News and Events
STUDIO EXHIBITION - 'NEW DIRECTIONS' - Dec 15, 2pm - 9pm, Dec 16, 11am - 4pm
You are warmly invited to our exhibition of work by our tutors Paul Wye, Altea Grau Vidal, Julia R Gallego as well as our studio artists and members. Some work will be for sale. Come along to see work done on courses this year at the studio. We are very proud of all that's been achieved! Join us for some mulled wine, mince pies and a chat with some of the artists involved. Friends and family welcome (please note we are on the first floor so up a flight of stairs). For information on how to find us please look on our main menu.
HORSHAM ARTISTS OPEN STUDIOS 2012 - June 16/17 & 23/24
After a long enforced period of inactivity due to lack of premises we are opening our new printmaking studio for two weekend in June with an exciting exhibition of work by painter Judith Smith and printmaker Altea Grau as part of the Horsham studio trail. There is a wonderful contrast of work with these two artists, from Judith's large expressive and colourful paintings to the delicacy and poetic prints by Altea. What a great way to celebrate the re-opening of the studios! Do come along and enjoy the work, meet the artists. All welcome! No entrance charge, refreshments available.
HONG KONG GRAPHIC ART FIESTA 2010
We are pleased to announce that we have been invited by Hong Kong Open Printshop to take part in Convergence/Divergence: An International Prints Exchange as part of the Hong Kong Graphic Art Fiesta 2010. The exhibition brings together work from print studios and printmaker groups from around the world, encouraging collaboration between the global printmaking community and exploring developments and trends in graphic arts in the digital era. The event runs between the 13th December 2010 and 20th January 2011 in Hong Kong (full address below). Seven of our artists, showcased below, have contributed work.
Venue: Exhibition Hall, Hong Kong City Hall, Central, Hong Kong.
L1 Gallery, Jockey Club Creative Arts Center, Shek Kip Mei, Kowloon.
Clive's work spans printmaking, photography and drawing, frequently combining these mediums in varying proportions depending on the development of the subject.
The starting point for Clive's images is the subject of Landscape. He is particularly interested in places that show evidence of the ancient history of the landscape and how humans have used shaped, and exploited it, for living, for death, for ritual or defence and how natural forces over time have changed and distorted it.
His series “Tectonic Drift” reference the two tectonic plates that collide and converge in the landscape of Iceland, and were made with two photo-etched plates “colliding" in the print.
Techtonic Drift l - Photo Etching, 2008
The 'Last Thought' series takes its inspiration from an internal dialogue. Thoughts run through one’s mind at the end of the day before sleep, dealing with the days experience and making sense of feelings. Each plate includes overlapping letters and typefaces, partly visible, and in this way is reminiscent of each transient train of thought. These letters are initially laser cut and layered with other textures; becoming obscured and abstracted in themselves. These are linked with a recurring abstract motif, printing from what is left behind when the pieces are cut out as well as the cut shapes themselves, dealing with both the positive and the negative, presence and absence.
Last Thought 2 - Collagraph, 2010
Lawrence Prentice’s delicately created aquatints are uniform in size, and circular in composition, symptomatic of Japanese imagery. With sequences of simple, balanced, monochrome images, Prentice creates what he describes as a ‘journey of anticipation and hope’. A series will often consist of a succession of landscapes, interrupted by a close up image of part of a tree or some flying seagulls.
Prentice sees these snap-shot breaks as short rests in his journey, capturing a moment, and often suggests a glimpse at the unexpected or the unnerving with these close-up images, perhaps signifying the importance of stopping to notice the smaller details in life and taking the time to recognise our hopes and goals, rather than get caught in the rat-race.
Hurricane ll - Lino Cut, 2010
People as subject matter are the main motivating force in Marji's work at present. She is interested in the dynamics between the observed and observer, and in the resulting presence of the person in the artwork. Achieving a true ‘likeness’ is a secondary outcome. While the persona alludes to the specific, it is the formal qualities inherent in the processes and the materials of printmaking that she finds fascinating. These she uses to undermine the perceived importance of the specific likeness by encouraging the viewer to engage with the materiality of the image.
Mark - Monotype, 2009
Nikki seeks to capture the essence of the weather, structures, ice and water through the use of oil paint. This new work is based on an extended trip to the Isle of Skye. The work is a personal response to the extreme forces of nature.
For Nikki, her work is a pure, physical act that allows her to put herself into the work. To achieve her results she uses large flat ended brushes, palette knives and her hands: she applies ink and paint, sand and iron-filings blended with the paint to create texture The ink is layered allowing the print to evolve over time. As a result each print consists of many layers one on top of the other, creating a rich history of colours and textures.
Lofoten Islands - Collograph, 2010
Paul's specific interest is in exploring the ‘narrative surface’ of an object: the layering of mixed media to create, or indeed reveal, the story of the object through its visual composition. Over the course of the last few years his work has moved towards experimentation with high relief, tactile and textural surfaces, remaining largely two-dimensional. This has involved producing his own patina on painted, printed or stitched surfaces to produce an artwork’s narrative history – the telling of its personal story through its unique surface.
These layers communicate a life lived; a colourful past that we can begin to access through the aesthetic reflection acting as a record through muted tones, scratched veneer, cracked paint, or the sombre faded grandeur of an age gone by. He feels very strongly that in order to properly contextualise an object, to reveal its historical foundation, we must reflect its aesthetic history through the physical scars of its past life. This gives us a way into understanding the object's own story – imbuing it with a strange romanticism and psychometry.
Ribbon Bar - Collagraph 2010
These selected works deal with the different layers that present themselves in a sea or landscape and what is hidden behind our initial layer pf perception. Sue has previously dealt with work in both two and three dimensions and hopes to bring the two together in her continuing artistic development.
Doorway - Lino Etching 2010
Please ask permission before using images.
There has been a fantastic feature in The Resident, which showcases the Studios and talks about the positive artistic environment in the Horsham area, despite job cuts. The article can be read here.