2016/06/17

Jacqueline Wedlake Hatton

Jacqueline Wedlake Hatton
wedlakehatton@icloud.com
www.jacquiwedlakehatton.com


My recent work is focussed on small pockets of ancient woodlands on Dartmoor such as Wistman’s Wood and Hucken Tor. These I have chosen because of their wildness and for the unusual shapes of the trees there. The habitats of the moorland trees is very specific in terms of altitude and terrain. This geology results in unusual growth patterns and a proliferation of mosses which grow on the trees and everything around them. I am Cornish and to some extent my work pays homage to the ancient Cornish culture which is so bound up with nature and the landscape. However, it also references the processes and influences of technology and how those infiltrate our experience of even the most natural sites in our landscape. 

Jacqueline Wedlake Hatton
Insider, Oil on canvas, 1 m x 1 m, 2015

I have allowed my love of the beauty of woodlands a free rein in my recent paintings. However, I find that other themes emerge and what appears on the canvas is more than a simple image of woodland. Intuitive gestures made with paint belie the complexity of the relationship between circumstance, locality and context.  The ancient trees that are my current subject are so old that they represent the concept of time, they link my consciousness to the lives of my ancestors and their scarcity is a reminder of the deforestation that is so threatening in our post-modern era. So a landscape painting is never just a landscape but has this interestingly dream like aspect, interwoven and interconnecting, where all of those themes coincide. 

Jacqueline Wedlake Hatton
Fogged, oil on canvas, 1 m x 1.20 m, 2016

With regard to the process that initiated my current work, locating my 'voice' is a triangulation between memory, photography and canvas or hand, eye and mind. What I have found is that my voice is an amalgam, its constituent parts being those of myself, with mechanical processes and products - such as photography. I am surprised and intrigued by the way these aspects blend together on the canvas. 

Jacqueline Wedlake Hatton
Snake, oil on canvas, 1 m x 1.20 m, 2015


Dans mes derniers tableaux d'arbres la photographie a exercé une influence marquée sur ma perception visuelle et sur mon style de représentation. On dit de la peinture qu'elle reflète tout ce que l'artiste est et a éprouvé. Par conséquent, inscrits dans les couches de couleur se trouvent non seulement mon expérience de la peinture, mais aussi l'expérience culturelle de grandir en Cornouailles, mes centres d’intérêt artistiques et scientifiques, la culture pop et ainsi de suite. Dans mon esprit tout cela complète un cercle qui relie le physique à l'éthéré, donnant forme à l'expérience et aux idées lorsqu'elles rencontrent des « réalités ».

Inévitablement, je suis surtout attirée par les arbres qui ont quelque chose d’inhabituel dans leur forme, témoignage de la façon dont l'arbre a répondu aux événements et aux conditions de son environnement. De plus en plus, je suis consciente des histoires que les gens attachent à de tels arbres. Et ce n'est pas moins vrai des histoires qu'un public se raconte au sujet des peintures. Lorsque je réalisais les études sur les arbres de la région de Vaux en France, je me rendais compte que j'étais moins empêtrée dans mon propre bagage culturel. Et je peux discerner une plus grande légèreté dans les études que j’y ai faites.

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!