Mike Coles, Traffic Lights
Artworks inspired by the theme 50:50 will feature in an exciting new exhibition by more than 30 members of the East Finchley Open Artists (EFOA).
The exhibition features paintings, original prints, photographs and wall-mounted three-dimensional work including textiles and ceramics that interpret the theme 50:50 in a variety of ways, from half-and-half, positive/negative, or literally 50x50cm square.
All of the artists have prepared new works especially for the exhibition. Among them, David Waller explores the idea of twins in a large wall-hung mixed media piece; Christine Watson focuses on the simplicity of the rise and fall of steps at Trajan’s Market in her mezzotint; Cathy Burkinshaw presents a split-screen take on nature in her mixed media work Portobello Road; and photographer Peter Kyte juxtaposes two angled facades of buildings in Sheffield.
Founded in 2004, East Finchley Open Artists is a group of artists and craftspeople – including painters, printers, photographers, ceramicists, glass makers, jewellers, sculptors, textile artists and basket makers – ranging from those who are starting out in their creative careers to well-established professional artists and lecturers. Every summer the EFOA hosts Open House weekends, as well as other public events throughout the year. For information about upcoming events and activities, membership, and to sign up for the monthly e-newsletter, see: www.eastfinchleyopen.org.uk
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays
16-29 November 2018
Mike Coles, Traffic Lights
Artworks inspired by the theme 50:50 will feature in an exciting new exhibition by more than 30 members of the East Finchley Open Artists (EFOA).
The exhibition features paintings, original prints, photographs and wall-mounted three-dimensional work including textiles and ceramics that interpret the theme 50:50 in a variety of ways, from half-and-half, positive/negative, or literally 50x50cm square.
All of the artists have prepared new works especially for the exhibition. Among them, David Waller explores the idea of twins in a large wall-hung mixed media piece; Christine Watson focuses on the simplicity of the rise and fall of steps at Trajan’s Market in her mezzotint; Cathy Burkinshaw presents a split-screen take on nature in her mixed media work Portobello Road; and photographer Peter Kyte juxtaposes two angled facades of buildings in Sheffield.
Founded in 2004, East Finchley Open Artists is a group of artists and craftspeople – including painters, printers, photographers, ceramicists, glass makers, jewellers, sculptors, textile artists and basket makers – ranging from those who are starting out in their creative careers to well-established professional artists and lecturers. Every summer the EFOA hosts Open House weekends, as well as other public events throughout the year. For information about upcoming events and activities, membership, and to sign up for the monthly e-newsletter, see: www.eastfinchleyopen.org.uk
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays
16-29 November 2018
Mike Coles, Traffic Lights
Artworks inspired by the theme 50:50 will feature in an exciting new exhibition by more than 30 members of the East Finchley Open Artists (EFOA).
The exhibition features paintings, original prints, photographs and wall-mounted three-dimensional work including textiles and ceramics that interpret the theme 50:50 in a variety of ways, from half-and-half, positive/negative, or literally 50x50cm square.
All of the artists have prepared new works especially for the exhibition. Among them, David Waller explores the idea of twins in a large wall-hung mixed media piece; Christine Watson focuses on the simplicity of the rise and fall of steps at Trajan’s Market in her mezzotint; Cathy Burkinshaw presents a split-screen take on nature in her mixed media work Portobello Road; and photographer Peter Kyte juxtaposes two angled facades of buildings in Sheffield.
Founded in 2004, East Finchley Open Artists is a group of artists and craftspeople – including painters, printers, photographers, ceramicists, glass makers, jewellers, sculptors, textile artists and basket makers – ranging from those who are starting out in their creative careers to well-established professional artists and lecturers. Every summer the EFOA hosts Open House weekends, as well as other public events throughout the year. For information about upcoming events and activities, membership, and to sign up for the monthly e-newsletter, see: www.eastfinchleyopen.org.uk
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays
16-29 November 2018
Mike Coles, Traffic Lights
Artworks inspired by the theme 50:50 will feature in an exciting new exhibition by more than 30 members of the East Finchley Open Artists (EFOA).
The exhibition features paintings, original prints, photographs and wall-mounted three-dimensional work including textiles and ceramics that interpret the theme 50:50 in a variety of ways, from half-and-half, positive/negative, or literally 50x50cm square.
All of the artists have prepared new works especially for the exhibition. Among them, David Waller explores the idea of twins in a large wall-hung mixed media piece; Christine Watson focuses on the simplicity of the rise and fall of steps at Trajan’s Market in her mezzotint; Cathy Burkinshaw presents a split-screen take on nature in her mixed media work Portobello Road; and photographer Peter Kyte juxtaposes two angled facades of buildings in Sheffield.
Founded in 2004, East Finchley Open Artists is a group of artists and craftspeople – including painters, printers, photographers, ceramicists, glass makers, jewellers, sculptors, textile artists and basket makers – ranging from those who are starting out in their creative careers to well-established professional artists and lecturers. Every summer the EFOA hosts Open House weekends, as well as other public events throughout the year. For information about upcoming events and activities, membership, and to sign up for the monthly e-newsletter, see: www.eastfinchleyopen.org.uk
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays
16-29 November 2018
Highgate Literary & Scientific Institution members will display their work at the ninth Members’ Art Exhibition at Highgate Gallery from 8th to 21st February 2019.
Previous exhibitions, starting in 1996, have been indicative of Highgate’s vibrant artistic life. Artists have shown oils, acrylics, watercolours and pastels as well as prints and drawings. In addition, photographs, wall hangings and embroideries have featured and we anticipate that the same high standard of work will be submitted for the forthcoming exhibition which will again demonstrate the many and varied talents of our members.
Throughout the exhibition, one of the artists will be on hand to welcome visitors to Highgate Gallery and will be pleased to discuss the pieces on view. All works will be offered for sale.
The HLSI Members’ Art Exhibition is held every three years and is greatly anticipated by the artists and visitors to the Gallery. The show is open to all HLSI members – talented amateurs and professionals alike – to submit pieces.
The final choice of works for display is decided by a selection panel. The panel includes Rose Aidin, Chief Executive of Art History Link Up which facilitates the teaching of Art History on Saturdays at the Wallace Collection and the National Gallery, and Theresa Pateman, artist-printmaker, tutor at Hampstead School of Art and member of Southbank Printmakers Gallery, Printmakers Council, and Printmakers Inc.
Exhibition continues until 21 February. Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Literary & Scientific Institution members will display their work at the ninth Members’ Art Exhibition at Highgate Gallery from 8th to 21st February 2019.
Previous exhibitions, starting in 1996, have been indicative of Highgate’s vibrant artistic life. Artists have shown oils, acrylics, watercolours and pastels as well as prints and drawings. In addition, photographs, wall hangings and embroideries have featured and we anticipate that the same high standard of work will be submitted for the forthcoming exhibition which will again demonstrate the many and varied talents of our members.
Throughout the exhibition, one of the artists will be on hand to welcome visitors to Highgate Gallery and will be pleased to discuss the pieces on view. All works will be offered for sale.
The HLSI Members’ Art Exhibition is held every three years and is greatly anticipated by the artists and visitors to the Gallery. The show is open to all HLSI members – talented amateurs and professionals alike – to submit pieces.
The final choice of works for display is decided by a selection panel. The panel includes Rose Aidin, Chief Executive of Art History Link Up which facilitates the teaching of Art History on Saturdays at the Wallace Collection and the National Gallery, and Theresa Pateman, artist-printmaker, tutor at Hampstead School of Art and member of Southbank Printmakers Gallery, Printmakers Council, and Printmakers Inc.
Exhibition continues until 21 February. Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Bramleys; watercolour (R Craven)
Highgate Literary & Scientific Institution members will display their work at the ninth Members’ Art Exhibition at Highgate Gallery from 8th to 21st February 2019.
Previous exhibitions, starting in 1996, have been indicative of Highgate’s vibrant artistic life. Artists have shown oils, acrylics, watercolours and pastels as well as prints and drawings. In addition, photographs, wall hangings and embroideries have featured and we anticipate that the same high standard of work will be submitted for the forthcoming exhibition which will again demonstrate the many and varied talents of our members.
Throughout the exhibition, one of the artists will be on hand to welcome visitors to Highgate Gallery and will be pleased to discuss the pieces on view. All works will be offered for sale.
The HLSI Members’ Art Exhibition is held every three years and is greatly anticipated by the artists and visitors to the Gallery. The show is open to all HLSI members – talented amateurs and professionals alike – to submit pieces.
The final choice of works for display is decided by a selection panel. The panel includes Rose Aidin, Chief Executive of Art History Link Up which facilitates the teaching of Art History on Saturdays at the Wallace Collection and the National Gallery, and Theresa Pateman, artist-printmaker, tutor at Hampstead School of Art and member of Southbank Printmakers Gallery, Printmakers Council, and Printmakers Inc.
Exhibition continues until 21 February. Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Literary & Scientific Institution members will display their work at the ninth Members’ Art Exhibition at Highgate Gallery from 8th to 21st February 2019.
Previous exhibitions, starting in 1996, have been indicative of Highgate’s vibrant artistic life. Artists have shown oils, acrylics, watercolours and pastels as well as prints and drawings. In addition, photographs, wall hangings and embroideries have featured and we anticipate that the same high standard of work will be submitted for the forthcoming exhibition which will again demonstrate the many and varied talents of our members.
Throughout the exhibition, one of the artists will be on hand to welcome visitors to Highgate Gallery and will be pleased to discuss the pieces on view. All works will be offered for sale.
The HLSI Members’ Art Exhibition is held every three years and is greatly anticipated by the artists and visitors to the Gallery. The show is open to all HLSI members – talented amateurs and professionals alike – to submit pieces.
The final choice of works for display is decided by a selection panel. The panel includes Rose Aidin, Chief Executive of Art History Link Up which facilitates the teaching of Art History on Saturdays at the Wallace Collection and the National Gallery, and Theresa Pateman, artist-printmaker, tutor at Hampstead School of Art and member of Southbank Printmakers Gallery, Printmakers Council, and Printmakers Inc.
Exhibition continues until 21 February. Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Bramleys; watercolour (R Craven)
Highgate Literary & Scientific Institution members will display their work at the ninth Members’ Art Exhibition at Highgate Gallery from 8th to 21st February 2019.
Previous exhibitions, starting in 1996, have been indicative of Highgate’s vibrant artistic life. Artists have shown oils, acrylics, watercolours and pastels as well as prints and drawings. In addition, photographs, wall hangings and embroideries have featured and we anticipate that the same high standard of work will be submitted for the forthcoming exhibition which will again demonstrate the many and varied talents of our members.
Throughout the exhibition, one of the artists will be on hand to welcome visitors to Highgate Gallery and will be pleased to discuss the pieces on view. All works will be offered for sale.
The HLSI Members’ Art Exhibition is held every three years and is greatly anticipated by the artists and visitors to the Gallery. The show is open to all HLSI members – talented amateurs and professionals alike – to submit pieces.
The final choice of works for display is decided by a selection panel. The panel includes Rose Aidin, Chief Executive of Art History Link Up which facilitates the teaching of Art History on Saturdays at the Wallace Collection and the National Gallery, and Theresa Pateman, artist-printmaker, tutor at Hampstead School of Art and member of Southbank Printmakers Gallery, Printmakers Council, and Printmakers Inc.
Exhibition continues until 21 February. Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Literary & Scientific Institution members will display their work at the ninth Members’ Art Exhibition at Highgate Gallery from 8th to 21st February 2019.
Previous exhibitions, starting in 1996, have been indicative of Highgate’s vibrant artistic life. Artists have shown oils, acrylics, watercolours and pastels as well as prints and drawings. In addition, photographs, wall hangings and embroideries have featured and we anticipate that the same high standard of work will be submitted for the forthcoming exhibition which will again demonstrate the many and varied talents of our members.
Throughout the exhibition, one of the artists will be on hand to welcome visitors to Highgate Gallery and will be pleased to discuss the pieces on view. All works will be offered for sale.
The HLSI Members’ Art Exhibition is held every three years and is greatly anticipated by the artists and visitors to the Gallery. The show is open to all HLSI members – talented amateurs and professionals alike – to submit pieces.
The final choice of works for display is decided by a selection panel. The panel includes Rose Aidin, Chief Executive of Art History Link Up which facilitates the teaching of Art History on Saturdays at the Wallace Collection and the National Gallery, and Theresa Pateman, artist-printmaker, tutor at Hampstead School of Art and member of Southbank Printmakers Gallery, Printmakers Council, and Printmakers Inc.
Exhibition continues until 21 February. Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
We are holding an informal discussion evening at the Belle Starr room at the Boogaloo pub, Archway Road on Monday the 11th of March 7.30. This will be a chance to share your suggestions and to help us develop a core of ‘Trail Guardians’. If you would like to get involved please join us. To help us judge numbers email us at infoparklandwalk@gmail.com with the subject heading ‘Trail Guardian evening’. Let us know if you would like a short tour of the site beforehand and we will endeavour to arrange an opportunity.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Image: Graffiti Theft No2 – spray paint transfer on cotton- 110x196cm. (c) SimonWilliams/Jakbox2018. All rights reserved
Archway-based artist Simon Williams’ work questions the relationship that we have with the world, inviting us to rediscover and appreciate beauty in our environment that might otherwise be overlooked. The viewer is encouraged to explore and reappraise objects, textures and surfaces that Simon believes are powerful, “full of history and memories”. He has a deep appreciation for the “accidental aesthetics” created by the city, the marks that industry, commerce and everyday life leave behind.
Whether their origins are in the local streets like the ‘Pavement’ series or in a domestic setting such as the ‘Marking Time’ series, Simon is fascinated with the impact of time on the objects around us. He uses of a wide range of materials and media – including silicone, wood, metal and paper – which reveal the different forms that beauty can take, depending on the relationship the viewer shares with, or the feelings they project onto, those objects. The materials can be industrial, like metal, then subjected to chemical erosion, or created by inks or graphite on paper, recreating natural marks made by time. These works are shown alongside the “ready-mades” or found objects, and demand a response from the viewer.
Engaging with the viewer has always been an important element in Simon’s work. Whilst studying architecture at Liverpool University Simon worked as a pavement artist, and was voted Time Out’s ‘Street Artist of the Year’ in 1987. He also started designing theatre posters for the Liverpool Playhouse, which was the beginning of a successful career in the field, as he subsequently established his own studio which was rebranded as ‘Feast’ in 2005 and is based in Camden. In 2018 the poster image for ‘Harry Potter and the Cursed Child’ was given the ‘Best Theatre Poster Award’ of all time by ‘What’s on Stage’.
During this time Simon has always had other artistic work going on, whether sculptures, photographic documentary work, a conceptual project called ‘Under the Hammer’ – a project of 17 weekly art auctions inspired by different famous artists – or collaborative work with the JakBox creative team in his Camden studio. He created the ‘Points of View’ concept in 2009 which directs the public’s gaze from the pavement to unusual viewpoints or juxtapositions, turning the urban landscape itself into a work of art. In 2015 JakBox was commissioned by Camden Council to create a ‘Points of View’ in Cobden Junction near Mornington Crescent. Finding interest or beauty in what might otherwise be ignored or considered mundane is also a preoccupation in this highly original show at Highgate Gallery.
See also the website: JakBox.co.uk. Simon has had two short pieces on London Live:
http://www.jakbox.co.uk/news/london-live-feature
https://www.youtube.com/watch?v=DqcEMWNeeao
Exhibition continues until 21 March.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
Crossing16.05.2016
The fallibility of longitudinal memory and the memory of fleeting everyday experiences make up the two different parts of this exhibition. What do we keep of our lives, is this a reminder to ourselves and how much is it how we want others to remember us? The first is subject to self-selection and the second to the fallibility of others’ interpretation. Both play on the material in this first part of this exhibition.
Helen de Mouilpied was born in 1914 and died in 1987. Thirty years later the material she kept about herself is presented by the artist through his own memories. The viewer’s interpretation will confer significance to these memories. Why was this material kept and other items discarded? What has determined the selection from the material for this exhibition? How does this material trigger our own ways of remembering?
The first part of this exhibition is made up of diaries, photos, letters and other physical memories. Displayed chronologically it makes up the substance of one remembered life.
The second part of the exhibition is the culmination of a photographic project in Hackney. Fleeting interactions are committed to photographic memory. The same photograph was taken every day for a year, but not at the same time of day. The photographer (the artist) was not in Hackney every day; it took nearly eighteen months to accrue 365 photos. These are displayed in the form of a slide show: Hackney Crossing 365. The momentary memory of that instant has been captured through photographs, drawings, painting and lithographs.
The passing of time, observing everyday street scenes and surveillance have been recurrent themes in Adam Forman’s work; travel scenes in Imminent Public Spaces (2006) and the CCTV Series (2010). Being watched, watching and observing are ever present in these images, as is the act of clandestine photography on the closely observed crossing.
Much of the work in the exhibition is for sale. Open Tues-Fri 1-5, Sat 11-4, Sun 11-5; closed Mon. Exhibition continues until 11 April.
“Artichokes”
This exhibition celebrates the life and work of Judith Downie (1934-2016), Kentish Town painter, etcher, teacher and cook.
Judith was born in Ashington, Northumberland and studied painting and etching at King’s College, Newcastle in the 1950s, under Lawrence Gowing, Richard Hamilton and Victor Pasmore. This was at the time when Newcastle was pioneering the famous ‘Basic Design’ course, which created a revolution in art education in the UK. Judith went on to teach at Newcastle before going to Paris to work at SW Hayter’s etching studio, Atelier 17.
After leaving Art School, Judith lived and worked in Paris, London and New York. She taught at Leicester Polytechnic and Chelsea School of Art. In 1968 she and her friend Zena Flax established a group of printmakers in North London, called Printers Inc, holding annual exhibitions of their work. In retirement Judith continued to teach etching from her home in Kentish Town – her kitchen famously was dominated by her large etching press which doubled as a kitchen counter.
Judith’s early work was largely abstract and concerned with process, but counter-intuitively became increasingly figurative as her natural pre-occupation with landscape, animals and food re-asserted itself. Her later work expresses her life-long obsession with drawing, form, pattern and technique while anchoring itself explicitly in her day-to-day life and cultural influences.
Her love of animals began in childhood; after retiring from teaching she owned a pet shop, and for the last twenty years of her life she lived with a tyrannical ‘free range’ cockatiel called ‘Beaky’, who features prominently in her work, along with the pets of friends and other animals that caught her eye; all were closely observed. Food was the other lifelong passion, which increasingly found expression in both her etching and painting. Judith was a semi-professional cook and generous host who owned over 1000 cookery books; the place food occupies in her work expresses the excitement of her post-war generation newly brought into contact with French and Mediterranean cooking. Just as Cezanne was a continuous reference point in her painting, so Elizabeth David was her touchstone in cooking. Her etching ‘Homage to Elizabeth David’, which depicts both the casserole belonging to David, which Judith bought at auction, and her well-used copy of French Provincial Cooking, perfectly captures both these influences.
‘I paint and etch the things I live with, like and eat, as I need to gaze at them for a long time. Richard Gregory (he of ‘The Eye and the Brain’) says that painting is impossible, but I think of figurative painting as more like magic. It is wonderful that some brush, pencil or ink marks on a flat surface can vividly conjure up the three-dimensional world. It is magic to look at paint and feel the weight of an apple, to know that brush-marks are brush-marks, but to see in them the distance between solid objects or between trees and hills. The complexity of perception is a mystery and the ultimate subject matter.’
All work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays. Exhibition continues until 16 May.
“Artichokes”
This exhibition celebrates the life and work of Judith Downie (1934-2016), Kentish Town painter, etcher, teacher and cook.
Judith was born in Ashington, Northumberland and studied painting and etching at King’s College, Newcastle in the 1950s, under Lawrence Gowing, Richard Hamilton and Victor Pasmore. This was at the time when Newcastle was pioneering the famous ‘Basic Design’ course, which created a revolution in art education in the UK. Judith went on to teach at Newcastle before going to Paris to work at SW Hayter’s etching studio, Atelier 17.
After leaving Art School, Judith lived and worked in Paris, London and New York. She taught at Leicester Polytechnic and Chelsea School of Art. In 1968 she and her friend Zena Flax established a group of printmakers in North London, called Printers Inc, holding annual exhibitions of their work. In retirement Judith continued to teach etching from her home in Kentish Town – her kitchen famously was dominated by her large etching press which doubled as a kitchen counter.
Judith’s early work was largely abstract and concerned with process, but counter-intuitively became increasingly figurative as her natural pre-occupation with landscape, animals and food re-asserted itself. Her later work expresses her life-long obsession with drawing, form, pattern and technique while anchoring itself explicitly in her day-to-day life and cultural influences.
Her love of animals began in childhood; after retiring from teaching she owned a pet shop, and for the last twenty years of her life she lived with a tyrannical ‘free range’ cockatiel called ‘Beaky’, who features prominently in her work, along with the pets of friends and other animals that caught her eye; all were closely observed. Food was the other lifelong passion, which increasingly found expression in both her etching and painting. Judith was a semi-professional cook and generous host who owned over 1000 cookery books; the place food occupies in her work expresses the excitement of her post-war generation newly brought into contact with French and Mediterranean cooking. Just as Cezanne was a continuous reference point in her painting, so Elizabeth David was her touchstone in cooking. Her etching ‘Homage to Elizabeth David’, which depicts both the casserole belonging to David, which Judith bought at auction, and her well-used copy of French Provincial Cooking, perfectly captures both these influences.
‘I paint and etch the things I live with, like and eat, as I need to gaze at them for a long time. Richard Gregory (he of ‘The Eye and the Brain’) says that painting is impossible, but I think of figurative painting as more like magic. It is wonderful that some brush, pencil or ink marks on a flat surface can vividly conjure up the three-dimensional world. It is magic to look at paint and feel the weight of an apple, to know that brush-marks are brush-marks, but to see in them the distance between solid objects or between trees and hills. The complexity of perception is a mystery and the ultimate subject matter.’
All work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays. Exhibition continues until 16 May.
This exhibition celebrates the life and work of Judith Downie (1934-2016), Kentish Town painter, etcher, teacher and cook.
Judith was born in Ashington, Northumberland and studied painting and etching at King’s College, Newcastle in the 1950s, under Lawrence Gowing, Richard Hamilton and Victor Pasmore. This was at the time when Newcastle was pioneering the famous ‘Basic Design’ course, which created a revolution in art education in the UK. Judith went on to teach at Newcastle before going to Paris to work at SW Hayter’s etching studio, Atelier 17.
After leaving Art School, Judith lived and worked in Paris, London and New York. She taught at Leicester Polytechnic and Chelsea School of Art. In 1968 she and her friend Zena Flax established a group of printmakers in North London, called Printers Inc, holding annual exhibitions of their work. In retirement Judith continued to teach etching from her home in Kentish Town – her kitchen famously was dominated by her large etching press which doubled as a kitchen counter.
Judith’s early work was largely abstract and concerned with process, but counter-intuitively became increasingly figurative as her natural pre-occupation with landscape, animals and food re-asserted itself. Her later work expresses her life-long obsession with drawing, form, pattern and technique while anchoring itself explicitly in her day-to-day life and cultural influences.
Her love of animals began in childhood; after retiring from teaching she owned a pet shop, and for the last twenty years of her life she lived with a tyrannical ‘free range’ cockatiel called ‘Beaky’, who features prominently in her work, along with the pets of friends and other animals that caught her eye; all were closely observed. Food was the other lifelong passion, which increasingly found expression in both her etching and painting. Judith was a semi-professional cook and generous host who owned over 1000 cookery books; the place food occupies in her work expresses the excitement of her post-war generation newly brought into contact with French and Mediterranean cooking. Just as Cezanne was a continuous reference point in her painting, so Elizabeth David was her touchstone in cooking. Her etching ‘Homage to Elizabeth David’, which depicts both the casserole belonging to David, which Judith bought at auction, and her well-used copy of French Provincial Cooking, perfectly captures both these influences.
‘I paint and etch the things I live with, like and eat, as I need to gaze at them for a long time. Richard Gregory (he of ‘The Eye and the Brain’) says that painting is impossible, but I think of figurative painting as more like magic. It is wonderful that some brush, pencil or ink marks on a flat surface can vividly conjure up the three-dimensional world. It is magic to look at paint and feel the weight of an apple, to know that brush-marks are brush-marks, but to see in them the distance between solid objects or between trees and hills. The complexity of perception is a mystery and the ultimate subject matter.’
All work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays. Exhibition continues until 16 May.
“Artichokes”
This exhibition celebrates the life and work of Judith Downie (1934-2016), Kentish Town painter, etcher, teacher and cook.
Judith was born in Ashington, Northumberland and studied painting and etching at King’s College, Newcastle in the 1950s, under Lawrence Gowing, Richard Hamilton and Victor Pasmore. This was at the time when Newcastle was pioneering the famous ‘Basic Design’ course, which created a revolution in art education in the UK. Judith went on to teach at Newcastle before going to Paris to work at SW Hayter’s etching studio, Atelier 17.
After leaving Art School, Judith lived and worked in Paris, London and New York. She taught at Leicester Polytechnic and Chelsea School of Art. In 1968 she and her friend Zena Flax established a group of printmakers in North London, called Printers Inc, holding annual exhibitions of their work. In retirement Judith continued to teach etching from her home in Kentish Town – her kitchen famously was dominated by her large etching press which doubled as a kitchen counter.
Judith’s early work was largely abstract and concerned with process, but counter-intuitively became increasingly figurative as her natural pre-occupation with landscape, animals and food re-asserted itself. Her later work expresses her life-long obsession with drawing, form, pattern and technique while anchoring itself explicitly in her day-to-day life and cultural influences.
Her love of animals began in childhood; after retiring from teaching she owned a pet shop, and for the last twenty years of her life she lived with a tyrannical ‘free range’ cockatiel called ‘Beaky’, who features prominently in her work, along with the pets of friends and other animals that caught her eye; all were closely observed. Food was the other lifelong passion, which increasingly found expression in both her etching and painting. Judith was a semi-professional cook and generous host who owned over 1000 cookery books; the place food occupies in her work expresses the excitement of her post-war generation newly brought into contact with French and Mediterranean cooking. Just as Cezanne was a continuous reference point in her painting, so Elizabeth David was her touchstone in cooking. Her etching ‘Homage to Elizabeth David’, which depicts both the casserole belonging to David, which Judith bought at auction, and her well-used copy of French Provincial Cooking, perfectly captures both these influences.
‘I paint and etch the things I live with, like and eat, as I need to gaze at them for a long time. Richard Gregory (he of ‘The Eye and the Brain’) says that painting is impossible, but I think of figurative painting as more like magic. It is wonderful that some brush, pencil or ink marks on a flat surface can vividly conjure up the three-dimensional world. It is magic to look at paint and feel the weight of an apple, to know that brush-marks are brush-marks, but to see in them the distance between solid objects or between trees and hills. The complexity of perception is a mystery and the ultimate subject matter.’
All work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays. Exhibition continues until 16 May.
“Artichokes”
This exhibition celebrates the life and work of Judith Downie (1934-2016), Kentish Town painter, etcher, teacher and cook.
Judith was born in Ashington, Northumberland and studied painting and etching at King’s College, Newcastle in the 1950s, under Lawrence Gowing, Richard Hamilton and Victor Pasmore. This was at the time when Newcastle was pioneering the famous ‘Basic Design’ course, which created a revolution in art education in the UK. Judith went on to teach at Newcastle before going to Paris to work at SW Hayter’s etching studio, Atelier 17.
After leaving Art School, Judith lived and worked in Paris, London and New York. She taught at Leicester Polytechnic and Chelsea School of Art. In 1968 she and her friend Zena Flax established a group of printmakers in North London, called Printers Inc, holding annual exhibitions of their work. In retirement Judith continued to teach etching from her home in Kentish Town – her kitchen famously was dominated by her large etching press which doubled as a kitchen counter.
Judith’s early work was largely abstract and concerned with process, but counter-intuitively became increasingly figurative as her natural pre-occupation with landscape, animals and food re-asserted itself. Her later work expresses her life-long obsession with drawing, form, pattern and technique while anchoring itself explicitly in her day-to-day life and cultural influences.
Her love of animals began in childhood; after retiring from teaching she owned a pet shop, and for the last twenty years of her life she lived with a tyrannical ‘free range’ cockatiel called ‘Beaky’, who features prominently in her work, along with the pets of friends and other animals that caught her eye; all were closely observed. Food was the other lifelong passion, which increasingly found expression in both her etching and painting. Judith was a semi-professional cook and generous host who owned over 1000 cookery books; the place food occupies in her work expresses the excitement of her post-war generation newly brought into contact with French and Mediterranean cooking. Just as Cezanne was a continuous reference point in her painting, so Elizabeth David was her touchstone in cooking. Her etching ‘Homage to Elizabeth David’, which depicts both the casserole belonging to David, which Judith bought at auction, and her well-used copy of French Provincial Cooking, perfectly captures both these influences.
‘I paint and etch the things I live with, like and eat, as I need to gaze at them for a long time. Richard Gregory (he of ‘The Eye and the Brain’) says that painting is impossible, but I think of figurative painting as more like magic. It is wonderful that some brush, pencil or ink marks on a flat surface can vividly conjure up the three-dimensional world. It is magic to look at paint and feel the weight of an apple, to know that brush-marks are brush-marks, but to see in them the distance between solid objects or between trees and hills. The complexity of perception is a mystery and the ultimate subject matter.’
All work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays. Exhibition continues until 16 May.