2018/01/07

Julie Held

Julie Held
j.held@btinternet.com
www.julieheld.com
Instagram: julie.held


Trees, like people and places have been subjects of mine since I began painting. They embody and reflect elements that mirror ourselves as human beings : roots, mythologies, diversity, mutability and connections. Thus presenting endless possibilities to examine and capture in their representation.

Julie Held
Dull Day at St James Park. oil on canvas, 20 x 15 cm

Julie Held
Autumn bright day, mixed media on canvas, 76 x 61 cm

Julie Held
Valentine's Day Florist and Trees, watercolour on paper, 71 x 61 cm

Julie Held
Autumn Garden, oil on canvas, 183 x 183 cm

Julie Held
Moonlit Garden. oil on canvas, 183 x 183 cm

2017/12/21

Mike Holcroft

Mike Holcroft 
mikeholcroft@googlemail.com
www.waterstreetgallery.co.uk/artists/painting/mike-holcroft


My immersion ‘into the landscape’ began when unknown to my parents I bunked-off school and spent my eighth birthday in late January shivering with a fishing rod on the banks the River Ribble in Lancashire. This experience - two minnows and a gudgeon - led to an obsession with fishing and shooting and by the age of fifteen I owned three shotguns. In the game season, I supplemented my lowly-paid day job by selling trout, partridge, pigeon, duck, pheasant but mainly rabbit.

Mike Holcroft
Road to Rake Farm N° 5, charcoal and pastel on paper, 55 x 62 cm, 2017

My shooting days came to an abrupt end aged 17 when in fading light I shot an owl by mistake. My hunting friends and I had a deeply held but perhaps superstitious belief that such an act had ominous consequences. I threw my treasured Bernadelli shotgun into a deep basin in the river never to shoot again. This experience led me to turn inwards and from that moment on I developed a more contemplative approach to life. Instead of stalking game, I became a hunter of images and in the blink of an eye I was in the life room of Blackburn School of Art (65-67) gaining admission with a 20ft long work on the reverse side of a roll of wallpaper using charcoal, pen and ink - expressionistic depictions of the Blackburn poliomyelitis epidemic of 1965. Then on to Walthamstow School of Art (69-72) and Royal College of Art (72-76).

Mike Holcroft
Mist on The Road to Rake Farm N° 3, charcoal and pastel on paper, 59 x 45 cm, 2017

Returning to my roots in The North of England after a long absence has triggered a passionate interest in landscape. Here in Todmorden, it’s easy to access within a ten to fifteen minutes  brisk walk, the rambling, natural rich diversity of oak-clough woodlands that rise up steeply from the valley bottom and cluster along the skyline of pasture, eventually petering-out into wild moorland.

I find the ever changing complexity of wood-land-scape simultaneously uplifting and unsettling and I try to reflect this ambiguity in my work. Gradually, over the past few years trees have become essential subject matter through which I’m able to ‘speak from the heart’ with my language as a visual artist. Returning to ones place of origin after a forty years absence can be a gamble but in my case I feel increasingly able to connect with that magical element- inspiration. It doesn’t happen everyday and it certainly doesn’t come easy. The very best moments on a walk can leave me lost for words as I reach for the camera or sketchbook in order to capture what can often be a fleeting moment. The photo/sketch may lie dormant for weeks or months but once triggered passes through a series of graphic transformations all leading towards the closest proximity to the original scene that grabbed me.

Mike Holcroft
Road to Rake Farm N° 4, charcoal and pastel on paper, 62 x 52 cm 2017

When a drawing takes-off it slowly develops to a point where it has its own inner dynamic and momentum. A struggle then ensues as the surface undergoes constant orchestration, a process of erasure and editing, akin to both forging with hammer and anvil alongside the delicate application of pastel or charcoal.

It is an ironic use of trees burnt offerings charcoal, used in order to record its beauty!

Mike Holcroft
The Unitarian Church, charcoal and pastel, Todmorden,80 x 78 cm, 2017

2017/12/03

Natasha Lien

Natasha Lien

natasha.lien7@gmail.com
www.natashalien.com


Brought up walking my dogs everyday in my nearby National Trust woodland,  experiencing the change of seasons and different colours and the contrasting structure of trees with and without leaves I want to share their life-enriching experience in my work.

Natasha Lien
Frithsden Beech Pencil 90 cm x 120 cm

I am passionate about drawing, painting and doing etchings of trees all over the world
(including Ethiopia, Jordan and Morocco) : my mission is to depict them in various forms from rhythmical group compositions to the individual textures of each particular tree and structure within.

Natasha Lien
Hampstead Sweet Chesnut 150 cm x 95 cm

I am inspired by drawings and paintings of trees in art from Titian, Constable, Corot, Delacroix, Courbet, Shishkin, Cezanne to Van Gogh and Mondrian. I am also intrigued how trees have a quality that encourages pareidoliacs to see random objects in them and cultures to create stories about them.

Natasha Lien
Hamstead Heath Etching-Aquatint 76 cm x 54 cm

My work varies in scale and medium; I naturally work on a large scale which suits the complexity of trees. The size of a work affects the way one enters it: I want to give the viewer the sensation of being present. I often work on location for several months frequently using joined up sheets of A1 paper for practical transportation. I transcribe some of my drawings into etchings or paintings.

Natasha Lien
Kensington Gardens Pencil 138 cm x 149 cm

In today's world where many people are often in a rush, I feel that it is a real privilege to pause and reflect on life, so my work on location is like a meditation of being present.

Natasha Lien
Kensington Gardens Etching 83 cm x 60 cm

2017/11/24

Lara Cobden

Lara Cobden
laracobden@hotmail.com
www.laracobden.com


I feel most at home amongst trees. Wherever I am, the woods offer a place to retreat to, to reflect, inspire and individual trees an eternally generous and benevolent source of healing and wisdom.

Lara Cobden
She fell, landed somewhere between awareness and surrender, Oil on canvas, 70 cm diameter

Rooted in a central theme of recollection and sense of place, my paintings are informed by observation, memory and dream. They are a subjective and individual response to my surroundings, calling on an imagined, coveted past that is unreal; a magical realism. Pulling between the chimerical and the familiar - I hope there is both a stillness and fluidity in my work; in the ordinary, a sense of reverence. Paintings evolved from remembered fragments and casual snapshots shift between misty and precise, perceived reality and imagined narratives. 

Lara Cobden
Afterglow, Oil on wood panel,  50 cm x 50 cm

A desire to capture the essence of experience - a fleeting moment, ephemeral and yet resilient in its presence, are what inspire me to paint.

Lara Cobden
Her Heart was shaded by the sadness of gravity and the bliss of dappled sunlight, oil on linen 100 cm x 130 cm

I like to inhabit and explore this in-between place and try to collect and recreate that residue of experience; like recording details, grasping at the gossamer fabric of waking from a dream. 
Trees and forests offer a unique space for this journey to begin, at once interior and exterior, offering both refuge and unease, a starting point for as yet untold stories, portals into another world.
The thread pulling my work together is about 'coming home', belonging; or conversely a sense of ‘unbelonging’.

Lara Cobden
 A willow and an oak, Oil on wood panel, 50 cm x 60 cm

Lara Cobden is a figurative painter living and working in Norfolk. Following her Fine Art, Painting degree at Brighton University, Lara spent 11 years in Ireland before relocating to East Anglia. Focusing on memory and sense of place, her paintings are a response to the natural world around her.

Lara Cobden
Following the call of inaudible voices, Oil on canvas, 100 cm x 100 cm

‘Cobden’s ethereal forest scenes delicately balance impressions of a rather contradictory nature, where feelings of slight caution created by the lurking depths of the forest are met with a distinct sense of life and hope, emanating from light found at the end of the foliage’s misty tunnel.
The hazy nature of the artist’s graceful technique however helps bind these apposing elements together, somewhat diffusing and blending the darkest darks of the works into the softened earthy colours of the surround trees. By handling the paint so tactfully in all areas of the painting, the space and depth of the environments become evermore prominent, helping emphasise such feelings of being swallowed and suffocated by the growing forest, or relief from finding the fresh, open air.’  Adam Reid - Metaphysical Objectivity in Comparison with Realism 2013

Lara Cobden
In to the Enchanted Garden, Oil on wood panel, 80 cm x 100 cm

Paul Newman

Paul Newman
paulnewmanartist@gmail.com
paulnewmanartist.com
twitter.com/paulnewmanart
www.instagram.com/paulnewmanartist


Now living in Somerset, Paul Newman graduated from Falmouth College of Arts in 1995 after A-Levels and Foundation in Poole and Bournemouth, Dorset. As a graphic fine artist intrigued by nature, he works exclusively in graphite and is interested in detail, texture and tone inspired by elements of the ancient landscape and stories of Wessex.

Paul Newman
In the margins, 2014, graphite on bristol board, 21.5 x 30 cm

His work is created by research into the nature and history of places that interest him; geology, ecology, historical remains or natural history. Walking is an important part of the working process, getting to know a particular area well, understanding how it was shaped. Much of his work comes from places that have an ingrained historical meaning or personal significance and the work is mostly a response to being affected by memories or experience over time in that place. He is keen to make links between the places that he finds and the stories that fashioned them. His influences are maps and writers, geologists and legends, songs and poems. Drawings and photographs taken in the field are then worked up into finished pieces in the studio.

Paul Newman
Langdon Hill, 2010, graphite on bristol board, 22 x 16 cm
Paul is also interested in how nature manifests itself on human objects, reclaiming and abstracting these forms, such as overgrown remains, weathering, seasonal change and decay. He looks for evidence of human activity changing landscapes into places, creating unique locations which can affect, uplift or threaten.

Paul Newman
Path to Golden Cap, 2007, graphite on bristol board, 15 x 15 cm

He has shown work at various galleries across the South West, including the Bath Society of Artists and the Royal West of England Academy as well as in London with the Society of Graphic Fine Art.

     “All in all, it's true to say that Newman is a collectible artist who produces graphite works of reflective beauty.  His research is profoundly felt through his pictures. And it is true to say that to experience his work is to respect the challenges of time, balance, conflict, detail, uniqueness and scale with which he so elegantly battles in the pursuit of what we so often simply refer to as ‘nature’." J.A. Harris

Paul Newman
Ash, skywards, 2010, graphite on bristol board, 15 x 15 cm

Paul has worked as a trustee for Black Swan Arts in Frome, as the event co-ordinator for Somerset Art Weeks and curated the 2016 Quartz Arts Festival in Taunton. He is also the curator of a recent touring exhibition, ‘The Transformed Land’ and has worked on many exhibitions for Black Swan Arts.

Paul Newman
Queen of the Woods, 2017, graphite on bristol board, 26 x 26 cm

2017/09/15

Ida Harm

Ida Harm
idaharm@gmail.com
www.idaharm.com
www.facebook.com/ida.harm.5
www.instagram.com/ida_harm
twitter.com/idaharm


I remember very well my first creative impulse which pushed me to express an emotion through drawing: it was in 1999 a year in which I travelled a lot between green lush countries of Northern Europe and barren deserts of North Africa where life clutches at every last drop of humidity.

Ida Harm
Olive tree on Tuscan hill, diptic 100 x 200 cm

In this pilgrimage the tree is an element of the landscape which captures and strikes me, a fascinating conducting thread that, like a small seed, embeds itself and begins to root itself across many questions, visions and intuitions. In that very moment I started working on trees.

Ida Harm
Birches, diptic 150 x 200 cm

Alongside this subject, is the written word, often taken from English poetry or prose. Those words, as the rustling of the leaves, spurts murmured words, emphasizing the concept, suggesting images that work on the subconscious of the observer like a brain-storming.

Ida Harm
Wood in the snow, 100 x 150 cm

Analyzing backward the evolution of my trees, I then realized how much I have personally changed and how trees, gardens, forests, seeds where writing my biography throu images and symbols.

Ida Harm
Old Chestnut trees, 200 x 100 cm

At some point the lonely holy tree transforms into a forest with reduced dimensions, a
pastoral wood, where a path is merely suggested, often shown up by the light. In this wood the plants are those that suggest to the vagabond, the pilgrim, the nomad the way but without ever wholly revealing it.

I am getting lost in this concept at the moment..

Ida Harm
Oak and vineyard, diptic 150 x 200 cm

Ida Harm
Tree stories, 150 x 100 cm

Kevin Tole

Kevin Tole
kevin.tole@virginmedia.com
www.kevintole.com


My painting and drawing practise appear to have diverged significantly. In the past both were a reflection of each other and I laid great importance upon sketchbook work to the extent that I would work every day into a sketchbook. Over the last two years my drawing has become fixated on a particular subjects and has developed its own stature. 

Kevin Tole
Antony Plane in Winter, Charcoal, pastel, acrylic, gouache, water on paper. Free hanging on battens, 150 x 250 cm, 2017

This started with a year-long project working on one group of three trees on the edge of Dartmoor, producing an A1 charcoal drawing per week. That has moved on to further projects in Cornwall with trees and Glasgow on the Titan cranes along the Clyde. 

Kevin Tole
No. 29 Danescombe Oak, Beech Charcoal, Compressed Charcoal, White Conte, White Charcoal on paper, 59 x 84 cm, 2016

In all the projects I like to use materials found in the immediate areas to the subjects commonly making my own charcoal in which the source wood is intimately connected to the subject of the drawing. 

Kevin Tole
Antony Walnut No. 1, Charcoal (various) on paper, 59 x 84 cm, 2016

The drawings have all increased in size because this allows me to make and examine gestural marks, to move from the finger to the shoulder and to seek the chance mark arising from the conscious build-up of layer upon layer. This has led me into etching and printmaking to move ideas sideways and forwards.

Kevin Tole
Summer Beech Tree, Etching, Limited Edition of 20, 35 x 45 cm, 2017

Kevin Tole
Fagus silvatica Field, Beech Charcoal, various compressed charcoals, white, charcoal, white conte, 150 x 575 cm, 2017

2017/08/01

Claire Cansick

Claire Cansick
clairecansick@gmail.com
www.clairecansick.com


I paint the woodland around me with a view to explore the nature, character and life story of each tree, as if painting portrait sitters. This is something I have done for several years and I began by recording the trees around the lanes where I live in Norfolk. It was as if my eyes were opened to the stature and majesty of the trees and their silent, still history marking their place through time.  I started to paint them with great enthusiasm, relishing the challenges and wrestling with colour; I like to dissect the colours of the landscape; colours lie within colours and I represent this by layering them over and over in glazes of oil. My initial drawings remain incredibly important throughout the painting process and they are the beginning of the abstraction of colour, shape and of compositional development. The results are that the colours are heightened and the images are stylised as my attention is drawn to the linear content and the skeletal silhouette on the canvas. The works have developed into painterly images of the woods around the county and individual trees within open landscapes. My skills in oil painting has been largely self taught through my own practice and experimentation with the medium.

Claire Cansick
Holkham, oil on wood panel, 2017

Claire Cansick
Towards Burnham, oil on wood panel, 2017
Trespassing For Art, pastel on painted paper, 2017

Claire Cansick
Bacton Pond, oil on wood panel, 2017



Gentleness Clears The Soul, oil on canvas, 2017

2017/07/11

Kerry Harding

Kerry Harding
hardingkerry@yahoo.com
kerryharding.co.uk


Present and remembered, steadfast and fleeting, noticed, forgotten and then rediscovered. The trees that inhabit my daily run are the constants that anchor my sense of place. They have become like family or good friends and after 15 years of daily passing offer unconditional and unwavering support. 

Kerry Harding
Still the Wind

Kerry Harding
Gate

This experience of the familiar landscape is mirrored in my painting process; old paintings are continuously reworked. Paint is taken away to leave the stains and traces of past images which are then layered with fresh and immediate applications of paint. My love of paint as matter and the physicality of manipulating it is continuously edited down to create a poetic balance of extremes. Old and new, faint and bold, fast and slow, delicate and strong.

Kerry Harding
NewhamsTree II

Kerry Harding
Steep Holly

2017/07/01

Howard Phipps

Howard Phipps
howardphipps@icloud.com

www.rowleygallery.com/Artist-Howard-Phipps.aspx


Howard Phipps is a painter and printmaker with a special interest in Wood engraving. This is a traditional method of making relief prints , originating in England in the 18th century, where an image is engraved in reverse on very smooth end grain boxwood, from which prints will be taken on completion. 
The artist is based in Wiltshire, Southern England, and much of his work is inspired by the chalk downland of this area. He makes drawings and watercolours on location, and has a particular interest in mans impact on this landscape where there are frequent reminders of remote human history. Ancient tracks he finds compelling, and trees, the Beech especially, frequently feature in his work as they line these old ways. His often large preliminary drawings made over several sessions form the basis of his engravings.

Howard Phipps
Ebble Valley Oak, wood engraving

Howard Phipps has exhibited frequently at Royal Academy Exhibitions in London, since 1985, where he has also been a winner of the contemporary Print Prize. He has had numerous one man exhibitions, and has work in several collections including The British Museum [ 12 engravings ], The Ashmolean Museum, Oxford, and three Wiltshire County collections.
In addition to making work for exhibitions Howard has illustrated a number of books, and has a strong association with The Whittington Press who published his own purely visual collections exploring the theme of Interior spaces. Whittington also published ‘Ebble Valley’ with both text and engravings by the artist, being his observations of the landscape where he has lived for thirty years.

Howard Phipps
Beech Tree Cloister , pencil drawing


Le peintre et graveur Howard Phipps porte un intérêt particulier à la gravure sur bois. Il utilise une méthode traditionnelle de taille d’épargne, originaire d'Angleterre au XVIIIème siècle, où une image est gravée inversée en bois de bout sur un buis au grain très doux, à partir de laquelle seront réalisés les tirages finals.
L'artiste est installé dans le Wiltshire, au sud de l'Angleterre. Une grande part de son travail est inspirée par les collines de craie de cette région. Il réalise des dessins et des aquarelles sur place et s'intéresse tout particulièrement aux impacts de l'homme sur ce paysage, qui rappellent fréquemment l'histoire reculée de l’humanité. Il trouve captivants les chemins anciens, et les arbres. Le hêtre en particulier figure souvent dans son travail, car il borde ces voies anciennes. Souvent de grand format, ses dessins préliminaires, réalisés sur plusieurs séances, forment la base de ses gravures.

Howard Phipps
Ox Drove, wood engraving
Howard Phipps a participé régulièrement aux expositions de la Royal Academy à Londres depuis 1985. Il y a de plus remporté le prix de la gravure contemporaine. Il a présenté de nombreuses expositions personnelles. Son travail est présent dans plusieurs collections, incluant le British Museum (12 gravures), le musée Ashmolean d’Oxford et trois collections du comté de Wiltshire.
En plus de créer pour des expositions, Howard a illustré de nombreux livres et collabore étroitement avec The Whittington Press. Whittington - qui publie ses propres collections purement visuelles explorant le thème des espaces intérieurs - a également publié « Ebble Valley » (« La vallée de l’Ebble »), avec des textes et des gravures de l'artiste, qui rassemble ses observations du paysage où il a vécu pendant trente ans.

Howard Phipps
Ox Drove in Winter, wood engraving

2017/06/29

Tom Deakins

Tom Deakins
tomdeakins31@gmail.com
http://www.chappelgalleries.co.uk/exhibitions-06/tom-deakins/tom-deakins.htm
http://aubreyartgallery.com/pages/deakins/tomdeakins.html


By Lesley Nolan, a Trustee of the Fry Gallery

I first encountered Tom Deakins’ work about ten years ago – the small oil painting on sale was a meticulously rendered image of Great Dunmow’s roofline and pond, that was astonishing in its detail and soft autumn colouring, which put me in mind of Vermeer’s famous view of his home town of Delft, so lovingly was it painted. It is that intensity of feeling for a particular place that Deakins manages to capture in his work – not just how something looks, but also how he, as an artist, has experienced it: the crunch of snow underfoot, or the smell if summer rain on tarmac, or the warmth of sunlight on a brick wall.

Tom Deakins
Posthumous Portrait of an Oak Tree, oil on canvas, 2006, 24 x 61 cm

His vision is imbued with the sense of place that artists – such as John Constable, Samuel Palmer and Paul Nash – have written about, indeed Deakins has said that his home in Great Dunmow and its surroundings have his inspiration for over forty years. His paintings bear the sign of the human activity that has shaped the local environment, whether by agriculture or building, accident or design, and whilst being devoid of human figures, are saturated with human presence and meaning. All carry a quiet hint of the poetic, or the mysterious, the unexplained. Sometimes he ventures further afield to Suffolk, Wales and the Lake District.

Tom Deakins
Winter to Spring, oil on canvas, 2013, 23 x 46 cm


Par Lesley Nolan, responsable à la Fry Gallery

J'ai rencontré pour la première fois le travail de Tom Deakins il y a environ dix ans : la petite peinture à l'huile en vente était une image de la ligne des toits et de l'étang de Great Dunmow d’un rendu méticuleux, stupéfiante par ses détails et sa douce couleur automnale. Elle me rappelait la célèbre vue de Vermeer de sa ville natale de Delft, tant elle était peinte avec amour. C'est cette intensité de sentiment pour un endroit particulier que Deakins parvient à capturer dans son travail - non pas seulement l’apparence de quelque chose, mais aussi la façon dont lui l'a éprouvée en tant qu'artiste : le crissement de la neige sous les pieds, ou l'odeur de la pluie d'été sur le goudron, ou la chaleur du soleil sur un mur de brique.

Tom Deakins
The Last Ash Tree, oil on canvas, 2014, 23 x 46 cm

Sa vision est imprégnée de ce sens du lieu au sujet duquel des artistes tels que John Constable, Samuel Palmer et Paul Nash ont écrit. Effectivement Deakins a dit que sa maison de Great Dunmow et ses alentours lui ont fourni son inspiration pendant plus de quarante ans. Ses peintures portent le signe de l'activité humaine qui a façonné l'environnement local, par l'agriculture ou la construction, accidentellement ou à dessein. Tout en étant dépourvues de figures humaines, elles sont saturées de présence humaine et de sens. Toutes transmettent un paisible soupçon de poésie, ou de mystère, d'inexpliqué. Parfois, il s'aventure plus loin jusqu’au Suffolk, au Pays de Galles et au Lake District.

Tom Deakins
Winter's Eye, oil on canvas, 2010, 25 x 30 cm