Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

Our Guerrilla Gardening group has been busy with planning for 2024 since our evening workshop in November. Work has included a walk-about through the N6 area to survey 16 potential sites for our activities and developing a map with notes, so that we can assign actions (even if just monitoring) to each site.

We are now looking for people that can join us to grow this initiative. If you can help out at a gardening event (site clearing, pruning, planting), or might be interested in becoming a ‘champion’ for a particular site near you that needs care, or you simply want to know more, please do get in touch via the contact form on the website or by direct email to: infrastructure@highgatesociety.com. A member of the team will be in touch. You can also sign up to our occasional Guerrilla Gardening newsletter.

Meanwhile, the dates for gardening events have been fixed – see below – so do ‘save the date’ in your diary, if you are interested. We will provide further information as to the event activity and location, each month. Please note, some are evening events and they are not only Saturdays!

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

SAVE – its work in preserving our heritage

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

This exhibition, Cuillin Bantock’s fourth at Highgate Gallery, will be the culmination of sixty five years of
experience as a visual artist.
Bantock’s work is all landscape-based. Life-long familiarity with a particular coastal sand-dune system in North
Wales is a persistent point of reference. His choice of media is wide-ranging and includes oil paint, acrylic, gouache,
conte and linocut. His approach has shifted from representation to abstraction, but he strongly believes that all
art must relate to something outside itself.
The exhibition will show two types of work: Indian Ink drawings, and watercolour paintings.
The Indian ink drawings are from the 2022 series ‘Forty-one approaches to a View’. The ‘view’ is of a particular
duneland studied repeatedly from the same spot. The emphasis has been on making quite simple statements
about that particular space. The first studies that Bantock made of this terrain (also in Indian ink) date from 1961.
It was only while making the recent drawings in 2022 that he realised that other artists, in their later years,
had adopted a similar approach; for example Hokusai, with his ‘Thirty Six Views of Mount Fuji’.
The watercolours were made between 2020 and 2024. These are derived from the same landscape as the
ink drawings, but with a particular emphasis on pictorial space (through flatness) and pictorial light
(through colour), but handled abstractly without reference to specific locales. To some extent the watercolours
are a new departure for Bantock. His only previous experience with the medium was very occasional figurative
work (again, of duneland). He describes watercolour as ‘the most challenging medium of all.’
The two bodies of work are united by a perennial search for clarity of execution and expression, and pictorial economy
free of didacticism, leaving room for spontaneity.
Cuillin Bantock has enjoyed a rich and varied career as artist, scientist, educator and writer. He is an Oxford-trained
zoologist who worked as a professional biologist for 20 years, and later studied at Camberwell College of Art. He has
written and lectured extensively on a wide range of subjects, including science, wildlife conservation, art and artists.
His work has been exhibited widely over many years, and is held in a large number of private and corporate collections.
Highgate Gallery is delighted to be hosting this exhibition, which Bantock has decided – as he approaches
his ninetieth birthday – shall be his last with us.

Gallery open: Wed – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 -17.00

Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

https://www.tickettailor.com/events/highgatesociety/1326463

Sunday lunchtime concert: Lior Solomons Wise Trio

Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

Monday 6 Nov coffee computers 10 30

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Migrants: UK from 500 to 2024

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Our Guerrilla Gardening group has been busy with planning for 2024 since our evening workshop in November. Work has included a walk-about through the N6 area to survey 16 potential sites for our activities and developing a map with notes, so that we can assign actions (even if just monitoring) to each site.

We are now looking for people that can join us to grow this initiative. If you can help out at a gardening event (site clearing, pruning, planting), or might be interested in becoming a ‘champion’ for a particular site near you that needs care, or you simply want to know more, please do get in touch via the contact form on the website or by direct email to: infrastructure@highgatesociety.com. A member of the team will be in touch. You can also sign up to our occasional Guerrilla Gardening newsletter.

Meanwhile, the dates for gardening events have been fixed – see below – so do ‘save the date’ in your diary, if you are interested. We will provide further information as to the event activity and location, each month. Please note, some are evening events and they are not only Saturdays!

Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Christine Watson: Journeys Through Colour

Pastels, Prints and Paintings

Christine Watson’s paintings, pastels and prints explore the essential qualities of cities, towns and villages

around the Mediterranean, places where bright daylight intensifies the richness of colours and the darkness

of shadows.

Christine’s work examines the passageways and stairways of towns and villages in Greece and the traditional

settlements of Morocco. Walls and roofs, windows and doors, streets and alleyways – the fabric of

habitation – are revealed as they are, aged by wear and weather. Her aim is to depict the relationship

between  spaces and surfaces without sentiment or nostalgia.

“I employ different media to reflect on the abstract qualities of these places, their light and shade, their

textures and colours. Each piece of work represents part of my journey through a town or village, inspired

by restless curiosity to seek out what is around the corner or up the stairs – maybe the perfect image for a   painting, pastel or print or even a pot of gold!”, she says.

Pastels and paintings highlight the colours characteristic of each location, using palettes that have endured

through the centuries. Pink and brown madder are the dominant colours of Marrakesh, reflecting the

surrounding mountains; yellow ochre and raw sienna are the principal hues of Fez, while Chefchaouen is

celebrated for its vibrant blues. And although Greek settlements are associated with blue-painted timber

work and whitewashed walls, closer scrutiny reveals much more richness. In Christine’s mezzotints, by

contrast, tone takes over from colour and serves to explore light and shade, textures and surfaces.

Christine Watson studied fine art at Winchester, The Slade and the British School at Rome, since when she

has exhibited widely. She is an elected member of the Pastel Society and an associate member of both  the

Society of Women Artists and the Society of Graphic Fine Art.

Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays & Sundays 10:00-16:00
Mondays & Tuesdays Closed
Private View: Friday 11 October 2024 18:00-20:30

Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

Monday 6 Nov coffee computers 10 30

Do come along to meet your neighbours, enjoy a good cup of coffee and find out what is happening in Highgate.

The planning committee often have someone on hand to answer planning queries.

Dee McLean: My Places, Our World

Nature may look chaotic, but it is very well organised and we mess with it at our peril.
Highgate Gallery 15-28 November 2024

London artist Dee McLean is set to unveil her poignant trilogy ‘My Places’, a compelling series of paintings and
books that explore the profound effects of global warming on locations dear to her heart. This work journeys
from her home near Hampstead Heath in London, through Louisiana in the US where she worked for part of
her career, to Alberta, Canada, where her daughter Tor lives. She explores how they are all intimately
linked by the changing global climate.

The inception of this trilogy was sparked by a visit to Hudson Bay, Manitoba, Canada, in November 2016.
Witnessing first-hand one of the stark environmental changes due to global warming, the reduction of sea ice,
deeply influenced her work. This trip marked the beginning of McLean’s exploration into the impact of climate
change on her cherished places, from extreme rainfall in Britain to rising sea levels in Louisiana and wildfires
and glacial melt in Alberta.
Her art takes its vision from the geology, flora and fauna of each place, looking to capture the ephemeral
nature of these environments through the lens of climate change. The paintings are a direct response to
the immersive beauty and high value of our ecosystems.
Dee McLean’s background in art and science uniquely positions her to create this impactful work. She
studied illustration at Harrow School of Art and pursued a career in Medical and Scientific Illustration.
Now, she merges her love of science and art in ‘My Places’, aiming to inspire others to recognize their
role in environmental conservation.
McLean has most recently exhibited at Highgate Gallery, London; studioMV, Louisiana and The Jasper
Yellowhead Museum, Canada.
All McLean’s projects have a local charity attached to them. Donations will be made to Heath Hands, the voluntary
organisation on Hampstead Heath and the Jasper Community Team Society who are supporting the community in
one of her ‘Places’, Jasper, Alberta, where a ferocious wildfire, driven by the climate crisis, has recently destroyed.
30% of homes and businesses in the small mountain town. For further information about both these groups go to:
www.heath-hands.org.uk and www.jaspercommunityteamsociety.ca

Gallery open: Wed to Fri: 13.00 – 17.00, Sat 10.00 – 16.00, Sun 10.00 – 16.00