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 Image: © Cay Schröder, 2016. All Rights Reserved

Bodegón y Jazz: watercolour and oil paintings by Cay Schröder

Cay Schröder lives with his wife in Camden, London but works mainly from his studio in the Canary Islands where the quality of light gives a directness to his work both in watercolour and in oils.

Though by definition he is a representational artist who enjoys using the skills and techniques of the Old Masters, he is still very much a modern painter of today. When studying the immortals da Vinci, Rembrandt, van Dyck and Velasquez, Cay wants to know how their creative processes worked, their colour palettes and methods.

Cay began his love of watercolour when he was studying Interior Design at Chelsea. He loves the unpredictability of the medium and the challenge to control the paint for this very English art form. He is inspired by the work of, amongst others, John Sell Cotman and William Russell Flint and, more recently, Rowland Hilder and David Curtis. His early career in graphics, working in black and white ink and later gouache, helps with the technique of mixing pigments to work in oils.

Cay’s absolute favourite artist is John Singer Sargent who dabbled with Impressionism – but never joined the group. Sargent’s sticking to his own way of seeing and then painting gave Cay his own methodology of looking carefully until he can “see” his subject, only then starting to draw or paint. He is currently delighted and inspired by the photorealists Richard Estes and Ralph Goings.

“Art can certainly shock, challenge or even disturb but it can also be an antidote to stress, creating a calm and peaceful atmosphere to enjoy. Visitors to my exhibition,” says Cay, “will find colourful still life, portraits of some of my musical heroes and maybe recognize some much loved landscapes. I hope to awaken a happy ‘feel good’ response of recognition and pleasure.”

Exhibition continues until 20 July.     Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.

 Image: © Cay Schröder, 2016. All Rights Reserved

Bodegón y Jazz: watercolour and oil paintings by Cay Schröder

Cay Schröder lives with his wife in Camden, London but works mainly from his studio in the Canary Islands where the quality of light gives a directness to his work both in watercolour and in oils.

Though by definition he is a representational artist who enjoys using the skills and techniques of the Old Masters, he is still very much a modern painter of today. When studying the immortals da Vinci, Rembrandt, van Dyck and Velasquez, Cay wants to know how their creative processes worked, their colour palettes and methods.

Cay began his love of watercolour when he was studying Interior Design at Chelsea. He loves the unpredictability of the medium and the challenge to control the paint for this very English art form. He is inspired by the work of, amongst others, John Sell Cotman and William Russell Flint and, more recently, Rowland Hilder and David Curtis. His early career in graphics, working in black and white ink and later gouache, helps with the technique of mixing pigments to work in oils.

Cay’s absolute favourite artist is John Singer Sargent who dabbled with Impressionism – but never joined the group. Sargent’s sticking to his own way of seeing and then painting gave Cay his own methodology of looking carefully until he can “see” his subject, only then starting to draw or paint. He is currently delighted and inspired by the photorealists Richard Estes and Ralph Goings.

“Art can certainly shock, challenge or even disturb but it can also be an antidote to stress, creating a calm and peaceful atmosphere to enjoy. Visitors to my exhibition,” says Cay, “will find colourful still life, portraits of some of my musical heroes and maybe recognize some much loved landscapes. I hope to awaken a happy ‘feel good’ response of recognition and pleasure.”

Exhibition continues until 20 July.     Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.

 Image: © Cay Schröder, 2016. All Rights Reserved

Bodegón y Jazz: watercolour and oil paintings by Cay Schröder

Cay Schröder lives with his wife in Camden, London but works mainly from his studio in the Canary Islands where the quality of light gives a directness to his work both in watercolour and in oils.

Though by definition he is a representational artist who enjoys using the skills and techniques of the Old Masters, he is still very much a modern painter of today. When studying the immortals da Vinci, Rembrandt, van Dyck and Velasquez, Cay wants to know how their creative processes worked, their colour palettes and methods.

Cay began his love of watercolour when he was studying Interior Design at Chelsea. He loves the unpredictability of the medium and the challenge to control the paint for this very English art form. He is inspired by the work of, amongst others, John Sell Cotman and William Russell Flint and, more recently, Rowland Hilder and David Curtis. His early career in graphics, working in black and white ink and later gouache, helps with the technique of mixing pigments to work in oils.

Cay’s absolute favourite artist is John Singer Sargent who dabbled with Impressionism – but never joined the group. Sargent’s sticking to his own way of seeing and then painting gave Cay his own methodology of looking carefully until he can “see” his subject, only then starting to draw or paint. He is currently delighted and inspired by the photorealists Richard Estes and Ralph Goings.

“Art can certainly shock, challenge or even disturb but it can also be an antidote to stress, creating a calm and peaceful atmosphere to enjoy. Visitors to my exhibition,” says Cay, “will find colourful still life, portraits of some of my musical heroes and maybe recognize some much loved landscapes. I hope to awaken a happy ‘feel good’ response of recognition and pleasure.”

Exhibition continues until 20 July.    Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.

 Image: © Cay Schröder, 2016. All Rights Reserved

Bodegón y Jazz: watercolour and oil paintings by Cay Schröder

Cay Schröder lives with his wife in Camden, London but works mainly from his studio in the Canary Islands where the quality of light gives a directness to his work both in watercolour and in oils.

Though by definition he is a representational artist who enjoys using the skills and techniques of the Old Masters, he is still very much a modern painter of today. When studying the immortals da Vinci, Rembrandt, van Dyck and Velasquez, Cay wants to know how their creative processes worked, their colour palettes and methods.

Cay began his love of watercolour when he was studying Interior Design at Chelsea. He loves the unpredictability of the medium and the challenge to control the paint for this very English art form. He is inspired by the work of, amongst others, John Sell Cotman and William Russell Flint and, more recently, Rowland Hilder and David Curtis. His early career in graphics, working in black and white ink and later gouache, helps with the technique of mixing pigments to work in oils.

Cay’s absolute favourite artist is John Singer Sargent who dabbled with Impressionism – but never joined the group. Sargent’s sticking to his own way of seeing and then painting gave Cay his own methodology of looking carefully until he can “see” his subject, only then starting to draw or paint. He is currently delighted and inspired by the photorealists Richard Estes and Ralph Goings.

“Art can certainly shock, challenge or even disturb but it can also be an antidote to stress, creating a calm and peaceful atmosphere to enjoy. Visitors to my exhibition,” says Cay, “will find colourful still life, portraits of some of my musical heroes and maybe recognize some much loved landscapes. I hope to awaken a happy ‘feel good’ response of recognition and pleasure.”

Exhibition continues until 20 July. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon

 Image: © Cay Schröder, 2016. All Rights Reserved

Bodegón y Jazz: watercolour and oil paintings by Cay Schröder

Cay Schröder lives with his wife in Camden, London but works mainly from his studio in the Canary Islands where the quality of light gives a directness to his work both in watercolour and in oils.

Though by definition he is a representational artist who enjoys using the skills and techniques of the Old Masters, he is still very much a modern painter of today. When studying the immortals da Vinci, Rembrandt, van Dyck and Velasquez, Cay wants to know how their creative processes worked, their colour palettes and methods.

Cay began his love of watercolour when he was studying Interior Design at Chelsea. He loves the unpredictability of the medium and the challenge to control the paint for this very English art form. He is inspired by the work of, amongst others, John Sell Cotman and William Russell Flint and, more recently, Rowland Hilder and David Curtis. His early career in graphics, working in black and white ink and later gouache, helps with the technique of mixing pigments to work in oils.

Cay’s absolute favourite artist is John Singer Sargent who dabbled with Impressionism – but never joined the group. Sargent’s sticking to his own way of seeing and then painting gave Cay his own methodology of looking carefully until he can “see” his subject, only then starting to draw or paint. He is currently delighted and inspired by the photorealists Richard Estes and Ralph Goings.

“Art can certainly shock, challenge or even disturb but it can also be an antidote to stress, creating a calm and peaceful atmosphere to enjoy. Visitors to my exhibition,” says Cay, “will find colourful still life, portraits of some of my musical heroes and maybe recognize some much loved landscapes. I hope to awaken a happy ‘feel good’ response of recognition and pleasure.”

Exhibition continues until 20 July.     Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.

 Image: © Cay Schröder, 2016. All Rights Reserved

Bodegón y Jazz: watercolour and oil paintings by Cay Schröder

Cay Schröder lives with his wife in Camden, London but works mainly from his studio in the Canary Islands where the quality of light gives a directness to his work both in watercolour and in oils.

Though by definition he is a representational artist who enjoys using the skills and techniques of the Old Masters, he is still very much a modern painter of today. When studying the immortals da Vinci, Rembrandt, van Dyck and Velasquez, Cay wants to know how their creative processes worked, their colour palettes and methods.

Cay began his love of watercolour when he was studying Interior Design at Chelsea. He loves the unpredictability of the medium and the challenge to control the paint for this very English art form. He is inspired by the work of, amongst others, John Sell Cotman and William Russell Flint and, more recently, Rowland Hilder and David Curtis. His early career in graphics, working in black and white ink and later gouache, helps with the technique of mixing pigments to work in oils.

Cay’s absolute favourite artist is John Singer Sargent who dabbled with Impressionism – but never joined the group. Sargent’s sticking to his own way of seeing and then painting gave Cay his own methodology of looking carefully until he can “see” his subject, only then starting to draw or paint. He is currently delighted and inspired by the photorealists Richard Estes and Ralph Goings.

“Art can certainly shock, challenge or even disturb but it can also be an antidote to stress, creating a calm and peaceful atmosphere to enjoy. Visitors to my exhibition,” says Cay, “will find colourful still life, portraits of some of my musical heroes and maybe recognize some much loved landscapes. I hope to awaken a happy ‘feel good’ response of recognition and pleasure.”

Exhibition continues until 20 July.     Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.

Traditional Music Hall with Cathy Joyner, Fiona Slater, Orla Roberts, Clive  Bennett, and Alec Dunnachie, with Bob Higgs in the Chair and Derek Marcus at the piano.

Doors open 7.30 for 8.00 start.

 Image: © Cay Schröder, 2016. All Rights Reserved

Bodegón y Jazz: watercolour and oil paintings by Cay Schröder

Cay Schröder lives with his wife in Camden, London but works mainly from his studio in the Canary Islands where the quality of light gives a directness to his work both in watercolour and in oils.

Though by definition he is a representational artist who enjoys using the skills and techniques of the Old Masters, he is still very much a modern painter of today. When studying the immortals da Vinci, Rembrandt, van Dyck and Velasquez, Cay wants to know how their creative processes worked, their colour palettes and methods.

Cay began his love of watercolour when he was studying Interior Design at Chelsea. He loves the unpredictability of the medium and the challenge to control the paint for this very English art form. He is inspired by the work of, amongst others, John Sell Cotman and William Russell Flint and, more recently, Rowland Hilder and David Curtis. His early career in graphics, working in black and white ink and later gouache, helps with the technique of mixing pigments to work in oils.

Cay’s absolute favourite artist is John Singer Sargent who dabbled with Impressionism – but never joined the group. Sargent’s sticking to his own way of seeing and then painting gave Cay his own methodology of looking carefully until he can “see” his subject, only then starting to draw or paint. He is currently delighted and inspired by the photorealists Richard Estes and Ralph Goings.

“Art can certainly shock, challenge or even disturb but it can also be an antidote to stress, creating a calm and peaceful atmosphere to enjoy. Visitors to my exhibition,” says Cay, “will find colourful still life, portraits of some of my musical heroes and maybe recognize some much loved landscapes. I hope to awaken a happy ‘feel good’ response of recognition and pleasure.”

Exhibition continues until 20 July.     Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.

This month’s Music Hall with The Lissenden Players features Pamela Mundy, Roz Nelson, Sheila Miller, Mike Francis, and Peter Charlton, with Paul Kenealy in the Chair and Derek Marcus at the piano.  Come along and enjoy some well known and less well-known songs and join in the choruses.

HLSI’s annual book fair with something for everyone who loves books.  Thousands of good-quality second-hand books on all subjects: fiction, history, biography, literature and much more, all at bargain prices. Collections this year include art and special editions.

Preview for HLSI members 9-10am

Admission 50p (children free)

Jamaican Intuitives    13-26 October

This exhibition is a rare opportunity to see a unique Jamaican branch of contemporary art which was first acknowledged post-independence and which continues to flourish. There are no pretty beach scenes; no ‘tourist’ art. The work is challenging and powerful.

Until Jamaican Independence in 1962, the larger part of Jamaica’s art establishment took only European and North American style art seriously. This was a legacy of colonialism. With Independence, the importance of the arts and of acknowledging and exhibiting Jamaican artists was recognised in helping to shape a national cultural identity.

It was the late Dr David Boxer, Director and Chief Curator of the National Gallery of Jamaica for over 35 years, who coined the word ‘Intuitive’ – now an official art term. He defined the context in which these remarkable artists’ accomplishments should be considered:

‘These artists paint and sculpt intuitively. They are not guided by fashion. Their vision is pure and sincere, untarnished by art theories and philosophies, principles and movements. They are, for the most part self-taught…. Their visions (and many of them are true visionaries) as released through paint or wood, are expressions of their individual relationships with the world around them – and the worlds within.’

All five artists in this show were born and (have) spent their lives in Jamaica. Their work has been part of major exhibitions at the National Gallery of Jamaica, and has been shown across the Caribbean, the US and Europe.

• Christopher Harris was born in 1974. He was one of the fourteen selected exhibitors in the prestigious Young Talent V Competition at the National Gallery of Jamaica in 2010. Encouraged to draw from an early age by his father, a farmer and a portraitist, Christopher’s work connects to his Ashanti forefathers.
• Kingsley Thomas was born in 1941. He worked in Kingston as a journalist for the now closed Jamaica Daily News before moving back home to rural Portland. A number of his lyrical paintings and sculptures refer to stories he covered as a journalist.
• Leonard Daley 1930 – 2006. Partly surreal, partly realist, Daley’s images tap into Jamaica’s collective consciousness and history. In 1999, at the opening of Daley’s one-man show at the University of the West Indies, Dr David Boxer declared him to be ‘one of the truly great natural painters of the century.’ Daley was awarded the prestigious Bronze Musgrave Medal in 2002.
• Evadney Cruickshank, born c1950. Evadney started painting after observing her then partner, the artist Sylvester Woods, at work. Her narrative paintings record daily life in her rural community – Pocomania services (an African-based religion), street dances, clearing up after hurricane damage. Her dry sense of humour infuses her work.
• Birth ‘Ras Dizzy’ Livingstone c1932 – 2008. Ras Dizzy first came to public attention in the 1960s as a Rastafarian poet/philosopher selling his writings on the University of the West Indies campus. A remarkable colourist, he portrayed himself in his paintings as a prize-winning boxer, a judge, a horse race jockey. A poetic insight was written on the reverse of each work.

Opening Party on Sunday 15th October 2-5 pm featuring the Koromanti Mento Band. Mento is Jamaica’s folk music and the precursor to ska and reggae. The High Commissioner, His Excellency Mr Seth George Ramocan, will be guest of honour. Jamaican Intuitives is part of the official Jamaica55 celebrations.

For further information please contact Charlotte C Mortensson: cmortensson@aol.com

Exhibition continues until 26 October.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon

The monthly Music Hall show with

Louisa Bayman, Peta Webb, Sheila Miller, Martin Nail and Mike Francis

with Pamela Munday in the Chair

and Derek Marcus at the piano.

Enjoy the show and join in the choruses with gusto!

  Image: Jockey Rider © Christopher Harris, 20176. All Rights Reserved

Christopher Harris, one of the exhibiting artists in the current Jamaican Intuitives exhibition, will be talking about his work.

Christopher Harris was born in 1974. He was one of the fourteen selected exhibitors in the prestigious Young Talent V Competition at the National Gallery of Jamaica in 2010. Encouraged to draw from an early age by his father, a farmer and a portraitist, Christopher’s work connects to his Ashanti forefathers.

Jamaican Intuitives is part of the official Jamaica55 celebrations.

An evening of Music Hall by The Lissenden Players with

Tommy Parsons, Sue Yager, Paul Kenealy, Barbara Kealy, Pamela Mundy,

with Mike Francis in the Chair

and Derek Marcus at the piano.

Free and open to all but do phone to book your place. In these lively debates, prominent and informed speakers argue their points of view on issues of current importance. They are ‘seconded’ by pupils from local schools, and audience members also have the opportunity to sway the opinion of those attending.

The motion: This House Believes that Gender Equality is Unachievable

Proposing: Ann Hussey, QC and barrister specialising in family law 

Opposing: Vicky Pryce, economist and former joint head of the UK government economic service

Free and open to all but do phone to book your place. In these lively debates, prominent and informed speakers argue their points of view on issues of current importance. They are ‘seconded’ by pupils from local schools, and audience members also have the opportunity to sway the opinion of those attending.

The motion: This House Believes that Social Media Undermines Democracy

Proposing: Carl Miller, Research Director of the Centre for the Analysis of Social Media at the think tank Demos 

Opposing: Paolo Gerbaudo, political and cultural sociologist, lecturer in Digital Culture and Society at King’s College London

To reserve your free place please contact the office.

“This house believes that the use of social media undermines democracy”

Proposer: Carl Miller.  Reserach Director of the Centre for the Analysis of Social Media at Demos.

Opposing:  Paolo Gerbaudo.  Sociologist and lecturer in Digital Culture and Society at King’s College, London

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre     The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.
(digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”

Rolling Stones, Paint It Black. 

Memory Theatre   The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance.  It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.     (digital brilliance.com)  Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery.  The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity.  In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint.  In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created.  In his last Highgate Gallery show, large images of heads dominated.  Some of these heads exist beneath the new works, so that creation and destruction co-exist.  The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’.  Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’.  In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric.  His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes.  Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context.  This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre     The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.
(digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”

Rolling Stones, Paint It Black. 

Memory Theatre   The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance.  It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.     (digital brilliance.com)  Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery.  The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity.  In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint.  In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created.  In his last Highgate Gallery show, large images of heads dominated.  Some of these heads exist beneath the new works, so that creation and destruction co-exist.  The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’.  Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’.  In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric.  His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes.  Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context.  This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Philip Diggle: “I see a red door and I want it painted black.”
Rolling Stones, Paint It Black.

Memory Theatre      The ‘memory theatre’ was an aspect of a science of the imagination which was practiced from Classical times up to the Renaissance. It was used for the development of memory, and also as a ‘mind-map’ – a connected symbolic space, often represented as a building, which spanned the imaginative or conceptual faculty.  (digital brilliance.com) Oxford Dictionaries.

Philip Diggle is inspired by philosophical ideas, and these are used to tie together the paintings on the theme of Memory Theatre in his fifth exhibition at Highgate Gallery. The ‘stage’ for Diggle’s ‘memory theatre’ is painting; it is both the forum and the activity. In painting, memories are discovered and ordered in the doing and building of the works.

Diggle’s work is vigorously physical, with encrusted surfaces thick with oil paint. In these pieces, the paint becomes the means by which memories are enclosed, caged, covered, discovered, accreted, obscured and created. In his last Highgate Gallery show, large images of heads dominated. Some of these heads exist beneath the new works, so that creation and destruction co-exist. The process is a demonstration and investigation of the persistence yet elusiveness of memory.

Vivid red paintings are almost 3-dimensional objects revealing their making and history and physicality and – as Diggle puts it – screaming ‘I’m alive’. Works in brown, metaphorical visceral battles, attest to a more desperate survival impulse – ‘I’m still here’.

A series of larger works refer to human experience within the built environment – ‘contained’ life, a ‘theatre’. In some, the figure (highly abstracted) appears at the centre of the scenes. In these, another interest of Diggle’s emerges: rhetoric. His own mark-making becomes a metaphor for the verbal play of words in public argument.

Philip’s ideas found practical focus in his art classes. Pupils were encouraged to speak, present and respond to poetry and philosophy: a critical method which built self-awareness, confidence, and sense of context. This initiative was rolled out school-wide.

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 15 February.

Bring your mouse along to meet Maisy Mouse, lovable creation of children’s book writer and illustrator Lucy Cousins, at this year’s Children’s Book Fair at HLSI.

We’ll have secondhand books and home-made cakes and biscuits for sale, children’s activities, face-painting, and competitions.  Muswell Hill Children’s Bookshop will be here selling Lucy Cousins’ books.

Children’s Book Fair 2018

Julia Noble: “It’s just a kind of friendly relationship…..”

Materiality, process/rules and colour are the three aspects that define Julia Noble’s work. As an artist it is important to her that she engages the viewer’s senses, creating an aesthetic experience through the physical components of her paintings, which draw upon her experiences and desires.

Julia is drawn to art works where the puzzle for her is to ascertain how they were made, where things are not as they seem, trying to establish the processes that have been employed.

Her practice has been founded on two quotes that resonated with her in relation to the use of chance by abstract painters. Robert Rauschenberg said that “And even though chance deals with the unexpected and unplanned it still has to be organized before it can exist…” and that he “used the fact that wet paint would run, and lots of other things…it’s just a kind of friendly relationship with your materials”. Robert Morris refers to the “tendencies inherent in a materials/process interaction.” Rauschenberg’s words inspired the title of Julia’s exhibition. Her practice involves an investigation into her relationship with materials, the tendencies they possess and how those tendencies can be pushed together with the impact of colour.

Julia explains, “I seek to challenge the viewer with my complex system of production which results in kaleidoscopic rhythmic images. The starting point for many of my creations stems from elements of earlier works transforming them into something new using repeating forms, processes, and colour to provide different perspectives. Incorporating stitch as a drawing method the marks I make are relatively unconventional but also serve to disrupt the form and texture of the surface. Furthermore, stitching is synonymous with bringing together, a cohesive force unifying the separate elements of the work.

“My creations are instinctive, how they end up is determined by the processes and the colours that are used. I want them to be unashamedly joyful and uplifting full of curiosity and optimism.”

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 22 March.

Julia Noble: “It’s just a kind of friendly relationship…..”

Materiality, process/rules and colour are the three aspects that define Julia Noble’s work.  As an artist it is important to her that she engages the viewer’s senses, creating an aesthetic experience through the physical components of her paintings, which draw upon her experiences and desires.

Julia is drawn to art works where the puzzle for her is to ascertain how they were made, where things are not as they seem, trying to establish the processes that have been employed.

Her practice has been founded on two quotes that resonated with her in relation to the use of chance by abstract painters.  Robert Rauschenberg said that “And even though chance deals with the unexpected and unplanned it still has to be organized before it can exist…” and that he “used the fact that wet paint would run, and lots of other things…it’s just a kind of friendly relationship with your materials”.  Robert Morris refers to the “tendencies inherent in a materials/process interaction.” Rauschenberg’s words inspired the title of Julia’s exhibition.  Her practice involves an investigation into her relationship with materials, the tendencies they possess and how those tendencies can be pushed together with the impact of colour.

Julia explains, “I seek to challenge the viewer with my complex system of production which results in kaleidoscopic rhythmic images. The starting point for many of my creations stems from elements of earlier works transforming them into something new using repeating forms, processes, and colour to provide different perspectives. Incorporating stitch as a drawing method the marks I make are relatively unconventional but also serve to disrupt the form and texture of the surface.  Furthermore, stitching is synonymous with bringing together, a cohesive force unifying the separate elements of the work.

“My creations are instinctive, how they end up is determined by the processes and the colours that are used.  I want them to be unashamedly joyful and uplifting full of curiosity and optimism.”

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 22 March.

Julia Noble: “It’s just a kind of friendly relationship…..”

Materiality, process/rules and colour are the three aspects that define Julia Noble’s work.  As an artist it is important to her that she engages the viewer’s senses, creating an aesthetic experience through the physical components of her paintings, which draw upon her experiences and desires.

Julia is drawn to art works where the puzzle for her is to ascertain how they were made, where things are not as they seem, trying to establish the processes that have been employed.

Her practice has been founded on two quotes that resonated with her in relation to the use of chance by abstract painters.  Robert Rauschenberg said that “And even though chance deals with the unexpected and unplanned it still has to be organized before it can exist…” and that he “used the fact that wet paint would run, and lots of other things…it’s just a kind of friendly relationship with your materials”.  Robert Morris refers to the “tendencies inherent in a materials/process interaction.” Rauschenberg’s words inspired the title of Julia’s exhibition.  Her practice involves an investigation into her relationship with materials, the tendencies they possess and how those tendencies can be pushed together with the impact of colour.

Julia explains, “I seek to challenge the viewer with my complex system of production which results in kaleidoscopic rhythmic images. The starting point for many of my creations stems from elements of earlier works transforming them into something new using repeating forms, processes, and colour to provide different perspectives. Incorporating stitch as a drawing method the marks I make are relatively unconventional but also serve to disrupt the form and texture of the surface.  Furthermore, stitching is synonymous with bringing together, a cohesive force unifying the separate elements of the work.

“My creations are instinctive, how they end up is determined by the processes and the colours that are used.  I want them to be unashamedly joyful and uplifting full of curiosity and optimism.”

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 22 March.

Julia Noble: “It’s just a kind of friendly relationship…..”

Materiality, process/rules and colour are the three aspects that define Julia Noble’s work.  As an artist it is important to her that she engages the viewer’s senses, creating an aesthetic experience through the physical components of her paintings, which draw upon her experiences and desires.

Julia is drawn to art works where the puzzle for her is to ascertain how they were made, where things are not as they seem, trying to establish the processes that have been employed.

Her practice has been founded on two quotes that resonated with her in relation to the use of chance by abstract painters.  Robert Rauschenberg said that “And even though chance deals with the unexpected and unplanned it still has to be organized before it can exist…” and that he “used the fact that wet paint would run, and lots of other things…it’s just a kind of friendly relationship with your materials”.  Robert Morris refers to the “tendencies inherent in a materials/process interaction.” Rauschenberg’s words inspired the title of Julia’s exhibition.  Her practice involves an investigation into her relationship with materials, the tendencies they possess and how those tendencies can be pushed together with the impact of colour.

Julia explains, “I seek to challenge the viewer with my complex system of production which results in kaleidoscopic rhythmic images. The starting point for many of my creations stems from elements of earlier works transforming them into something new using repeating forms, processes, and colour to provide different perspectives. Incorporating stitch as a drawing method the marks I make are relatively unconventional but also serve to disrupt the form and texture of the surface.  Furthermore, stitching is synonymous with bringing together, a cohesive force unifying the separate elements of the work.

“My creations are instinctive, how they end up is determined by the processes and the colours that are used.  I want them to be unashamedly joyful and uplifting full of curiosity and optimism.”

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 22 March.

Julia Noble: “It’s just a kind of friendly relationship…..”

Materiality, process/rules and colour are the three aspects that define Julia Noble’s work.  As an artist it is important to her that she engages the viewer’s senses, creating an aesthetic experience through the physical components of her paintings, which draw upon her experiences and desires.

Julia is drawn to art works where the puzzle for her is to ascertain how they were made, where things are not as they seem, trying to establish the processes that have been employed.

Her practice has been founded on two quotes that resonated with her in relation to the use of chance by abstract painters.  Robert Rauschenberg said that “And even though chance deals with the unexpected and unplanned it still has to be organized before it can exist…” and that he “used the fact that wet paint would run, and lots of other things…it’s just a kind of friendly relationship with your materials”.  Robert Morris refers to the “tendencies inherent in a materials/process interaction.” Rauschenberg’s words inspired the title of Julia’s exhibition.  Her practice involves an investigation into her relationship with materials, the tendencies they possess and how those tendencies can be pushed together with the impact of colour.

Julia explains, “I seek to challenge the viewer with my complex system of production which results in kaleidoscopic rhythmic images. The starting point for many of my creations stems from elements of earlier works transforming them into something new using repeating forms, processes, and colour to provide different perspectives. Incorporating stitch as a drawing method the marks I make are relatively unconventional but also serve to disrupt the form and texture of the surface.  Furthermore, stitching is synonymous with bringing together, a cohesive force unifying the separate elements of the work.

“My creations are instinctive, how they end up is determined by the processes and the colours that are used.  I want them to be unashamedly joyful and uplifting full of curiosity and optimism.”

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5.   Closed Mon.

Exhibition continues until 22 March.

Julia Noble: “It’s just a kind of friendly relationship…..”

Materiality, process/rules and colour are the three aspects that define Julia Noble’s work. As an artist it is important to her that she engages the viewer’s senses, creating an aesthetic experience through the physical components of her paintings, which draw upon her experiences and desires.

Julia is drawn to art works where the puzzle for her is to ascertain how they were made, where things are not as they seem, trying to establish the processes that have been employed.

Her practice has been founded on two quotes that resonated with her in relation to the use of chance by abstract painters. Robert Rauschenberg said that “And even though chance deals with the unexpected and unplanned it still has to be organized before it can exist…” and that he “used the fact that wet paint would run, and lots of other things…it’s just a kind of friendly relationship with your materials”. Robert Morris refers to the “tendencies inherent in a materials/process interaction.” Rauschenberg’s words inspired the title of Julia’s exhibition. Her practice involves an investigation into her relationship with materials, the tendencies they possess and how those tendencies can be pushed together with the impact of colour.

Julia explains, “I seek to challenge the viewer with my complex system of production which results in kaleidoscopic rhythmic images. The starting point for many of my creations stems from elements of earlier works transforming them into something new using repeating forms, processes, and colour to provide different perspectives. Incorporating stitch as a drawing method the marks I make are relatively unconventional but also serve to disrupt the form and texture of the surface. Furthermore, stitching is synonymous with bringing together, a cohesive force unifying the separate elements of the work.

“My creations are instinctive, how they end up is determined by the processes and the colours that are used. I want them to be unashamedly joyful and uplifting full of curiosity and optimism.”

Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 22 March.

Handmade In Highgate the Spring Show 13 -15 April 2018

Find 30 talented designer/makers, exhibiting and selling their unique creations at Handmade In Highgate. The Institute offers the perfect location and the perfect opportunity for visitors to meet and buy from the some of the most talented and prolific artist/designer/makers working in the UK today. Entrance is FREE and everyone is welcome.

The Highgate Literary & Scientific Institution

11 South Grove, Highgate, London N6 6BS

Open:

Friday 13 April: 6pm – 9pm

Saturday 14 April: 10am – 6pm

Sunday 15 April 10am – 5pm

Contact details:

www.hand-made-in-highgate.com

E: handmadeinhighgate@gmail.com

FB: Handmadein Highgate

Twitter: @handmadeinhigh

Instagram: handmadeinhighgate

Handmade In Highgate the Spring Show 13 -15 April 2018

Find 30 talented designer/makers, exhibiting and selling their unique creations at Handmade In Highgate. The Institute offers the perfect location and the perfect opportunity for visitors to meet and buy from the some of the most talented and prolific artist/designer/makers working in the UK today. Entrance is FREE and everyone is welcome.

The Highgate Literary & Scientific Institution

11 South Grove, Highgate, London N6 6BS

Open:

Friday 13 April: 6pm – 9pm

Saturday 14 April: 10am – 6pm

Sunday 15 April 10am – 5pm

Contact details:

www.hand-made-in-highgate.com

E: handmadeinhighgate@gmail.com

FB: Handmadein Highgate

Twitter: @handmadeinhigh

Instagram: handmadeinhighgate

Handmade In Highgate the Spring Show 13 -15 April 2018

Find 30 talented designer/makers, exhibiting and selling their unique creations at Handmade In Highgate. The Institute offers the perfect location and the perfect opportunity for visitors to meet and buy from the some of the most talented and prolific artist/designer/makers working in the UK today. Entrance is FREE and everyone is welcome.

The Highgate Literary & Scientific Institution

11 South Grove, Highgate, London N6 6BS

Open:

Friday 13 April: 6pm – 9pm

Saturday 14 April: 10am – 6pm

Sunday 15 April 10am – 5pm

Contact details:

www.hand-made-in-highgate.com

E: handmadeinhighgate@gmail.com

FB: Handmadein Highgate

Twitter: @handmadeinhigh

Instagram: handmadeinhighgate

This month’s show has in the cast:

Roz Nelson, Louisa Bayman, Sue Yager, Orla Roberts, Cathy Joyner, Fiona Slater, Alec Dunnachie, and Michael Hall, With Bob Higgs in the Chair and Derek Marcus at the piano.

Come along for a fun evening and join in the choruses.