ORGANIC ORIGINS. Photographic Artworks by Keith Hammond
Artist and photographer Keith Hammond’s first solo exhibition at the Highgate Gallery in London takes a radical departure to nature photography.
Entitled Organic Origins, the exhibition showcases 14 of Hammond’s landscape works. Mostly taken in north London’s open spaces, including Hampstead Heath and Waterlow Park close to the gallery, each has a different theme, from Japanese Maple (2014) to Water Iris Shoots (2015), Frost on Leaf and Grass (2015) and Arching Beech (2016).
In these large-scale works, Hammond’s intention is to explore the way we look at nature. Rather than use a single shot composed in the picturesque tradition, he takes a radical approach, using a grid system that investigates each landscape from multiple viewpoints. Hammond then incorporates these smaller images and details into each finished image, making works that are more than the sum of their parts, and which reward repeated viewing.
The artworks in Organic Origins also invite comparison with other artists such as Gilbert and George and David Hockney, whose workshops he has attended. Hammond’s use of “joiners” (the photographic term for smaller images that combine to compose a larger picture) itself questions the act of perception, inviting a re-evaluation of photographic truth and the single “decisive moment”. Instead, his artworks respond to the way the eye actually works in nature: sometimes near, sometimes far, always restless.
“We don’t look at a beautiful tree or a landscape for just a split second. We take our time, our eyes wander all over the scene, we take it all in; the leaves shake in the wind, the waters ripple, the clouds move, the light changes. Nothing is static.” Keith Hammond, 2019
Hammond also works on his images post-production. Several of the landscapes in Organic Origins have been digitally manipulated to bring out details that are unattainable within the normal colour spectrum. The intention is to gain a wider harmony in the image – and express a wider truth about the relationship between the viewer and the natural world.
“I want to connect with something essential about the natural world; something that is palpably already there if we just take the time to look.” Keith Hammond, 2019.
“I have had a passion for trees since I was a small girl. If you’re similarly attracted to their changing colours and shapes, please spend time at Keith Hammond’s exhibition at the Highgate Gallery. He is a remarkable photographer.” Dame Judi Dench, 2020.
The artworks are for sale. From a series of 50 images, the 14 limited-edition works in the exhibition range from 1-2.5m in size. Prices £1,000-£4,000.
About Keith Hammond
A photographer since the 1960s, Keith Hammond has had a long career as an artist and photographer. In 1998-99 he was invited to judge the John Kobal Portrait Award (now Taylor Wessing) exhibited at the National Portrait Gallery, London. 2014 Art for Art Sake, Cork St Gallery, London.
Exhibition continues until 19 March.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays
Image: Keith Hammond, Japanese Maple
ORGANIC ORIGINS. Photographic Artworks by Keith Hammond
Artist and photographer Keith Hammond’s first solo exhibition at the Highgate Gallery in London takes a radical departure to nature photography.
Entitled Organic Origins, the exhibition showcases 14 of Hammond’s landscape works. Mostly taken in north London’s open spaces, including Hampstead Heath and Waterlow Park close to the gallery, each has a different theme, from Japanese Maple (2014) to Water Iris Shoots (2015), Frost on Leaf and Grass (2015) and Arching Beech (2016).
In these large-scale works, Hammond’s intention is to explore the way we look at nature. Rather than use a single shot composed in the picturesque tradition, he takes a radical approach, using a grid system that investigates each landscape from multiple viewpoints. Hammond then incorporates these smaller images and details into each finished image, making works that are more than the sum of their parts, and which reward repeated viewing.
The artworks in Organic Origins also invite comparison with other artists such as Gilbert and George and David Hockney, whose workshops he has attended. Hammond’s use of “joiners” (the photographic term for smaller images that combine to compose a larger picture) itself questions the act of perception, inviting a re-evaluation of photographic truth and the single “decisive moment”. Instead, his artworks respond to the way the eye actually works in nature: sometimes near, sometimes far, always restless.
“We don’t look at a beautiful tree or a landscape for just a split second. We take our time, our eyes wander all over the scene, we take it all in; the leaves shake in the wind, the waters ripple, the clouds move, the light changes. Nothing is static.” Keith Hammond, 2019
Hammond also works on his images post-production. Several of the landscapes in Organic Origins have been digitally manipulated to bring out details that are unattainable within the normal colour spectrum. The intention is to gain a wider harmony in the image – and express a wider truth about the relationship between the viewer and the natural world.
“I want to connect with something essential about the natural world; something that is palpably already there if we just take the time to look.” Keith Hammond, 2019.
“I have had a passion for trees since I was a small girl. If you’re similarly attracted to their changing colours and shapes, please spend time at Keith Hammond’s exhibition at the Highgate Gallery. He is a remarkable photographer.” Dame Judi Dench, 2020.
The artworks are for sale. From a series of 50 images, the 14 limited-edition works in the exhibition range from 1-2.5m in size. Prices £1,000-£4,000.
About Keith Hammond
A photographer since the 1960s, Keith Hammond has had a long career as an artist and photographer. In 1998-99 he was invited to judge the John Kobal Portrait Award (now Taylor Wessing) exhibited at the National Portrait Gallery, London. 2014 Art for Art Sake, Cork St Gallery, London.
Exhibition continues until 19 March.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays
ORGANIC ORIGINS. Photographic Artworks by Keith Hammond
Artist and photographer Keith Hammond’s first solo exhibition at the Highgate Gallery in London takes a radical departure to nature photography.
Entitled Organic Origins, the exhibition showcases 14 of Hammond’s landscape works. Mostly taken in north London’s open spaces, including Hampstead Heath and Waterlow Park close to the gallery, each has a different theme, from Japanese Maple (2014) to Water Iris Shoots (2015), Frost on Leaf and Grass (2015) and Arching Beech (2016).
In these large-scale works, Hammond’s intention is to explore the way we look at nature. Rather than use a single shot composed in the picturesque tradition, he takes a radical approach, using a grid system that investigates each landscape from multiple viewpoints. Hammond then incorporates these smaller images and details into each finished image, making works that are more than the sum of their parts, and which reward repeated viewing.
The artworks in Organic Origins also invite comparison with other artists such as Gilbert and George and David Hockney, whose workshops he has attended. Hammond’s use of “joiners” (the photographic term for smaller images that combine to compose a larger picture) itself questions the act of perception, inviting a re-evaluation of photographic truth and the single “decisive moment”. Instead, his artworks respond to the way the eye actually works in nature: sometimes near, sometimes far, always restless.
“We don’t look at a beautiful tree or a landscape for just a split second. We take our time, our eyes wander all over the scene, we take it all in; the leaves shake in the wind, the waters ripple, the clouds move, the light changes. Nothing is static.” Keith Hammond, 2019
Hammond also works on his images post-production. Several of the landscapes in Organic Origins have been digitally manipulated to bring out details that are unattainable within the normal colour spectrum. The intention is to gain a wider harmony in the image – and express a wider truth about the relationship between the viewer and the natural world.
“I want to connect with something essential about the natural world; something that is palpably already there if we just take the time to look.” Keith Hammond, 2019.
“I have had a passion for trees since I was a small girl. If you’re similarly attracted to their changing colours and shapes, please spend time at Keith Hammond’s exhibition at the Highgate Gallery. He is a remarkable photographer.” Dame Judi Dench, 2020.
The artworks are for sale. From a series of 50 images, the 14 limited-edition works in the exhibition range from 1-2.5m in size. Prices £1,000-£4,000.
About Keith Hammond
A photographer since the 1960s, Keith Hammond has had a long career as an artist and photographer. In 1998-99 he was invited to judge the John Kobal Portrait Award (now Taylor Wessing) exhibited at the National Portrait Gallery, London. 2014 Art for Art Sake, Cork St Gallery, London.
Exhibition continues until 19 March.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays
ORGANIC ORIGINS. Photographic Artworks by Keith Hammond
Artist and photographer Keith Hammond’s first solo exhibition at the Highgate Gallery in London takes a radical departure to nature photography.
Entitled Organic Origins, the exhibition showcases 14 of Hammond’s landscape works. Mostly taken in north London’s open spaces, including Hampstead Heath and Waterlow Park close to the gallery, each has a different theme, from Japanese Maple (2014) to Water Iris Shoots (2015), Frost on Leaf and Grass (2015) and Arching Beech (2016).
In these large-scale works, Hammond’s intention is to explore the way we look at nature. Rather than use a single shot composed in the picturesque tradition, he takes a radical approach, using a grid system that investigates each landscape from multiple viewpoints. Hammond then incorporates these smaller images and details into each finished image, making works that are more than the sum of their parts, and which reward repeated viewing.
The artworks in Organic Origins also invite comparison with other artists such as Gilbert and George and David Hockney, whose workshops he has attended. Hammond’s use of “joiners” (the photographic term for smaller images that combine to compose a larger picture) itself questions the act of perception, inviting a re-evaluation of photographic truth and the single “decisive moment”. Instead, his artworks respond to the way the eye actually works in nature: sometimes near, sometimes far, always restless.
“We don’t look at a beautiful tree or a landscape for just a split second. We take our time, our eyes wander all over the scene, we take it all in; the leaves shake in the wind, the waters ripple, the clouds move, the light changes. Nothing is static.” Keith Hammond, 2019
Hammond also works on his images post-production. Several of the landscapes in Organic Origins have been digitally manipulated to bring out details that are unattainable within the normal colour spectrum. The intention is to gain a wider harmony in the image – and express a wider truth about the relationship between the viewer and the natural world.
“I want to connect with something essential about the natural world; something that is palpably already there if we just take the time to look.” Keith Hammond, 2019.
“I have had a passion for trees since I was a small girl. If you’re similarly attracted to their changing colours and shapes, please spend time at Keith Hammond’s exhibition at the Highgate Gallery. He is a remarkable photographer.” Dame Judi Dench, 2020.
The artworks are for sale. From a series of 50 images, the 14 limited-edition works in the exhibition range from 1-2.5m in size. Prices £1,000-£4,000.
About Keith Hammond
A photographer since the 1960s, Keith Hammond has had a long career as an artist and photographer. In 1998-99 he was invited to judge the John Kobal Portrait Award (now Taylor Wessing) exhibited at the National Portrait Gallery, London. 2014 Art for Art Sake, Cork St Gallery, London.
Exhibition continues until 19 March.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays
Art classes for children at Jacksons Lane in Highgate every Wednesday 4-5 pm for kids ages 6-10 yrs old. All sessions are specifically design to help children develop their artistic skills and knowledge by using a combination of mediums and techniques such as painting, drawing and printmaking. Drawing inspiration from contemporary artists as well as the great masters and the History of Art we will be exploring fundamental notions in fine art like composition, prospective, tone and texture while at the same time encouraging creative thinking and imagination and most importantly having fun!
ORGANIC ORIGINS. Photographic Artworks by Keith Hammond
Artist and photographer Keith Hammond’s first solo exhibition at the Highgate Gallery in London takes a radical departure to nature photography.
Entitled Organic Origins, the exhibition showcases 14 of Hammond’s landscape works. Mostly taken in north London’s open spaces, including Hampstead Heath and Waterlow Park close to the gallery, each has a different theme, from Japanese Maple (2014) to Water Iris Shoots (2015), Frost on Leaf and Grass (2015) and Arching Beech (2016).
In these large-scale works, Hammond’s intention is to explore the way we look at nature. Rather than use a single shot composed in the picturesque tradition, he takes a radical approach, using a grid system that investigates each landscape from multiple viewpoints. Hammond then incorporates these smaller images and details into each finished image, making works that are more than the sum of their parts, and which reward repeated viewing.
The artworks in Organic Origins also invite comparison with other artists such as Gilbert and George and David Hockney, whose workshops he has attended. Hammond’s use of “joiners” (the photographic term for smaller images that combine to compose a larger picture) itself questions the act of perception, inviting a re-evaluation of photographic truth and the single “decisive moment”. Instead, his artworks respond to the way the eye actually works in nature: sometimes near, sometimes far, always restless.
“We don’t look at a beautiful tree or a landscape for just a split second. We take our time, our eyes wander all over the scene, we take it all in; the leaves shake in the wind, the waters ripple, the clouds move, the light changes. Nothing is static.” Keith Hammond, 2019
Hammond also works on his images post-production. Several of the landscapes in Organic Origins have been digitally manipulated to bring out details that are unattainable within the normal colour spectrum. The intention is to gain a wider harmony in the image – and express a wider truth about the relationship between the viewer and the natural world.
“I want to connect with something essential about the natural world; something that is palpably already there if we just take the time to look.” Keith Hammond, 2019.
“I have had a passion for trees since I was a small girl. If you’re similarly attracted to their changing colours and shapes, please spend time at Keith Hammond’s exhibition at the Highgate Gallery. He is a remarkable photographer.” Dame Judi Dench, 2020.
The artworks are for sale. From a series of 50 images, the 14 limited-edition works in the exhibition range from 1-2.5m in size. Prices £1,000-£4,000.
About Keith Hammond
A photographer since the 1960s, Keith Hammond has had a long career as an artist and photographer. In 1998-99 he was invited to judge the John Kobal Portrait Award (now Taylor Wessing) exhibited at the National Portrait Gallery, London. 2014 Art for Art Sake, Cork St Gallery, London.
Exhibition continues until 19 March.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays
Art classes for children at Jacksons Lane in Highgate every Wednesday 4-5 pm for kids ages 6-10 yrs old. All sessions are specifically design to help children develop their artistic skills and knowledge by using a combination of mediums and techniques such as painting, drawing and printmaking. Drawing inspiration from contemporary artists as well as the great masters and the History of Art we will be exploring fundamental notions in fine art like composition, prospective, tone and texture while at the same time encouraging creative thinking and imagination and most importantly having fun!
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Art classes for children at Jacksons Lane in Highgate every Wednesday 4-5 pm for kids ages 6-10 yrs old. All sessions are specifically design to help children develop their artistic skills and knowledge by using a combination of mediums and techniques such as painting, drawing and printmaking. Drawing inspiration from contemporary artists as well as the great masters and the History of Art we will be exploring fundamental notions in fine art like composition, prospective, tone and texture while at the same time encouraging creative thinking and imagination and most importantly having fun!
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Highgate Hill, oil on canvas.
We are delighted to shows a significant body of work from acclaimed local artist Philip Sanderson, who captures townscapes and other scenes from a wide variety of sources, particularly London and Highgate. He aims for a lightness of touch and fluidity that is at once engaging and appealing. At the same time, his work retains a discipline and structure that gives it weight, so that the overall impression is one of beauty and substance.
Philip paints in oils and watercolours and says that he “endeavours to represent subjects in a loose and attractive way”. His work is particularly concerned with the effect of light, particularly sunlight, and how this gives subtly contrasting tones of light and dark to his subject matter. He often depicts people in his pictures, representing life and movement and adding another layer of interest and relevance to the familiar local scenes.
For many years an active member of the Highgate Watercolour Group and a participant in art courses and local art shows, Philip also had a career in the NHS, where he was a consultant microbiologist working in Edgware and Barnet. He studied problems of infections acquired within hospitals and helped to found and edit a journal dedicated to this subject.
This exhibition is an opportunity to see a collection of pictures from the last five years, following a successful exhibition at St. Martin-in-the-Fields. Most of the works are oils; all work will be for sale.
Highgate Gallery open Tuesday-Friday 1-5pm, Saturday 11am-4pm, Sunday 11am-5pm; closed Mondays.
Handmade In Highgate, the designer/maker Spring Fair 2020 will take place at the Highgate Literary & Scientific Institution on 24 – 26 April. Come and find 30 of the most talented designer/maker/artists in the UK today. Entrance is free and everyone is welcome. We open:
Friday 24 April: 5pm – 8pm
Saturday 25 April: 10am – 6pm
Sunday 26 April: 11am – 5pm
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: detail from ‘Spoons Looking Right’ © Jason Sumray, oil on canvas. All rights reserved
What’s in a Jug? Paintings and etchings by Jason Sumray 11-24 September 2020
For his Highgate Gallery show ‘What’s in a Jug?’ Jason Sumray brings together a series of oil paintings and etchings that are invented Still Lifes. He takes ordinary objects and gives them new meanings; grouping and juxtaposing them as if they are protagonists in table-top dramas.
The series began with an interest in images where the human presence was still strongly felt but figures were absent. Drawers are half open, stools and chairs empty, plates, cutlery, jugs and serviettes left on the dinner table. Jason’s purpose was not to create a direct or distinguishable narrative, but rather to offer triggers that evoke potential meaning. In time, he has become more concerned with a different kind of ‘narrative’ played out in his imaginary theatre world of objects; where, in the tradition of Still Life, the things seem to exist autonomously regardless of human involvement, and what is important is their relationship to one another and to the empty space.
Several paintings in the exhibition deal with a preoccupation with the theme of ‘Spilt Strawberries and Cream’; images that were begun as a response to Chardin’s quietly evocative ‘Basket of Wild Strawberries’ (1761). Jason felt he wanted to upset Chardin’s delicate and finely balanced conical construction.
Jason’s interest in the language of light and dark has been extended into the discipline of etching using solely black ink. He loves the blackness of the medium and how it’s possible to play with the way the forms emerge or disappear into the darkness, where edges are lost and then re-emerge. He etches from his paintings; they inform each other.
Jason Sumray lives and paints in North London. He has exhibited in various galleries in London and elsewhere and has been shortlisted for a number of Open Competitions. He won the Discerning Drawing Bursary in 2011 and was joint winner of the Marshwood Arts Award in 2017. His series of paintings based on Samuel Beckett’s ‘Krapp’s Last Tape’ were exhibited as part of the inaugural International Beckett Festival, Enniskillen, NI, in 2012. In 2016 his Fisherman paintings were shown in the Fishing Museum in Cromer. Jason gained his Masters in Fine Art from the Sir John Cass School of Art and was awarded Distinction for his research on the nature of symbolism and metaphor in paintings. In 2016 he was proud to curate the exhibition of paintings of his friend and mentor Ron Delavigne at the Highgate Gallery.
For further information please contact Jasonsumray@yahoo.co.uk www.jasonsumray.com
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. textile collage. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Two evenings of interaction and reflection with talks, poetry and more, on themes from the show, Jonathan & Ariella Green, ‘A Shared Landscape’:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. textile collage. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Two evenings of interaction and reflection with talks, poetry and more, on themes from the show, Jonathan & Ariella Green, ‘A Shared Landscape’:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).
Image: Thirst. Ariella Green. All rights reserved
Jonathan and Ariella Green: A Shared Landscape. 2-15 October 2020
In this joint show, their first in Highgate, Ariella and Jonathan Green are showing recent work expressing the idea of a shared landscape. They both make images including landscape in their work, but the theme of the show also applies to the shared landscape of their life together, their experience of living and travelling, creating a home and family; aesthetic correspondences that come from making art, looking and working together, and sharing ideas and materials.
There are definite contrasts as well as connections. Ariella creates textile collages filled with layers of memory from childhood history, family and mythic narrative, peopled with figures and animals. Landscape and other elements from her origin in Israel are combined with those from life in England. Recently she includes an increasing response to the international situation; issues around reaching out to each other across cultures and experience, the possibilities in diversity and need for contact as well as dangers in misunderstanding.
Jonathan’s oil paintings commonly begin with the experience of a state of being in landscape – felt moments and a sense of self. During work on the painting these moments link in reverie to other aspects of emotion, relationships and memory. The language of the paintings is particularly the use of colour and form linked to emotion and thought. Some of these landscapes come from a time following the loss of his parents in 2014 and 2016, marking their passing with memory.
Ariella Green is a textile artist who has exhibited widely in the UK and abroad. She trained at St Martin’s School of Art, Goldsmiths College and Manchester University and has exhibited with the Crafts Council, “62” textile and “New Fibre Art” groups. She is a member of the Contemporary Applied Arts (CAA) Gallery in London ‘representing some of the most talented and skilled applied artists working in Britain today.’ (www.caa.org.uk/). www.ariellagreen.com.
Jonathan Green took Art at A level and a History of Art Tripos at Cambridge University before attending Art school in Paris and Winchester as time out from medical studies. He is now a Professor of Child and Adolescent Psychiatry in Manchester and has continued painting throughout his medical career, recently exhibiting more regularly. He has also combined experience in child development, psychology and art into writing and lecturing on an ‘interpersonal approach to painting’ (for instance – DOI: 10.1192/apt.bp.108.005751).
Events – ‘A Shared Landscape Shared’ Sundays 4th and 11th October, 6.30pm-8.30pm
Two evenings of interaction and reflection on themes from the show, with talks, poetry, and more:
‘Beauty Gives Me Courage’ – art and resilience in difficult times.
‘The Symbolization of Love’ – art and empathy, loss and renewal.
Details and tickets: hlsi.net/highgate-gallery £10 each (£7 for HLSI members).