Coastal Elements 1 - 29 August 2015 Ian Rawnsley & Tony Scrivener sculpture by Mary Kaun-English
Contents Ian Rawnsley
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4 - 14
Tony Scrivener
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Mary Kaun-English ........................... 26 - 31
Coastal Elements 1 - 29 August 2015
Ian Rawnsley and Tony Scrivener are two artists connected by their fascination and desire to interpret the coastal landscape of their respective environments, in the south-west of England and the East coast of Scotland. With two very different approaches, there is a great variety in this exhibition. Rawnsley’s painting captures the power of the sea and the play of light and textures on waves and wet sand whilst Scrivener builds a representation of the coastal landscape through his own language of bold forms and lines. In this exhibition we also see wonderful still life compositions by Tony Scrivener which, like his landscape painting, are pared down to the subject’s essential characteristics. Mary Kaun-English’s sculptures are created both in response to the British landscape and actually borne of the coast: Her sculptures are ‘smoke-fired’ in pits dug on the beaches of Cornwall. The intense colours and patterns found in her work are not created through glazes, but naturally created by adding natural materials to the ‘kiln’ such as copper, seaweed, banana skins and pine cones.
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Ian Rawnsley Living on the Ayrshire coast on the West coast of Scotland, Ian Rawnsley is a painter exploring seascape and landscape in both abstract and representational forms. Working predominately in oil he is looking to capture the energy and the drama of the coast and the open sea. Ian looks to explore the emotional pull of colour and texture to bring the sea alive. He endeavours to produce, and express a deep inner celtic identity through his creative work in all its forms. He will always seek to capture an essence, a feeling, a memory that can both be shared, but also a deeply personal experience. Ian Rawnsley’s work has been exhibited across the United Kingdom and is held in private collection in Europe, North America and Australia. Prices range from £350 - £1,500
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Easterly Heavy Seas oil on canvas 61 x 61cm 5
The Estuary Fell Silent oil on board 35 x 20cm
Solitude, Mersehead Beach oil on board 48 x 22cm
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Atlantic Wave oil on board 68 x 61cm
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Redpoint Beach oil on board 23 x 23cm
I Can See the Sea oil on board 23 x 23cm 8
The Days End Brought Storms oil on board 68 x 61cm
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Ayr Bay oil on board 23 x 23cm
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Whiting Bay oil on board 23 x 23cm
April Storms oil on board 61 x 61cm
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Towards the Gloaming oil on board 23 x 23cm
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Storm and Spindrift oil on board 38 x 38cm
All Returns to the Sea oil on board 38 x 38cm
Gales Southwesterly oil on board 38 x 38cm
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Evening Storm Makes Shore oil on board 68 x 61cm
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Tony Scrivener Born in London in 1944, Tony Scrivener moved to Dorset in 1970 and studied Art at Bournemouth and Poole College of Art, and gained a first-class BA (Hons) degree from the Open University. He has painted professionally since 1992, and his paintings have been exhibited extensively throughout the UK, including regular selection for the Royal Academy Summer Show. Tony finds the experience of painting landscapes informs the way he approaches still life painting and in this exhibition it is rewarding and interesting to see how these two different subjects relate to each other, through his characteristic mark-making and colour palette. Prices range from ÂŁ650 - ÂŁ4,000
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Flowers in Zig Zag Vase oil on canvas 40 x 46cm
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Cacti Pots mixed media on paper 19 x 29cm
Two Bowls oil on canvas 23 x 26cm 18
Hayle Estuary No I oil on canvas 115 x 115cm
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Opposing Farm Buildings mixed media on paper on canvas 20 x 56.5cm
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Dipping Field of Gold mixed media on paper 18 x 40cm
White Space mixed media on paper on canvas 18 x 55.5cm
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Hayle Estuary No II oil on canvas 115 x 115cm 22
Hayle Estuary No III oil on canvas 130x 130cm 23
Bottle with Three Figs oil on canvas 28 x 23cm
Flowers in Yellow Vase oil on canvas 26 x 23cm 24
Blue Table with Three Fish oil on canvas 130x 130cm 25
Mary Kaun-English Mary Kaun-English is a contempory ceramic artist currently living in Britain. She was born and raised in Southern California where her passion for nature started as a young girl. Living in the then undeveloped San Rafael foothills, she was allowed to explore this desert landscape, being conscious of the natural spirit and materials around her, paralleling the movements of the native American Indians; her biological forefathers. Mary moved to Britain in 1988 and now works from her garden studio, situated adjacent to woodlands in Surrey, creating hard-built sculptures made from clay. These pieces are smoke fired, exposing the porous clay to the smoke given off by the natural organic materials used to fuel the fire. The results are organic sculptures embellished with an account of the smokes ephemeral passage across the clay. By reason of this, each one of the sculptures is unique. Her recent work centres on an opening in the form; this fundamental part of the work allows air and light into the solid form of the structure. Her work is currently held in private collections throughout the UK, Scotland, California, Boston, New York, Toronto, India, Shanghai and Australia. Prices range from ÂŁ55 - ÂŁ350
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Dignity 26 x 21 x 9cm
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Phase 26 x 21 x 9cm
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Praise 22 x 19 x 9cm
Integrity 21 x 24 x 9cm
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Phase 26 x 21 x 9cm
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Smoke-Firing Technique Mary Kaun-English’s clay pieces have not been glazed. They are fired by the ancient method of smoke firing. The pieces are handmade using clay and initially fired in an electric kiln, at 950°C. This dries the work and makes it stronger; however leaving it porous. The work is then placed in a large pit in the ground on top of a bed of sawdust. Organic material such as pine cones, seaweed, orange peel, banana skins etc. are placed around and on top of the work. A bonfire is built on top of this. At this time the pit is covered with corrugated sheet metal and left to burn for up to 24 hours. Once the pots are cool enough to handle they are removed from the pit, cleaned and polished. The marks on the pieces are made from the smoke penetrating the porous clay. Due to the intensity of the smoke firing process, these marks can take form as unevenness and fissures in the sculptures surface; thus adding an additional textural dimension to the work.
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