2019/06/02

Sarah Gillespie

Sarah Gillespie
studio@sarahgillespie.co.uk
www.sarahgillespie.co.uk


Everything begins with stepping outside.  

Sarah Gillespie
Absence, mezzotint engraving, 16” x 16”

The whole work is how to step over one’s threshold, outside of one’s self, and make enough space to allow existence – specifically the existence of the more than human world - to presence itself.   All my work is of very familiar places here in Devon, so walking, drawing, memory and long, careful observation play a crucial role.  

Sarah Gillespie
Sun speaks to Sap, silverpointl, 27” x 40”

The natural world once you start to really see it can be overwhelming and one has to be calm and make selections, be still and see what is in front of you.   One is looking, always looking for how much one can see and then leave out in order for the drawing to find its poetic resonance. The whole becomes – much as trees already are - a mystic dance between the interior life and exterior weather, the turning of the spheres and the turning of memory.

Sarah Gillespie
Grace and Ash, charcoal 40” x 40”

I relish difficult, or even obsolete methods and materials.  The difficulty is important - there is something to be said for a lack of choices, or the deliberate limiting of choices. Something interesting is always revealed in renunciation. For me when I gave up colour, elements usually hidden, or more accurately passed-over in the landscape became present to me in the secrets and details of the woods and water, moths, hares and birds.  I simply saw more if I wasn’t busy mixing colours.  

Sarah Gillespie
Deep Lane, charcoal, 27” x 40”

Without wishing to self-agrandise, I would like to be, in some small way, an advocate for the more-than-human world, for the complex beauty of trees, for what little is left of what is natural and wild on these islands. I believe, to misquote Yeats, that we ache to press our hearts against what remains of loveliness and I am absolutely not interested in self expression.


Sarah Gillespie
What Remains, silverpoint, 36” x 36”

2019/06/01

Nahem Shoa

Nahem Shoa
nahem.shoa@aol.co.uk
www.nahemshoa.co.uk


Nahem Shoa
 New From Nowhere, 2019, acrylic on canvas, 122 x 304 cm

For over 30 years I have loved drawing and painting all types of trees, their gnarled twisted form, strange branches, growths and usual bark has captivated me. Whether I draw or paint in front of them, or there forms linger in my imagination, trees for me are the inspiration that unlocks my emotions and feelings in my art. They are incredibly hard to draw and demand your total concentration and powers of perception to paint and draw well and its only now at nearly 50 that I feel about to draw and paint their portraits. I have always been a good listener and have an ability to convey in paint true feelings because the more I observe things, the more open and un judgmental my vision becomes, which lets me see freshly and allows my subjects speak their own truths. 

Nahem Shoa
Large oak tree in Holland Park, London, 2018, pencil on paper, 29.7 x 42 cm

In the beginning to 2018 after two years painting 3 metres paintings on the theme of Paradise and Paradise Lost for a group show( IntoThe Wild Abyss) at The Royal Albert Memorial Museum & Art Gallery in June 2017. I spent the first two months painting a new 3.6 metre long forest painting (Other Worlds) it was partly based on a few tree drawings, memory of forests and my imagination and the final painting turned out to be in terms of my own work a breakthrough, a new kind of painting for me.

Nahem Shoa
Scots Head Domenica, Antoine seated, 1999

This has inspired me to do a series of forest paintings so For the last 4 months I have spent hours making drawings of trees in city parks and heaths, and for me I see them as forests of the city. Over this time I found a way of drawing solely by mark making that seems for my own art to be a bridge between observation and the imagination. The Forest is a fragile thing, whilst I was drawing trees, millions of acres of forests around the world were being destroyed by huge forest fires.

Nahem Shoa
Giant London Plane Tree, 2008, oil on canvas, 122 x 154 cm

In the daytime the forest feels sweet and welcoming, but at night they are scary places to enter, every fable,poem, story, film and novels you have seen and read makes us all terrified to enter the dark forest because we know all the dark creatures of the night, ghosts and spirits start to wake up.( A perfect metaphor the the artists studio) There is a time in-between day and night, sometimes called the blue hour, which is mysterious, hauntingly beautiful and I want to turn my artist fingers into magic wands to convey this. Just like the 14th century poet Dante, I want the viewer to be able to enter the underworld, see all of the terrible things of our modern world and then make their way back to the light with their heart filled with love.



Nahem Shoa
Plane tree in Kensington Gardens, London, 2018, pencil on paper, 29.7 x 42 cm

Our relationship to nature is reaching a critical point and our hyper capitalist model is destroying the planet for profit. We have to find a different path in the forest to take us to the light.

Nahem Shoa
Other Worlds, 2018, acrylic on linen, 70 x 366 cm

2019/03/08

Private View Collegiale Sainte-Croix de Loudun, France 8 March 2019

Attended by the Mayor of Loudun and town officials, several of the exhibiting Arborealists and members of the public, this imposing building housed a private view of the exhibition 8 March.
Speeches were made by the Mayor and Philippa Beale to introduce the Arborealists and welcome all to this awe inspiring show.

Expertly curated by Tim Craven and Philippa Beale the show fills this grand space offered by Sainte-Croix with its magnificent large open area housing the larger works on display and several niches with smaller works positioned towards the back. Some purpose made sculptures lined the centre of the space.

Attending Arborealists were Lara Cobden, Fiona McIntyre, Claire Cansick, Jaqueline Wedlake-Hatton, John Blandy, Guillaume Brandy, Francis Daeschert, Sandra Wroe, Philippa Beale and Tim Craven alongside guest artists Mike Dodd, Claude ? and Bengt Alders. 

To view photos of the installation, opening evening and the Arborealists enjoying France please click here.










2019/02/07

Annabel Cullen

Annabel Cullen
beljoss@me.com


Annabel Cullen
Branch, 42 x 59 cm

I am a painter of the human figure and a portraitist, and my sense of connection with trees arises from their anthropomorphic and emotive qualities.  I want to convey the sense of movement within the static form, as it can seem as though the very life-force energy, is discernible in, or at least suggested by, the formation of the trunk and bark of certain trees.  The sinuous and jointed qualities of many trees correlate with my studies of anatomy.  Then at other times the texture of some corrugated bark transforms itself into a landscape, and leads me into another world.  

Annabel Cullen
Muscle knot, 84 x 59 cm

Annabel Cullen
Carcass, 77 x 56 cm

Mostly I work on site in charcoal, graphite, ink and wash, lithographic crayon and conté, concerned with one particular tree’s physical presence, which can be overwhelming.  It is important for me to feel that.  Other drawings, more ambiguous, develop in the studio, loosely based on work made on site, or from imagination.  There are always pieces of bark, knotted and twisted branches in the studio which I have collected for study and inspiration.

Annabel Cullen
Crag, 84 x 59 cm

2019/02/05

Richard Thorn

Richard Thorn
thornart2@gmail.com
www.facebook.com/richard.thorn.391
www.richardthornart.co.uk
www.instagram.com/thornart2/?hl=en


Richard Thorn
Across the Lake, Charcoal, graphite & watercolour inks, 2018, 40 x 38 cm

Trees have always figured in my work. My preferred medium is watercolour but Gouache, watercolour inks, graphite and charcoal are now mediums I use frequently. This allows me to render trees with varying textural qualities, light and colour. 

Richard Thorn
May in the woods, watercolour inks, 2018, 64 x 50 cm

Living near to Dartmoor with its wide variety of trees was (and is) a major source of my subject matter - from the tangle of a woodland to a loan oak on the edge of a field. 

Richard Thorn
The Shining Teign, watercolour, 2019, 46 x 36 cm

Richard Thorn
Lena's land, watercolour inks, charcoal & graphite stick, 2019, 54 x 32 cm

A tree presents challenges in both its form and texture. No tree is the same and its that individual character that lures me to represent it.

Richard Thorn
Snow sketch, graphite, 2016, 29 x 20 cm

2019/01/31

Crispin Heesom

Crispin Heesom
c.heesom@btinternet.com
crispinheesom.com


I have always been fascinated by trees, even before I took up painting.  My earliest memory was of climbing a giant Cedar tree growing in my parent’s garden, of taking in its presence, smell and touch, looking down through the branches to the neatly mown lawn far below.  I remember finding the trees behind a walled garden, filled with birches, ash and copper beech and spending a whole summer painting there.  It was very much my secret garden

Crispin Heesom
Apethorpe bridge

A few years later I stumbled across a wood filled with ancient oak trees.  I had seen the same trees in an early 19th century painting when they were fully grown but now they appeared to be strangely shaped stumps a world away from the picture – but still magical in their own way.
I like to record landscape over a period of years in the in the village where I live, which is part of Rockingham Forest.  There is an area of disused quarries where Horse Chestnuts and Willows grow and I find it intriguing to see how nature has taken back control from a manmade landscape.

Crispin Heesom
Hills & Holes July

Monkey Puzzles are amongst my favourite trees and I remember going to “The Triangular Lodge” in Rushton and as I looked out saw a strange juxtaposition of Monkey Puzzles and Rapeseed fields.  Whereas, seen in a city context they always seem incongruous to everything around them, like some strange vestige from a previous time.

Crispin Heesom
Bluetree & Sandpit

Another inspiration has been a huge local Beech tree that was planted in the fifteen hundreds.  Despite its size, it is hidden by foliage on three sides, looming out like some” giant arboreal cathedral”.  I paint and draw it at different times of the day over different seasons and am always intrigued by the tangled root structure at its base, which itself has led to several paintings.
Often doing free interpretation studies, I aim to do the kind of work that is “infused” by nature, playing around with marks.  I like to work on the border between abstraction and figuration rather than rigorously copying from nature so that I can create a fresh image. 

Crispin Heesom
Walsingham blue tree

Many artists have inspired me, Frank Auerbach, Van Gogh, Chaim Soutine and more recently Max Ernst.  “The Frottages” of Max Ernst are particularly poignant in the way that such a small mark can become gigantic.  The directness of his marks seems to dwarf human scale and be a way of triggering the subconscious into a kind of alternative reality.  For me painting is often a kind of inspired muddle, a wrestling of experience rather than a standing back from it.  I have a somewhat primitive attitude towards nature – the sensation being what I paint about and what I paint with – an odd fusion between paint and subject in a search for a more primal visual language!

Crispin Heesom
West-Street

During the last year I have had main exhibitions in Peterborough Museum and the Yarrow Gallery, Oundle.  I have shown in the Leicester City gallery, Cambridge, Kettering, Stamford and twice in the Mall Gallery in London.  Previously, I have shown drawings in Viersen in Germany and etchings in Milan.  My work is featured in the Faland Warwick bequest in Peterborough and in the Graham Cooley collection.

2019/01/30

Alex Pemberton

Alex Pemberton
ajpemberton@btinternet.com
alexanderpemberton.blogspot.co.uk
www.abbottandholder-thelist.co.uk/alexander-pemberton
www.chappelgalleries.co.uk


The tree presents a special kind of enigma. It has specific character, shape, life cycle, habitat. But as a living organism it is in flux, ephemeral and elusive. It has solidity and weight yet is also transparent and appears to defy gravity. In this way it compels me as a subject, an aim of my work being to fix in a measured, organised way what is fluid and chaotic.

Alex Pemberton
Poplars in Winter, 2014, oil on canvas, 78 x 61 cm

I paint from life out of doors and trees often form a key part of the subject. As I live and work in London, the paintings tend to explore the relationship of nature to the city - as a tension between the geometry of the buildings and the restless shapes within trees and plants. 
Alex Pemberton
Rhododendrons, 1997, oil on canvas, 137 x 158 cm

L'arbre incarne un type particulier d’énigme. Il a son caractère singulier, sa forme, son cycle de vie, son habitat. Mais en tant qu'organisme vivant il est en évolution, éphémère et insaisissable. Solide et massif, il est aussi transparent et semble défier la gravité. Ainsi il s’impose à moi comme sujet, car un objectif de mon travail consiste à fixer de manière mesurée et organisée ce qui est fluide et chaotique.

Alex Pemberton
CherryTree, 2004, oil, 61 x 71 cm

Je peins la vie en plein air et les arbres forment souvent une part essentielle du sujet. Comme je vis et travaille à Londres, mes peintures tendent à explorer la relation de la nature à la ville - comme une tension entre la géométrie des bâtiments et les formes tourmentées des arbres et des plantes.

Alex Pemberton
Maryon Wilson Park, 1996, drawing, 64 x 87 cm

2018/10/02

The Arborealists at The Collegiale Sainte-Croix de Loudun, France March 2019

The Arborealists at The Collegiale Sainte-Croix de Loudun, France
9 March 2019


Les arboréalistes ont le plaisir d'annoncer qu'ils ont été invités à organiser une grande exposition en France au Musée Collégial Sainte-Croix à Loudun. C'est un très grand musée qui permettra à chaque artistes d'exposer plusieurs œuvres. Tim Craven, conservateur principal du mouvement Arboréaliste, s'est rendu au Musée pour rencontrer le conservateur en juillet 2017 avec les artistes Guillaume Brandy et Francis Dalschaert. Il a estimé qu'environ 90 œuvres occuperont l'espace d'exposition. L'exposition sera présentée du 9 Mars au 28 Avril 2019. 



. . . . . . . . 



The Arborealists are delighted to announce they have been invited to stage a major exhibition in France at  Musee  Collegiale Sainte-Croix in Loudun. This is a very large museum and will allow for each Arborealists to exhibit several works. Tim Craven, Senior Curator of the Arborealist movement visited the  Museum to meet the Curator in July 2017 with  the artists Guillaume Brandy and Francis Dalschaert and estimated that approximately 90 works will fill the exhibition space.The exhibition will run from 9 March - 28 April 2019.

Loudun is a substantial medieval hill-top city an hour’s drive to the north of Poitiers. The venue is a former church and is a large, beautiful and prestigious space. 

This project started in 2016 when a group of Arborealists visited the village of Vaux en Couhe to meet with French colleagues and to capture  the forests, woods and trees in the area. An exhibition in 2017  at the Musee Dortoirs des Moines at Saint Benoit near Poitiers was described in the local press as sublime. The culmination of the collaboration will be seen at the prestigious Musee Collegial de Saint Croix, Loudun in spring of 2019 where over 100 works of art from the Arborealists and their French guests can be seen featuring sites of special interest in France as well as individual trees.







Alex Egan

Philippa Beale

Fiona McIntyre


Fiona McIntyre