ARTISTS EXHIBITING @ THE TABLE
Sophie describes her work as ‘loosely impressionistic’, encompassing landscape, still life and figurative subjects as well as urban and industrial landscapes. She works in a variety of media often combined with collage – adding contrast and texture. Drawing on her strong visual memory, she introduces remembered colour combinations. Recently she has returned to working with oils and is excited by the possibilities this presents for the future.
The Welsh Valley series first originated in the 70’s, when I lived in Van Road, Caerphilly, across the valley from the Bedwas Colliery, which at that time was still working. The views through the sides and back lanes of the terraced houses leading up to the mountain was and is a rich source for drawing. The allotments also hold a particular fascination, with their assortment of huts/structures/ pigeon sheds and well-turned dark soil.
Later years found me driving every Wednesday up the Heads of the Valleys Road To Ebbw Vale where my mentor/teacher/friend, Welsh Painter Roger Cecil, taught an Art Class.
These drawings are more detailed and structured than much of my abstract work; a different strand to my practice.
The continuing process of making the Welsh Valley works is one which I enjoy to this day.
The paintings in this show refer to deep matter, bones and the land likened to an archaeological dig, finding traces; beneath, cutting through, scarred, restored, as in 'Traversed by Burnt Markings’ and ‘Dividing Line’.
‘Blue Lapis Rim’ is a response to a journey I made in New Mexico.
The two drawings may be explained by their titles! ’Weather on the Blacks’ and ‘Black on the Blacks’ both seen from my studio window.
Florence Boyd works across disciplines, as a printmaker, illustrator, theatre- designer and fine artist. From collaborative and interactive works to book illustration and installation, her practice shifts constantly between the figurative and the abstract.
She has illustrated book jackets and children's stories for the likes of Margaret Atwood with Random House and Penguin, to self funding and collaborating on 'Beetime', a residency programme in Spain exploring artistic responses to the life and plight of the honey bee.
Watching and painting the area where she has grown up, she feels a deeper sense of connection to the landscape.
Florence lives near Hay-on-Wye.
Bob Brown NEAC
Bob Brown has always painted what excites him and this is what makes him get out his brushes. Maybe this excitement is contagious and the buyer will sense that too and it will strike a chord with them. He believes that people like the vitality or energy in a painting.
As much as possible, Bob likes to paint on the spot, and he often uses a sketchbook. He uses his pochade box a great deal, particularly when travelling. This is a small, portable studio for painting in oil, in which he can carry up to a dozen panels. He finds it essential to have a stool. He works up some of the studies in the studio where appropriate, and may decide to enlarge or develop them in some other way. He likes to work on groups of pictures at the same time, and to have them about him, so they ‘talk’ to him and to each other.
Bob loves structures, facades, buildings, people, water, trees and huge skies. But patterns of light and colour are what he loves to paint. The sun reorders the world throughout the day, and gives different images, depending where the light and shadows fall.
As a member of the New English Art Club since 1964, Bob has held numerous successful exhibitions in England, Wales, Greece and the USA. His work hangs on the walls of boardrooms, embassies and cultural institutions, as well as in private collections and homes all over the world.
'When Ipaint or draw outside there is often a certain urgency, which I enjoy. The pressure - particularly in winter - of weather. The quickening energy induced by cold, or wet, or wind. Which overrides rethinks and vacillation. Ideally this sort of landscape drawing or painting would be experiential - what was it like to be there, then?'
'I grew up on a farm in Ireland, in a big family, immersed in nature and surrounded by lots of animals. I am inspired by life and the world around me I strive to make the ordinary, extraordinary using resonant colours, bold handling of paint and freedom of interpretation. I love painting still life, landscapes and animals in a semi-abstract way. The work is a path, one thing leads to another. I find abstract ideas in quite ordinary everyday objects – reflections in a glass bottle, sunlight streaming in through the kitchen window, shoes kicked off in gay abandon after a fun night out with friends, negative spaces suggested by buildings pushing skywards, flowers pushed hastily into a jug at a jaunty angle, the juxtaposition of some everyday objects left to drain after washing up, a higgledy-piggledy collection of unrelated subjects, upside down, on their sides at funny angles suggesting abstract ideas that need to be explored and pushed further to their logical conclusion. I am surrounded by woods, fields, nature, flowers, deer, horses, cattle, sheep, birds, and huge skies. Every day offers something new to explore because nature is constantly changing, never dull. Chaos is interesting, order is boring. I often return to the same subject, working on several paintings at the same time looking to push the limits of the visual information I am working with, seeking to make something new from previous workings, an emotional response.
I exhibit regularly with the New English Art Club and the Russell Gallery in London and take part in Surrey Artists Open Studios every year'.
Awards: New English Art Club open exhibition 2009; The Arts Club, Dover Street Award; Painting Bursary Winner, Surrey Artists Open Studio 2013; Pintar Rapido London July 2015, Heatherley Art School prize
After working as a stained glass artist for a few years, Julie Cooper studied Fine Art (BA Hons) at St. Albans School of Art, now the University of Hertfordshire.
She lives in Herefordshire on the Welsh borders.
"Painting, for me, is a necessary and essential mode of expression. A way of interpreting our increasingly complex world and communicating a response to it.
"Landscape, nature, architectural heritage, music, relationships; all can inform the paintings but each painting then becomes a journey; an accumulation of thoughts, emotions, questions, encounters.
"By laying down colour, making marks with a brush, knife, rags, fingers or scraping back to reveal under layers until finally reaching a sense of an ending. Sometimes the process can take many years of tweaking, reworking. Other times the painting is resolved in a matter of days.
"It is often a surprise to see the end result - it comes from such a deep place inside oneself."
Paintings are there to be experienced - they are events.
Paintings are not to be reasoned with,
they are not to be understood.
They are there to be recognised.
They are the equivalent of nature,
not an illustration of it.
Dix is an illustrator and comic book artist. He worked for The Guardian newspaper for many years and in 2015, had his first graphic novel, KLAXON, published. He is currently working on a second book with writer Si Spencer, which they hope to publish in 2017. He lives and works in Hay-on-Wye.
Simon Dorrell was born into a farming family near Bewdley in Worcestershire in 1961. He attended an Arts Foundation Course at Hereford College of Art before taking a degree at Maidstone College of Art from where he graduated in 1984. He first exhibited in London at the age of twenty, since then he has exhibited annually, with one-man shows in New York, Zurich, London and the provinces. He has exhibited, annually, at Glyndebourne Festival Opera since 1998.
He is the art editor of HORTUS, the gardening journal, and has illustrated numerous books including the Penguin Book of Garden Writing and Peter Conradi's 'At the Bright Hem of God'.
He is also a designer of buildings, gardens and landscapes, most notably at Hampton Court. Bryan's Ground, his own garden near Presteigne, has been described by the Royal Horticultural Society as 'One of the most important and enchanting of modern gardens'. It is open regularly to the public in the summer months.
Alex Fowler NEAC
Alex Fowler was born in London in 1975. After a Foundation Course at Chelsea and a Degree in Art History at Edinburgh University Alex studied painting at Heatherley’s School of Fine Art in London, where he was awarded the Heatherleys Prize. In 2004 he was elected a member of The New English Art Club, one of the country’s foremost exhibiting societies, with whom he exhibits every year. He paints Still Lifes, Landscapes and Portraits predominately in oils, but in a sense it is the experience of looking which is the actual subject of his work, whether he be working on a large Still Life Painting in the relative calm of the studio or out in the streets of a foreign town all the senses honed for the excitement of whatever visual encounter is around the next corner.
Deborah left Chelsea School of Art in the late seventies and did a Post Grad at the National Film and Television School before working as a Production Designer on independent films, largely based in North Wales. Latterly, to be more home based, she worked as a garden designer.
She has always drawn and painted within her work and now has the time to paint for herself. Known for her use of colour as a designer, both in film and in the garden, Deborah now brings this flair to her vibrant still life studies.
Christopher Hall RBA 1930-2016
Christopher Hall trained at the Slade School of Art in the early 1950s, and has continued to paint over the years in the style he developed for himself in those years. As a full time painter he has supported his family of 3 sons, taking time out in 1967 to serve as the Mayor of Newbury in Berkshire. Moreover, he is a member of the Royal Society of British Artists and the Royal Cambrian Society. He has paintings in the collections of the Museum of London, the National Library of Wales, the National Museum of Wales, the Ashmolean and several other regional public galleries.
Charles MacCarthy trained at Camberwell School of Arts and Crafts (Dip. AD) and Brighton Polytechnic (Art Teachers' Certificate). After a period of teaching and working as an auxiliary nurse, he was awarded a major bursary by Southern Arts which enabled him to paint full time.
Initially painting landscape, he gradually abandoned this in order to paint more intimate subjects in a domestic setting. Through still lifes and interiors he tries to evoke in paint both the objects and the atmosphere of his everyday surroundings. Working slowly with muted tones and simplified compositions, stillness and calm predominate.
In 1986 he moved to Herefordshire where as well as exhibiting regularly he has curated a number of religiously themed exhibitions. He also exhibits in London with the Piers Feetham Gallery. In 2015 he was given a solo exhibition in Louisville, Kentucky as part of the Thomas Merton centenary celebrations.
Helen studied at Kingston achieving a BA in fashion. She then worked as a freelance designer before opening a small children's shop in Cranleigh. Bringing up her family of three children never stifled her creativity. She retired from running Cranleigh Prep art department after fifteen years this summer.
Driftwood angels appeared after a trip to Italy where some pieces of wood from the beach, once back at home, happened to make the shape of the first angel. She has continued to make them ever since, holding twenty six Christmas Angel sales with her charity Have a Heart. Every penny raised goes to support around sixty different charities; the sale of one large driftwood angel brings fresh water to a village.
"The stimulus for a still life is often an arrangement of colours, shapes or rhythms that simply have to be painted, subtlety against strength, and outdoors; the chance that a sudden change in the lightmight dramatically alter the arrangement but somehow give it a new stability. I have painted chairs like these on many an occasion; objects with a sense of history or the human touch, either personal or unknown, fascinate me."
Selected biography: one man shows in Scotland, Lancashire, Lincolnshire, Kent, Surrey, West Sussex, London. Exhibited portraits with National Portrait Gallery (BP Award) on 5 occasions, commended 1991. Portraits in Imperial War Museum and Royal Collection Windsor.
Still lives exhibited with Royal Academy, (Summer Exhibition), New English Art Club, Sunday Times Watercolour competition. In1986 awarded French Government Scholarship to Paris at the Cite International des Arts returning in 2003 and 2011. Continues to undertake private and corporate commissions.
Lives and works in a converted barn in Surrey.
Visual Artist with a successful studio practice based in South Wales.
Susan has been involved in art and design education since qualifying in illustration at St Martin's School of Art, London. Her recent work derives from ideas about the land and the development of the landscape. Her current work is mixed medium, mostly two dimensional work deriving from research on disintegration and fragmentation. Her paintings, prints, drawings and constructions are in private and public collections in the UK, Europe and USA.
Life drawing is central to my practice and I often collage with my life drawings and other diverse materials. It is important that I study the human form and spirit whilst reflecting on our place in the world. This allows complex observations, emotions and memories to take form.
My (largely figurative) practice looks at memory. Memories form and inform our daily lives, they are those threads that bind us to our past and inevitably pull us forward - and they make up the fabric of our existence. An image or an object can invite a complex response, providing an opportunity to pause, engage and question and perhaps create or revisit feelings - those feelings that make us human.
I was born and grew up in Ireland. I now live in Presteigne, Wales. I studied Fine Art at Winchester and then at Leeds College of Art. More recently I took a postgraduate course in Art Psychotherapy at Goldsmiths College. I exhibit regularly in England, Ireland and Wales.
I am interested in the detail of natural objects. I usually start a sculpture by making carved or modelled studies. I then combine and juxtapose these elements to build an amalgamated structure.
I am primarily a stone carver, but also use wood, wax, bronze, peat, wire, and clay in my work – sometimes combining these materials.
I trained in the early sixties at Bath Academy Corsham and the Slade School of Art, followed by a year studying Woodblock Printing in Japan.
My childhood was spent on a farm in Pembrokeshire. Moving to Presteigne in 2011, Radnorshire felt immediately familiar. Making numerous sketches outdoors, I am especially drawn to the curves and zig zagging lines of hedgerows, the deeply etched ploughlines.
More recently I did an MA in Textile Design at Bath where silk screen printing brought me full circle back to early Japanese prints with their simplified shapes, rhythmic line and exquisite decorative detail.
Working in watercolour and gouache I exploit the contrast between transparency and more opaque areas. I sponge back the colour on tough cotton rag paper which gives greater flexibility and enables me to push the image as far as possible.
As well as having exhibited in the U.K at the Curwen and Cadogan Galleries in London and the Beaux Arts in Bath, I’ve also had solo exhibitions in the U.S, Canada, Australia, Holland and Italy.
My work is in numerous private and public collections including the British Museum, London University. The Government Art Collection, Montreal Visual Arts Centre, The Contemporary Arts Society for Wales and Y Tabernacle at Machynlleth.
Maureen Richardson is a papermaker and paper artist who has exhibited at venues all over the world.
She has written written several books on the subject of papermaking
Matias Serra Delmar
"Land Scape: The word landscape describes exactly what happens in the moment I paint, I scape the land. I look, I experience, I meditate. It is like almost the light and movement of the landscape is imprinted in me like inside a camera obscure. I am there, eyes open, taking light and movement impressions of where I am. I take those experiences into colour and build up a painting using watercolours, gouache, ink, pencil and wax pastels.
My paintings resemble memories, fiction, dreams from places I have been".
Matias Serra Delmar has a Diploma in Sculpture from Emerson College Visual Arts and has been painting since early childhood. Matias has exhibited in Argentina, Spain and UK.
He has lived and worked in Herefordshire since November 2015.
Katherine Sheers trained as a textile designer in London and NYC before going on to live and work internationally as a lingerie designer. That career, creating the most intimate and yet universal of garments for women, fostered a deep curiosity about ideas and ideals of womanhood - what we conceal and reveal, consciously or otherwise, of our bodies and our selves. It is these themes she now explores as an artist. Moving far away from the mechanised world of mass manufacture, she hand-stitches paper using vintage threads gathered from world travels, or upcycled silk, cotton and linen, naturally dyed using berries and lichen foraged from local hedgerows and mountains. These slow, considered practices represent a return to the values of story, meaning and heritage. She now lives in Talgarth with her husband and daughter.
"My subject matter is wide-ranging, sometimes becoming abstract or semi abstract, always built on drawing and often memory. I just enjoy the conversation and the struggle with whatever medium I have chosen. I never have an end in mind, I just stop when the work feels right."
Anthea trained at the Ruskin School of Drawing at Oxford University and for 25 years taught art at Harrow School.
Peter Stilwell's work is concerned primarily with the natural world, embracing its history and precarious future, as well as man's place in that world. Though a full time teacher of English and Classics at Harrow School (1971-2004 ) he has always drawn and painted and began contributing to mixed shows, notably at the New Grafton Gallery and The Bloomsbury Workshop in London, in the 1990s. Since 2003 he has shown mainly with Abbott and Holder Ltd, London.
Georgina Ursell's paintings are made from a concoction of instances in the landscape and happening upon found objects that have aroused the curiosity of her eye through colour, shape, pattern, texture and subject. Georgina studied at Winchester School of Art. She has exhibited in Berlin, Cardiff, Abergavenny and Dorset and collaborated with her husband, Jim, on sculptural projects. She currently lives and works with her family near Hay-on- Wye.
Having studied at Cheltenham and Winchester School of Art, Ursell worked as a builder's labourer for a year or so, living rough in a barn up in mid Wales. He had a car which he sold and got on a bus to Berlin. There he was lucky enough to meet many artists chiefly among them was David Medalla the Filipino Kinetic Performance artist who was on a DAAD residency there. David Medalla's own paintings sowed a seed of possibility at a time when the medium was lagging in its popularity. Ursell had eight shows in the short time he spent there, returning with David to create the "Ecliptic Stelli" a flying camera obscura for the Eclipse in 1999. It was at the time of the Eclipse that Ursell’s first painting came to him, "The Broken Flower”, now in the collection of his principal patron, Mathias Zintler, in Hamburg. Although Ursell continued to make large monumental installations, most notably "The Garden of Love", a steady body of painting began to build. A British Council residency at Sacy-le-Petit helped further develop these embryonic canvasses. Ursell has been exclusively painting for the last seventeen years.
The natural world has always held an important place in Tessa Waite's work. Her recent work draws on the dynamism of growth and transformation within the life cycle of plants. She explores the unique characteristics within plant forms; celebrating both their individual and shared qualities and reflects on the parallels and connections between botanical and human life. Tessa lives in Brecon and has a studio in Penpont.
Michael Whittlesea NEAC
"I still find painting a very difficult activity. Its unpredictable. At the start of each day I am not sure that anything good will result and I have given up on achieving a style. Whatever develops, happens. There is no clear idea or vision of how a picture will look."
Michael was born on 6th June 1938 in London and he attended Harrow School Of Art. He uses oil or watercolours for painting and pastels and charcoal to draw. He has a very traditional way of working. He often works on 6 or more paintings at a time and he draws regularly and works from paintings. Drawings can be around for years before he thinks of using them in a painting.
In 1985 he was elected a member of the New English Art Club.
Sophie grew up in a family of artists and musicians in the English countryside. She studied at The Byam Shaw and The Chelsea School of Art in London.
She has worked as an illustrator of children's books for many years. She lives in Herefordshire with her husband the Film director and Screen writer Bruce Robinson, with whom she has collaborated on two picture books, 'The Obvious Elephant' and 'Harold and the Duck'.
Her work is inspired by her love of animals and the countryside she lives in.
As well as illustrating books Sophie does large watercolours and acrylic paintings. Her work is in private collections in America, Australia, Venezuela and Europe.
Martin Yeoman NEAC
Martin Yeoman was born in 1953. He trained from 1975-1979 at the Royal Academy Schools, London. Among his commissions to date are Her Majesty The Queen's grandchildren, Sir Alan Hodgkin OM, Sir Brinsley Ford and the former Bishop of Birmingham Hugh Montefiori. Winner of the 2002 Ondaatje Portrait Prize, his work is both painterly and poetic. He is considered by many to be one of the finest draughtsmen working today and is sought after by artists and collectors alike. He has accompanied HRH The Prince of Wales on official overseas tours to India, Hong Kong and the Gulf States.
'In the 20 years that I have known Martin, he has produced consistently good work, which is not surprising for an artist described by the renowned connoisseur, Sir Brinsley Ford, as the best draughtsman in England. Martin's skill at painting light is in the true tradition of his main influences, Sickert and the Camden Town School, and more recently Peter Greenham. This, together with his subtle use of colour, makes Martin one of the best figurative artists in Britain today.'
Henry Wyndham, Chairman Europe, Sotheby's