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Online exhibition: From Here to There, Richard Layzell

We are pleased to share a new film by Richard Layzell retracing and remembering his journey to Waterlow Park.

Since the Summer of 2018 artist Richard Layzell has been in residence at LUX as our Creative Ecologist, helping us to think about and interpret the environment of Waterlow Park, in which LUX is located, as part of his wider research project The Naming. Like all of us Richard is under lockdown in London, but living in N4 he can walk to Waterlow Park during his allotted daily exercise. In his affecting new work, From Here to There he reflects on this journey and the park where he has been based for the last two years.

The Naming is a research project challenging and questioning how, through categorization and naming, we distance ourselves from aspects of the natural world and the cultural world. Inspirational figures are Jane Jacobs, Arne Naess (who chained himself to Mardalsfossen waterfall in Norway in 1970 to prevent a dam being built), First Nations beliefs in general and especially the Mi’kmaq community in Nova Scotia and the ancient Greek philosopher Heraclitus. The work he is producing includes discussions, performances, ‘interventions’, audio recordings, video, photography, ‘imprints’ using the earliest form of printing known as Takuhon, and an ongoing body of creative writing. He is celebrating particular trees and the songs of particular birds, especially the pied butcherbird from Australia.

Richard Layzell works in performance, video and installation – and with industry and communities – has been recognised internationally.

He has been commissioned by most of the major public galleries and museums across the UK and completed many international artist residencies. As an experienced facilitator he’s led creative workshops with people of all ages and backgrounds internationally. His groundbreaking interactive installation Tap Ruffle and Shave, commissioned by Glasgow Museums, toured to London, Manchester and Newcastle and was seen by 100,000 people. He developed a series of innovative residencies in industry, defining the role of the visionaire, expanding the artist’s role in redefining corporate culture and the community of the workplace. He subsequently applied this experience in the cultural sector with an expanded socially engaged practice, working on ambitious projects with communities in Bristol, Swindon, Glasgow, Coventry, Colchester, Liverpool, London, Shanghai, and Perth (Australia), amongst others.

His current work The Naming is manifesting in many different forms and locations, including Ephesus (Turkey), Mardalsfossen (Norway), Nova Scotia, New Brunswick, Montreal, Vancouver, Skyros (Greece), London, Bristol, Colchester, Seoul, Sydney and Alice Springs.

Visit the LUX website to watch the film and download an audio transcript.

https://lux.org.uk/online-exhibition/from-here-to-there-richard-layzell

Online exhibition: From Here to There, Richard Layzell

We are pleased to share a new film by Richard Layzell retracing and remembering his journey to Waterlow Park.

Since the Summer of 2018 artist Richard Layzell has been in residence at LUX as our Creative Ecologist, helping us to think about and interpret the environment of Waterlow Park, in which LUX is located, as part of his wider research project The Naming. Like all of us Richard is under lockdown in London, but living in N4 he can walk to Waterlow Park during his allotted daily exercise. In his affecting new work, From Here to There he reflects on this journey and the park where he has been based for the last two years.

The Naming is a research project challenging and questioning how, through categorization and naming, we distance ourselves from aspects of the natural world and the cultural world. Inspirational figures are Jane Jacobs, Arne Naess (who chained himself to Mardalsfossen waterfall in Norway in 1970 to prevent a dam being built), First Nations beliefs in general and especially the Mi’kmaq community in Nova Scotia and the ancient Greek philosopher Heraclitus. The work he is producing includes discussions, performances, ‘interventions’, audio recordings, video, photography, ‘imprints’ using the earliest form of printing known as Takuhon, and an ongoing body of creative writing. He is celebrating particular trees and the songs of particular birds, especially the pied butcherbird from Australia.

Richard Layzell works in performance, video and installation – and with industry and communities – has been recognised internationally.

He has been commissioned by most of the major public galleries and museums across the UK and completed many international artist residencies. As an experienced facilitator he’s led creative workshops with people of all ages and backgrounds internationally. His groundbreaking interactive installation Tap Ruffle and Shave, commissioned by Glasgow Museums, toured to London, Manchester and Newcastle and was seen by 100,000 people. He developed a series of innovative residencies in industry, defining the role of the visionaire, expanding the artist’s role in redefining corporate culture and the community of the workplace. He subsequently applied this experience in the cultural sector with an expanded socially engaged practice, working on ambitious projects with communities in Bristol, Swindon, Glasgow, Coventry, Colchester, Liverpool, London, Shanghai, and Perth (Australia), amongst others.

His current work The Naming is manifesting in many different forms and locations, including Ephesus (Turkey), Mardalsfossen (Norway), Nova Scotia, New Brunswick, Montreal, Vancouver, Skyros (Greece), London, Bristol, Colchester, Seoul, Sydney and Alice Springs.

Visit the LUX website to watch the film and download an audio transcript.

https://lux.org.uk/online-exhibition/from-here-to-there-richard-layzell

Online exhibition: From Here to There, Richard Layzell

We are pleased to share a new film by Richard Layzell retracing and remembering his journey to Waterlow Park.

Since the Summer of 2018 artist Richard Layzell has been in residence at LUX as our Creative Ecologist, helping us to think about and interpret the environment of Waterlow Park, in which LUX is located, as part of his wider research project The Naming. Like all of us Richard is under lockdown in London, but living in N4 he can walk to Waterlow Park during his allotted daily exercise. In his affecting new work, From Here to There he reflects on this journey and the park where he has been based for the last two years.

The Naming is a research project challenging and questioning how, through categorization and naming, we distance ourselves from aspects of the natural world and the cultural world. Inspirational figures are Jane Jacobs, Arne Naess (who chained himself to Mardalsfossen waterfall in Norway in 1970 to prevent a dam being built), First Nations beliefs in general and especially the Mi’kmaq community in Nova Scotia and the ancient Greek philosopher Heraclitus. The work he is producing includes discussions, performances, ‘interventions’, audio recordings, video, photography, ‘imprints’ using the earliest form of printing known as Takuhon, and an ongoing body of creative writing. He is celebrating particular trees and the songs of particular birds, especially the pied butcherbird from Australia.

Richard Layzell works in performance, video and installation – and with industry and communities – has been recognised internationally.

He has been commissioned by most of the major public galleries and museums across the UK and completed many international artist residencies. As an experienced facilitator he’s led creative workshops with people of all ages and backgrounds internationally. His groundbreaking interactive installation Tap Ruffle and Shave, commissioned by Glasgow Museums, toured to London, Manchester and Newcastle and was seen by 100,000 people. He developed a series of innovative residencies in industry, defining the role of the visionaire, expanding the artist’s role in redefining corporate culture and the community of the workplace. He subsequently applied this experience in the cultural sector with an expanded socially engaged practice, working on ambitious projects with communities in Bristol, Swindon, Glasgow, Coventry, Colchester, Liverpool, London, Shanghai, and Perth (Australia), amongst others.

His current work The Naming is manifesting in many different forms and locations, including Ephesus (Turkey), Mardalsfossen (Norway), Nova Scotia, New Brunswick, Montreal, Vancouver, Skyros (Greece), London, Bristol, Colchester, Seoul, Sydney and Alice Springs.

Visit the LUX website to watch the film and download an audio transcript.

https://lux.org.uk/online-exhibition/from-here-to-there-richard-layzell

Online exhibition: From Here to There, Richard Layzell

We are pleased to share a new film by Richard Layzell retracing and remembering his journey to Waterlow Park.

Since the Summer of 2018 artist Richard Layzell has been in residence at LUX as our Creative Ecologist, helping us to think about and interpret the environment of Waterlow Park, in which LUX is located, as part of his wider research project The Naming. Like all of us Richard is under lockdown in London, but living in N4 he can walk to Waterlow Park during his allotted daily exercise. In his affecting new work, From Here to There he reflects on this journey and the park where he has been based for the last two years.

The Naming is a research project challenging and questioning how, through categorization and naming, we distance ourselves from aspects of the natural world and the cultural world. Inspirational figures are Jane Jacobs, Arne Naess (who chained himself to Mardalsfossen waterfall in Norway in 1970 to prevent a dam being built), First Nations beliefs in general and especially the Mi’kmaq community in Nova Scotia and the ancient Greek philosopher Heraclitus. The work he is producing includes discussions, performances, ‘interventions’, audio recordings, video, photography, ‘imprints’ using the earliest form of printing known as Takuhon, and an ongoing body of creative writing. He is celebrating particular trees and the songs of particular birds, especially the pied butcherbird from Australia.

Richard Layzell works in performance, video and installation – and with industry and communities – has been recognised internationally.

He has been commissioned by most of the major public galleries and museums across the UK and completed many international artist residencies. As an experienced facilitator he’s led creative workshops with people of all ages and backgrounds internationally. His groundbreaking interactive installation Tap Ruffle and Shave, commissioned by Glasgow Museums, toured to London, Manchester and Newcastle and was seen by 100,000 people. He developed a series of innovative residencies in industry, defining the role of the visionaire, expanding the artist’s role in redefining corporate culture and the community of the workplace. He subsequently applied this experience in the cultural sector with an expanded socially engaged practice, working on ambitious projects with communities in Bristol, Swindon, Glasgow, Coventry, Colchester, Liverpool, London, Shanghai, and Perth (Australia), amongst others.

His current work The Naming is manifesting in many different forms and locations, including Ephesus (Turkey), Mardalsfossen (Norway), Nova Scotia, New Brunswick, Montreal, Vancouver, Skyros (Greece), London, Bristol, Colchester, Seoul, Sydney and Alice Springs.

Visit the LUX website to watch the film and download an audio transcript.

https://lux.org.uk/online-exhibition/from-here-to-there-richard-layzell

Online exhibition: From Here to There, Richard Layzell

We are pleased to share a new film by Richard Layzell retracing and remembering his journey to Waterlow Park.

Since the Summer of 2018 artist Richard Layzell has been in residence at LUX as our Creative Ecologist, helping us to think about and interpret the environment of Waterlow Park, in which LUX is located, as part of his wider research project The Naming. Like all of us Richard is under lockdown in London, but living in N4 he can walk to Waterlow Park during his allotted daily exercise. In his affecting new work, From Here to There he reflects on this journey and the park where he has been based for the last two years.

The Naming is a research project challenging and questioning how, through categorization and naming, we distance ourselves from aspects of the natural world and the cultural world. Inspirational figures are Jane Jacobs, Arne Naess (who chained himself to Mardalsfossen waterfall in Norway in 1970 to prevent a dam being built), First Nations beliefs in general and especially the Mi’kmaq community in Nova Scotia and the ancient Greek philosopher Heraclitus. The work he is producing includes discussions, performances, ‘interventions’, audio recordings, video, photography, ‘imprints’ using the earliest form of printing known as Takuhon, and an ongoing body of creative writing. He is celebrating particular trees and the songs of particular birds, especially the pied butcherbird from Australia.

Richard Layzell works in performance, video and installation – and with industry and communities – has been recognised internationally.

He has been commissioned by most of the major public galleries and museums across the UK and completed many international artist residencies. As an experienced facilitator he’s led creative workshops with people of all ages and backgrounds internationally. His groundbreaking interactive installation Tap Ruffle and Shave, commissioned by Glasgow Museums, toured to London, Manchester and Newcastle and was seen by 100,000 people. He developed a series of innovative residencies in industry, defining the role of the visionaire, expanding the artist’s role in redefining corporate culture and the community of the workplace. He subsequently applied this experience in the cultural sector with an expanded socially engaged practice, working on ambitious projects with communities in Bristol, Swindon, Glasgow, Coventry, Colchester, Liverpool, London, Shanghai, and Perth (Australia), amongst others.

His current work The Naming is manifesting in many different forms and locations, including Ephesus (Turkey), Mardalsfossen (Norway), Nova Scotia, New Brunswick, Montreal, Vancouver, Skyros (Greece), London, Bristol, Colchester, Seoul, Sydney and Alice Springs.

Visit the LUX website to watch the film and download an audio transcript.

https://lux.org.uk/online-exhibition/from-here-to-there-richard-layzell

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 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 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 4^th and 11^th 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 4^th and 11^th 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 4^th and 11^th 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 4^th and 11^th 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 4^th and 11^th 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 4^th and 11^th 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 4^th and 11^th 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 4^th and 11^th 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 4^th and 11^th 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).

Join Community Crafternoons for some fun with art. You will use a simple COLLAGE exercise to get an understanding of Klee’s ideas and methods, whilst making our own original art! Suitable for beginners.

MATERIALS
– Plain paper A4 2-3 sheets, 2 sheets, eg junk mail with one plain side
– Colour magazines, newspapers, scraps of coloured craft paper, wrapping paper scraps (NOT foil based)
– PVA glue or Pritt Stick
– Scissors
– Black Sharpie Pen/Marker Pen/Felt Tips
– Pencil
– Ruler
-Acrylic paints optional

PLEASE NOTE: Requires scissors – children should be supervised

BOOK DIRECT: Meetup Join me at ⏱FAST ART: Paul Klee – Wordart, Families & Adults, FREE http://meetu.ps/e/JqklC/JFhjn/a
EMAIL: sujan.nandanwar@gmail.com to request Zoom link.

Workshop originally designed for RECYCLING WEEK, 21-27th September.

Follow my blog page on https://www.facebook.com/sujan.nandanwar
Instagram: @communitycrafternoons

ZOOM Online ONLY

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).