2017/07/02

Dortoir des Moines de Saint-Benoît

The Arborealists
Les arbres de la Vienne

Poitiers, France
du 3 au 31 juillet 2017


9h - 12h30 et  13h30 - 18h
du lundi au samedi
Monday to Saturday



Ouvert dimanches 9 et 30 juillet
Open on  Sunday 9 and 30 July
de 13h30 à 18h


Vernissage vendredi 7 juillet
Private view Friday 7 July


17h30 - 19h30


Trente artistes internationaux




Jacqueline Wedlake Hatton, Snake, Serpent



Fondé en 2013 au Royaume-Uni, le groupe 'The Arborealists' rassemble aujourd'hui une cinquantaine d'artistes internationaux réunis par leur intérêt commun pour les arbres, pour leur représentation et leur préservation. Ils organisent régulièrement des expositions Outre-Manche et présentent pour la première fois leurs travaux en France à Saint-Benoît.


Office de Tourisme/ADECT
11, rue Paul Gauvin
86280 SAINT-BENOIT
Tél/fax : 05 49 47 44 53
ot@saintbenoit86.fr
www.ville-saint-benoit.fr

2017/07/01

The art of trees 2017

New Arborealists publication

in collaboration with


Cover: Cerisiers en fleurs sous la neige, Fukushima, Cherry blossoms in th snow, Fukushima, by Brandy-Dalschaert

Bilingual catalogue English/French
Catalogue bilingue français/anglais
ISBN 978-0-9555510-5-5
Published by Plato-Beale Productions

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

2017/06/06

Ann Blockley

Ann Blockley
ann@annblockley.com
www.annblockley.com


When I was seven I lived under a rhododendron bush in The Wood. It was my Gaudi palace with its complex architecture of intricately woven branches, twisting, carved columns studded with the ruby reds of sumptuous flowers. It was my secret haven where I could stand on a throne of logs to recite the poems in my head and make drawings. The rooks were my companions and a mossy carpet embroidered with the stars of fallen blossom was my playground. 

Ann Blockley
Teasels by the pond

Years later I visit a different group of trees. I watch a new generation of rooks gather and swoop and listen to their cacophony of sound as the sun lowers itself into the tangled black lace of the treetops. I am no longer a princess with palace but I imagine myself to be an artist and I collect leaves and acorns, thoughts and words and feel my way into the moods and seasons of nature. I imagine I am a creature scrambling through earthy tunnels under the brambled hedgerow, weaving my way around gnarled roots and burrows.  I imagine I am a bird, perching in that hedge with its skeins and creeping ribbons of berries.  I watch the light pierce through gaps in the labyrinth of marks and shimmer in the ponds where I see the entangled trees and undergrowth reflected.

Ann Blockley
 Last light in the woven hedge

I take these thoughts back to my studio which is built from ancient beams of oak and elm. Here I can remain connected with the poetic, organic world of the woodland, hedge and field. I let the paint flow and mingle, using marks in ways that evoke and suggest something of nature’s words and imagery. The challenge is to convey a mood and create an air of mystery or magic. The aim is to subtly alter reality into something more elusive. I enjoy playing with marks that are intriguing in themselves and sometimes merely allude to the facts. However, I am influenced by the way that the wanderings and happenings of paint often echo nature itself. 

Ann Blockley
Wild woodland tapestry

I sense my paintings are changing, growing, some shoots are withering, others are flourishing in fresh directions- just like the trees that have always informed them and influenced me. 

Ann Blockley
River Sunset

Jelly Green

Jelly Green
jelly_green_1992@hotmail.co.uk
www.jelly-green.com


John Fowles: “Trees are like humans: they need their pasts to feed their presents”

Jelly Green
Leaves in an English Wood, watercolour on paper, 2015, 29 x 151 cm

I have always been drawn to woodlands. That sense of stepping into another world, another story: a place of mystery, bursting with a vibrancy and life that feeds the imagination and palette.

Jelly Green
Puzzlewood, oil on canvas, 2016-2017, 152 x 183 cm

As a child, I spent long periods of time in a native British woodland on my Grandparents farm in Suffolk. Over the course of the year I would watch the leaves change colour: the vivid green canopy of oaks, ashes and hornbeams in the summer months gradually fading away as the autumn approached, until all that was left were the bones of the trees, brittle against a grey sky, and the occasional drumming of pheasants battling with the branches overhead. The melancholy of winter then giving way to hope as tree buds begin to unfurl in the spring. British trees and woodlands are markers. They mark time and place. This is something that I try to reflect in my work. 

Jelly Green
Ancient Oak Glemham 2, charcoal on paper, 2015, 84 x 60 cm

I carried this woodland within me when in 2015 I went to Brazil to paint the rainforest. Nothing, prepared me for the explosion of colour and sound on my arrival. The denseness of light and dark, the sheer scale of the trees, was both breathtaking and humbling, and inevitably, hugely inspiring for my work. It is difficult to conjure that sense of ‘being' - of living and working in such an enormous ‘organism’ that sustains so much life. Each tree is an entire world in its own right, its trunk and limbs home to monkeys, bats, spiders, sleuths, moths, parrots …. Night as busy, if not busier than day. 

Jelly Green
Winter Rendham 1, oil on canvas, 2013, 13 x 18 cm

When beginning a piece of work I usually start by making several charcoal drawings and smaller oil or watercolour paintings with the subject in front of me. I then take these studies back to my studio to work from for a larger canvas. I find working in-situ incredibly important as it keeps a painting moving, there is a real sense of immediacy when painting outdoors. Landscapes change enormously throughout a day, one minute it can be wonderfully bright and then suddenly completely darkened by a passing cloud. This can at times be very frustrating but also very freeing, it helps to keep the paint fresh, which when working in the studio can have habit to become overworked.

2017/04/29

Lady Park Wood Project

Lady Park Wood Project 2017-2018


The Lady Park Wood collaboration first began as the result of an invitation by ecologist George Peterken after he stumbled across the 'Arborealists: Art of the Tree' catalogue and had the vision to recognise the benefits of working together on an ecological/artistic project. 

Lady Park Wood is an ancient wood above a gorge in the lower Wye Valley.  As a scientific experiment it has been left unmanaged for over 70 years, studied and recorded by George Peterken who is a renowned woodland ecologist.  

George invited the Arborealists to come and work in the wood and respond in our own way as artists, the first results to be shown in Monmouth Museum in May 2018 as part of the Wye Valley River Festival.  

As you can see from the photos of Lady Park Wood the inspiration was plentiful and we were grateful for the chance to explore and record this fascinating landscape.
(Richard Bavin)


First Arborealists weekend in Lady Park Wood
29 & 30 April, 2017

2017/04/03

Nature in Art Gallery and Museum, Gloucester


The Arborealists
at Nature in Art Gallery and Museum, Gloucester

11th April 2017 – 14th May 2017

natureinart.org.uk/event/the-arborealists/


"A celebration of trees, with work almost exclusively by members of The Arborealists, a group of 43 artists with a national profile, from Wales to East Anglia and Sussex to Cornwall, of diverse art practice, philosophy, scale, medium, style and technique, who share the rich and versatile subject of the tree."