Bodenpress: A Walk With Laurie
Laurie Lee’s vivid description of people and space is the inspiration for the sixth literary themed exhibition from Bodenpress. Twelve artists interpret Lee’s written word through diverse printmaking techniques, both traditional and modern. The artists will be available throughout the show to discuss their work and promote the practice of printmaking to a wider audience.
Highgate Gallery opening times:
Wednesday – Fridays: 13.00- 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Bodenpress: A Walk With Laurie
Laurie Lee’s vivid description of people and space is the inspiration for the sixth literary themed exhibition from Bodenpress. Twelve artists interpret Lee’s written word through diverse printmaking techniques, both traditional and modern. The artists will be available throughout the show to discuss their work and promote the practice of printmaking to a wider audience.
Highgate Gallery opening times:
Wednesday – Fridays: 13.00- 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Bodenpress: A Walk With Laurie
Laurie Lee’s vivid description of people and space is the inspiration for the sixth literary themed exhibition from Bodenpress. Twelve artists interpret Lee’s written word through diverse printmaking techniques, both traditional and modern. The artists will be available throughout the show to discuss their work and promote the practice of printmaking to a wider audience.
Highgate Gallery opening times:
Wednesday – Fridays: 13.00- 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Bodenpress: A Walk With Laurie
Laurie Lee’s vivid description of people and space is the inspiration for the sixth literary themed exhibition from Bodenpress. Twelve artists interpret Lee’s written word through diverse printmaking techniques, both traditional and modern. The artists will be available throughout the show to discuss their work and promote the practice of printmaking to a wider audience.
Highgate Gallery opening times:
Wednesday – Fridays: 13.00- 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Bodenpress: A Walk With Laurie
Laurie Lee’s vivid description of people and space is the inspiration for the sixth literary themed exhibition from Bodenpress. Twelve artists interpret Lee’s written word through diverse printmaking techniques, both traditional and modern. The artists will be available throughout the show to discuss their work and promote the practice of printmaking to a wider audience.
Highgate Gallery opening times:
Wednesday – Fridays: 13.00- 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Boden Press exhibition A Walk With Laurie is a collection of works inspired by his classic book As I Walked Out One Midsummer Morning.
Jonathan Byrd is a guitarist specialising in classical and Spanish styles. He will be installed in the gallery to perform a bespoke piece inspired by the paintings on show.
Bodenpress: A Walk With Laurie
Laurie Lee’s vivid description of people and space is the inspiration for the sixth literary themed exhibition from Bodenpress. Twelve artists interpret Lee’s written word through diverse printmaking techniques, both traditional and modern. The artists will be available throughout the show to discuss their work and promote the practice of printmaking to a wider audience.
Highgate Gallery opening times:
Wednesday – Fridays: 13.00- 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Bodenpress: A Walk With Laurie
Laurie Lee’s vivid description of people and space is the inspiration for the sixth literary themed exhibition from Bodenpress. Twelve artists interpret Lee’s written word through diverse printmaking techniques, both traditional and modern. The artists will be available throughout the show to discuss their work and promote the practice of printmaking to a wider audience.
Highgate Gallery opening times:
Wednesday – Fridays: 13.00- 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Bodenpress: A Walk With Laurie
Laurie Lee’s vivid description of people and space is the inspiration for the sixth literary themed exhibition from Bodenpress. Twelve artists interpret Lee’s written word through diverse printmaking techniques, both traditional and modern. The artists will be available throughout the show to discuss their work and promote the practice of printmaking to a wider audience.
Highgate Gallery opening times:
Wednesday – Fridays: 13.00- 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Bodenpress: A Walk With Laurie
Laurie Lee’s vivid description of people and space is the inspiration for the sixth literary themed exhibition from Bodenpress. Twelve artists interpret Lee’s written word through diverse printmaking techniques, both traditional and modern. The artists will be available throughout the show to discuss their work and promote the practice of printmaking to a wider audience.
Highgate Gallery opening times:
Wednesday – Fridays: 13.00- 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Wood engraver’s debut solo exhibition contemplates historic Oxford and Highgate bathing places.
The North Wall Arts Centre and Highgate Gallery announce the forthcoming exhibition Parson’s Pleasure and the Ponds – the debut solo show of printmaker Duncan Montgomery. Travelling between Oxford and Highgate, the exhibition presents a new series of wood engravings alongside a background of historical materials curated by cultural historian George Townsend.
Montgomery’s figures and riverscapes draw on classical statuary, found photography, and in situ life modelling, to create atmospheres of quiet and disquiet, lost and in-between time. Textures of muscle, skin and hair emerge amid corrugated metal, polished marble and crumbling brick, wind-moved leaves and the wavering image-within-an-image of open water.
Recovering a visual history of freshwater bathing in the UK, the exhibition incorporates historical text and images to reflect especially on: Parson’s Pleasure, an Oxford river bathing place demolished in 1992 and the focus of Townsend’s 2022 PHD; and the ponds used for bathing on Hampstead Heath over the past several centuries and still in use today.
The North Wall Arts Centre is an award-winning theatre and gallery in Summertown, Oxford, built on the site of a Victorian swimming pool. The Highgate Gallery is a part of the Highgate Literary & Scientific Institution, which has been promoting discussion, debate and life-long learning since 1839.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Wood engraver’s debut solo exhibition contemplates historic Oxford and Highgate bathing places.
The North Wall Arts Centre and Highgate Gallery announce the forthcoming exhibition Parson’s Pleasure and the Ponds – the debut solo show of printmaker Duncan Montgomery. Travelling between Oxford and Highgate, the exhibition presents a new series of wood engravings alongside a background of historical materials curated by cultural historian George Townsend.
Montgomery’s figures and riverscapes draw on classical statuary, found photography, and in situ life modelling, to create atmospheres of quiet and disquiet, lost and in-between time. Textures of muscle, skin and hair emerge amid corrugated metal, polished marble and crumbling brick, wind-moved leaves and the wavering image-within-an-image of open water.
Recovering a visual history of freshwater bathing in the UK, the exhibition incorporates historical text and images to reflect especially on: Parson’s Pleasure, an Oxford river bathing place demolished in 1992 and the focus of Townsend’s 2022 PHD; and the ponds used for bathing on Hampstead Heath over the past several centuries and still in use today.
The North Wall Arts Centre is an award-winning theatre and gallery in Summertown, Oxford, built on the site of a Victorian swimming pool. The Highgate Gallery is a part of the Highgate Literary & Scientific Institution, which has been promoting discussion, debate and life-long learning since 1839.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Wood engraver’s debut solo exhibition contemplates historic Oxford and Highgate bathing places.
The North Wall Arts Centre and Highgate Gallery announce the forthcoming exhibition Parson’s Pleasure and the Ponds – the debut solo show of printmaker Duncan Montgomery. Travelling between Oxford and Highgate, the exhibition presents a new series of wood engravings alongside a background of historical materials curated by cultural historian George Townsend.
Montgomery’s figures and riverscapes draw on classical statuary, found photography, and in situ life modelling, to create atmospheres of quiet and disquiet, lost and in-between time. Textures of muscle, skin and hair emerge amid corrugated metal, polished marble and crumbling brick, wind-moved leaves and the wavering image-within-an-image of open water.
Recovering a visual history of freshwater bathing in the UK, the exhibition incorporates historical text and images to reflect especially on: Parson’s Pleasure, an Oxford river bathing place demolished in 1992 and the focus of Townsend’s 2022 PHD; and the ponds used for bathing on Hampstead Heath over the past several centuries and still in use today.
The North Wall Arts Centre is an award-winning theatre and gallery in Summertown, Oxford, built on the site of a Victorian swimming pool. The Highgate Gallery is a part of the Highgate Literary & Scientific Institution, which has been promoting discussion, debate and life-long learning since 1839.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Wood engraver’s debut solo exhibition contemplates historic Oxford and Highgate bathing places.
The North Wall Arts Centre and Highgate Gallery announce the forthcoming exhibition Parson’s Pleasure and the Ponds – the debut solo show of printmaker Duncan Montgomery. Travelling between Oxford and Highgate, the exhibition presents a new series of wood engravings alongside a background of historical materials curated by cultural historian George Townsend.
Montgomery’s figures and riverscapes draw on classical statuary, found photography, and in situ life modelling, to create atmospheres of quiet and disquiet, lost and in-between time. Textures of muscle, skin and hair emerge amid corrugated metal, polished marble and crumbling brick, wind-moved leaves and the wavering image-within-an-image of open water.
Recovering a visual history of freshwater bathing in the UK, the exhibition incorporates historical text and images to reflect especially on: Parson’s Pleasure, an Oxford river bathing place demolished in 1992 and the focus of Townsend’s 2022 PHD; and the ponds used for bathing on Hampstead Heath over the past several centuries and still in use today.
The North Wall Arts Centre is an award-winning theatre and gallery in Summertown, Oxford, built on the site of a Victorian swimming pool. The Highgate Gallery is a part of the Highgate Literary & Scientific Institution, which has been promoting discussion, debate and life-long learning since 1839.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Wood engraver’s debut solo exhibition contemplates historic Oxford and Highgate bathing places.
The North Wall Arts Centre and Highgate Gallery announce the forthcoming exhibition Parson’s Pleasure and the Ponds – the debut solo show of printmaker Duncan Montgomery. Travelling between Oxford and Highgate, the exhibition presents a new series of wood engravings alongside a background of historical materials curated by cultural historian George Townsend.
Montgomery’s figures and riverscapes draw on classical statuary, found photography, and in situ life modelling, to create atmospheres of quiet and disquiet, lost and in-between time. Textures of muscle, skin and hair emerge amid corrugated metal, polished marble and crumbling brick, wind-moved leaves and the wavering image-within-an-image of open water.
Recovering a visual history of freshwater bathing in the UK, the exhibition incorporates historical text and images to reflect especially on: Parson’s Pleasure, an Oxford river bathing place demolished in 1992 and the focus of Townsend’s 2022 PHD; and the ponds used for bathing on Hampstead Heath over the past several centuries and still in use today.
The North Wall Arts Centre is an award-winning theatre and gallery in Summertown, Oxford, built on the site of a Victorian swimming pool. The Highgate Gallery is a part of the Highgate Literary & Scientific Institution, which has been promoting discussion, debate and life-long learning since 1839.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Wood engraver’s debut solo exhibition contemplates historic Oxford and Highgate bathing places.
The North Wall Arts Centre and Highgate Gallery announce the forthcoming exhibition Parson’s Pleasure and the Ponds – the debut solo show of printmaker Duncan Montgomery. Travelling between Oxford and Highgate, the exhibition presents a new series of wood engravings alongside a background of historical materials curated by cultural historian George Townsend.
Montgomery’s figures and riverscapes draw on classical statuary, found photography, and in situ life modelling, to create atmospheres of quiet and disquiet, lost and in-between time. Textures of muscle, skin and hair emerge amid corrugated metal, polished marble and crumbling brick, wind-moved leaves and the wavering image-within-an-image of open water.
Recovering a visual history of freshwater bathing in the UK, the exhibition incorporates historical text and images to reflect especially on: Parson’s Pleasure, an Oxford river bathing place demolished in 1992 and the focus of Townsend’s 2022 PHD; and the ponds used for bathing on Hampstead Heath over the past several centuries and still in use today.
The North Wall Arts Centre is an award-winning theatre and gallery in Summertown, Oxford, built on the site of a Victorian swimming pool. The Highgate Gallery is a part of the Highgate Literary & Scientific Institution, which has been promoting discussion, debate and life-long learning since 1839.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Wood engraver’s debut solo exhibition contemplates historic Oxford and Highgate bathing places.
The North Wall Arts Centre and Highgate Gallery announce the forthcoming exhibition Parson’s Pleasure and the Ponds – the debut solo show of printmaker Duncan Montgomery. Travelling between Oxford and Highgate, the exhibition presents a new series of wood engravings alongside a background of historical materials curated by cultural historian George Townsend.
Montgomery’s figures and riverscapes draw on classical statuary, found photography, and in situ life modelling, to create atmospheres of quiet and disquiet, lost and in-between time. Textures of muscle, skin and hair emerge amid corrugated metal, polished marble and crumbling brick, wind-moved leaves and the wavering image-within-an-image of open water.
Recovering a visual history of freshwater bathing in the UK, the exhibition incorporates historical text and images to reflect especially on: Parson’s Pleasure, an Oxford river bathing place demolished in 1992 and the focus of Townsend’s 2022 PHD; and the ponds used for bathing on Hampstead Heath over the past several centuries and still in use today.
The North Wall Arts Centre is an award-winning theatre and gallery in Summertown, Oxford, built on the site of a Victorian swimming pool. The Highgate Gallery is a part of the Highgate Literary & Scientific Institution, which has been promoting discussion, debate and life-long learning since 1839.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Wood engraver’s debut solo exhibition contemplates historic Oxford and Highgate bathing places.
The North Wall Arts Centre and Highgate Gallery announce the forthcoming exhibition Parson’s Pleasure and the Ponds – the debut solo show of printmaker Duncan Montgomery. Travelling between Oxford and Highgate, the exhibition presents a new series of wood engravings alongside a background of historical materials curated by cultural historian George Townsend.
Montgomery’s figures and riverscapes draw on classical statuary, found photography, and in situ life modelling, to create atmospheres of quiet and disquiet, lost and in-between time. Textures of muscle, skin and hair emerge amid corrugated metal, polished marble and crumbling brick, wind-moved leaves and the wavering image-within-an-image of open water.
Recovering a visual history of freshwater bathing in the UK, the exhibition incorporates historical text and images to reflect especially on: Parson’s Pleasure, an Oxford river bathing place demolished in 1992 and the focus of Townsend’s 2022 PHD; and the ponds used for bathing on Hampstead Heath over the past several centuries and still in use today.
The North Wall Arts Centre is an award-winning theatre and gallery in Summertown, Oxford, built on the site of a Victorian swimming pool. The Highgate Gallery is a part of the Highgate Literary & Scientific Institution, which has been promoting discussion, debate and life-long learning since 1839.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Wood engraver’s debut solo exhibition contemplates historic Oxford and Highgate bathing places.
The North Wall Arts Centre and Highgate Gallery announce the forthcoming exhibition Parson’s Pleasure and the Ponds – the debut solo show of printmaker Duncan Montgomery. Travelling between Oxford and Highgate, the exhibition presents a new series of wood engravings alongside a background of historical materials curated by cultural historian George Townsend.
Montgomery’s figures and riverscapes draw on classical statuary, found photography, and in situ life modelling, to create atmospheres of quiet and disquiet, lost and in-between time. Textures of muscle, skin and hair emerge amid corrugated metal, polished marble and crumbling brick, wind-moved leaves and the wavering image-within-an-image of open water.
Recovering a visual history of freshwater bathing in the UK, the exhibition incorporates historical text and images to reflect especially on: Parson’s Pleasure, an Oxford river bathing place demolished in 1992 and the focus of Townsend’s 2022 PHD; and the ponds used for bathing on Hampstead Heath over the past several centuries and still in use today.
The North Wall Arts Centre is an award-winning theatre and gallery in Summertown, Oxford, built on the site of a Victorian swimming pool. The Highgate Gallery is a part of the Highgate Literary & Scientific Institution, which has been promoting discussion, debate and life-long learning since 1839.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
The work Jean Ramsey is showing at Highgate Gallery results from an interest in the relationship
between the drawn and the printed image. It follows on from her studies in photography that
culminated in an exhibition of gum-bichromate prints. This early process utilises the sun to develop
a prepared light-sensitive emulsion that when applied to paper with a pronounced surface or
‘tooth’ can result in a painterly quality.
Jean’s degree in Fine Art (sculpture) from King’s College, Newcastle, then the University of Durham,
included a Hatton Scholarship year. She acknowledges the initial influence of an inspired teacher
in north London, Nommie Durell, whose mantra ‘no day without a line’ continues to resonate with her.
The three-dimensional disciplines of sculpture and her experience in set design established form and structure
as crucial elements in her work and have become the foundation for her current exploration in two-dimensions.
Using traditional subject matter, principally self-portraiture and studies of people she knows well, every
work begins with a drawing.
“Having worked in collaboration with others over the years, as a practitioner and as a teacher, this exhibition
is the result of a not altogether conscious decision to revert to personal discovery through drawing
(seeing) and manipulating (printing)”.
The earlier prints are mainly soft-ground etchings and mezzotints, the later work frequently becoming
monoprints by the combination of inscribing by etching and drawing directly into the inked plate.
There are some preliminary studies and proof prints from the most current work on display in which the
visual development of the idea can be traced. Man Ray, known principally for his photography, describes
painting as “.…an adventure in which some great force might suddenly change the whole aspect of
things….”, echoed by Julian Trevelyan’s ….”collaboration with the god of chance….”, also a reference to painting.
Jean Ramsey’s exhibition of prints suggest the transformation that takes place, from close examination of the
subject, the analysis, via the rigour and fluidity of the printing process that can lead to unforeseen results.
Some earlier gum-bichromate photographic prints, although not hung, are available to view in a portfolio
and the artist will be in attendance throughout the exhibition’s run to discuss her work.
Highgate Gallery opening times: Weds – Fri: 13.00 – 17.00, Sat: 11.00 – 16.00, Sun: 11.00 – 17.00
Handmade in Highgate are the designer/maker fairs held at the beautiful, historic Highgate Literary and Scientific Institution.
This is the first of two late summer/ autumn/winter fairs.
Each fair will feature up to 30 of the finest designer/maker and contemporary crafts people working today. Exhibitors are local, from the UK and (occasionally) from overseas. All are passionate about producing wonderful work in their specific discipline and in different price ranges.
The fun starts on Friday 6 September from: 5pm – 8pm
Saturday 7 September: 10am – 6pm
Sunday 8 September: 11am – 5pm
Entrance is FREE and everyone is welcome
Handmade in Highgate are the designer/maker fairs held at the beautiful, historic Highgate Literary and Scientific Institution.
This is the first of two late summer/ autumn/winter fairs.
Each fair will feature up to 30 of the finest designer/maker and contemporary crafts people working today. Exhibitors are local, from the UK and (occasionally) from overseas. All are passionate about producing wonderful work in their specific discipline and in different price ranges.
The fun starts on Friday 6 September from: 5pm – 8pm
Saturday 7 September: 10am – 6pm
Sunday 8 September: 11am – 5pm
Entrance is FREE and everyone is welcome
Handmade in Highgate are the designer/maker fairs held at the beautiful, historic Highgate Literary and Scientific Institution.
This is the first of two late summer/ autumn/winter fairs.
Each fair will feature up to 30 of the finest designer/maker and contemporary crafts people working today. Exhibitors are local, from the UK and (occasionally) from overseas. All are passionate about producing wonderful work in their specific discipline and in different price ranges.
The fun starts on Friday 6 September from: 5pm – 8pm
Saturday 7 September: 10am – 6pm
Sunday 8 September: 11am – 5pm
Entrance is FREE and everyone is welcome
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
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