This collection features three artists: Ann Bradford (Paintings), Siân Armstrong (Skye Tree Drawings), and Caroline Forbes (Landscape Photography).

Ann Bradford:

After studying fine art I managed to avoid painting or ‘doing art’ for almost 25 years. It was only after my sons decided to buy me a huge box of art materials for my birthday one year that I rediscovered my love of drawing and painting.

I enjoy exploring combining different materials and mediums. At present I have been working with ink, often combined with other materials such as watercolour, fabric, paper etc and generally just having fun on my journey to growing old disgracefully….

Siân Armstrong:

Original Pen & Ink Drawings

Sîan Armstrong lives and works on the Isle of Skye, which is a mountainous and beautiful island. ‘Trees in this part of the world have a hard time of it due to the climate, especially the constant onslaught of the wind and the frequent storms. As a result, over time they often develop interesting and marvellous forms and shapes which appeal to my imagination.

Trees have always been important to the human race and everyone relates to them in their own way. Over the last few years I have been exploring possibilities in the forms of trees – both real and imaginary ones – as they are infinitely variable; each one is unique and each one seems to have has its own personality.’

Sîan resumed art about fifteen years ago after doing other things such as farming and environmental psychology. Her trees are drawn mostly in pen and ink on Aquarelle paper with limited use of watercolour and gouache. Being interested in form, detail and pattern, her trees are often mistaken as woodcuts, but they are all hand drawn.

Caroline Forbes:

Over the years Caroline Forbes have been involved with many publishing companies including Faber and Faber, Harvill, Secker, Penguin, Harper Collins and Atlantic Books also various magazines – The Independent, Wire and Gardens Illustrated.

Her literary work continues today with work for the National Poetry Archive which was set up by Andrew Motion and Richard Carrington as a national resource for people to listen to poets reading their work.

As well as literary portraits Caroline was commissioned to take photographs for a couple of landscape books – The 3 Peaks of Yorkshire and The Drovers Roads of Wales – part 2.

Now photographing landscapes for pure pleasure remains a great enthusiasm.

Exhibitions of her landscape work and portraits of writers and musicians have been shown nationally and internationally at venues including The British Library, Shaw Theatre in London and various regional Arts Centres in UK and Northern Ireland as well in Minneapolis.

He studied at Medway Art School in Kent and in 2017 he was awarded a year long scholarship with SoFAP (the Society of Fulham Artists and Potters). He currently has paintings on display at The Waterside Gallery in Barnes. His Instagram Page (@kingsweny) is followed by world-renowned painter Hughie O’Donoghue and his work is endorsed by British Female Artist of the Year, Sarah Shaw. He is alo a member of Artists At Home, has sold paintings at Chiswick Auction House and has exhibited at Brick Lane Gallery, Fulham Exhibition Hall, The Hogarth Club in Chiswick and The Tideway Gallery in West London.

The project is run in partnership with William Morris Sixth Form and has for aim to boost the participants’ self-confidence through personal and social development and to fire the imagination through creative thinking. The project focused on developing transferable skills such a literacy, numeracy and ICT, that could be used in employment and to facilitate the transition to post-16 education.

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Tessa Horrocks is a printmaking artist who uses the intaglio technique collagraph to create her images. Even though she has lived in London for the last 15 years, she is still very much influenced by the natural world and the positive energy it brings her. Tessa grew up in the countryside and spent a lot of her childhood in fields and forests, it is the joy of these surroundings and being immersed in the miniature world of plants and insects that has stayed with her throughout her life as an artist.

Tessa rarely starts with a rigid idea of how an image will look; she often works directly on the plate and lets the materials lead her. She enjoys the excitement and freedom of working like this, until a composition appears – often a sort of imaginary landscape. Tessa uses a mixture of dry point and collagraph techniques, her plates are made from card which she draws into with a knife, sometimes tearing it, then adding simple things like wood glue, sellotape, masking tape, and sometimes carborundum grit (a fine sand). These give different textures and gradients of dark and light when inked up and rubbed away. All her work is printed on Somerset paper, using an etching press. The fragility of the plates means the editioning is kept short and Tessa often makes unique one-off prints.

www.tessahorrocks.com

Siân Armstrong is an artist who lives and works on the mountainous and beautiful Isle of Skye. She resumed her art practice about fifteen years ago after doing other things including farming and environmental psychology. Her series of trees are drawn mostly in pen and ink on Aquarelle paper with limited use of watercolour and gouache.  Being interested in form, detail and pattern Siân’s work is often mistaken for woodcuts, but they are all hand drawn.

“Trees in this part of the world have a hard time of it due to the harsh climate, especially the constant onslaught of wind and the frequent storms. As a result, over time they often develop interesting and marvellous forms and shapes which appeal to my imagination.  Trees have always been important to the human race and everyone relates to them in their own way. Over the last few years I have been exploring possibilities in the forms of trees – both real and imaginary ones – as they are infinitely variable; each one is unique and each one seems to have has its own personality.

I have always been interested in the small-scale patterns and repetitions found in nature, rather than the large scale.  I particularly like the quirky oddities: trees which grow at a funny angle or sprout out of the top of old buildings; or plants that flourish where conditions are not great for them like the dandelion that has been pulled up many times but refuses to stop growing on my front doorstep; or patterns of stones in walls; or reflections through broken windows; or leaves on water; or the way the rust has developed on an old tractor in the corner of a field; or knotted bits of fishermen’s netting found on a quayside”

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Susan started drawing at the age of 6 and honed her painting skills from the age of 16 years old when she enrolled at Sunderland College of Art. She then went on to study painting further at Arkwright Road School of Arts in London and developed her drawing skills under the tutelage of John Cass at Whitechapel.

Susan has previously exhibited her work at the Baron’s Court Project and at Barons Court Library. All of Susan’s work is acrylic on canvas, and she is influenced by the work of David Hockney, Stanley Spencer, Gauguin, Matisse and Magritte.

]]> https://www.apothecarygallery.org/local-artists/tandoori-imagery-an-exhibition-by-susan-taylor/feed/ 0 https://www.apothecarygallery.org/young-artists/angel-10-technicolour-hop/siobhan-belingy/ https://www.apothecarygallery.org/young-artists/angel-10-technicolour-hop/siobhan-belingy/#comments Sun, 02 Oct 2016 11:55:17 +0000 http://www.apothecarygallery.org/?p=1538 Belingy looks at Greece both ancient and modern as Saint John wrote the Biblical book of Revelation 10 on the Island of Patmos. She mixes up the narrative in Revelation 10 and interjects her contemporary take. John the Revelator becomes John the Modern. John has to visit an apothecary for a prescription and treatment because of his bitter condition after eating the scroll. Belingy’s works are site-specific to the Apothecary Centre and its activities. She has designed a towel and pillow case with striking rainbow tones for the Apothecary Centre’s massage bed. Her small sculptural works informed by modern medical instruments and ancient Greek medicinal practices will be placed in and around the gallery space. This will have you ‘technicolour hopping’. Once leading in medicine, the meltdown on the Greece’s healthcare system as a result of the crippling debt crisis is also a concern in the body of work. You can also expect to see plastic jars filled with small drawings and sculptures, postcards and The Rainbow Issue Zine.

http://www.siobhanbelingy.com

Drawing from her background in fashion and textile design Rhiannon Davies covers her garment in purple spikes as an expression of discomfort and comfort complimenting the conditions of John the Revelator after consuming the scroll. In other mixed media works Davies refers to The Great Disappointment event experienced by the Millerite movement in 1844 whose warning of the advent appeared initially all in vain. The collage cut-outs of mirrors and other objects symbolising vanity are trampled upon by her clay angel foot sculpture, reminding one of the temporality of material possessions and indicating how an even stronger movement was born from The Great Disappointment- the Seventh Day Adventist Church. Davies introduces another character, a weeping woman. She prints the image of the woman on her red satin textile creation. This item stands as a testament to the Millerite movement’s persistence to unveil biblical prophecy in spite of adversity.

 

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