COLOUR POP
COLOUR POP
12th May - 3rd July 2023
A riot of vibrant life affirming colour explodes across our walls and shelves - come and experience the pop of colourful joy from this show!
Kim Coley
This series of lino-collages are made with lino motifs which have been hand carved and printed, then cut and collaged. Kim has named them “Floral Riffs” because the process reminds her of the development of a rhythmic or melodic idea.
The subject matter is inspired by her mother Irene who loves colour, (especially pink) and loves flowers. Irene was a textile artist who revelled in the instinctive use of colour and design.
The subject matter is inspired by her mother Irene who loves colour, (especially pink) and loves flowers. Irene was a textile artist who revelled in the instinctive use of colour and design.
Jo Whitehead (artprimitif)
I paint mostly in acrylic on canvas and my paintings tell the stories of birds and flora. I use bright colour and texture to describe my subject matter and I try to give each bird character. I want the observer to feel a connection to the birds as well as recognising each species.
I make an underpainting of pure bright colour directly onto the canvas and I rely on this to become the dominant part of the finished work. Much of the painting itself is worked from light to dark, layering the paint to pick out the detail. I work slowly, not through choice but because I am continually having to make decisions about what to keep and what to leave out. I find painting has three stages: the optimism of starting, the crisis point in the middle and the surprise that it is actually finished at the end.
I show the stages of creating my art on Instagram @artprimitif2023.
I make an underpainting of pure bright colour directly onto the canvas and I rely on this to become the dominant part of the finished work. Much of the painting itself is worked from light to dark, layering the paint to pick out the detail. I work slowly, not through choice but because I am continually having to make decisions about what to keep and what to leave out. I find painting has three stages: the optimism of starting, the crisis point in the middle and the surprise that it is actually finished at the end.
I show the stages of creating my art on Instagram @artprimitif2023.
Print Garage (iain perry)
Iain Perry creates deeply layered, colour saturated, abstract screen prints.
The image generation is a slow process of experimentation, of trial and error; collecting imagery, developing patterns and overlaying all the different elements until new and intriguing relationships emerge. The results are brightly lit beacons of balearic zen shining out amidst a visual, digital landscape that is in constant upheaval, upgraded and updated daily.
Iain’s work borrows language from other art forms, film and photography, poetry, electronic music and rave culture – amalgamating, mixing and remixing, offering up familiar signs and signifiers but now refracted and reflected, illusive and allusive, all lightly seasoned with a slightly understated degree of subversion. Layers of fragmented iconography and geometry coalesce on the paper, like motes of dust trapped in a beam of light teasing us with a cheeky glimpse of a much bigger gestalt.
The resulting collection is a series of paeans to pigment, a psychedelic hallelujah to the handmade and handprinted, colour and tone poems that are a tiny bit joyful.
The image generation is a slow process of experimentation, of trial and error; collecting imagery, developing patterns and overlaying all the different elements until new and intriguing relationships emerge. The results are brightly lit beacons of balearic zen shining out amidst a visual, digital landscape that is in constant upheaval, upgraded and updated daily.
Iain’s work borrows language from other art forms, film and photography, poetry, electronic music and rave culture – amalgamating, mixing and remixing, offering up familiar signs and signifiers but now refracted and reflected, illusive and allusive, all lightly seasoned with a slightly understated degree of subversion. Layers of fragmented iconography and geometry coalesce on the paper, like motes of dust trapped in a beam of light teasing us with a cheeky glimpse of a much bigger gestalt.
The resulting collection is a series of paeans to pigment, a psychedelic hallelujah to the handmade and handprinted, colour and tone poems that are a tiny bit joyful.
Ian Scott Massie
These were painted after three trips to the Ardnamurchan peninsular, the most westerly point on the British mainland. It lies on Scotland’s west coast, jutting out a little above the Isle of Mull. The paintings show view across to various neighbouring islands: Rhum, Eigg, Skye and Coll. I’ve tired to convey the impact these landscapes had on me: warmth, a sense of home (although I’ve never lived in Scotland) and the drama which the rapid changes of weather brings.
My screen prints feature standing stones. In Avebury in Wiltshire there is a complex landscape of stones, burial chambers, banks and ditches which have an extraordinary atmosphere. The stones were erected about 4,600 years ago. The stones have drawn many artists including Paul Nash and John Piper. They also inspired a 1970s children TV drama The Children of the Stones. I find the stones collectively and individually beautiful, possessed of a welcoming personality. There are several legends about the stones. My favourite is that of a local potter who dug too deeply for his clay and broke into Hell. The Devil wanted to claim his soul but the potter escaped. The Devil fired four arrows up through the earth in pursuit and the stones are the points of the arrows poking through from below. It is a place so accessible and yet has a remoteness about it. The stones themselves are very beautiful with deep channels eroded into them by centuries of rain.
My screen prints feature standing stones. In Avebury in Wiltshire there is a complex landscape of stones, burial chambers, banks and ditches which have an extraordinary atmosphere. The stones were erected about 4,600 years ago. The stones have drawn many artists including Paul Nash and John Piper. They also inspired a 1970s children TV drama The Children of the Stones. I find the stones collectively and individually beautiful, possessed of a welcoming personality. There are several legends about the stones. My favourite is that of a local potter who dug too deeply for his clay and broke into Hell. The Devil wanted to claim his soul but the potter escaped. The Devil fired four arrows up through the earth in pursuit and the stones are the points of the arrows poking through from below. It is a place so accessible and yet has a remoteness about it. The stones themselves are very beautiful with deep channels eroded into them by centuries of rain.
Karoline Rerrie
Helen Harrison
This collection is inspired by combing the shoreline for lost treasures and sea-worn pottery. Forms are hand-thrown on a potters wheel in porcelain and the surfaces treated with layered oxides, decals, slips and imprints, creating colourful pieces that can be used everyday.
"The way an object looks and feels to hold and to use are important considerations for me, when making a functional object, ultimately the aim is to make tableware that will be both enjoyable to look at and fun to use".
"The way an object looks and feels to hold and to use are important considerations for me, when making a functional object, ultimately the aim is to make tableware that will be both enjoyable to look at and fun to use".
Fiona Wilson
Fiona's world is happy and full of colour and pattern. Fiona creates bold, clean graphic designs which become gifts, home accessories, and quirky artworks. "I love making playful products and I really hope they make you smile."
Kate Bowles
I am an artist and craft maker who thoroughly enjoys recycling previously cherished fabrics and papers into whimsical, yet functional, hand-bound notebooks and journals. The work that Kate has created for this exhibition uses recycled leather, hand marbled papers and a vegan suede that comes in soft bright colours. Always popular it's worth shopping for Kate's work while it's here!
Gwyneth Williamson
Hand painted and printed wooden jewellery that brings a pop of joy to life! Gwyneth's jewellery is like miniature works of art, each one sealed with wax and finished with silver fixings they're really a joy to wear.
Gwyneth Williamson bangles, brooches and necklaces
£14.00 - £130.00
Beautiful painted and hand screen printed jewellery on wood with silver fixings