Maggie Jennings – Vivificante. 8-21 July.
Exuberant, colourful and vibrant, Maggie Jennings’ work celebrates the energy of living things. She works with the vigour and dynamism that she perceives in the world around her to produce strong, sensuous images.
This exhibition is the narrative of her life, and shows the stories and passions which she would like to share with you.
Her fascination is with the state of being and living: beginning with recalling the enchantments of her childhood in Devon, lying in long grass or up a tree watching animals, birds and insects lead their idiosyncratic lives. She has travelled extensively, and has taken workshops in Zimbabwe and Namibia. She was awarded a scholarship in Greece, and a printmaking residency in the Canary Islands. In Tenerife, she worked under blue skies with fragrant breezes and surrounded by brilliant blooms. This set the mood for her art career. The Tenerifians taught her a favourite word – Vivificante (life-giving, inspirational), the title of this show.
She is never without a sketch book and uses her visual diaries rather than a camera to record her travels and experiences. She will be exhibiting a series of these tiny books alongside the larger works in this exhibition.
Whilst all forms of printmaking fascinate her, the main body of her work is in the form of spontaneous, gestural mono-screenprints, painted directly through the mesh, leaving no room for correction and indecision. Her book “Fine Art Screenprinting”, published in 2015, describes these and other methods.
In her recent work, Maggie focuses on her home town London, scaling down and making more intimate works: etchings of buildings and crowds of people, made precious with hand painted papers and gold dust.
Maggie trained at Bristol (BA), and at Chelsea (MA). She teaches printmaking part-time at The Royal Drawing School and Heatherleys School of Art, and lives locally near Hornsey Lane.
During the exhibition there will be talks on the artist’s work on Sunday 10 July at 11.30am and
on Sunday 17 July at 3.30pm. Maggie will be in the gallery throughout the exhibition.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm (3pm on Sunday 10 July) ; closed Mondays.
Maggie Jennings – Vivificante. 8-21 July.
Exuberant, colourful and vibrant, Maggie Jennings’ work celebrates the energy of living things. She works with the vigour and dynamism that she perceives in the world around her to produce strong, sensuous images.
This exhibition is the narrative of her life, and shows the stories and passions which she would like to share with you.
Her fascination is with the state of being and living: beginning with recalling the enchantments of her childhood in Devon, lying in long grass or up a tree watching animals, birds and insects lead their idiosyncratic lives. She has travelled extensively, and has taken workshops in Zimbabwe and Namibia. She was awarded a scholarship in Greece, and a printmaking residency in the Canary Islands. In Tenerife, she worked under blue skies with fragrant breezes and surrounded by brilliant blooms. This set the mood for her art career. The Tenerifians taught her a favourite word – Vivificante (life-giving, inspirational), the title of this show.
She is never without a sketch book and uses her visual diaries rather than a camera to record her travels and experiences. She will be exhibiting a series of these tiny books alongside the larger works in this exhibition.
Whilst all forms of printmaking fascinate her, the main body of her work is in the form of spontaneous, gestural mono-screenprints, painted directly through the mesh, leaving no room for correction and indecision. Her book “Fine Art Screenprinting”, published in 2015, describes these and other methods.
In her recent work, Maggie focuses on her home town London, scaling down and making more intimate works: etchings of buildings and crowds of people, made precious with hand painted papers and gold dust.
Maggie trained at Bristol (BA), and at Chelsea (MA). She teaches printmaking part-time at The Royal Drawing School and Heatherleys School of Art, and lives locally near Hornsey Lane.
During the exhibition there will be talks on the artist’s work on Sunday 10 July at 11.30am and
on Sunday 17 July at 3.30pm. Maggie will be in the gallery throughout the exhibition.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm (3pm on Sunday 10 July) ; closed Mondays.
Maggie Jennings – Vivificante. 8-21 July.
Exuberant, colourful and vibrant, Maggie Jennings’ work celebrates the energy of living things. She works with the vigour and dynamism that she perceives in the world around her to produce strong, sensuous images.
This exhibition is the narrative of her life, and shows the stories and passions which she would like to share with you.
Her fascination is with the state of being and living: beginning with recalling the enchantments of her childhood in Devon, lying in long grass or up a tree watching animals, birds and insects lead their idiosyncratic lives. She has travelled extensively, and has taken workshops in Zimbabwe and Namibia. She was awarded a scholarship in Greece, and a printmaking residency in the Canary Islands. In Tenerife, she worked under blue skies with fragrant breezes and surrounded by brilliant blooms. This set the mood for her art career. The Tenerifians taught her a favourite word – Vivificante (life-giving, inspirational), the title of this show.
She is never without a sketch book and uses her visual diaries rather than a camera to record her travels and experiences. She will be exhibiting a series of these tiny books alongside the larger works in this exhibition.
Whilst all forms of printmaking fascinate her, the main body of her work is in the form of spontaneous, gestural mono-screenprints, painted directly through the mesh, leaving no room for correction and indecision. Her book “Fine Art Screenprinting”, published in 2015, describes these and other methods.
In her recent work, Maggie focuses on her home town London, scaling down and making more intimate works: etchings of buildings and crowds of people, made precious with hand painted papers and gold dust.
Maggie trained at Bristol (BA), and at Chelsea (MA). She teaches printmaking part-time at The Royal Drawing School and Heatherleys School of Art, and lives locally near Hornsey Lane.
During the exhibition there will be talks on the artist’s work on Sunday 10 July at 11.30am and
on Sunday 17 July at 3.30pm. Maggie will be in the gallery throughout the exhibition.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm (3pm on Sunday 10 July) ; closed Mondays.
Maggie Jennings – Vivificante. 8-21 July.
Exuberant, colourful and vibrant, Maggie Jennings’ work celebrates the energy of living things. She works with the vigour and dynamism that she perceives in the world around her to produce strong, sensuous images.
This exhibition is the narrative of her life, and shows the stories and passions which she would like to share with you.
Her fascination is with the state of being and living: beginning with recalling the enchantments of her childhood in Devon, lying in long grass or up a tree watching animals, birds and insects lead their idiosyncratic lives. She has travelled extensively, and has taken workshops in Zimbabwe and Namibia. She was awarded a scholarship in Greece, and a printmaking residency in the Canary Islands. In Tenerife, she worked under blue skies with fragrant breezes and surrounded by brilliant blooms. This set the mood for her art career. The Tenerifians taught her a favourite word – Vivificante (life-giving, inspirational), the title of this show.
She is never without a sketch book and uses her visual diaries rather than a camera to record her travels and experiences. She will be exhibiting a series of these tiny books alongside the larger works in this exhibition.
Whilst all forms of printmaking fascinate her, the main body of her work is in the form of spontaneous, gestural mono-screenprints, painted directly through the mesh, leaving no room for correction and indecision. Her book “Fine Art Screenprinting”, published in 2015, describes these and other methods.
In her recent work, Maggie focuses on her home town London, scaling down and making more intimate works: etchings of buildings and crowds of people, made precious with hand painted papers and gold dust.
Maggie trained at Bristol (BA), and at Chelsea (MA). She teaches printmaking part-time at The Royal Drawing School and Heatherleys School of Art, and lives locally near Hornsey Lane.
During the exhibition there will be talks on the artist’s work on Sunday 10 July at 11.30am and
on Sunday 17 July at 3.30pm. Maggie will be in the gallery throughout the exhibition.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm (3pm on Sunday 10 July) ; closed Mondays.
Maggie Jennings – Vivificante. 8-21 July.
Exuberant, colourful and vibrant, Maggie Jennings’ work celebrates the energy of living things. She works with the vigour and dynamism that she perceives in the world around her to produce strong, sensuous images.
This exhibition is the narrative of her life, and shows the stories and passions which she would like to share with you.
Her fascination is with the state of being and living: beginning with recalling the enchantments of her childhood in Devon, lying in long grass or up a tree watching animals, birds and insects lead their idiosyncratic lives. She has travelled extensively, and has taken workshops in Zimbabwe and Namibia. She was awarded a scholarship in Greece, and a printmaking residency in the Canary Islands. In Tenerife, she worked under blue skies with fragrant breezes and surrounded by brilliant blooms. This set the mood for her art career. The Tenerifians taught her a favourite word – Vivificante (life-giving, inspirational), the title of this show.
She is never without a sketch book and uses her visual diaries rather than a camera to record her travels and experiences. She will be exhibiting a series of these tiny books alongside the larger works in this exhibition.
Whilst all forms of printmaking fascinate her, the main body of her work is in the form of spontaneous, gestural mono-screenprints, painted directly through the mesh, leaving no room for correction and indecision. Her book “Fine Art Screenprinting”, published in 2015, describes these and other methods.
In her recent work, Maggie focuses on her home town London, scaling down and making more intimate works: etchings of buildings and crowds of people, made precious with hand painted papers and gold dust.
Maggie trained at Bristol (BA), and at Chelsea (MA). She teaches printmaking part-time at The Royal Drawing School and Heatherleys School of Art, and lives locally near Hornsey Lane.
During the exhibition there will be talks on the artist’s work on Sunday 10 July at 11.30am and
on Sunday 17 July at 3.30pm. Maggie will be in the gallery throughout the exhibition.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm (3pm on Sunday 10 July) ; closed Mondays.
Maggie Jennings – Vivificante. 8-21 July.
Exuberant, colourful and vibrant, Maggie Jennings’ work celebrates the energy of living things. She works with the vigour and dynamism that she perceives in the world around her to produce strong, sensuous images.
This exhibition is the narrative of her life, and shows the stories and passions which she would like to share with you.
Her fascination is with the state of being and living: beginning with recalling the enchantments of her childhood in Devon, lying in long grass or up a tree watching animals, birds and insects lead their idiosyncratic lives. She has travelled extensively, and has taken workshops in Zimbabwe and Namibia. She was awarded a scholarship in Greece, and a printmaking residency in the Canary Islands. In Tenerife, she worked under blue skies with fragrant breezes and surrounded by brilliant blooms. This set the mood for her art career. The Tenerifians taught her a favourite word – Vivificante (life-giving, inspirational), the title of this show.
She is never without a sketch book and uses her visual diaries rather than a camera to record her travels and experiences. She will be exhibiting a series of these tiny books alongside the larger works in this exhibition.
Whilst all forms of printmaking fascinate her, the main body of her work is in the form of spontaneous, gestural mono-screenprints, painted directly through the mesh, leaving no room for correction and indecision. Her book “Fine Art Screenprinting”, published in 2015, describes these and other methods.
In her recent work, Maggie focuses on her home town London, scaling down and making more intimate works: etchings of buildings and crowds of people, made precious with hand painted papers and gold dust.
Maggie trained at Bristol (BA), and at Chelsea (MA). She teaches printmaking part-time at The Royal Drawing School and Heatherleys School of Art, and lives locally near Hornsey Lane.
During the exhibition there will be talks on the artist’s work on Sunday 10 July at 11.30am and
on Sunday 17 July at 3.30pm. Maggie will be in the gallery throughout the exhibition.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm (3pm on Sunday 10 July) ; closed Mondays.
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
ROBERT CUNNING – The City and Beyond
Highgate Gallery
16-29 September 2016
City, country and the boundary between
The City and Beyond considers the relationship between city and country and the boundary between urban and rural.
A common thread of Robert Cunning’s paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
W G Sebald commented: “Places seems to me to have some kind of memory, in that they activate memory in those who look at them.”
The memory of place is key to some of the paintings. The impressive mountains and hills of Wales and the borderland contain ancient rock formations and fossils, giving clues to the history of earlier times. The river estuary of London was once covered in forest, the remnants of which are revealed by tides to this day.
Robert Cunning lived and taught in London for 20 years and now lives in rural Shropshire. The journey between the two places informs his work, for example, the entrance into London by rail at Euston and Kings Cross. This area, which used to be on the outskirts of the city, has been redeveloped considerably in recent times for the International ‘Eurostar’ at St Pancras.
His training as a gilder and frame-maker naturally inclined him towards the preparation of gesso for frames and panels. The smooth surface of the gesso allows the images to emerge with great clarity. The paintings are built up slowly with many layers of thin oil paint which are blended together while still wet.
www.robertcunning.co.uk
Tuesday-Friday 13:00-17:00
Saturday 11:00-16:00
Sunday 11:00-17:00
Closed Monday
HLSI’s annual book fair with something for everyone who loves books. Thousands of good quality second-hand books on all subjects: fiction, history, biography, literature, travel and much more, priced from 50p. Collections this year include art, photography, map books and special/antiquarian editions. Seriously good bargains.
THE MOTION This house believes that…
“SELECTIVE STATE SCHOOLS DO MORE HARM THAN GOOD”
WHEN Thursday 13 October 2016, 8.00pm, doors open at 7.30pm
WHERE Highgate Literary & Scientific Institution, 11 South Grove, London N6 6BS
HOW Free and open to all.
Reservations may be made in person, by phone or by email:
tel: 020 8340 3343; email: admin@hlsi.net
Proposing the motion
KIRI TUNKS is Head of Global Perspectives in a Tower Hamlets comprehensive
school and has been teaching since 1993. She is currently Junior Vice-President of the
National Union of Teachers. She is critical of free schools, arguing that they detrimentally
affect education for all.
Opposing the motion
TOBY YOUNG is an author and currently an Associate Editor of The Spectator. He was a
lead proposer and founder of West London Free School, the first free school to secure a
funding arrangement with the government, and has controversially questioned the
notion of ‘inclusion’ in state schools.
The Debate is free and open to the general public. The Chairman always invites
contributions from the floor.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
EVELYN KORN
Highgate Gallery
14-27 October 2016
There will be something to surprise and delight everyone in this powerful and original show.
Evelyn’s work draws inspiration from the patterns, shapes and colours of both the natural world and man-made environments, seeking out the unusual in the everyday, effectively conveying the vividness and vibrancy of life whatever the subject matter.
Cars piled up in an Edmonton scrap yard are as considered with as much originality as the hot beaches of Spain or the fields of Provence. Paintings of Evelyn’s local Southgate are striking in their powerful intensity, whilst the Dorset landscapes are quieter and more tranquil. Unusual juxtapositions add a surreal quality which elevates the mundane to the marvellous. She experiments with scale, offering a variety of canvases from the very large to the small and playful.
An active artist all her life, Evelyn studied at St Martin’s School of Art and at Middlesex University where she gained her B.Ed and BA honours degrees and post graduate diploma. Qualified as a teacher in secondary school Art and Ceramics, she taught in Enfield secondary schools whilst bringing up a young family.
Evelyn’s paintings, often in conjunction with her ceramics, have been exhibited in the Ben Uri gallery in London, in Lyme Regis, Middlesex University, Burgh House, Millfield House in Edmonton and at HLSI Members’ Exhibitions. This exciting exhibition focuses entirely on oil paintings on canvas, a medium she feels is most suitable for conveying vibrancy and depth of colour.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Gallery at the Highgate Literary and Scientific Institution is the perfect venue for hosting this wide-ranging multimedia collection of new artworks by members of the Printmakers Council. With a multitude of techniques on show, visitors will be offered the chance to see some of the very best printmaking in the UK today. ‘Loosely Bound’, as the title suggests, has given the artists an opportunity to respond to this rich theme.
On show will be artworks inspired by literature in all its forms – novels, plays, poetry and much more. Examples of new pieces include those by Invited Artist Liz Collini, whose beautifully printed lettering or word pieces have been commissioned by various corporate organisations and are also part of the V&A Museum collection. Other prints relate to illustration such as the mysterious works combining collage and print by Lynn Hatzius whose clients include Random House, Bloomsbury and Faber and Faber. Pages from handmade linocut artist books by Graham Smith are another highlight. The exhibition will feature many traditional print techniques including etching, lithography, silkscreen, linocut and woodblock plus new contemporary techniques such as photopolymer and computer-based artwork.
The Printmakers Council was established in 1965 with the primary aim of forming a ‘pressure group’ to promote and encourage printmaking, especially experimental and contemporary work. Eminent artist Michael Rothenstein, the first Chairman, set up the association with a committee comprising of Anthony Gross, Stanley Jones and other leading artist printmakers of the time. The PMC, a non-profit making organisation run by artists, has exhibited worldwide. It continues to emphasise education through lectures and demonstrations, to promote printmaking in all its forms and to support its members via newsletters and the website: www.printmakerscouncil.com
For further information, please contact: Theresa Pateman, Printmakers Council: printpmc@googlemail.com
18 November – 1 December 2016. Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Gallery at the Highgate Literary and Scientific Institution is the perfect venue for hosting this wide-ranging multimedia collection of new artworks by members of the Printmakers Council. With a multitude of techniques on show, visitors will be offered the chance to see some of the very best printmaking in the UK today. ‘Loosely Bound’, as the title suggests, has given the artists an opportunity to respond to this rich theme.
On show will be artworks inspired by literature in all its forms – novels, plays, poetry and much more. Examples of new pieces include those by Invited Artist Liz Collini, whose beautifully printed lettering or word pieces have been commissioned by various corporate organisations and are also part of the V&A Museum collection. Other prints relate to illustration such as the mysterious works combining collage and print by Lynn Hatzius whose clients include Random House, Bloomsbury and Faber and Faber. Pages from handmade linocut artist books by Graham Smith are another highlight. The exhibition will feature many traditional print techniques including etching, lithography, silkscreen, linocut and woodblock plus new contemporary techniques such as photopolymer and computer-based artwork.
The Printmakers Council was established in 1965 with the primary aim of forming a ‘pressure group’ to promote and encourage printmaking, especially experimental and contemporary work. Eminent artist Michael Rothenstein, the first Chairman, set up the association with a committee comprising of Anthony Gross, Stanley Jones and other leading artist printmakers of the time. The PMC, a non-profit making organisation run by artists, has exhibited worldwide. It continues to emphasise education through lectures and demonstrations, to promote printmaking in all its forms and to support its members via newsletters and the website: www.printmakerscouncil.com
For further information, please contact: Theresa Pateman, Printmakers Council: printpmc@googlemail.com
18 November – 1 December 2016. Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Gallery at the Highgate Literary and Scientific Institution is the perfect venue for hosting this wide-ranging multimedia collection of new artworks by members of the Printmakers Council. With a multitude of techniques on show, visitors will be offered the chance to see some of the very best printmaking in the UK today. ‘Loosely Bound’, as the title suggests, has given the artists an opportunity to respond to this rich theme.
On show will be artworks inspired by literature in all its forms – novels, plays, poetry and much more. Examples of new pieces include those by Invited Artist Liz Collini, whose beautifully printed lettering or word pieces have been commissioned by various corporate organisations and are also part of the V&A Museum collection. Other prints relate to illustration such as the mysterious works combining collage and print by Lynn Hatzius whose clients include Random House, Bloomsbury and Faber and Faber. Pages from handmade linocut artist books by Graham Smith are another highlight. The exhibition will feature many traditional print techniques including etching, lithography, silkscreen, linocut and woodblock plus new contemporary techniques such as photopolymer and computer-based artwork.
The Printmakers Council was established in 1965 with the primary aim of forming a ‘pressure group’ to promote and encourage printmaking, especially experimental and contemporary work. Eminent artist Michael Rothenstein, the first Chairman, set up the association with a committee comprising of Anthony Gross, Stanley Jones and other leading artist printmakers of the time. The PMC, a non-profit making organisation run by artists, has exhibited worldwide. It continues to emphasise education through lectures and demonstrations, to promote printmaking in all its forms and to support its members via newsletters and the website: www.printmakerscouncil.com
For further information, please contact: Theresa Pateman, Printmakers Council: printpmc@googlemail.com
18 November – 1 December 2016. Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Gallery at the Highgate Literary and Scientific Institution is the perfect venue for hosting this wide-ranging multimedia collection of new artworks by members of the Printmakers Council. With a multitude of techniques on show, visitors will be offered the chance to see some of the very best printmaking in the UK today. ‘Loosely Bound’, as the title suggests, has given the artists an opportunity to respond to this rich theme.
On show will be artworks inspired by literature in all its forms – novels, plays, poetry and much more. Examples of new pieces include those by Invited Artist Liz Collini, whose beautifully printed lettering or word pieces have been commissioned by various corporate organisations and are also part of the V&A Museum collection. Other prints relate to illustration such as the mysterious works combining collage and print by Lynn Hatzius whose clients include Random House, Bloomsbury and Faber and Faber. Pages from handmade linocut artist books by Graham Smith are another highlight. The exhibition will feature many traditional print techniques including etching, lithography, silkscreen, linocut and woodblock plus new contemporary techniques such as photopolymer and computer-based artwork.
The Printmakers Council was established in 1965 with the primary aim of forming a ‘pressure group’ to promote and encourage printmaking, especially experimental and contemporary work. Eminent artist Michael Rothenstein, the first Chairman, set up the association with a committee comprising of Anthony Gross, Stanley Jones and other leading artist printmakers of the time. The PMC, a non-profit making organisation run by artists, has exhibited worldwide. It continues to emphasise education through lectures and demonstrations, to promote printmaking in all its forms and to support its members via newsletters and the website: www.printmakerscouncil.com
For further information, please contact: Theresa Pateman, Printmakers Council: printpmc@googlemail.com
18 November – 1 December 2016. Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Gallery at the Highgate Literary and Scientific Institution is the perfect venue for hosting this wide-ranging multimedia collection of new artworks by members of the Printmakers Council. With a multitude of techniques on show, visitors will be offered the chance to see some of the very best printmaking in the UK today. ‘Loosely Bound’, as the title suggests, has given the artists an opportunity to respond to this rich theme.
On show will be artworks inspired by literature in all its forms – novels, plays, poetry and much more. Examples of new pieces include those by Invited Artist Liz Collini, whose beautifully printed lettering or word pieces have been commissioned by various corporate organisations and are also part of the V&A Museum collection. Other prints relate to illustration such as the mysterious works combining collage and print by Lynn Hatzius whose clients include Random House, Bloomsbury and Faber and Faber. Pages from handmade linocut artist books by Graham Smith are another highlight. The exhibition will feature many traditional print techniques including etching, lithography, silkscreen, linocut and woodblock plus new contemporary techniques such as photopolymer and computer-based artwork.
The Printmakers Council was established in 1965 with the primary aim of forming a ‘pressure group’ to promote and encourage printmaking, especially experimental and contemporary work. Eminent artist Michael Rothenstein, the first Chairman, set up the association with a committee comprising of Anthony Gross, Stanley Jones and other leading artist printmakers of the time. The PMC, a non-profit making organisation run by artists, has exhibited worldwide. It continues to emphasise education through lectures and demonstrations, to promote printmaking in all its forms and to support its members via newsletters and the website: www.printmakerscouncil.com
For further information, please contact: Theresa Pateman, Printmakers Council: printpmc@googlemail.com
18 November – 1 December 2016. Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Gallery at the Highgate Literary and Scientific Institution is the perfect venue for hosting this wide-ranging multimedia collection of new artworks by members of the Printmakers Council. With a multitude of techniques on show, visitors will be offered the chance to see some of the very best printmaking in the UK today. ‘Loosely Bound’, as the title suggests, has given the artists an opportunity to respond to this rich theme.
On show will be artworks inspired by literature in all its forms – novels, plays, poetry and much more. Examples of new pieces include those by Invited Artist Liz Collini, whose beautifully printed lettering or word pieces have been commissioned by various corporate organisations and are also part of the V&A Museum collection. Other prints relate to illustration such as the mysterious works combining collage and print by Lynn Hatzius whose clients include Random House, Bloomsbury and Faber and Faber. Pages from handmade linocut artist books by Graham Smith are another highlight. The exhibition will feature many traditional print techniques including etching, lithography, silkscreen, linocut and woodblock plus new contemporary techniques such as photopolymer and computer-based artwork.
The Printmakers Council was established in 1965 with the primary aim of forming a ‘pressure group’ to promote and encourage printmaking, especially experimental and contemporary work. Eminent artist Michael Rothenstein, the first Chairman, set up the association with a committee comprising of Anthony Gross, Stanley Jones and other leading artist printmakers of the time. The PMC, a non-profit making organisation run by artists, has exhibited worldwide. It continues to emphasise education through lectures and demonstrations, to promote printmaking in all its forms and to support its members via newsletters and the website: www.printmakerscouncil.com
For further information, please contact: Theresa Pateman, Printmakers Council: printpmc@googlemail.com
18 November – 1 December 2016. Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Gallery at the Highgate Literary and Scientific Institution is the perfect venue for hosting this wide-ranging multimedia collection of new artworks by members of the Printmakers Council. With a multitude of techniques on show, visitors will be offered the chance to see some of the very best printmaking in the UK today. ‘Loosely Bound’, as the title suggests, has given the artists an opportunity to respond to this rich theme.
On show will be artworks inspired by literature in all its forms – novels, plays, poetry and much more. Examples of new pieces include those by Invited Artist Liz Collini, whose beautifully printed lettering or word pieces have been commissioned by various corporate organisations and are also part of the V&A Museum collection. Other prints relate to illustration such as the mysterious works combining collage and print by Lynn Hatzius whose clients include Random House, Bloomsbury and Faber and Faber. Pages from handmade linocut artist books by Graham Smith are another highlight. The exhibition will feature many traditional print techniques including etching, lithography, silkscreen, linocut and woodblock plus new contemporary techniques such as photopolymer and computer-based artwork.
The Printmakers Council was established in 1965 with the primary aim of forming a ‘pressure group’ to promote and encourage printmaking, especially experimental and contemporary work. Eminent artist Michael Rothenstein, the first Chairman, set up the association with a committee comprising of Anthony Gross, Stanley Jones and other leading artist printmakers of the time. The PMC, a non-profit making organisation run by artists, has exhibited worldwide. It continues to emphasise education through lectures and demonstrations, to promote printmaking in all its forms and to support its members via newsletters and the website: www.printmakerscouncil.com
For further information, please contact: Theresa Pateman, Printmakers Council: printpmc@googlemail.com
18 November – 1 December 2016. Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.