Lawrence Quigley - Coast to Coast

Coast to Coast Lawrence Quigley

FEBRUARY 25 TO MARCH 18, 2023

On the 19th May, 2021, an email arrived in our inbox. The email was from artist Lawrence Quigley, I remember standing in the kitchen at Castlegate House, reading it to Christine.

We regularly receive approaches from artists, in common, I’m sure, with most of our fellow gallery peers. Most approaches include attached examples of art works or links to websites, asking if we’d like to exhibit (or sometimes asking us to buy) their work.

Lawrence, however, was different. It transpired that he has long since had an idea for a body or work, and as such a possible exhibition, charting an artist’s journey along the Coast to Coast walk – but not in one journey: more exploring the changing landscape as the seasons changed,

View across Ennerdale Water, Summer, 41 x 56 cm

Right, the artist at work on the same painting

‘Exploring the changing landscape as the seasons change, taking in the full vista the four seasons create, capturing that in paint, there and then, in the open, whatever the weather’

taking in the full vista the four seasons create, capturing that in paint, there and then, in the open, whatever the weather.

We thought it a great idea, and that view never changed. It didn’t change even when meeting Lawrie on some windswept day miles from the nearest town or village; then again, we were mere casual visitors, capturing his adventure on camera. Maybe it changed for Lawrie, often camping out in those conditions, trying to paint as the rain swirled about him. If it did, it didn’t show.

It’s been fascinating to watch this exhibition develop. Differing points of the famous Alfred Wainwright walk, from St Bees to Robin Hood’s Bay, captured at different times of the year. If we

had to pick a season, we’d pick Autumn, but then we’re swayed –living and working in Cumbria means you realise just how special the turn from Summer to Autumn can be.

Ultimately, this was the culmination of a decades-long plan, an artistic itch to scratch, and one we’re very proud to have been able to facilitate and one we’re equally proud to be able to exhibit.

Steve and Christine Swallow

View from Little Mell Fell, Ullswater, Autumn 25 x 41 cm

Lawrence Quigley

When I was teaching at Scarborough Art College and living in Robin Hood’s Bay many years ago, I learnt about quite a famous walk from St Bees on the Cumbrian coast to Robin Hood’s Bay on the east coast – called the Coast to Coast walk. This prompted and inspired the idea to maybe visually record the walk through a series of landscape paintings done throughout the year – I’ve always found the North of England landscape so rich and diverse in not only its physical terrain, but also its colours and ever-changing light throughout the seasons; and have always admired Turner in the way that he strode and trekked around most of the British Isles, visually recording and documenting his travels, and working “plein air” in response to the landscape.

The idea was put on hold… life gets in the way.

When in 2020 I returned up North to live in my home town

‘I have always admired Turner in the way that he strode and trekked around most of the British Isles, visually recording and documenting his travels, and working “plein air” in response to the landscape.’

of Birkenhead, and having taught art for a number of years in the South of England… the idea to spend a year devoted to the project began to emerge and come into focus once more. Perhaps in reaction to the Covid pandemic, and our much more appreciative response to nature, it subliminally made me want to resurrect the idea – and embark upon the project.

I was waiting to buy a property, and was subsequently living in rather compromising rented accommodation, so thought “Why not? Now’s as good a time as any.”

The idea involved camping at various locations on or near the Coast to Coast trail, every few weeks over the course of a year – visually recording, working plein air and in situ, a series of paintings in response to the landscape throughout the four seasons – different environments, different times of day, in response to the changing landscape I encountered and experienced. I also intended to keep a journal, so as to record my reactions to different views and vistas as well as other quite unexpected anecdotes.

In the summer of 2021, I embarked on the first season to be recorded: Summer. The idea was to paint about 20 paintings per season of various sizes and in various locations along the trail. It

was a good season to start, as I was camping, and the weather not too incongruous. (Having said that, in August, a series of wild thunderstorms in Cumbria nearly broke my tent poles – and the rain soaked just about everything in the tent!).

When it got to the end of October, through to early March, I stayed at more comfortable B&B accommodation in the various locations visited.

I managed over 60 paintings in the end, averaging about 15 per season.

The one abiding sense or intuitive feeling (as opposed to memory) is of a renewed connection with nature and the landscape itselfsomething I wasn’t expecting, and something difficult to express.

At times, when I was painting plein air at a particular spot on the journey, I became aware (or I should say unaware) of myself. I found myself almost part of its pulse or heartbeat and movementand often the paintings just ‘happened’ as if I wasn’t there.

It sounds mad, but I only became aware of it when I had stopped working - and I often found myself on all fours with the painting on the ground, having started either sitting or standing at an easel.

I also found myself walking around the painting as I worked, and making emotive (almost primitive) guttural sounds as I was applying and ‘feeling’ the application of brush marks and gesturesreminiscent of some sort of Shamanic ritual or ceremony.

I even noticed that the sheep (obviously different ones in each location!), began to gradually get closer and closer to me over the year as I was working - maybe they thought I was one of them, on ‘all fours’ or sensed something non-threatening - something I was unconsciously exuding perhaps?

It made me realise how removed we have all become in relation to our spiritual connection and relationship with nature… and how essential it is to our overall wellbeing, both mental and physical.

Lawrence Quigley, January 2023

Lawrence Quigley

View towards Robin Hood’s Bay, Summer afternoon 25 x 40.5 cm

Summer

Although one would think that Summer would offer lots of sunshine and heat, in fact, some locations were pretty bleak and cold – with the weather just as changeable and unpredictable as any other season. You could literally have ‘four seasons in one day’. We don’t live in the South of France – and I do sometimes envy Cezanne strolling around his estate, knowing that that every day he painted Mont Saint-Victoire it will probably be the same the next day. Not so in the North of England landscape, which is what makes everyday interesting and challenging.

I based myself in three or four locations: near St Bees itself in Cumbria, Robin Hood’s Bay on the East coast,

as well as a couple of North Yorkshire locations inland. With the longer evenings, I was able to work quite late – often experiencing some wonderful sunsets and richness of colours – particularly when painting the twilight sky.

The majesty of Ennerdale Water, with its mountains rising up from the lake was such stark contrast during the Summer months – all the different greens against the vaporous grey/purples of the mist and water, was quite memorable.

The colours of the sea and the moorlands tended to be more pronounced also, particularly towards early evening and twilight.

St Bees Head, wind and rain

Nethertown station towards St Bees, late morning

10.5 x 18 cm

Nethertown station, Cumbria twilight, Summer 13 x 18 cm

Facing page: View across Ennerdale Water, Summer 41 x 56 cm

Right: Ennerdale Water, gathering wind, Summer 12.5 x 17.5 cm

Boats on Derwent Water, Summer 13 x 20 cm

View from Sutton Bank, Yorkshire, sunset

23 x 41 cm

Facing page: View from Garrowby Hill, near York

19 x 25 cm

Right: Heather and sheep, North Yorkshire Moors, Summer 11.5 x 16.5 cm

View from Boggle Hole, after rain, Summer 12.75 x 18 cm

View towards Buggle Hole, Summer, watercolour

10 x 14.5 cm

View towards Robin Hood’s Bay, Summer afternoon

Locations (clockwise from top left):

Nethertown Station, Summer; Near St Bees, Summer; Robin Hood’s Bay, Summer

Photographs by the artist

Autumn

Strange, but sometimes early Autumn can have much brighter, uplifting weather than Summer… as it was at the start of the Autumn leg of the project.

The late September sunshine in Ullswater was a treat – as were some of the views and vistas discovered by climbing the nearby hills and mountains.

As well as an Ullswater base to work from, I also camped near Barnard Castle in County Durham, and stayed at Runswick Bay near Whitby and in the Yorkshire Wolds. I also visited Aysgarth Falls near Leyburn.

I liked the changing colours of Autumn – the golden hues and deep Indian reds against lime greens; also the bright orangey ochres and textures of the cornfield

stubble or muddy hillsides, contrasting sharply against the evergreen trees.

The late sunshine of the twilight hours cast beautiful colour changes and lighting effects in the sky, with everything bathed in its soft warm glow.

The absence of Summer tourists often created an intense silence, stillness and beauty – letting nature take centre stage and speak to us. The only sounds you could often just hear was the cawing crows high in the trees or the rock face, or the sudden dart of a pheasant spluttering out go the undergrowth or nearby field.

It was pheasant season, and I must have nearly killed about a dozen of them on the lonely road near Bowes in Durham on several occasions. They secretly have a kamikaze death wish, I think. I love Autumn.

Grazing sheep near Flat Fell, Ennerdale, watercolour 10 x 14.5 cm

The Rowan tree, near Ullswater, Autumn 56 x 41 cm

Facing page: View from Little Mell Fell, Ullswater, Autumn 25 x 41 cm

Right: View towards Ullswater, sunny Autumn day 12.75 x 18 cm

Facing page: View towards mountains nr Ullswater, twilight

17.5 x 27 cm

Above: View from Holwick Scar, near Middleton-in-Teesdale, Autumn

15.5 x 25.5 cm

Lonely road near Barnard Castle, Autumn 25 x 40.5 cm

Aysgarth Falls, Autumn sunshine

30 x 25 cm

Yorkshire Wolds, near Fridaythorpe, Autumn

25 x 32 cm

Runswick Bay, approaching rain, Autumn

21 x 31 cm

Locations (clockwise from top left):

Aysgarth Falls, Autumn

Fallen Tree, Ingleborough, Autumn

Near. Ullswater, Autumn

Photographs by the artist

Locations:

Left: Rowan Tree, near Ullswater, Autumn

Below: Runswick Bay, Autumn

Photographs by the artist

Winter

The first signs of Winter were apparent when snow enveloped the landscape in the Ribblesdale Valley on the border of North Yorkshire and Lancashire in December 2021.

I was heading for the famous Ribblehead Viaduct, but strong winds which had brought the snow had also blown over several trees, which blocked the roads on my way. So I painted some views around where my journey was halted – around the Settle area – and painted up on the sides of the snowy hills, surrounded by some very hardy sheep.

I also visited Staithes on the East coast, as well as Ambleside in the Lakes, and Kirkby Stephen and Reeth on the Pennines.

Staithes was quite a beautiful throwback in time, with butchers, bakers and candlestickmakers all walking

around the tiny cobbled streets covered in the spoils of their profession. So I felt quite at home as a messy artist, covered in oil paint from head to toe, carrying bags of paints and an easel.

Storm Erica erupted when I was in Reeth but I was determined to work and not be beaten by the weather – after all, it is a part of our landscape! So, I managed to find a sheltered spot against the wind on one side of an old ruined shepherd’s hut.

It excited me how many beautiful greys there are in the Winter months, and, only having a certain amount of daylight hours to work in, I tended to work quite quickly and without inhibition. Ribblehead Viaduct was a bleak experience: a combination of freezing pouring rain and being endlessly photographed by Japanese tourists.

View towards Helvellyn –Winter morning 25 x 41 cm

View towards Ambleside, Winter 25 x 30 cm

Kisdon Force, nr Keld, Winter 18 x 12.75 cm

Ribblehead Viaduct, rainy day, Winter 26 x 41 cm

Winter landscape, Horton in Ribblesdale

12.5 x 17.75 cm

Snowy landscape nr

Settle, Winter

12.5 x 17.75 cm.jpg

View near Reeth, windy day, Winter, 25 x 40.5 cm

iew over Staithes Harbour, Winter, 40 x 56 cm

Sunset, Runswick Bay, Winter

20 x 27 cm

Sunrise over Runswick Bay, Winter – watercolour

10 x 14.5 cm

Clockwise from top left: Staithes view, Winter; Nr. Keld, Winter; Runswick Bay, Winter; Nr. Reeth, Winter

Photographs by the artist

Scarborough coastline after rain 37 x 56.5 cm

Spring

The changing landscape and colours were probably most abundant during the Spring months. Splashes of yellow from the rape fields, and the sparkling colours of the apple and cherry blossom trees – as well the brighter, fresher light – produced a variety of irresistible images.

I visited Windermere and Derwentwater in the Lakes, as well as the North Yorkshire Moors and Wolds. Stokesley, just south of Teesside, was a delight – some very interesting areas around Clay Hill and Roseberry Topping offered some very striking skyline shapes, possibly from old mining or quarry works.

I also visited the Rosedale Abbey area near Helmsley in North Yorkshire, which had many reminders of working communities from centuries ago. I was camping again now, and was able to explore a greater variety of locations – including a very interesting copse of trees near Windermere that seemed to be very

reminiscent of those Cezanne fir trees he painted in the South of France.

The light had changed now, far more fresher and cleaner, and these trees seemed to want to be painted, just springing out from the side of a hill adorned with bluebells. I felt that a lot of the images I painted tended towards abstraction – and as a ‘spin-off’ from the project, I could imagine some of the images interpreted into abstract works done in the studio. Maybe one day…

In some ways, I feel that many of the paintings painted throughout all four seasons, are indeed quite abstract – in as much that they are not always topographically correct or accurate, but more of a translation of the feeling of being in the landscape; so that the process itself becomes the subject of the work.

Not so much a rendition of a particular view, but more of an interpretation of it.

Fallen tree near Ingleborough, Spring 20.5 x 27 cm

Clouds over Windermere, approaching rain

25.5 x 40.5 cm

Copse of trees, near Windermere, Spring 56 x 40 cm

Trees near Ingleborough, Spring

25.5 x 41 cm

Desolate road near Rosedale Abbey, Spring 20.5 x 26.5 cm

View from Rosedale Ironworks, hazy day, Spring 12.5 x 18 cm

View near Helmsley, bright Spring afternoon 25 x 41 cm

View over North Yorkshire moors, Spring

61 x 84 cm

View towards Roseberry Topping, near Stokesley, Spring

25 x 41 cm

View from Clay Bank, near Stokesley, Spring

12.75 x 18 cm

Clcokwise from top left: Top of Windermere, Spring; Rosedale Ironworks, Spring; Near Helmsley, Spring