PRINTMAKERS INC. OPEN & CLOSED SPACES an exhibition of Original Prints and their processes
“Open & Closed Spaces” refers to the breadth of the locality – the area of almost rural calm within a city – which is the view from Highgate so enjoyed by Coleridge. The title also refers to the surfaces in printmaking of the plate or matrix when bitten, scraped, burnished, painted, inked or wiped.
Printmakers Inc. was formed in 2010 with a pop-up shop in Woburn Place, supported by Camden Council. Since then this group has expanded and shown in a number of Affordable Art Fairs in Hampstead.
The group works in a variety of printmaking media including: etching, drypoint, mono print, collagraphy, solar plate, photo/transfer etching and screenprint.
The group will exhibit their work, and their ways of practice, to create a lively and engaging show in the Gallery at HLSI.
Drop-in Printmaking on Saturday 25th November, 2-4pm.
Members of the public are invited to create their own prints fitting with the title “Open & Closed Spaces”. Places are free but are offered on a first-come basis. Participants should bring their own protective clothing but all other materials are provided.
For further information about Printmakers Inc. please contact: theresapateman@hotmail.com
www.printmakers-inc.co.uk
Exhibition continues until 30 November. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
PRINTMAKERS INC. OPEN & CLOSED SPACES an exhibition of Original Prints and their processes
“Open & Closed Spaces” refers to the breadth of the locality – the area of almost rural calm within a city – which is the view from Highgate so enjoyed by Coleridge. The title also refers to the surfaces in printmaking of the plate or matrix when bitten, scraped, burnished, painted, inked or wiped.
Printmakers Inc. was formed in 2010 with a pop-up shop in Woburn Place, supported by Camden Council. Since then this group has expanded and shown in a number of Affordable Art Fairs in Hampstead.
The group works in a variety of printmaking media including: etching, drypoint, mono print, collagraphy, solar plate, photo/transfer etching and screenprint.
The group will exhibit their work, and their ways of practice, to create a lively and engaging show in the Gallery at HLSI.
Drop-in Printmaking on Saturday 25th November, 2-4pm.
Members of the public are invited to create their own prints fitting with the title “Open & Closed Spaces”. Places are free but are offered on a first-come basis. Participants should bring their own protective clothing but all other materials are provided.
For further information about Printmakers Inc. please contact: theresapateman@hotmail.com
www.printmakers-inc.co.uk
Exhibition continues until 30 November. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
PRINTMAKERS INC. OPEN & CLOSED SPACES an exhibition of Original Prints and their processes
“Open & Closed Spaces” refers to the breadth of the locality – the area of almost rural calm within a city – which is the view from Highgate so enjoyed by Coleridge. The title also refers to the surfaces in printmaking of the plate or matrix when bitten, scraped, burnished, painted, inked or wiped.
Printmakers Inc. was formed in 2010 with a pop-up shop in Woburn Place, supported by Camden Council. Since then this group has expanded and shown in a number of Affordable Art Fairs in Hampstead.
The group works in a variety of printmaking media including: etching, drypoint, mono print, collagraphy, solar plate, photo/transfer etching and screenprint.
The group will exhibit their work, and their ways of practice, to create a lively and engaging show in the Gallery at HLSI.
Drop-in Printmaking on Saturday 25th November, 2-4pm.
Members of the public are invited to create their own prints fitting with the title “Open & Closed Spaces”. Places are free but are offered on a first-come basis. Participants should bring their own protective clothing but all other materials are provided.
For further information about Printmakers Inc. please contact: theresapateman@hotmail.com
www.printmakers-inc.co.uk
Exhibition continues until 30 November. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
PRINTMAKERS INC. OPEN & CLOSED SPACES an exhibition of Original Prints and their processes
“Open & Closed Spaces” refers to the breadth of the locality – the area of almost rural calm within a city – which is the view from Highgate so enjoyed by Coleridge. The title also refers to the surfaces in printmaking of the plate or matrix when bitten, scraped, burnished, painted, inked or wiped.
Printmakers Inc. was formed in 2010 with a pop-up shop in Woburn Place, supported by Camden Council. Since then this group has expanded and shown in a number of Affordable Art Fairs in Hampstead.
The group works in a variety of printmaking media including: etching, drypoint, mono print, collagraphy, solar plate, photo/transfer etching and screenprint.
The group will exhibit their work, and their ways of practice, to create a lively and engaging show in the Gallery at HLSI.
Drop-in Printmaking on Saturday 25th November, 2-4pm.
Members of the public are invited to create their own prints fitting with the title “Open & Closed Spaces”. Places are free but are offered on a first-come basis. Participants should bring their own protective clothing but all other materials are provided.
For further information about Printmakers Inc. please contact: theresapateman@hotmail.com
www.printmakers-inc.co.uk
Exhibition continues until 30 November. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Meditative Walk on the Heath, by Aimee Birnbaum
PRINTMAKERS INC. OPEN & CLOSED SPACES an exhibition of Original Prints and their processes
“Open & Closed Spaces” refers to the breadth of the locality – the area of almost rural calm within a city – which is the view from Highgate so enjoyed by Coleridge. The title also refers to the surfaces in printmaking of the plate or matrix when bitten, scraped, burnished, painted, inked or wiped.
Printmakers Inc. was formed in 2010 with a pop-up shop in Woburn Place, supported by Camden Council. Since then this group has expanded and shown in a number of Affordable Art Fairs in Hampstead.
The group works in a variety of printmaking media including: etching, drypoint, mono print, collagraphy, solar plate, photo/transfer etching and screenprint.
The group will exhibit their work, and their ways of practice, to create a lively and engaging show in the Gallery at HLSI.
Drop-in Printmaking on Saturday 25th November, 2-4pm.
Members of the public are invited to create their own prints fitting with the title “Open & Closed Spaces”. Places are free but are offered on a first-come basis. Participants should bring their own protective clothing but all other materials are provided.
For further information about Printmakers Inc. please contact: theresapateman@hotmail.com
www.printmakers-inc.co.uk
Exhibition continues until 30 November. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Meditative Walk on the Heath, by Aimee Birnbaum
PRINTMAKERS INC. OPEN & CLOSED SPACES an exhibition of Original Prints and their processes
“Open & Closed Spaces” refers to the breadth of the locality – the area of almost rural calm within a city – which is the view from Highgate so enjoyed by Coleridge. The title also refers to the surfaces in printmaking of the plate or matrix when bitten, scraped, burnished, painted, inked or wiped.
Printmakers Inc. was formed in 2010 with a pop-up shop in Woburn Place, supported by Camden Council. Since then this group has expanded and shown in a number of Affordable Art Fairs in Hampstead.
The group works in a variety of printmaking media including: etching, drypoint, mono print, collagraphy, solar plate, photo/transfer etching and screenprint.
The group will exhibit their work, and their ways of practice, to create a lively and engaging show in the Gallery at HLSI.
Drop-in Printmaking on Saturday 25th November, 2-4pm.
Members of the public are invited to create their own prints fitting with the title “Open & Closed Spaces”. Places are free but are offered on a first-come basis. Participants should bring their own protective clothing but all other materials are provided.
For further information about Printmakers Inc. please contact: theresapateman@hotmail.com
www.printmakers-inc.co.uk
Exhibition continues until 30 November. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
PRINTMAKERS INC. OPEN & CLOSED SPACES an exhibition of Original Prints and their processes
“Open & Closed Spaces” refers to the breadth of the locality – the area of almost rural calm within a city – which is the view from Highgate so enjoyed by Coleridge. The title also refers to the surfaces in printmaking of the plate or matrix when bitten, scraped, burnished, painted, inked or wiped.
Printmakers Inc. was formed in 2010 with a pop-up shop in Woburn Place, supported by Camden Council. Since then this group has expanded and shown in a number of Affordable Art Fairs in Hampstead.
The group works in a variety of printmaking media including: etching, drypoint, mono print, collagraphy, solar plate, photo/transfer etching and screenprint.
The group will exhibit their work, and their ways of practice, to create a lively and engaging show in the Gallery at HLSI.
Drop-in Printmaking on Saturday 25th November, 2-4pm.
Members of the public are invited to create their own prints fitting with the title “Open & Closed Spaces”. Places are free but are offered on a first-come basis. Participants should bring their own protective clothing but all other materials are provided.
For further information about Printmakers Inc. please contact: theresapateman@hotmail.com
www.printmakers-inc.co.uk
Exhibition continues until 30 November. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
PRINTMAKERS INC. OPEN & CLOSED SPACES an exhibition of Original Prints and their processes
“Open & Closed Spaces” refers to the breadth of the locality – the area of almost rural calm within a city – which is the view from Highgate so enjoyed by Coleridge. The title also refers to the surfaces in printmaking of the plate or matrix when bitten, scraped, burnished, painted, inked or wiped.
Printmakers Inc. was formed in 2010 with a pop-up shop in Woburn Place, supported by Camden Council. Since then this group has expanded and shown in a number of Affordable Art Fairs in Hampstead.
The group works in a variety of printmaking media including: etching, drypoint, mono print, collagraphy, solar plate, photo/transfer etching and screenprint.
The group will exhibit their work, and their ways of practice, to create a lively and engaging show in the Gallery at HLSI.
Drop-in Printmaking on Saturday 25th November, 2-4pm.
Members of the public are invited to create their own prints fitting with the title “Open & Closed Spaces”. Places are free but are offered on a first-come basis. Participants should bring their own protective clothing but all other materials are provided.
For further information about Printmakers Inc. please contact: theresapateman@hotmail.com
www.printmakers-inc.co.uk
Exhibition continues until 30 November. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
PRINTMAKERS INC. OPEN & CLOSED SPACES an exhibition of Original Prints and their processes
“Open & Closed Spaces” refers to the breadth of the locality – the area of almost rural calm within a city – which is the view from Highgate so enjoyed by Coleridge. The title also refers to the surfaces in printmaking of the plate or matrix when bitten, scraped, burnished, painted, inked or wiped.
Printmakers Inc. was formed in 2010 with a pop-up shop in Woburn Place, supported by Camden Council. Since then this group has expanded and shown in a number of Affordable Art Fairs in Hampstead.
The group works in a variety of printmaking media including: etching, drypoint, mono print, collagraphy, solar plate, photo/transfer etching and screenprint.
The group will exhibit their work, and their ways of practice, to create a lively and engaging show in the Gallery at HLSI.
Drop-in Printmaking on Saturday 25th November, 2-4pm.
Members of the public are invited to create their own prints fitting with the title “Open & Closed Spaces”. Places are free but are offered on a first-come basis. Participants should bring their own protective clothing but all other materials are provided.
For further information about Printmakers Inc. please contact: theresapateman@hotmail.com
www.printmakers-inc.co.uk
Exhibition continues until 30 November. Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
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.
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.
Guided walk around Highgate and tea afterwards at 10A
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL.
For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire,
Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife.
Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas.
Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL. For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire, Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife. Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas. Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL. For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire, Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife. Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas. Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL.
For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire,
Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife.
Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas.
Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL.
For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire,
Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife.
Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas.
Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL.
For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire,
Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife.
Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas.
Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL.
For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire,
Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife.
Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas.
Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL. For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire, Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife. Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas. Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL. For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire, Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife. Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas. Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL.
For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire,
Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife.
Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas.
Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL.
For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire,
Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife.
Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas.
Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.
The predictability of Chaos and the uncertainty of Order are the focus for this dynamic and colourful exhibition of paintings and drawings at Highgate Gallery from May 18th until May 31st.
Order and Chaos philosophies have peppered religious and scientific history for millennia with ideas formed around the ‘Chaos Theory’ coming to the fore in the middle of last century. These are the subject matter for playful new works, many executed in low relief which adds to the visual uncertainty – a change in the angle of view reveals aspects that cannot be seen from elsewhere.
Slade trained Stephen Brooks has often played with ideas and questions that have created ideological dilemmas. This was also the case in a previous exhibition, ‘Ptolemy’s Mythtake’ at Highgate Gallery in 2008.
For further information please contact: steve@stephenjbrooks.co.uk
Highgate Gallery open Tue-Fri 1-5; Sat 11-4; Sun 11-5. Closed Mon.
Exhibition continues until 31 May.
Steve Brooks trained in Fine Art at the Harris College of Art, Preston, and the Slade School of Fine Art UCL.
For several years he was the Studio Assistant to Richard Hamilton, a founder of the British Pop Art Movement, who lived in Highgate before moving to Oxfordshire,
Alongside Steve’s fine art career he taught Design and Drawing in Oxfordshire, Bournemouth and London whilst also being involved in a graphic design business with his wife.
Having lived and worked in various parts of the UK including The Orkney Isles, Dorset, London, Oxfordshire and Wales, he is now based in Herefordshire.
He has held one man shows in London, the Home Counties and Herefordshire, and was chosen to represent Herefordshire as the Three Choirs Festival Artist in 2006. His paintings and drawings are in collections in the UK, Europe and overseas.
Steve’s connection with Highgate goes back to the 70s where he lived and worked. He had two one man shows at the Highgate Society building, one being an exhibition of Drawings and Etchings of Highgate Cemetery in an effort to raise awareness and funds for the then neglected site.
Chaos2 is his third Exhibition at Highgate Literary and Scientific Institution’s Highgate Gallery.