2016/10/18

The Arborealists at Waterstones Piccadilly on Friday 28th October 2016

The Art of the Tree

on Friday 28th October 2016, 06:30 pm

Join members of the Arborealist group on Friday 28th October 06:30 pm at Waterstones Piccadilly bookshop to discuss their work and the significance of trees in their art. 


The Arborealists: The Art of the Tree


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

Waterstones Piccadilly
London - Piccadilly
203/206 Piccadilly
London, W1J9HD
www.waterstones.com





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

128 pages, over 70 full colour illustrations, including works of :

Jemma Appleby, Mary Anne Aytoun-Ellis, Jo Barry, Richard Bavin, Philippa Beale, Mick Bennett, John Blandy, Karen Bowers, Guillaume Brandy, Brandy-Dalschaert, Robert Brooks, Hannah Brown, Emma Buckmaster, Peter Clossick, Gary Colclough, Tim Craven, Blaze Cyan, Francis Dalschaert, Celia De SerraSimon Dorrell, Michelle Dovey, Janet French, Sarah Harding, Dan Hays, Fiona Hingston, Abi Kremer, Ffiona Lewis, Hannah Maybank, Fiona McIntyre, Wladyslaw Mirecki, Annie Ovenden, Alex Pemberton, Julian Perry, Howard Phipps, Michael Porter, Nick Schlee, Lesley Slight, Angela Summerfield

2016/10/14

The Arborealists at Vaux

The Arborealists visit Vaux
to prepare future exhibition near Poitiers in July 2017


From 14th to 16th October, a group of Arborealists visited the village of Vaux and its area, near Poitiers, France.

Their purpose was to collect images of trees for paintings to be exhibited at Le Dortoir des Moines, Saint Benoit, near Poitiers, France in July 2017.

Saint-Benoit Abbey
near Poitiers

Les Arboréalistes visitent Vaux
et préparent leur future exposition à Poitiers en juillet 2017

Du 14 au 16 octobre un groupe d'Arboréalistes a visité le village de Vaux et sa région afin de collecter des images d'arbres en préparation de leur exposition au Dortoir des Moines de Saint Benoit en Juillet 2017.

Arborealists and their friends
at Francis and Guillaume studio in Couhé

The old bridge at the village of Vaux
upon the river "La Bouleur"

Philippa Beale presenting her work
'Chemin de Croix' or 'Stations of the Cross'
at the XII th. century Church of the Virgin at Vaux

Carved corbels called "modillons"
on the facade of the church of Vaux

The river "Le Clain" at Anché

2016/09/25

"A Tree Within" by Arborealist Fiona McIntyre

"A Tree Within"

An exhibition to coincide with the publication of Arborealist artist Fiona McIntyre new book 'A Tree Within'.

A monograph with interview by Art Historian Dr. Alan Wilkinson and a foreword by Southampton curator Tim Craven. The book explores Fiona's artistic development from Edinburgh to Scandinavia to the Cotswolds until her recent incarnation as an Arborealist.


http://sansomandcompany.co.uk/shopping/fiona-mcintyre-a-tree-within/



Exhibition
14th September - 31st October
The Bishop’s Palace
Wells - Somerset - BA5 2PD

Telephone: 01749 988111
Jo.watkinson@bishopspalace.org.uk

https://bishopspalace.org.uk

http://www.fionamcintyre.com/index.aspx?sectionid=1212414

2016/09/03

Robert Brooks

Robert Brooks
mbbrooks@hotmail.co.uk



As a landscape painter, primarily my objectives have always been to keep the subject and ideas as simple and as coherent as possible. Trees for their beautiful shape and structure fascinate me and provide much inspiration for my work.  Shapes, sizes and relationships, both in colour harmonies as well as drawings are not to be ignored. This emphasis was pummelled into me whilst studying at the Slade School of Fine Art in London, where strict painting methods, including measuring were applied.

Robert Brooks
Large Oak at Throop

Focusing and being truthful to one’s own integrity in art brings much into the drama and beauty of an original artwork. My method was developed and inspired through my tutor Patrick George, who helped me to focus my ideas; as well as one of my muses Cezanne; who’s sheer and direct work got straight to the point of shape and colour, which has influenced my work massively.

Through my early career in the 80’s my style and progression has developed, initially from a somewhat naïve perspective, I have channelled my efforts into simplicity, drawing out the natural beauty seen from the eyes perspective.

When painting on the Purbeck Hills in Dorset, Corfe Castle usually takes on a significant role within my compositions and panorama studies; it does tend to lend itself from any angle and distance.  Seeing a painting slowly come into being; causes much excitement and inspiration towards myself, as well as much joy into my work.

Robert Brooks
Tall Oak at Burley

Not always knowing where to start on a picture can often pose a challenge, but bringing everything together, be it in whatever medium or subject I find myself drawn to; this challenge is frequently what gives me much enthusiasm towards my main pursuit.

2016/08/26

Westonbirt Treefest

The Westonbirt Treefest exhibition will showcase the work of about 12 Arborealists and their new fully illustrated publication will also be on sale.


Westonbirt Arboretum
26th August - 31st August


The Arborealists are a 40 strong group of artists of diverse art practice who share the subject of the tree. From 2013 these artists have joined together for exhibitions in galleries across the south of England to national acclaim, including The Royal West of England Academy, Bristol, and St Barbe Museum and Art Gallery, Lymington. 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.

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


2016/08/05

Art Historian Sister Wendy congratulates The Arborealists

Sister Wendy has written to St Barbe Museum, Lymington, to congratulate us on our exhibition earlier this year.

The art historian and TV presenter, who now lives a hermetic life at a nunnery in Norfolk, wrote to say how much she has enjoyed reading the fully-illustrated catalogue of The Arborealists.

Sister Wendy shot to fame in the 1990s when she presented programmes, such as ''Sister Wendy's Odyssey'' and ''Sister Wendy's Grand Tour,'' which often drew a 25 percent share of the British viewing audience. Sister Wendy made her U.S. debut on U.S. public television and that same year The New York Times described her as "a sometime hermit who is fast on her way to becoming the most unlikely and famous art critic in the history of television."

In her letter, Sister Wendy says: 

"The Arborealists catalogue has been a great joy to me. It's a magnificent concept and so well carried out". 



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.