CAROLYN BROOKES DAVIES
Sussy Cazalet is a London & Norfolk based creative & designer who focuses on producing timeless, exceptional one-off pieces. The studio‘s attention is currently on creating custom rugs, wall hangings, limited edition furniture and artworks.
Sussy adheres to the traditional practice of hand drawn and water coloured artworks for all her custom commissions. This artistic approach ensures her work is unique and original allowing her clients to enjoy the journey of creating bespoke pieces.
HARRY CORY WRIGHT
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.
Cornelia is a landscape painter based in East Anglia. She trained at Byam Shaw, and Chelsea School of Art. Her work is a direct response to the changing colours, light, and seasons, and is created outside in the plein air tradition.
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’).
JAMES HART DYKE
After completing a Foundation at Wimbledon School of Art, Charlotte read Fine Art at Newcastle University. She continued her interest in drawing from life by attending classes at The Slade and Mary Ward Centre (visiting and drawing at the London Contemporary Dance Studio). Now living in Norfolk, Charlotte works with live models, capturing the figure either in motion or still. Equally fascinated by portraiture she portrays the clothed figure in a relaxed environment, often in unusual or awkward poses, preferably capturing them unaware.
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.
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.
BLOTT KERR WILSON
‘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)
Thomas Mollo is a largely self-taught landscape painter who recently returned to painting after a long break. The son and grandson of artists, Thomas has spent his life looking intently at the many paintings that have surrounded him.
Locked down in Norfolk during the Covid Pandemic, he was inspired to paint by the incredible Spring of April 2020 and the endlessly shifting light and skies of the Breckland landscape.
He admires the great Russian and American painters of the late 19th who captured the wildness of their landscapes, the poetry of the moon, and the morning and evening light.
He paints with oils on plywood or board.
Charles draws inspiration from the beautiful landscapes of Wiltshire, creating a visual diary that captures how the dominant colours of the fields change with the seasons and contrast with the skies. His paintings are abstract journeys of discovery as he explores how colours interact with each other within the confines and parameters of a painting, using the space and borders of the surface. He often references pre-historic sites in the area such as Silbury Hill, absorbed by its majesty and changing form infused by daylight or at dusk. His works can be described as portraits of a landscape over time, in which colour, shape and edge conspire to form the contours of a character, revealed by the natural light of day.
Charles has spent over 20 years observing the landscape in Wiltshire where his family have a home near Marlborough.