific Institution on 24 – 26 April. Come and find 30 of the most talented designer/maker/artists in the UK today. Entrance is free and everyone is welcome. We open:
Friday 24 April: 5pm – 8pm
Saturday 25 April: 10am – 6pm
Sunday 26 April: 11am – 5pm
Handmade in Highgate the Spring Fair 2020 will take place on 24 -26 April. 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.
Highgate Society vs HLSI Tuesday May 12 th 7.30 for 8.00pm at 11 South Grove Feeling quizzical? It’s time for the annual challenge between HiSoc & HLSI. Come and join your fellow Society Swots for an evening of fun – frustration – frivolity and ultimate victory? See you there?!
HLSI One-to-One Interviews
Many HLSI members have interesting careers and experiences, and here is a chance to learn about them as one member interviews another. Michael de Swiet, retired professor of medicine, interviews Catherine Budgett-Meakin who grew up in Highgate and has had a varied professional life. Her concern about the climate emergency has permeated her life for more than 30 years.
Please register for a One-to-One Interview by noon, Friday 19 June
Zoom invitations will be sent out on the day.
Sir Mark Elder, conductor and music director of the Hallé Orchestra, explores the story of how Karl Hallé came to Manchester in the 1850s and founded the orchestra that still bears his name.
Please register by noon on the day of the talk and Zoom invitations will be sent out on the afternoon of the talk.
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.
Maureen Lipman – film, theatre and TV actress, writer, columnist and
comedian, currently playing the role of Evelyn Plummer in Coronation Street – will share her thoughts and feelings on life in lockdown.
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.
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
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
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
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
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
For more details see website
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. textile collage. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).