This new group show celebrates the varying ways in which artists present works on paper. Featuring copper etchings, pen and inks, mixed media and an imposing charcoal completed on the spot!
Artists’ work displayed includes Nigel Chamberlain, Nancy Crewe, Miles Heseltine, Sarah Woods, Andrew Tozer and Richard Tuff.
We are delighted to be introducing new gallery artist Hugo Jones. Hugo grew up in Cornwall, where he developed a deep love for the landscape and its inhabitants. The people in the portraits are friends, family and himself; he enjoys trying to capture expression and movement, whilst also being true to human form.
He is always looking to improve his knowledge of anatomy, by studying from books and attending life drawing classes. His work tries to bridge the gap between traditional methods, and more modern expressive ideas.
We are excited to announce that gallery artist Sarah Wimperis has won the CASS Art Prize at the Royal Institute of watercolour painters with her painting ‘One Hundred to One from the Shard’ showing a london night scene as seen from a skyscraper (seen above). We would like to say a big congratulations on this amazing achievement. You can read an interview with Sarah from the night of the award ceremony here on the CASS ART website .
Sarah has also been involved in the newest Cancer Research Uk advert in which she paints a famous Vincent Van Gogh picture to convey a strong message on donations to the charity. View the video through the link below:
In our current Spring Exhibition we are introducing a new artist to the gallery, Jonathan Koetsier. Jonathan is based in St. Andrews, Scotland and graduated from Falmouth University in 2017 with an MA in Illustration having also graduated a year before from BA in Drawing also at Falmouth University.
For our Spring exhibition we are featuring his dramatic still life works
“I notice an object that is beautiful to me, I begin to remember all my experiences of that object, and I am reminded of being six. I think about how interesting it is that patterns of light can be read in such a way. I am fascinated by the differences I find between the way that I see something and the way that somebody else see it.
I arrange and select three plums, a jam jar, and a butter knife. I love jam and have many fond memories of picking fruit to make homemade jam, or simply having jam on toast after a long day in the studio. Visually, I am drawn to the beautiful purples and reds of the fruit, and the red and white of the lid on the jam jar. I take my subjects into the studio, and I position a makeshift light on my still life stage as a theatre director. I don’t stop until I am in love with the setup, drawing out the visual aspects in my subjects that I am attracted to, and building an effective composition. I continue to arrange and rearrange until I am excited to paint.
I draw my arrangement, measuring, and carefully marking the parameters of each object. I begin to mix colour, forgetting everything but the visual of my subject, seeing not a plum, but patterns of light and colour. The work becomes abstract in process, no longer seeing objects but patches of light, which I carefully observe, mixing and placing shapes of paint on the panel. I am finished when the first sensation that compelled me to paint has been expressed.
As I look back on my work I see three aspects in conversation, paint on a surface that is visually beautiful in it’s own right, marks that record actions of painting and all my thoughts that go with that, and a seen in subject with all it’s individual associations. All three aspects come together to form the experience of seeing one of my paintings.” – Jonathan Koetsier March 2018