Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
Marianne Fox Ockinga: Kings Cross – All Change
Recording the current upheaval in the landscape round the two great Victorian railway terminals of King’s Cross and St Pancras in relief prints, etchings, paintings, and drawings. A revolution in human and architectural affairs. This exhibition focuses on the huge changes in the area brilliantly depicted by Dickens in his novel ‘Dombey and Sons’ and frequented by the young Thomas Hardy.
Marianne has worked in the area for more than four decades. She has sketched and painted in the field, setting up her easel in notorious locations such as Goodsway and Coal Drop Yard, beside the Granary Square campus of the University of the Arts.
“These works are from the year 2000, when the area round St Pancras changed dramatically. It had become a gloomy and derelict place, as many of the old red brick Victorian buildings crumbled or were eradicated by the developers’ wrecking ball. I first saw and recorded this when, some years before, I was invited into the now demolished Culross Building to draw and paint. From the roof, I could clearly see the outline of Highgate in the distance.”
Recovering from a serious illness, in 2001 Marianne felt reinvigorated and eager to get down to work again at St Pancras. The first shock was to see cranes behind a scaffold of hoardings starting to yank out the Victorian gasholders. Marianne wanted to record what was happening quickly, knowing time was not on her side. Often, she went out at night, using the canal towpath, especially sinister in the shadows now that the familiar public lighting had been removed. By working regularly on site, local businesses got to know her work, and became supportive. Several exhibitions, presentations and shows in public and commercial venues ensued. These began with ‘Transition July 2002’ at the CTRL Visitor Centre at St Pancras. She held shows in a range of venues in the UK and Netherlands.
Marianne was born in the Netherlands but began her art education at the Bath Academy of Art in 1960. She completed her training at the Rijksakademie, Amsterdam, returning to settle in the UK in 1971. Marianne has always favoured working in the open air, drawing and painting from observation. Until 2000 she focused on landscapes across Europe, in the Netherlands and Italy especially. She also has taken portrait commissions. Since 1971 printmaking became the main focus of her work, especially after acquiring a large Columbian press.
In London Marianne has also worked at large sites in transformation, undertaken by invitation and commission, such as the Olympic Park for the 2012 Games and the Arsenal Emirates complex. She was also witness to the decommissioning and conversion of the elegant art deco Arsenal Highbury Stadium complex, recording in a variety of media. Her work is in collections both public and private, among them the Victoria and Albert Museum. She is a brother member of the Art Workers Guild.
Highgate Gallery is open:
Wed – Friday: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday: 11.00 – 17.00
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
The spirit of rebellion lives on in the anarchic figurative and abstract oil on canvas works of Philip Diggle. In his own words ‘art that is political, erotic, abstract, exposed and does something other than sit and entertain in a museum. I am for an art that embroils itself with every day and comes out on top’.
Philip Diggle: Bringing It All Back Home
9-22 February 2024
Exhibition times:
Wed – Fri: 13.00 – 17.00
Saturday: 11.00 – 16.00
Sunday 11.00 – 17.00
Bringing It All Back Home references Bob Dylan and the voice of poetry, protest and politics that
characterised a period of artistic blossoming in New York and elsewhere in the 1960’s, including Diggle’s
own home town of Manchester where he was involved in the punk scene of the 1970’s and 1980’s.
The spirit of rebellion lives on in this anarchic show of figurative and abstract work. Diggle is, in his own
words, “…for an art that is political, erotic, abstract, exposed – and does something other than sit and entertain
…in a museum. I am for an art that embroils itself with everyday and comes out on top”.
Diggle references Sartre, Baudelaire and Wittgenstein: “…climbing Wittgenstein’s metaphorical ladder
of knowledge…I needed to jump from the it’s last rung – without a net or anything like argument – so
that the world could be correctly understood – painted and given some form of impression of penetrating
the essence of things.”
He cites the recent Soutine/Kossoff show at Hastings Contemporary as one which excited him. Many of his
own oil paintings have heavily encrusted and worked-on surfaces, “enlivened by a constant play of
oppositions, each an abstract drama of visual events, a material metaphor for the invisible dynamics of the
world it reflects” (Mel Gooding, art critic). Jackson Pollock is also a key influence, especially the large
New York canvases. Pollock’s phrase “I am nature” resonates in this show.
Philip Diggle has lived in Highgate for over 30 years and this is his 8th show at Highgate Gallery. He is a
regular contributor to the Royal Academy annual exhibition and has also exhibited in Berlin, Paris,
Barcelona and New York. His work is held in collections at Chase Manhattan Bank and the Rockefeller
Center in New York, at Caius College Cambridge and in many boardrooms and private collections.
There will be works on paper for sale as well as canvases.
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
Heckel’s Horse is the alias used by local artist Edgeworth Johnstone for a series of works based on collaborative paintings he made over the last ten years with Medway artist Billy Childish, 18 years his senior. Hence, Johnstone acting alone is Heckel’s Horse Jr. These beguiling works have their roots in primitive and symbolist art using colour and the language of dreams to great effect.
Open: Wednesday and Thursday: 13.00 – 17.00
The President of the Royal Society of Portrait Painters, Anthony Connolly along with two fellow members, Toby Wiggins and Andrew James, will be curating a unique exhibition that goes to the heart of their reasons for making their work. Sixty new and unseen paintings, drawings and sculptures will form a dynamic dialogue that explores overlapping themes including personal memories, history, landscape, religion and a shared belief in the need for authenticity of spirit to be at the heart of the creative process.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Private View: Friday 12 April 2024 18:00-20:30
The President of the Royal Society of Portrait Painters, Anthony Connolly along with two fellow members, Toby Wiggins and Andrew James, will be curating a unique exhibition that goes to the heart of their reasons for making their work. Sixty new and unseen paintings, drawings and sculptures will form a dynamic dialogue that explores overlapping themes including personal memories, history, landscape, religion and a shared belief in the need for authenticity of spirit to be at the heart of the creative process.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Private View: Friday 12 April 2024 18:00-20:30
The President of the Royal Society of Portrait Painters, Anthony Connolly along with two fellow members, Toby Wiggins and Andrew James, will be curating a unique exhibition that goes to the heart of their reasons for making their work. Sixty new and unseen paintings, drawings and sculptures will form a dynamic dialogue that explores overlapping themes including personal memories, history, landscape, religion and a shared belief in the need for authenticity of spirit to be at the heart of the creative process.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Private View: Friday 12 April 2024 18:00-20:30
The President of the Royal Society of Portrait Painters, Anthony Connolly along with two fellow members, Toby Wiggins and Andrew James, will be curating a unique exhibition that goes to the heart of their reasons for making their work. Sixty new and unseen paintings, drawings and sculptures will form a dynamic dialogue that explores overlapping themes including personal memories, history, landscape, religion and a shared belief in the need for authenticity of spirit to be at the heart of the creative process.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Private View: Friday 12 April 2024 18:00-20:30
The President of the Royal Society of Portrait Painters, Anthony Connolly along with two fellow members, Toby Wiggins and Andrew James, will be curating a unique exhibition that goes to the heart of their reasons for making their work. Sixty new and unseen paintings, drawings and sculptures will form a dynamic dialogue that explores overlapping themes including personal memories, history, landscape, religion and a shared belief in the need for authenticity of spirit to be at the heart of the creative process.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Private View: Friday 12 April 2024 18:00-20:30
The President of the Royal Society of Portrait Painters, Anthony Connolly along with two fellow members, Toby Wiggins and Andrew James, will be curating a unique exhibition that goes to the heart of their reasons for making their work. Sixty new and unseen paintings, drawings and sculptures will form a dynamic dialogue that explores overlapping themes including personal memories, history, landscape, religion and a shared belief in the need for authenticity of spirit to be at the heart of the creative process.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Private View: Friday 12 April 2024 18:00-20:30
The President of the Royal Society of Portrait Painters, Anthony Connolly along with two fellow members, Toby Wiggins and Andrew James, will be curating a unique exhibition that goes to the heart of their reasons for making their work. Sixty new and unseen paintings, drawings and sculptures will form a dynamic dialogue that explores overlapping themes including personal memories, history, landscape, religion and a shared belief in the need for authenticity of spirit to be at the heart of the creative process.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Private View: Friday 12 April 2024 18:00-20:30
The President of the Royal Society of Portrait Painters, Anthony Connolly along with two fellow members, Toby Wiggins and Andrew James, will be curating a unique exhibition that goes to the heart of their reasons for making their work. Sixty new and unseen paintings, drawings and sculptures will form a dynamic dialogue that explores overlapping themes including personal memories, history, landscape, religion and a shared belief in the need for authenticity of spirit to be at the heart of the creative process.
Gallery times: Wednesdays to Fridays 13:00-17:00,
Saturdays 11:00-16:00, Sundays 11:00-17:00,
Mondays & Tuesdays Closed
Private View: Friday 12 April 2024 18:00-20:30