Artist Jane Frederick and Hamilton MAS, the micro arts space by the sea, Felixstowe invite you to explore the Garden Seekers Project that launched as part of this year’s virtual Chelsea Fringe Festival.
Gardens, green spaces and living breathing plants are essential to our physical & psychological well being, perhaps now more than ever.
The Garden Seekers Project examines the intrigue of formal gardens and their enduring ability to capture our imagination and to provoke wonder and delight.
Inspired by a visit to Villa Gamberaia in Italy, Jane’s large graphite drawings and circular paintings appear like convex camera lenses pulling the viewer into a memory of the garden. Each one leads them to distinctive garden features, which are designed to offer shade, sanctuary or dramatic vistas deep into the garden.
As Jane begins this nine-month artistic project from June 2020 she will be exploring the past, present and future of formal gardens. Initially working in the Heritage Seafront Gardens, she will investigate how the privately commissioned gardens of Renaissance Italy went on to inspire the creation of public pleasure gardens, democratising gardens for everyone to enjoy.
For more information please call Hamilton MAS on 0781 8060944
Prospect: a joint exhibition with Simon Carter & Jane Frederick 22 June- 01 Sept 2019 Naze Tower Walton on the Naze
The Naze Tower is an eighteenth century curiosity that punctuates the rugged Essex coastal landscape around Walton. This unique environment can appear endless & unbroken as the sea stretches relentlessly ahead; unmistakable in its form, the navigation mark looms skyward in the form of a monolithic silhouette. I have long been fascinated by the theatrical visual presence of the Tower & how it forcefully punctuates the environment, enabling us to locate our own scale & position within that space. Over the period of a year sketching on site, I have become increasingly interested in the structure of the skies & in particular how surrounding cloud formations present dramatic perspectives & interesting counterpoints to the vertical structure.
In preparation for painting, I began making tonal charcoal drawings, working as directly as possible using my hands to disperse the charcoal dust on the surface of the paper, observing the complex relationships between sky, earth & building. This prepared me to explore the dramatic potential of colour: saturating and illuminating the hues that naturally occur in the area, manipulating ambiguities in the picture plane. What is essentially vapour in the atmosphere, suggests its own theatrical form & solidity, allowing me to visually navigate the position of the Tower on land & above.
I will be leading an En Plein Air Drawing Workshop at The NazeTower on Saturday 6th July 10-1pm. Contact the Naze Tower for booking details.
For further information about future workshops and classes please contact email@example.com]]>
Painting as terrain
How can paint be terrain? Clearly it can be used to paint landscape as terrain and thus portray the artist’s subjective view of the world. But it is also, as material in the process of its application, a space for the artist’s mind to find itself. Paint as hard grounded texture, fine washes like a flowing river and layers of paint sprayed on to the canvas can speak, opening in the spectator a space to experience.
The seven painters in this exhibition seem to have in common a search for an imaginative primary creativity, a space for being. Heidegger defined this as ‘the ground of existence prior to all knowledge’. The materiality and process of using paint is the ideal way to capture this intangible expanse of life. The painted surface creates a space for being for both artist and spectator.
The British psychoanalyst D W Winnicott’s concept of ‘potential space’ posits just such an area of experience between reality and fantasy which functions as a container for being. The space of these paintings, then, becomes a place to find the self in our complicated, digital world.
Painting as terrain is kindly supported by Contemporary British Painting
The Crypt, St. Marylebone Parish Church, London, NW1 5LT 19.1.2019- 26.4.2019
Grayson Perry Portraiture workshop December 2nd 2017
Part of the ‘Life of Julie Cope’ outreach programme commissioned by Firstsite
Inspired by traditional storytelling and the structures of folklore, Perry has developed a whole life for a fictional Essex girl, Julie Cope. This ambitious project is described by The Crafts Council, on their website as contemporary social portraiture.
‘The Essex House Tapestries: The Life of Julie Cope (2015) illustrate the key events in the heroine’s journey from her birth during the Canvey Island floods of 1953 to her untimely death in a tragic accident on a Colchester street. Rich in cultural and architectural details, the tapestries contain a social history of Essex and modern Britain that everyone can relate to.’
To celebrate the exhibition, this intensive practical drawing workshop began with a group tour of the exhibition and an opportunity for participants to explore how Perry weaves his visual narrative through his characteristic style of drawing, composition and flamboyant use of colour.
Back in the studio, participants developed their own distinctive fictional characters using the parlour game technique of ‘Exquisite Corpse’, and then brought them to life through the innovative use of unpredictable wet drawing and collaging processes.
Working larger than life; they experimented with projection and layering processes and concluded the session by displaying their colourful characters in the fabulous Firstsite Learning studios, each one having their own diverse and fascinating stories to tell.
Excerpt from The Crafts Council website http://www.craftscouncil.org.uk/what-we-do/julie-copes-grand-tour/]]>
Portraits with Jane Frederick
Firstsite, Colchester 29th July 2017 10.30-4pm
Following the success of Painting Portraits workshop which formed part of the B.P.Portrait Award programme, I am pleased to announce that I have been invited to deliver a new Portrait workshop at Firstsite Gallery in Colchester, Essex.
This practical workshop will reflect upon the work in Lubaina Himid: Warp and Weft and the themes of belonging and contribution. Using a range of wet and dry drawing techniques, participants will learn to work from their own photographs and broaden their drawing skills through a series of practical exercises whilst working on a variety of different scales. Participants will be exploring real and given identities presented in historical photographs, unearthing our own heritage and that of undisclosed people from archival images.
To book a place:
The regular study and instruction of life drawing has firmly established itself as a fundamental part of my practice.
Learning from a young age to study anatomy, measuring processes and developing observational drawing skills has brought so much joy and challenge.
I have recently been exhibiting and selling some framed studies from my large archive of life studies at The Minories Art Gallery in Colchester, Essex where I also teach observational drawing in a regular ‘Drawing School.’ http://www.theminories.org.uk
I am passionate about making drawing accessible to all and have enjoyed a long career of sharing my belief in analytical, rigorous drawing and its value as a vital creative tool.
Painting Portraits with Jane Frederick
This practical workshop with artist Jane Frederick, aimed at developing drawing and portraiture skills, will explore the exciting array of contemporary portraits showcased in Firstsite’s current exhibition BP Portrait Award 2016.
Following a tour and discussion on the exhibition, you will take part in a range of painting exercises working directly from a clothed model, developing observational drawing skills and experimenting with dynamic approaches and techniques.
Saturday May 20th 2017 at Firstsite, Colchester.
For further information and to book a place:
Painting Portraits with Jane Frederick
Booking essential to guarantee a place.]]>
This painting, ‘Locating the Domain: Waiting’ is currently held in the East Contemporary Art Collection and I am delighted to report, has recently been catalogued on the www.artuk.org website.
It also featured in the symposium titled The Immediacy of Paint: the Role of Painting in the Digital Age held at University Campus Suffolk’s Ipswich Waterfront Building.
‘Artists Laurel Berry and Laura Leahy, both students on the MA Arts Practice course at University Campus Suffolk(UCS), are organising the event which is suitable for students, art practitioners and academics. Speakers at the event, which is being held in association with UCS, include artist and writer Robert Priseman, Dr. Barbara Howey, artist Matthew Krishanu and artist Ehryn Torrell.
The symposium will include talks and a panel discussion on the ideas surrounding painting and painting practice in the digital age, such as:
Where does painting sit in relation to hybridised and socially-engaged disciplines?
What can the role of technology be within a painterly discourse?
Interrogate the dialogic relationships between painting and digital representation.
Examine the boundaries of an expanded painting practice
What does painting contribute to an image saturated age?
Laurel Berry earned a BA (Hons) in Fine Art at UCS, specializing in painting. She is currently completing an MA Arts Practice and works from her studio in Suffolk.
Laura Leahy studied Psychology at Syracuse University in New York followed by BA (Hons) in Fine Art at UCS, specializing in painting and video. She is also currently completing an MA Arts Practice.
Laura said This will be the first of a series of planned annual symposiums on paint in Ipswich, providing a platform within East Anglia for students, academics and practitioners to discuss the ever-changing role of painting.
This event is being supported by UCS Class of 2014 Future Funds and Mid-Suffolk small grant awards.
To attend the Symposium- The Immediacy of Paint: the Role of Painting in the Digital Age please visitwww.paintsymposium.co.uk
A display of work from those speaking at the Symposium will be on display in the Waterfront Gallery from 18- 21 October. The exhibition aims specifically to show the diversity of paints language by means of showcasing the work of regional artists who have work in the East Contemporary Arts Collection and additionally the work of Dan Hays who will be speaking at the symposium.’
The Villa Gamberaia is located in the elevated town of Settignano, rising high above the city of Florence, Italy.
I had the great fortune to visit the Villa and enjoy exploring and drawing the formal and atmospheric gardens when they were empty of visitors.
The enigmatic Gamberaia has a long history of admiration and has been restored and developed continuously throughout its existence. It has also been a popular destination during the early part of the twentieth century for artists, writers and garden designers.
‘Occasionally we visited the most beautiful and certainly in my eyes the most romantic garden of all, that of the Villa Gamberaia, and I wandered about, hoping that I might catch a glimpse of the place’s owner, Princess Ghyka, a famous beauty who, from the day that she lost her looks, had shut herself up in complete retirement with her English companion, refusing to let anyone see her unveiled face again. Sometimes I was told, she would come out of the house at dawn to bathe in the pools of the water garden, or would pace the long cypress avenue at night-but all that I ever saw (and I wonder if a hopeful imagination was not responsible for even this) was a glimpse of a veiled figure at an upper window.’
Iris Origo, Images and Shadows (New York: Harcourt Brace Jovanovich c. 1970)
I am presently developing a series of graphite studies, varying in scale, which respond to the complex formal structures of each garden section whilst remembering the immense sense of calm solitude and sanctuary that I experienced whilst working there.
These works form part of a larger project which examines the evocative and specific nature of the garden through circular paintings, lenses and reflected imagery.
Photography Jane Frederick and Martin Bridges]]>