The Materiality of Painting

Curated by Lloyd Gill

The essay for this exhibition is at the bottom of the press release.

Preview night 2nd March Exhibition dates are Monday 4th March - 29th March Synopsis

Painting can have a great deal of intensity as an object. Through the phenomenon of light, paint can recast its innate properties and become brighter or darker. Paint can register character as formidable as an actor’s improvisation. Application and duration ignite this character, which stands and barks at the viewer.!! All the art in this exhibition gestatesmaterials with application and duration.

By liquidating paint till it drips and flows, the artist has stripped paints natural inhibitors unarmed. Artists will be selected for testing paints limit by using heavily applied impasto using the gestural technique and for allowing thinned paint to run on its own path. Other materials have been introduced to further the structure paint can uphold.! !I will research into the art of Cy Twombly, Anselm Kiefer and Frank Auerbach and complete an essay to accompany the exhibition.

Selected artists;

Yvonne Jones Artist Statement:

Moved away from painting to video to ‘break out’. Currently using video with painting to explore ‘The senses have no future’ a quote from roboticist Hans Moravec. Have worked with medical practice to discover some implications for the living human of notions of the posthuman.

Tim Bailey Brief statement:

Tim Bailey is based at The Spacex Gallery in Exeter. He graduated from the University of Plymouth in 2007. His work is deeply influenced by Eastern aesthetics and perceptions of beauty, impermanence, the incomplete and the unknown. Drawing influence from the natural and man-made world, he pays special attention to the surface and fluidity of his paintings with suggestions of landscape (aerial and pictorial) and ‘the fleeting moment’. These deceptively physical panels express a need for human affiliation and a material humility.

Gillian Goodridge Artist Statement:

My paintings are embodiments of my responses to both my external environment and internal landscape of mind, memory and emotion. The concepts of transience, flux and the interconnectedness of all things are the driving forces behind my paintings and these ideas can be evidenced both formally and conceptually in the work I make.

Lukas Kasprowicz Artist Statement:

Art has been present in Lukas’ life from a very early age. During his architectural studies he began to experiment with painting encouraged and inspired by his grandfather. His passion for art has been continuously developing ever since. In London, he studied painting at Central St. Martins. Lukas works mostly with oils on canvases. The presence of human subject whether depicted with exaggeration or merely as avague reminiscence of a body is often an integral part of his works. He refuses to define his style as each one of his paintings is treated as an individual, unique piece: ‘Each time I stand in front of the easel, about to start a new painting, what I’m really standing in front of is another exciting journey full of challenges and the unknown. Every painting brings about unique experiences as each time my mind is freed from routine action and allowed to explore.’


AGNIESZKA PAKUŁA – STATEMENT:

She paints strong expressive pieces, which in their form and outcry stand opposed to the modern manner of idealization, present in advertising, mass media & the internet. Rather than creating new realities, she concentrates on humanities ambiguous, complicated nature.Through an expressive and naturalistic manner of painting, she calls out to our primal instincts and dormant beastliness, hidden in everyday life. Portraits and nude scenes are reflections of spiritual states, not simple images. Her works show both the spiritual element and the carnal one.

In her paintings she makes frequent use of fonts. Through use of quotations from literature or the subject’s own statements, she gives the work a broader context or directs the viewers thoughts in the correct direction. It is important how a well placed quote, or a specific type of font can change an images meaning.

Alison Johnson statement:

By expressing the power of light playing amongst the water drops, this artist shows the abstract, surreal side to the natural world. Her paintings follow a deep tradition which Johnson modernises and brings to a contemporary forefront.Colours sink below a piercing white surface as oceans and landscapes drift in and out of a sweeping hazy mist. The sky appears deep and brooding, the colours revealing a darkness that battles with the flashes of light. When shapes and figures do reveal themselves they appear lost and fragile against the infinite space of the world around. Such is the atmosphere contained in these works they could easily be viewed as pure abstractions, each detail vital enough to stand alone. Ephemeral, warm powerful and evocative she creates a sense of movement through colour, light and balance. Johnson’s delicate handling of the world she depicts around her has the power to not only move the viewer but to make a lasting impression. With a nod to the impressionist painters Johnson’s work has been likened to the great masters of our time such as Turner. Such high acclaim has guaranteed her a number of exhibitions within the UK and her work continues to reach clients on an international scale.

Val Wolstenholme Clay statement:

Val Wolstenholme Clay is an artist/designer living and working in London. After studying architecture she moved into the Film Industry as a Set Designer

She began to be commissioned to paint for films, commercials, interiors and now works from her studio on commercial and personal pieces.

Paintings are regularly selected for group exhibitions ( The National Portrait Gallery, The Royal Society of Portrait Painters,ING Discerning Eye Exhibition at The Mall Galleries,London) and studio visits are welcome.

Anne Gracia statement:

Anne Gracia throws the mask and we tend mirror. It reveals depicting a world that is different than ours, while his I feel in tune with her characters fragile balance, hanging over a dreary day it comes out of boredom like magic. Boldly, she lifted the veil which covered her pastel universe, and dared the unlikely alliances acrylic and chalk, material and transparency, respect and blur, distortion and grace.

It addresses, without land, the difficult subject of the difficulty of being, leaving the viewer the opportunity to venture by himself in the darkest regions of the soul. It does so with skill and finesse and lightness that we prove may have more weight than what is heavy.

Suzan Emine Kaube Statement:

Painting is the means of an artist to express emotions. External impressions, excitements, disturbances, every impact invading through the eye into the very interior of the soul: Troubles, hostilities, chaos, environmental imbalances, calamities, discrimination, loneliness. All of them leave traces, create internal pressure on the painter, and make him dynamically respond in the language of painting. Positive as well as negative reactions: Sometimes light-hearted, joyfully, strangely, sometimes full of grieve and depression, often aggressively, urging ahead: Closely corresponding to the artist’s instantaneous, personal condition. My pictures articulate these issues in the way, I experience them. They show up spontaneously from the subconscious and find their characteristic, unique expression in shape and colors.

Selected artists:

Yvonne Jones
Gillian Goodridge
Agnieszka Pakula
Lukas Kasprowicz
Tim Bailey
Alison Johnson
Val Wolstenholme Clay
Anne Gracia
Suzan Emine Kaube

19th January - 15th February

 Exhibition Synopsis


Reading Either Side Of A Line

Co-curated by Adam Reid and Lloyd Gill

The strength and simplicity of a singular line in the process of creating, also causes an immediate separation, casting a bold and striking divide through the once open and infinite space surrounding it. The artists exhibiting in the Lloyd Gill Gallery’s first exhibition of 2013 will present conscientious works that intelligently demonstrate the capabilities and subsequent beauty found in the understanding of line, shape and form.

Infinite uses can come of these three basic elements, and the most minor of details can be crucial in characterising an artist’s work- from the dash of a painter’s two-dimensional line, to a sculptor’s unique approach of moulding the human form out of clay. These fundamentals cross all boundaries of artistic practice and are the basis of any visual art. The exhibition aims to display a variety of prominent works from artists that make effective individual use of these themes, spanning across varying creative outlets, all sharing an acute sense of aptitude and sensitivity towards using these essential foundations of image making.

Accompanying the exhibition will be an essay delving further into the subjects of line, shape and form, as well as the added usage of both colour and composition, including the prominence of negative space within an image. 

selected artists

Bryn Sutcliff
Attila Jobbagy
Felicity Naylor
Alexandra de Laszlo
Charisse Gardiner
Dilys Pettitt
Janine Baldwin
Rebecca Elizabeth Blow

Press Release

Essay by Adam Reid

Preview night of Contemporary art for Christmas 2012.

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Contemporary Art for Christmas 2012

Award to one artist of £250 as voted by the public

10th November - 14 December

Contemporary Art for Christmas 2012

“Contemporary Art for Christmas 2012”

 

Award to one artist of £250 voted by the public

 

10th November - 14 December

 

Exhibition Synopsis

 

Contemporary Art for Christmas is an annual exhibition in its fifth year. Each year the gallery curator has hand selected 7 artists from throughout the UK. The artists have been selected for having outstanding creative talent, an unparallel strength in rendering contemporary aesthetics and a dialogue towards art history.

Collectors often gift artwork to loved ones and Christmas is a time of giving. Let’s see Christmas as a time of year as potential to sell contemporary art. One of the artists exhibiting will win the award “Contemporary art for Christmas 2012 award” of £250 as voted by the public.

 

Selected artists

 

Raya Herzig

 

Raya Herzig was born in Poland, where she grew up during the war. As a child she had been highly talented in music and art, but instead of an early career it was five years of German concentration camps. When they were liberated by British troops on May 3rd 1945, of the whole family only Raya and her sister Stella had survived - purely by chance.
For all the following years of recovery in hospitals of Sweden, Switzerland and Italy, moved around as a ‘Displaced  Person’, her talents lay dormant. Then, in 1969, Raya revisited Poland. The confrontation with the places of her childhood broke the spell. She began to paint. Although not trained in any academy, she soon was recognised as a professional artist by VISARTE, the Swiss Society of Artists.
Since 1971 Raya Herzig has shown her works in over thirty solo exhibitions and a great number of group-exhibitions in Switzerland, Germany, France, Poland, Great Britain and Japan.                                                                                                            

In 1990 Raya Herzig moved to Britain. She became a British Citizen in 1998 and is a member of APA, the Association of Polish Artists in Britain. She lives in Exeter

 

Sue Laughlin

 

Alone at sunrise I wander through

Curling ferns, purple heather and gorse

Heavy, sultry air still moist

From silver, shadowed cool of night

On dew-silk grass, my feet lightly tread

Its silent memories, not so distant,

Fill my head

Through early morning mists

Buttercup song and gleeful play

I travel back in time and recall 

An ancient dream

When Suffolk’s Sandlings stretched

Magnificent and vast

As broad as the boughs of Majestic

Oaks that stand

On the jewelled, gossamer threads

That still remain.               

 

(Sutton Heath, Suffolk)

 

 

I grew up on the outskirts of Ipswich, the surrounding woods, meadows, riverbanks and heathland were my playground.  Through my teenage years, I watched in dismay, as, one by one, these places disappeared under tonnes of concrete, replaced by industrial estates, superstore complexes, housing estates and road systems. They exist now, only in my memory and the memories of others that played there as children. 

 

Moving from urban to rural surroundings, one feels that it is again, possible to breathe.  Since moving to the heart of Breckland in Norfolk, with my children, James and Rebecca, and now to Rural Suffolk, I have found other places that give me pleasure, although it seems that nowhere is entirely safe from the planners’ pen!  It is from these places that I draw inspiration for my work whilst also drawing upon folklore, mythology and ancient history to suggest something more than the purely physical. Working, initially, by pouring, rolling & splattering, echoes the chaotic essence of the natural world; ultimately, there is only a limited amount of control one has over what the paint will do.  From here,  the image is built up by applying many layers of glazing, so that it slowly evolves, thus echoing the passage of time; as the life and history of each site are recorded within it, resulting in its current ambience and appearance, so each layer of glazing is an integral part of the final image.

 

As a population, we are becoming more environmentally aware, increasingly accepting our responsibility to protect the natural world, viewing it, not only as something beautiful but also precious.  However, we still view it as something outside ourselves, something separate.  Through my work, I hope to not only suggest that it is possible to access memories within the landscape that give vital clues to the ancestral heritage of our land and people, but to also awaken a sense of connectedness that industrialisation, technology and materialism have destroyed.

 

Mark McClure

 

Growing up with an interest in both graphic art and graphic design – inspired at an early age by the early works of Jim Dine and Rauschenberg as well as the constructed geometry of Rodchenko and the Bauhaus – I was trained as a graphic designer, and have pursued both art and design in parallel for a number of years.

Taking cues from the structure and composition of the urban environment – my work draws inspiration from architecture, constructivism, contemporary graffiti and the textures

and layered messages that bombard us on a daily basis – whilst also challenging what we term “landscape” in the structured, manmade environments we inhabit.

In the past year I have taken the natural step from painting to three - dimensional works, recycling found materials which take the geographical nature of my work a step further, associating the works with the urban areas the materials came from.

These works evoke urban landscape through both composition and materials with the additional dimensions attained through sculpture opening up the idea of numerous viewpoints and enabling an additional level of interaction.

 

Cezary B Gruzewski

 

 

My sculpture is a three-dimensional drawing. My drawing is a sculptural act. I consider all my work to be three-dimensional.

The relation between my sculptures and the drawings is always present. My sculptures become a three-dimensional reflection, at times distorted, usually processed and reworked reflection of the initial sketches.

Although my drawings might appear planned to the viewer, it is actually very much the opposite. I work intuitively, guided my spontaneous mark making. I am drawn into the linear qualities, abstract forms and shapes.

An important element of reality and an important aim of my sculpture is the first impression. A direct, immediate contact with the viewer that instead of provoking a certain reaction, a certain perception, allows individual thoughts and orders to look.

My sculptures are very much a result of constant manipulation, reworking of various synthetic or natural materials. Visual experience and the physicality of those objects are very important. They intent not to occupy the space they are placed in, but work within it, and as a result, create a different environment. Reworking the object, reworking the space.

I playfully use the elements of recognisable forms to create an inquisitive dialogue with the natural world. The relation between the objects itself and the drawings is always present. My sculptures become a three-dimensional reflection, at times distorted, usually processed and reworked reflection of the initial sketch.

 

 

Sharon T Ross

 

After a 30 year career as a Nurse, my life has took a new path, as an Artist. Recently graduated with a Ba Fine art from Wirral Metropolitan College UK, July 2011. Since then I have been working hard to establish and  emerge as a professional artist, with representation with a New York art gallery, and the Vivid Arts Network.

 

My figurative works are literal and abstract. They concern dissimulation, and how true feelings can be hidden behind a mask. The masks hide any form of identity. Who is behind the mask? The masks enable the wearer to act more freely. I can relate the concept of the masks to everyday life, as everyone wears a mask of some description to hide their feelings, emotions, they wear a mask in a professional capacity or to interact with different people and family.

 

My work reflects my feelings and emotions on life and I hope that this transmits itself to the viewer. On the other hand, interaction is key to my work and what a viewer gets out of a work will vary each time he looks at a painting, depending on what has been happening that day and his emotional state. Every time is slightly different; every time is newly fresh and relevant.

Jenny Hammerton

 

I create abstract tactile images that have evolved over time through process and experimentation with materials.

I attempt to translate ideas that are instigated by memory, place, imagination or the medium itself. Inspiration comes in many forms, mainly by observing my environment.

When paint alone limited expression of ideas I began to use a variety of materials and processes including sewn fabric, garden fleece, torn canvas, knotted twine, domestic “finds”, household paints and varnishes – anything that “did the job!”

Sometimes the initial starting point is discarded as work progresses and the voyage of discovery becomes exciting.

 

 

Anna Warsop

 

In 2008 I started to explore aerial landscapes. I use my experiences and memories of flying to draw the initial inspiration for my work. Photographs provide only a general reference, often stirring a memory of a specific flight and from there I prefer to work much more loosely from my imagination. I find this allows the painting to take on a life of it’s own.

 

I use a variety of techniques to express the textural, tonal and often abstract qualities of the aerial views. I like to include small references to human life forms below, such as a hint of housing, roads or other man made structures. Fascinated by the complex patterning of the fields and trees below. Often vegetation causes a random splattering of dots. I have noticed so many things from the air, the sub division of areas and the way field patterning often gets tighter and smaller closer to dwellings.

From above the viewpoint condenses the details from a three-dimensional view to an almost two-dimensional image. Clouds often form another layer, obscuring areas from view, forcing you to concentrate on other elements of the landscape.

 

 

My vast experience as a print maker has informed and enhanced my paint methods. I have a very similar approach to painting as I have to print making, both have a focus on capturing textures, layering of materials and an attention to the building up of surface qualities. The painting medium offers me an immediacy that printmaking doesn’t, I enjoy seeing an immediate effect and I can adapt quickly and the form often changes substantially. As an artist exploring different techniques, I think we often turn to the tools we are most familiar with, I started to use print making tools within the painting medium. I use the print making rollers, palette knives, card and rags, all to create different marks and effects on the surface.

 

Mary Thrasivoulou Spence

Artist Statement


Mary was born in Larnaca, Cyprus and moved to London at the age of 5. 
At various times during her career her work has ranged from semi figurative to full abstraction. Central to Mary’s work is her use of colour and texture, which are used to convey a range of experiences dealing with ideas relating to music, space, light, rhythm, natural phenomena, and those of a more subjective nature. Influences are many and varied.
Mary operates from her East London studio, and has exhibited regularly since 1985, mostly in London.

 

 

 

(Source: thelloydgillgallery.com)

Celebrations for our Five Year Anniversary!

This week we are celebrating in more ways than one! This month sees our anniversary of 5 years as an established and developing gallery, exhibiting some amazing artwork here in Weston-super-Mare. Our past few exhibitions have been very successful, with Tim Warren’s Solo Exhibition receiving wonderful feedback, with proud new owners of some fantastic pieces. One associate Neil Laughton (SAS, Royal Marines Commander and founder and CEO of the Business Leadership Academy,) was delighted to be invited and Lloyd took photographs of Tim Warren, Neil Laughton and Councillor Peter Bryant of Weston-super-Mare Clarence and Uphill

Following on from Tim Warren’s Solo Exhibition, we are also sharing our celebratory spirit with some fantastic new graduates by showing our upcoming annual exhibition of ‘The Future of Contemporary Art’. The exhibition runs from 20th - 14th September, with a preview on Saturday18th August, from 6pm- 9pm.

      

   

The show brings together the very best Fine Art graduates from throughout the UK and focuses primarily on painting, mixed media and photography. The graduate’s work has been selected on the basis of challenging visual aesthetics and intriguing contemporary concerns. The exhibition is intended to represent today’s art and more importantly, the future of modern and contemporary art.

Artists featured include:

Karuna Clayton
Letitia Walton
Joe Warrior Walker
Ruth Lowe
Claire Macklin
Maisie Parker
Adam Reid

Our preview night is on Saturday18th August, from 6pm- 9pm and the exhibition runs from 20th - 14th September 2012. Entry is free to all, so come on down and join us!

More information can be seen on our Facebook page -  https://www.facebook.com/thelloydgillgallery

A sharp eye to an open eye

Preview night 26th May from 7pm

Exhibition dates are 28th May- 22nd June 2012

This exhibition will feature artists from Europe who paint using realism as their technique along side painters who paint in abstraction and use methods of automatism, metaphysical and biomorphism. The purpose of this exhibition is to compare realism with abstraction.

There will be an essay to accompany the exhibition which will discuss two artists Chuck Close and Pablo Picasso. The aim is to compare the techniques these two pioneers worked with in their paintings. I am interested in how both artists have travelled through realism and abstraction in their developments.

Selected artists

Milan Ivanic
Gregory Chiha
Rebecca Cains
Luke Austin-Heywood
David Lewis
Helen Bur
Eve Harvey

more photos can be seen on the gallery facebook page.

https://www.facebook.com/thelloydgillgallery

Everyone Welcome!

Free Entry!

the upcoming exhibition…..
undo the tangible

the upcoming exhibition…..

undo the tangible

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Themed by: Hunson