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.
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:
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:
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:
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.
Members of the Highgate Society and the HLSI go head to head! Join in by joining one or the other!
This month’s Old Time Music Hall with the Lissenden Players on May 16th has, in the cast, Sue Yager, Connie Stanton, Martin Nail, Alec Dunnachie and Racker Donnelly, with Mike Francis in the Chair and Derek Marcus at the piano.
Come along for a fun evening and join in the choruses!
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.