These photographs were taken yesterday at The Locker Cafe in Cambridge. The exhibition of paintings and photography runs from 19th July – 19th August. If you are in town do come along and take a look. The Locker art cafe is located at 54 King Street, just opposite Tindalls art supplies.
Just completed setting up the exhibition last night at the Locker Cafe. Many thanks to John, the owner of the Locker art cafe for his assistance with the hanging process. I will visit the cafe over the coming weekend when it is busy and full of customers… Maybe take a video to give you an idea of the overall layout and lively atmosphere. Don’t forget, if you are in town, take a break from your shopping, have a coffee, a bite to eat…enjoy the artwork.
Gilded Shore is an abstract painting in terms of technique, style and intention. It is based on the flat, open landscapes of the East Anglian, Cambridgeshire Fenland. Semi transparent glazes give depth and luminosity as light is reflected through the layers of pigment. The variegated surface of the painting is achieved with thickly applied bitumen and cold wax medium. The lustrous quality or sheen is achieved through a combination of burnishing the wax surface and interleaved layers of metallic paint. A variety of tools and implements have been used to create incisions, marks and subtle textures that can be read as earth, sky, and water. The restricted references to three dimensional space is designed to create a subtle counterpoint the pictorial flatness of the deep raw and burnt umbers.
Exhibiting artists compete for the Cambridge Art Awards with a top prize of £500, runners-up awards of framing prizes kindly provided by Milton based HMC Framing and this year the Top Twenty chosen artists will go forward to a two week exhibition at the Babylon Gallery in Ely.
Interviewer Frankie Lowe of Cambridge TV discussing the new exhibition ‘Cambridge Envisaged’ with Peter Corr at the Michaelhouse Centre today. The interview can be seen on Thursday evening and also includes talks with artists Paul Janssens and Caroline Forward.
‘Mercurial’ is a painting I have just completed for the ‘Cambridge Envisaged’ Exhibition; the composition, structure and style closely follows the other images in the series. I have retained the square format, recurring geometric shapes and warm tonality seen in previous works. The influence of American abstract expressionism is visible in the flatness and absence of overt representation; at the same time I have tried to convey a sense of the architectural qualities of the city of Cambridge. The painting is designed as a bridge between two different vantage points, an aerial or plan view of buildings, rivers and parks and a vertical ‘stacking’ of these interconnected and interchangeable motifs. The Cubists kaleidoscopic rendering of physical objects and space has liberated us all to see the world through our own eyes and intuition.
Delighted to learn that the website for ‘Headstart Day Nursery’ has been nominated in the Cambridgeshire Digital Awards 2016 category for School, Education & Charity. The website is one of 6 recently designed by Catfish Web Design & Cambridge Marketing Consultancy for a group of private nurseries across the UK. Why am I telling you this? It has been my privilege to be the photographer for Cambridge Marketing Consultancy working on these and other projects.
I thought I would tell you something about my working process. My studio is a partially converted garage; I used to work alongside bikes, washing machines, lawnmowers and assorted gardening equipment but since I started to work on a larger scale, this became increasingly problematic. I was also receiving too many complaints about the paint marks on the ‘white goods’. Every painter needs space!
The inspiration for this series – based on the city of Cambridge – came from my many visits to the town. As a photographer, I must have taken literally hundreds of photographs of the streets and college buildings and I believe I know the city extremely well. I have always admired the paintings of German artist Anselm Kiefer and I am aware that he often begins many of his large scale pieces by working over photographs. I began each of these paintings by working over small monochrome prints, using them as a sort of visual trigger or catalyst. I also included a range of collage elements to generate compositional possibilities and ideas. The fact that none of the original photographs are visible in the final painting is immaterial; they played the important role of ‘icebreaker’ and opened the way for new avenues to be explored.