Guy is an experimental printmaker, exceptional draughtsman and highly talented young British artist. Working hard between his studios in London and Norfolk, Guy’s trademark experimental approach to printmaking presents an exciting mix of colour, gold-leaf and an original, contemporary take on the traditional art of etching.
Guy has created very few landscapes, the works shown here make a change from his contemporary wildlife etchings. These trees are drawn from those on the Holkham Estate in North Norfolk near to where Guy grew up. The Scots Pine was exhibited at a recent Royal Academy Summer Exhibition.
Guy has exhibited in Dubai, New York, and London and has his work is in private collections including Los Angeles, San Francisco, New York, Singapore and Hong Kong. Guy discovered his passion for print making during his time in Paris studying at the École Nationale Supérieure Des Beaux-Arts in 2010, when he became particularly fascinated with the traditional etching process. Following his graduation from Central Saint Martins School, in 2012 Guy trained as an assistant print maker under Mary Dalton and Stanley Jones at Curwen Studios, Cambridge where he had to learn at a fast clip how to master other types of print making. In both 2013 and 2014 Guy had his etchings selected to be exhibited in the Royal Academy Summer Exhibition in London.
Prior to undertaking a degree in Fine Art at Newcastle University, Cazalet completed a Foundation Course at Byam Shaw (now a part of St. Martins, UAL) and took a year to study at the prestigious Studio School in New York. Here, the focus was on the figure, but was entirely free from technical restraints.
Her rich and varied studies led her to an apprenticeship at the Sterling Studios, London: a specialist decorator’s workshop – where she explored working with materials – from metals to mirrors, glitter to gold leaf.
These experiences combined and an interest in colour, composition, history and origins of design have led Catherine to develop a unique style. While her classical training underpins her creative investigations, she longs for the abstract – and these dialogues are evident in her often vibrant and geometric output.
Catherine takes inspiration from Hockney, Picasso, Peter Doig, Henri Rousseau, Basquiat and Matisse.
For many years, Katarzyna’s work has reflected the unarranged, industrial harbour area of South Denes, Great Yarmouth, where her studio is located.
Originally from London, she studied at Hornsey College of Art and Manchester College of Art.
She has exhibited widely across East Anglia, most notably in ‘Reality’ at the Sainsbury Centre in 2014 and the Walker Gallery in 2015.
‘In the most beautifully melancholic way, Katarzyna approaches the depiction of the industrial buildings and roads with great softness and subtlety….and has chosen to depict the urban environment as a way of exploring its effects on the emotions of individuals.’ Sarah Bartholomew, Reality Catalogue, SCVA
Harry Cory Wright is most famed for his photographic work which is made using large format analogue cameras and explores ideas of outdoor place, landscape and how we hold ourselves within it. The photographs are generally quite large and full of rich and fascinating detail. The drawings on the other hand are spare and minimal, often made with a single gesture of ink on paper. If his photographs represent a single moment rich in complicated layers and relationships of detail then the drawings, in spite of their implied simplicity, are an accumulation of these experiences over many years of immersion in British landscape.
In this fascinating quest for the elemental aspects of our landscape Harry is inclined to bring down the themes to a minimum. His work concentrates on woodland scenes evoking the river he was brought up on, a tributary of the River Thames, vast stretches of Norfolk’s tidal salt marshes and recently the more confrontational aspects of our Atlantic west coast.
For many years the work of Kate Giles has focused on a keen and intimate vision of the landscape of her native East Anglia. Intensive drawing on the spot is the groundwork for all later work painted in the studio. The drawings shown here are a vital initial response to the seized moment: low winter sun fitfully illuminates the bright red of cotoneaster berries and the beguiling sturdiness of a colony of beehives against the gold staccato notation of hazel catkins; the dark scribble of bough and branch. Another charcoal work and two monotypes have apple and hawthorn: a counterpoint weathering in an old and familiar orchard not far from King’s Lynn. Two small oilstick drawings are of light scudding over Ravonstonedale to the north of the Howgills in Cumbria.
Kate Giles grew up in Norwich. Having read English at Oxford she trained at Camberwell and Falmouth Schools of Art. She has exhibited regularly ever since, particularly in London and East Anglia but also internationally. Her work can be found in numerous public and private collections in the UK and abroad (e.g. The Britten Pears Foundation, Aviva, Banco Sabadell). Exhibitions have arisen from a variety of residencies and commissions (e.g. The National Theatre, The Whitechapel, Bell Foundry, The Kazan Cathedral, St Petersburg).
Her work was hung alongside that of Constable, Turner, Creffield and Kossoff at the Salisbury Museum 2016-17 (‘Constable in context: Salisbury Cathedral from the Meadows in perspective’).
‘Although there are inevitable similarities, the drawings I exhibit are not directly related to my three dimensional work. They stand as independent works, free from the constraints of gravity. I have a notebook with me at all times in which I put down ideas for possible future sculptures, records of drawings with colour samples as well as occasional landscapes which I have always made on my travels.
The four text collages originated with sketches I made from a snow-covered log pile in the Swiss mountains. I saw an analogy between logs in a forest and elements of language. I was particularly drawn to the characters of Korean print.
Drawing 1805 is one of an ongoing series all in charcoal and acrylic but this example is unusual being in two colours and black. They continue to play with the circle and ellipse, this work having the serenity of its horizontal and vertical symmetry disturbed by the intrusion of the circle and it’s pervasive dusty debris.’
Nigel Hall is one of Britain’s most distinguished sculptors. His works, principally made of polished wood or steel, are concerned with three dimensional space, mass and line. His abstract drawings and geometric sculptures give as much prominence to voids and shadows as to the solidity of material and each work changes with light and viewpoint reflecting the landscapes that inspired them. His recent work has been less minimal in feel, tending towards stronger, more solid forms. A solo exhibition of his work was held at the Royal Academy in 2011. In 2017, Hall was awarded an Honorary Doctorate from the University of the Arts, London.
Louisa’s work is inspired by the natural world and what lies beneath the surface. She explores the mysterious places that are beyond our visual plain; the depths of the sea, the roots of the earth, outer space and the continuous cycle of energy which connects them all.
Since graduating from Camberwell College of Arts in 2006 Louisa has created bespoke illustrations for Vogue, Tatler, The Spectator, Paul Smith and her work is now in the Collection of the V&A. She has also worked on a variety of other private commissions – prints, paintings, children’s clothing designs, maps and party invitations.
‘John Kiki (born 1943) is another artist not as well known as he deserves to be, though among artists he is celebrated: Frank Auerbach, for instance, is a mentor and supporter. Kiki hails originally from Cyprus, and although he paints the classical myths, he reckons his upbringing in Great Yarmouth (where he still lives) has been more important for his art than the Mediterranean. The slightly louche vigour of the seaside town, the razzle-dazzle of funfair and the lights of seafront and piers have all fed into Kiki’s imagery.
He paints non-naturalistically, but employs recognisable figures in the flattened spaces of his vibrant compositions. Zeus and Europa, Leda and the Swan feature in modern (un)dress, along with Mickey Mouse, unspecified lovers and dog-walkers. Kiki draws with a wonderfully liquid line in acrylic paint, paring down the description to the most telling details, and increasing the intensity of the colour contrasts and surface textures. He likes to reprise great masterpieces of the past, particularly by El Greco, Velázquez and Picasso. His version of El Greco’s ‘Burial of Count Orgaz’ is one of the most impressive paintings in a highly concentrated and passionate exhibition.’ BY ANDREW LAMBIRTH, THE SPECTATOR, 2014: John Kiki: Myths and Goddesses (Art Space Gallery, 2014)
The Fens are perhaps the least loved landscape in Britain. For some reason the flatness of this huge area of Eastern England does not capture the heart. It is a landscape that does not fit into the ideal of a rolling “green and pleasant land”. They are, on the other hand as flat as a billiard table and to most people, featureless and grim. It is an industrial landscape reclaimed from the sea by Vermuyden and Bedford filled with rows of regimented crops growing in the black soil. The wind blows from the east and is cold and nagging. The people who live there appear, like the wind, cold and unfriendly. It is for all these reasons I feel so at home painting in the Fens.
Most of Britain’s rural landscape has been forged over time by farmers and is a totally unnatural manufactured facade. This is even more true in the Fens. Almost every inch has been fought for and is still being drained today via hundreds of miles of ditches, drains and rivers that crisscross the land. The constant draining and erosion caused by the wind and the soil oxidizing means the land is sinking and will one day be surely reclaimed once again by the sea. It is a landscape that feels fragile and brittle that hovers between over-draining and flooding, in between the sky and the sea.
As I sit and paint here, I am always struck by how few people inhabit this place. I am nearly always alone. The only sounds are distant tractors, the calls of lapwings, warblers and the cry of Marsh Harriers. It seems that peoples fear of flatness keeps the Fens empty. Flatness also changes everything when you look into the distance. Distances becomes hard to judge and perspective seems altered from the normal, making it like no other place in Britain. It is this flatness that protects the Fens and makes it one of the best kept secrets of our landscape. It is place full of strange stories, myths, strange place names and strange people. It is a landscape that is on the outside of a world that exists beyond the horizon.
Fred Ingrams was born in 1964. He studied at Camberwell and later expelled from St. Martins Schools of Art.
For ten years he painted above the Coach & Horses pub in Soho, whilst exhibiting in various central London galleries.
He has worked as a graphic designer and art director on many magazines including: Sunday Times, The Field, Tatler,
Vogue and House & Garden. In 1998 he moved to Norfolk where he lives with his wife and too many children. Since 2008 he has spent most of his time painting in The Fens.
Up a narrow wooden staircase, Brüer Tidman has for many years worked in a 19th century warehouse between the river and sea in Gt Yarmouth. Stacked close and deep, his canvases entirely fill the studio, an astonishing accumulation of work, his past and preoccupations crowding in, so that to explore a path between them is a strange and beguiling performance.
Colour is the first impression – always brilliant, with dazzling opacity juxtaposed with broodingly deep translucency. There are always figures, characters sometimes faithfully described and at other times almost entirely abstracted, their features briefly scored into a floating veil of paint. There are images of those closest to the artist, notably his mother and Beth Narborough, but also many paintings and drawings of strangers, people moving through a night shelter or circus performers at the Yarmouth Hippodrome.
What binds this body of work is the enduring fascination with the body and human relationships – the illusive closeness and distances between us. And all of this emotion is communicated with a modern commitment to paint, the deepest layering of pigment is confounded by a range of graphic and print techniques that throw our attention back to the flatness of surface and pleasure of colour.