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
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.
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.
In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.
Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.
To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.
One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed.
All works are for sale, mostly priced from £400 to £4,000.
Gallery Talk:
On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Exhibition continues until 16 February and is free.
In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.
Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.
To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.
One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed.
All works are for sale, mostly priced from £400 to £4,000.
Gallery Talk: On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Exhibition continues until 16 February and is free.
In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.
Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.
To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.
One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed. All works are for sale, mostly priced from £400 to £4,000.
Gallery Talk:
On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Exhibition continues until 16 February and is free.
The Post War Avant-Garde in Soviet Russia
Dr Elizaveta Butakova Kilgarriff, visiting lecturer at the Courtauld Institute, will talk about Socialist Realism. John Barkes, curator of Highgate Gallery’s current exhibition PAINTINGS FROM SOVIET RUSSIA 1950-1980, will share the platform giving his insights into the Soviet art education system.
Dr Kilgarriff is an academic focussing on the Russian post-war avant-garde. In 2015 she completed her thesis entitled ‘A-Ya Magazine: Soviet unofficial art between Moscow, Paris and New York, 1976-1986’ at the Courtauld Institute of Art. Based on this research, in 2014, she curated the exhibition ‘Paper Museums: Moscow Conceptualism in Transit’ at the John Hansard Gallery, Southampton. She has been a visiting lecturer at the Courtauld, UCL and the Ruskin. In 2016, she co-taught the MA ‘Global Conceptualisms’ at the Courtauld Institute.
Doors open 5.15pm. Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.
Exhibition open 11am-5pm.
In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.
Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.
To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.
One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed.
All works are for sale, mostly priced from £400 to £4,000.
Gallery Talk:
On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Exhibition continues until 16 February and is free.
In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.
Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.
To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.
One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed.
All works are for sale, mostly priced from £400 to £4,000.
Gallery Talk:
On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Exhibition continues until 16 February and is free.
In the year of the centenary of the Russian Revolution, Highgate Gallery is delighted to host an exhibition of works by members of the Artists’ Union of St Petersburg 1950-1980.
Curator John Barkes has been working with artists in St Petersburg for more than twenty years. A chance meeting in 1993 with a painter with close links to the Repin Academy of Fine Arts resulted in nearly a hundred trips to the city, with visits to more than three hundred studios. The collapse of the Soviet system in 1989 left many elite professions without salaries or resources. Members of Artists’ Unions were no exception, but crucially they retained their studios and the paintings that represented their lives’ work.
To the artists’ surprise, and often severe irritation, John Barkes nearly always ignored their finished exhibited paintings, which tended to be rigid and formal, selecting in preference the vibrantly observant oil sketches and drawings that had no monetary value under the old system. It has thus been possible, by chance and the accidents of history, to exhibit and sell a great number of works by eminent artists and teachers at very accessible prices.
One wall will feature designs for major mosaic and mural projects from the 1960s and 1970s by Evgeni Kazmin. He is most proud of his scheme for the Sochi State Circus building, and is delighted that it survived the depredations associated with the recent Winter Olympics. The main theme of any Socialist Realist exhibition is life under the Soviet system – work, leisure and the family – paintings of a time that has passed into history, brilliantly observed.
All works are for sale, mostly priced from £400 to £4,000.
Gallery Talk:
On Sunday 5th February at 5.30pm. Dr Elizaveta Butakova, visiting lecturer at the Courtauld Institute, will lecture on Socialist Realism. John Barkes will share the platform giving his insights into the Soviet art education system.
Admission £10 (HLSI members £5) on the door.
To reserve your place please eMail admin@hlsi.net or telephone 020 8340 3343.
Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Exhibition continues until 16 February and is free.