2016/05/27

Paul Ridyard

Paul Ridyard
info@paulridyard.com
www.paulridyard.com


My work reflects a passion for ancient woodland, localized mythology and the unusual and distorted; naturally occurring forms to which I am drawn. I spend much of my time seeking out extraordinary trees on the Internet and then visiting them, much like a tourist. I then work mainly from the snapshots I take, which are manipulated to accentuate any ambiguities I find. I am drawn to the wonder of these ancient, mutated and exposed subjects developing any new readings and relationships, as material flattened to images, they might suggest.

Paul Ridyard
Dean, 2011, pencil on paper mounted on dibond, 55cm x 70cm

The work becomes a re-generation of the content of the photographs and questions the authenticity of our experience of the natural. I try to assimilate the photographic image as closely as possible and hope that by doing so, in a handmade fashion, that each pencil mark undermines any absolute notions of true or false. Instead it merges the documentation of these rare and compelling objects with the uniqueness of direct experience of them.
Paul Ridyard
Root-ball II, 2013, pencil on paper mounted on dibond, 113cm x 122cm

Recently, I have focused on trees that have had the ground around them eroded due to some external factor, revealing bizarre, exposed shapes. When I first came across them they were referred to locally as ‘ the walking trees’. This seemed ridiculous. However this irresistible, irrational, yet romantic notion took me on a day trip to the woods. These drawings engage with my interest in subjects, which I see as suggesting more than one thing and their new reading when isolated from their original surroundings.

Paul Ridyard
Unterholz, 2015, pencil on paper mounted on dibond, 100cm x 70cm


Au cours des 10 dernières années, mon travail s’est centré sur la recherche d'arbres extraordinaires via Internet pour ensuite les visiter, tout comme un touriste. Je suis attiré par la merveille de ces sujets anciens, métamorphosés et vulnérables. Et je développe toutes sortes de nouvelles lectures et de nouveaux rapports qu’ils , pourraient suggérer, comme matériaux rapportés aux images planes.

Mon travail le plus récent présente des arbres autour desquels le sol a été érodé en raison de quelque facteur extérieur, révélant des formes bizarres, à nu. Lorsque j’ai croisé leur chemin, ils étaient appelés localement « les arbres qui marchent ». Cela semblait ridicule. Cependant, cette notion romantique m'a conduit à une excursion d'une journée dans les bois. Ces dessins participent de mon intérêt pour des sujets qui me semblent suggérer plus d'une seule chose et pour leur nouvelle lecture lorsqu'ils sont isolés de leur environnement d'origine.

Mes dessins deviennent une re-génération du contenu des photographies et  questionnent l'authenticité de notre expérience du naturel. J'essaie d'assimiler l'image photographique le plus fidèlement possible et j'espère qu'en procédant ainsi, de façon artisanale, chaque marque de crayon mine toute notion absolue de vrai ou de faux. A la place, cela combine la documentation de ces objets rares et fascinants avec le caractère unique de leur expérience directe.

2016/05/18

Stella Carr

Stella Carr
stellacarr.artlandscape@gmail.com
stellacarr.uk


Stella Carr
Fagus Dawyck Purple & Quercus, ink, 19 cm x 15cm

I grew up amongst artists and scientists, submerged in the interplay between. Fundamentally my painting attempts to associate these disparate ways of seeing, within these two disciplines, unifying them.

The paintings indicate how all is connected macro to micro, using the allogory of relationships of trees to each other and the wider ecosystem.

I am absorbed by pattern repetition from bole to leaf tip, trying to pare down the form of different species, keeping the genus recognisable yet focusing on what can appear as signs and symbols as much as structures.

In recognising the integral role of micro-organisms, the vital component for a healthy ecosystem, I take pleasure in sensing the invisible network of mycorrhiza weaving patterns, the universal languages of signs and sometimes chemical formula; the tool of industrial agriculture. These layers interplay on a seemingly pastoral scene, elements combining in dialectic.

Also for me trees are individuals that are markers of time, from an arboreal fashion statement in parkland, a veteran surrounded by amenity forestry, an avenue for war, the coppice, the orchard or native wildwood, they place human beings in context and mycelium, that trees play symbiosis with, the real influencer.

Stella Carr
Distressed Chestnuts dead Elm, 2014, ink and pastel, 43 x 36 cm

Stella Carr
Oak Beech Rooks, 2014, mixed media, 65 x 50 cm

Stella Carr
Haw, Cowgill, 2014, mixed media, 50 x 65 cm


J'ai grandi à Liverpool parmi les artistes et les scientifiques, fascinée par leur interaction. Ma pratique tente fondamentalement d'associer et d'unifier ces différentes disciplines.

Mes peintures montrent comment tout est relié en se focalisant sur les relations des arbres entre eux et avec la flore et la faune. Je suis fascinée par la répétition des motifs dans le monde naturel, du microcosme au macrocosme. J'essaye d'abstraire la forme de chaque espèce, en gardant le genre reconnaissable tout en mettant l'accent sur les signes, les symboles et les structures perceptibles.

Je défend les micro-bactéries. Elles sont l'élément vital qui permet au monde naturel de fonctionner. Je prends plaisir à ressentir leur réseau invisible, je le tisse abstraitement. Il inclut des motifs de produits chimiques, l'outil de l'agriculture industrielle, qui s'infiltrent dans la vision pastorale : la main humaine sur les richesse de la nature.

2016/04/21

Private view at St-Barbe

Thursday 21 April 2016
Fabulous launch of major exhibition

St Barbe Museum & Art Gallery, Lymington 23rd April – 3rd June 2016

Thanks to everyone who attended

2016/03/22

The Arborealists – trees in contemporary art at St Barbe Museum & Art Gallery, Lymington



The Arborealists – trees in contemporary art exhibition
St Barbe Museum & Art Gallery, Lymington 23rd April – 3rd June 2016


The Arborealists, a major new exhibition at St Barbe Museum & Art Gallery, Lymington will showcase works by 35 contemporary artists on the common theme of trees. Although united in their subject, they use an incredibly varied set of working practices. The exhibition opens on Saturday 23rd April and runs until Saturday, 3rd June 2016.

In 2013, St Barbe Museum & Art Gallery mounted a successful two-part exhibition Under the Greenwood – Picturing the British Tree; the second exhibition featured contemporary artists’ responses to the subject. Such was the impact of this show, and the spirit of camaraderie engendered in a truly diverse group of artists, that they took on a more permanent identity as the Arborealists.

The artists have joined together for exhibitions in galleries across the south and are now coming to St Barbe Museum and Art Gallery in April. Their artworks are at turns dramatic and contemplative, demonstrating that trees still have relevance in contemporary art and retain the power to move us all as a vital element in our landscape and sense of national identity.

Those exhibiting include Jemma Appleby, Mary Anne Aytoun-Ellis, Jo Barry, Guillaume Brandy and Francis Dalschaert, Tim Craven, Michelle Dovey, Dan Hays, Ffiona Lewis, Fiona McIntyre, Wladyslaw Mirecki, Michael Porter, Howard Phipps and Celia de Serra.

Trees provide a wonderfully versatile subject for artists, not only in terms of the incredible diversity of form, character and colour they provide, whether individually or collectively, but also in terms of the wealth of association, myth, folklore, religious and symbolic significance, which they have come to embody. In Britain they have inspired artists from Gainsborough and Constable through to Paul Nash, the Neo-Romantics and the Ruralists.

The Arborealists at St Barbe Museum & Art Gallery will be open Monday-Saturday, 10am-4pm. Tickets, which include entry into the museum, cost £6 for adults, £5 for senior citizens and students, £3 for children aged 5-15 years and £12 for a family of two adults and up to four children (including a voluntary gift aid donation); under fives are admitted free of charge. For details visit www.stbarbe-museum.org.uk or telephone 01590 676969.


Press release (pdf)



www.stbarbe-museum.org.uk/whats-on/current-exhibition.php

2016/01/27

The Arborealists: The Art of the Tree

ADVANCE INFORMATION

The Arborealists: The Art of the Tree
With essays by Angela Summerfield and Peter Davies

Publication date:  April 2016 
Price:  £20  softback


Trees provide a wonderfully versatile subject for artists, not only in  terms of the incredible diversity of form, character and colour they provide, whether individually or collectively, but also in terms of the  wealth of association, myth, folklore, religious and symbolic significance which they have come to embody. In Britain they have  inspired artists from Gainsborough and Constable through to Paul Nash, the Neo-Romantics and the Ruralists.  

The Arborealists grew out of the exhibition Under the Greenwood:  Picturing British Trees – Present held in 2013 at St. Barbe Museum & Art Gallery, an exploration of contemporary artists' responses to the  tree. Such was the impact of the show and the spirit of camaraderie engendered in a truly diverse group of artists that they took on a more  permanent identity. Under the Arborealists' banner a loose association of artists, including such luminaries as David Inshaw, have  come together for exhibitions in galleries across the south. The thirty-seven artists who have contributed to this book include Jemma  Appleby, Ann and Graham Arnold, Mary Anne Aytoun-Ellis,  Buckmaster and French, Tim Craven, Michelle Dovey, Ffiona Lewis, Annie Ovenden, Julian Perry, Howard Phipps, Michael Porter,  Wladyslaw Mirecki and Angela Summerfield. 

The work included in this lavishly illustrated book, at turns dramatic  and contemplative, demonstrates that trees still have a relevance in contemporary art and retain the power to move us all as a vital  element in our landscape and sense of national identity. 


  • Essay by Royal Academy Senior Curator sets out the historical and international background to artists' relationships with trees (inc. Gainsborough, Constable, Van Gogh, Munch, Klimt etc.)
  • The first study on one of the most significant British artist groups to emerge in the 21st century
  • Features previously unpublished images and personal insights into the work of these contemporary painters
  • Will appeal equally to lovers of art, nature and the British countryside
  • Lavishly illustrated throughout 


Published in conjunction with an exhibition at St Barbe Gallery, Lymington 
23 April – 4 June 2016 



To look inside the book, please click on the cover image above


Extent: 128pp
Size: 270 x 210mm
Illustrations: over 70 full colour
Binding: softback
Price: £20

ISBN: 978-1-908326-86-7



Sansom & Co
81g Pembroke Road
Clifton
Bristol BS8 3EA

www.sansomandcompany.co.uk 

2016/01/07

Next exhibition

The Arborealists will stage their third exhibition at St Barbe Museum and Art gallery, Lymington. The Arborealists , 23rd April – 4th June 2016, will feature new works by 35 artists  and each will show just one work to emphasise the diversity of art practice prevalent within the group – in terms of size, medium, style and philosophy.

The exhibition will be accompanied by a new publication on the group. This will include an introduction on art historical links, the origins and development of the group by Tim Craven, an essay entitled “Why do Artists Paint Trees” by Dr Angela Summerfield, an essay entitled “Cultivation of Trees and western Culture” by Philippa Beale and a survey on of the work by the exhibiting artists by art historian Peter Davies. The catalogue will be fully illustrated together with a statement by each artist.

St Barbe is an excellent art gallery in the heart of the New Forest and was the venue for the group’s originating exhibition, Under the Greenwood: Picturing the British Tree in 2013. It’s great to be back with more and new artists!



Ann Arnold 1936-2015

Ann Arnold exhibited with the Arborealists at The Royal West of England Academy, Bristol, in 2014 and at Mottisfont Abbey NT, Romsey, in 2015. She also showed in the seminal Under the Greenwood: Picturing the British Tree exhibition at St Barbe Museum and Art Gallery, Lymington, in 2013 – the originating exhibition for the Arborealists. Ann was a brilliant artist with an strong personal, pastoral vision and she will be sorely missed.

Ann was born in Newcastle-Upon-Tyne and brought up in Surrey. She was educated at Sutton High School for Girls. Despite being beset by illness, she graduated in painting at Epsom School of Art. Also in Epsom she was introduced to the Burgh Heath Centre for the care of young people with mental illness, where a range of the arts, music, drama and especially painting were employed as therapy. At the forefront of a new profession, Ann trained to become an art therapist, working in many hospitals and she also assisted with setting-up the first degree course. Ann later founded the Association of Art Therapists. In 1961 she married the painter Graham Arnold and together they, and David Inshaw founded the Broadheath Brotherhood of artists, the forerunner of the celebrated Brotherhood of Ruralists of which she was also a member. 
The Brotherhood of Ruralists staged its inaugural exhibition at The Royal Academy in 1976. The seven members who included Peter Blake of Pop Art fame, proclaimed to express through personal vision and experience of their native heritage, a celebration of the English countryside. A ruralist is defined as someone who moves to the country from the city, and this was largely true of the group. The brotherhood believed that Romanticism was a neglected strand in British art, and that if re-introduced, might solve some of the problems that they believed were rife in much of contemporary painting. They looked for inspiration to the art of William Blake, Samuel Palmer and the Brotherhood of Ancients, the Pre-Raphaelite Brotherhood and to Victorian painting, design and photography in general. They profoundly disagreed with the view espoused by modern art orthodoxy that the sensibility and practice of their favourite nineteenth century artists were merely an eccentric dead-end and marginal to the progression of mainstream western art.

The Ruralists’ unfashionable stance however struck a chord and with assistance from substantial media publicity (including a BBC film) and various sell-out touring exhibitions, enjoyed huge popular success. Espousing a Romantic approach to art and life, their vision is encapsulated by a John Piper quote as: of something significant beyond ordinary significance, something that for a moment seems to contain the whole world and when that moment is past carries over comment on life or experience besides the comment on appearances.

In 1974 Ann and Graham moved to south west Shropshire where they acquired a steep hill of 50 acres. With the help of a tree specialist friend, they planted 6,000 trees on the hill. Ann was continuously inspired to draw and paint the surrounding landscape and she exhibited widely, at prestigious galleries throughout the UK and as far afield as Berlin and Tokyo to universal acclaim. Ann was an academician of the South West Academy of Fine and Applied Arts.

Tim Craven