Tregony Gallery Assemble:21 | CORNWALL | LONDON by Tregony Gallery

Assembleº 21 CORNWALL | LONDON

TREGONY GALLERY

Assembleº 21 CORNWALL | LONDON

2 0 2 1 EXHIBIT ION AT 67 YORK ST REET, LONDON W1 H 1 QB

“ This fabulous gallery has walls filled with incredible artwork and there is always a great welcome while you browse. You want it all!”

“ From a country full of colour, art and artists to this magnificent space full of well told stories, which will travel far to be appreciated. Thank you both for opening this window to your world on our first trip to Cornwall. It is moving your relationships with the artists. We go feeling we have chosen well ”

Tr e g o n y G a l l e r y | A s s e m b l e º 2 1 4

Brian and Judi Green have transformed Tregony Gallery’s identity and path by creating new relationships with artists and collectors. The gallery now enjoys a fine reputation for being a vibrant artist run gallery, that focuses on distinctive figurative painting. With thirty-five years’ experience of working in the creative industries, Brian and Judi can recognise artists that possess something different in the way they see and interpret the world. Tregony Gallery now enjoys an impressive roster of distinguished artists and is the perfect venue to enjoy a balance of original work by modern and contemporary artists. Over six years, the gallery’s distinctive programme of exhibitions has presented outstanding work to visitors, collectors and media from all over the world. The gallery is in the heart of the ancient village of Tregony, known as the ‘gateway’ to the stunning Roseland Peninsula, close to St Mawes, Portscatho, the Eden Project and the world-famous Lost Gardens of Heligan.

Tr e g o n y G a l l e r y | A s s e m b l e º 2 1 5

“ We’ve explored many villages in Cornwall looking for art that appealed to us and who would have thought we’d stumble upon the gem that is Tregony Gallery. A great find.... we’ll be back.”

“ I was visiting friends and family and was delighted to come across this marvellous gallery in Tregony. It showcases a wide range of talented local, national and international artists. The owners have a very good eye and have curated a wonderful collection of paintings, drawings, ceramics and sculptures. I was very impressed to see this calibre of work in a village in Cornwall “.

Tr e g o n y G a l l e r y | A s s e m b l e º 2 1 6

Assembleº 21 CORNWALL | LONDON

Tregony Gallery is excited to present its third exhibition in central London. Assembleº 21 will maintain the powerful creative bridge between Cornwall and the capital by introducing our impressive contemporary artists to a new audience and sharing our distinctive vision and approach to curating and collecting art. Assembleº21 gathers a group of artists for whom appearances of the visual world is the touchstone of their practice, each with their own diverse perspectives and modes of expression. This collection will reveal distinctive approaches, structural compositions and deeply layered planes of colour and intense radiance drawn from a deeper well than simply the technical ability to reproduce an object, person or place. The gallery’s artists are divergent but share a common awareness; a sensitivity in their work that engages the viewer’s direct engagement with their subject and intangible influences that led to its creation.

Tr e g o n y G a l l e r y | A s s e m b l e º 2 1 7

TREGONY GALLERY | VICTORIA ATKINSON “I’m always intrigued by shadows or ghost images of somebody. When you close your eyes, features of a face or posture often don’t emerge but the ‘essence/soul’ of somebody does.” Victoria took her sculpture degree at City and Guilds of London Art School in the late 1980s where the emphasis was on a classical training in life drawing and sculpture. She has completed several commissioned bronze portraits, including a life size bronze statue of Rudyard Kipling for Burwash High Street, which was unveiled in February 2019. Her commissioned work has been exhibited with the Society of Portrait Sculptors over several years. With her more abstracted work, Victoria’s focus is on reading the mood or character of a person through posture. Her androgynous figures are captured at the edge of movement with a gentle reminiscent humour present in their body language. Using wet clay or plaster, she gains a fluidity that condenses a pose to its bare essentials. Through this connection with the land she conjures up a sense of coming from the earth and being part of the natural life cycle. Monoliths and stone circles are evident, a sense of perpetual time and the feeling that something so still can evoke so much power. Although the poses of her sculptures are often static, their stillness has a presence. Often drawn lines are left in the pieces, incorporating a painterly approach to the clay. 8

‘Gemini’, Bronze, 39 x 25 cm.

TREGONY GALLERY | VICTORIA ATKINSON

Above, ‘Kim’, Bronze, 10 x 8 x 6 cm, Centre, ‘Carol’, 12 x 10 x 10 cm, Below, ‘Phyllis’, Bronze, 13 x 9 x 9 cm.

‘Sentinel’, Bronze, 43 x 17 cm.

TREGONY GALLERY | JAMES BLAND James Bland is a figurative artist working predominantly in oil paint. His work covers a wide range of subjects, from still life and landscape to figure and portrait painting and magic realism. His paintings offer tantalising glimpses of narratives alongside the rigorouslyobserved depictions of light and form. James studied at Canterbury Christ Church University and is a member of the New English Art Club and Contemporary British Portrait Painters. His paintings pursue connections, both objective and imaginative, in the world around him. Connections can be as simple and powerful as the harmony between one colour and another, as in some of his landscapes. In other work, he explores the relationship between things seen and things remembered, as in the Carousel series, where the filtering of experience through childhood memory is an intrinsic part of the process. Sometimes the tension between the flat picture plane and the depiction of space is the issue, as in the Orange Tree paintings that demonstrate the variety of influence. His characteristic style is recognisable throughout in bold strokes of vivid colour.

‘Boy In An Orange Tree’, Oil on Canvas, 122 x 51 cm.

TREGONY GALLERY | JAMES BLAND

Above, ‘Interface’, Oil on Canvas laid on Panel, 29 x 21 cm, Below, ‘Small Harmony With Objects’, Oil on Canvas, 30 x 25 cm.

‘Interior with Seated Nude’, Oil on Canvas, 97 x 82 cm.

TREGONY GALLERY | VIRGINIA BOUNDS Virginia Bounds studied Fine Art at Falmouth College of Art and currently works from the Porthmeor Studios in St Ives, Cornwall. Virginia paints from direct observation transversing between figuration and abstraction. The more one looks the more abstract something becomes. “I work intuitively with the goal to find a balance between these polar opposites in painterly terms, to develop my language and realise my vision. The outcome of the paintings is not planned as I rather shift shapes and composition around on the surface until the painting itself emerges through the layers. Working on a series prompts discoveries and ideas feed into each other with several paintings in progress at the same time. Resolution rarely comes quickly as there is that fascination with the difficulties caused by the great and sublime design of nature, the complexities and wonder of forms that takes time and concentration to express honestly and convincingly. This and the environment which I inhabit and all the relationships therein is the task that I have set myself as a painter, to communicate the world as I see it, and how to render my feelings, emotions and reactions in relation to nature, through the materiality of paint. As a painter I am concerned with the process of seeing, I do not wish to describe . I aim to convey an approximation of what the eyes see and the real experience gained from engaging directly with a subject. Mysterious elements come into play on the surface, within the materiality of paint and the illusion of space, there is a magic that occurs in the jesterdays”. 12

‘Bluebell Field, Restless Sky’, Oil on Canvas laid on Board, 43 x 33 cm.

‘Heatwave, ( Bluebell Field )’, Oil on Canvas laid on Board, 43 x 33 cm.

TREGONY GALLERY | VIRGINIA BOUNDS

‘The Tree And Me’, Oil on Canvas, 72.5 x 61 cm.

‘Summer Love’, Oil on Linen laid on to Board, 112 x 92 cm.

TREGONY GALLERY | JASON BOWYER PP NEAC “My paintings come from an emotional visceral response, ideas of light and visual tension. I enjoy the craft and conceptual challenge of painting, the process of building layers to create images. My desire is always to find the essence of a subject using the constant element of observation, painting and drawing places and people, trying to follow the path that is my own abstracted vision”. Jason Bowyer 1957-2019 Jason was the former president of the New English Art Club and founded their School of Drawing in 1993. He was an elected member of the Pastel Society and the Royal Society of Portrait Painters. His residences have included Fulham Football Club, the Grove Park Music Festival and in the Summer of 2012 he was the Championship Artist at the All England Lawn Tennis Club at Wimbledon. Jason was also an official war artist in Afghanistan for the Royal Electrical Engineers (REME) at Camp Bastion in 2013, a lecture and exhibition followed at the Ashmolean Museum, Oxford in 2014. Jason graduated from Camberwell School of Art in 1979, followed by a Post Graduate Diploma in Painting from the Royal Academy Schools in 1982. He has had nine one man exhibitions in London and the South-East. In 2003, he won the Changing Faces Award from the Royal Society of Portrait Painters and the Prince of Wales Portrait Drawing Prize in 2015.

Above, ‘Tuscany’, Oil on Board, 29 x 26 cm, Below, ‘Tuscan Garden’, Oil on Board, 29 x 23 cm.

TREGONY GALLERY | JASON BOWYER PP NEAC

‘Self Portrait #VII’, Oil on Board, 40 x 30 cm.

‘Gardener’s Pathway II’, Oil on Canvas, 112 x 91 cm.

TREGONY GALLERY | JOHN BRENTON Cornishman John Brenton is an artist who prefers to paint from life using oils, the subject matter is the motivation of the painting for most artists and the principal aim in each work is to express a personal response to a landscape. His work is directed towards meeting the challenge of painting the awe-inspiring beauty of the rugged Cornish coastline where he was born and raised. John has established himself as a leading contemporary landscape artist, exhibiting widely including the Royal Academy Summer Exhibition and the Royal Society of British Artists. His paintings are in private collections worldwide. “The focus and specific direction of natural light and how it illuminates the landscape is the vital starting point for my initial explorative approach to painting. Much of my primary observation is centred on the inherent contrasting existing linear occurrences within a location which subsequently form the emerging compositional markers in the development of a work. Examples of which are static and mobile evidential forms such as hedgerows; rock fissures; and breaking waves which all contribute to my purpose and inspiration when starting a new painting.”

Above, ‘Shoreline Reflections I’, Oil on Canvas, 66 x 91cm, Below, ‘Shoreline Reflections II’, Oil on Canvas, 66 x 91 cm.

TREGONY GALLERY | JOHN BRENTON

‘Cornish Summer Tide’, Oil on Canvas, 92 x 92 cm.

TREGONY GALLERY | DAVID BURROWS David’s work is influenced by, and often references, 19th and 20th century art and design. The effect of time and nature is what interests him. Decay, the ageing of the human body, the play of mosses and lichens on stone, the peeling of paint, the weathering of dead trees, the sun’s fading of plastics, these are the textures and tones he tries to echo in his work. “A lifelong devotion to aged objects began at a young age when I could be found digging on the sites of Victorian rubbish tips across the north of England. I would turn up earthenware pots, glass bottles and children’s porcelain toys. I was enthralled by the differing effects of time, temperature and the elements on the ceramics and glazes. I went on to study at Bradford College of Art then moved to London. After a decade in the music business, I found work as an illustrator. My continued fascination with patina and ancient things then led me into antique restoration, specialising in the carving and gilding of 18th and 19th century French mirrors and Church art, particularly statues. Now I employ those techniques in the sculpting of my own pieces.”

‘Mickey’, Raku Fired Fuji Clay, 20 x 20 cm.

TREGONY GALLERY | DAVID BURROWS

‘Marty Wilde’, Raku Fired Fuji Clay, 28 x 15 cm.

‘Ginger Nuts’, Raku Fired Fuji Clay, 28 x 14 cm.

TREGONY GALLERY | JUNE COLLIER June Collier studied at the Slade School of Fine Art (1961-1964) where she was awarded a number of prizes. In 1965 she won a French Government Scholarship in painting. She has taught in many art

schools

including

Camberwell,

Wimbledon, the Royal College and the New York Studio School. She has exhibited widely. “These paintings were made as part of an exploration to find out what I am still capable of doing in the studio. I am 77 and have many limitations now so the work has become pared down and simpler and I am leaving the white primed surface of the canvas visible and integrated into the whole. I have always wanted the materials I use to become the thing they are describing so that whatever I am speaking about becomes very real and present and summons you to be present too. The paintings here are of child me paddling in the sea with my best friend Merle.”

‘Small Merle’, Oil on Canvas, 28 x 29 cm.

TREGONY GALLERY | JUNE COLLIER

‘Merle And June, I’, Oil on Canvas, 80 x 65 cm.

‘Merle And June, II’, Oil on Canvas, 90 x 75 cm.

TREGONY GALLERY | ALEX CREE Alex studied at Canterbury Christchurch College and the Royal Drawing School, both of which champion work from direct observation. The ‘Euston Road’ tradition and artists such as Uglow loomed large. In recent years he has taken on a somewhat fauvist flavour. Alex has shown extensively throughout the United Kingdom, Spain and Ireland, including:

London’s

Trinity

House

Paintings, Mall Galleries, Dulwich Picture Gallery, British Museum, RA summer show and the Solomon Gallery in Dublin. Alex is now based in Dorset where he has his studio. In 2002 he was awarded the Sidney Cooper prize for drawing, in 2010 the Denis Mahon scholarship from the Royal Drawing School and in 2012 he received the Phyllis Roberts award from the Royal Institute of Oil Painters.

Above, ‘The Gate’, Oil on Board, 14 x 17 cm, Below, ‘The Summer House’, Oil on Board, 30 x 40 cm.

TREGONY GALLERY | ALEX CREE

‘Lyme Regis’, Oil on Board, 26 x 34 cm.

‘The Quarantine Tent’, Oil on Linen, 60 x 70 cm.

TREGONY GALLERY | MARK DUNFORD LG Mark Dunford paints the visual tension between surface and space by closely

observing and composing his motifs and their surroundings to celebrate

the beauty of light and form. His

influences range from Cézanne, Piero

della Francesca, Mantegna, Constable, Chardin and Seurat. Mark studied at

Bournemouth and Poole College of Art from 1980-1982 and the Slade School

of Fine Art, UCL, from 1982-1987, where

he was taught by Euan Uglow, Norman Norris and Patrick George, continuing a preoccupation for painting appearances through

William Coldstream’s advocacy. His awards include the Robert Ross

Scholarship from the Slade and the Richard Ford Award from the

Royal Academy of Arts and the Young Artists’ Award from the Royal

Institute of Painters in watercolour. He is a member of The London Group, having been elected in 2001. Exhibiting regularly, in Cornwall

and London, including Dulwich Picture Gallery, Leighton House, Piano Nobile, Kings Place, Mall Galleries, Felix and Spear, the Barbican

and Whitechapel Art Galleries, the Cello Factory, Southampton and Canterbury City Art Galleries and at international venues in Italy, the Netherlands and the USA.

“Painting from direct observation is, for me, an exciting and intense

experience. Paintings are two-dimensional surfaces with their own

intrinsic beauty and abstract dynamism, which I try to harness. Observing my motif, I strive to ‘make contact’ and paint the astonishing

interaction of relationships, without preconceptions. Sustained

looking and drawing with paint, is a way I can communicate what

I have seen and felt. I am driven by how beautiful something looks and the pictures try to balance observation, invention and imagination.” 24

‘Buddleja Globosa’, Oil on Board, 35 x 35 cm.

TREGONY GALLERY | MARK DUNFORD LG

‘Spring 2020’, Oil on Board, 43.5 x 30.5 cm.

‘Limelight’, Oil on Board, 51 x 51 cm.

TREGONY GALLERY | GETHIN EVANS Gethin Evans moved to London in 1974 from Maesteg, South Wales to study on the Foundation Course at the Byam Shaw School of Art. From there he went on to study Fine Art at Camberwell School of Art 1974-78 where he was awarded the Rotary Club Travelling Award to Florence and Rome. On this trip he was particularly influenced by the Masaccio frescoes in the Brancacci Chapel. In 1978 he took up a place for postgraduate study at the Slade School of Fine Art and during his two years there he was awarded the David Murray Landscape Award and the Melville Nettleship Prize for Figure Composition. His paintings hint at storylines hidden within the narrative of the ordinary. “In all my paintings a sense of light at particular times of day drives the image. Colour, structure, surface and space reference the tradition of figurative and landscape painting. The popular culture of film, comic book imagery, literature and photography contribute to the way I think about my ideas and images. The recent landscape paintings echo these concerns. Small plein air studies, made very rapidly, alongside polaroids and digital photographs, inform the larger more synthetic paintings. Casper David Friedrich as well as painters of the American Sublime, such as Frederick Church and Martin Johnson Heade, have had a strong influence on the way in which I think about the mood and atmosphere in these paintings.”

Above, ‘Winter Twilight I’, Oil on Panel, 65 x 50 cm,

Above, ‘Winter Twilight II’, Oil on Panel, 65 x 50 cm,

Below, ‘Winter Twilight III’, Oil on Panel, 65 x 50 cm.

Below, ‘Winter Twilight IV’, Oil on Panel, 65 x 50 cm.

TREGONY GALLERY | GETHIN EVANS

‘Stormcloud III’, Oil on Linen, 65 x 95 cm.

TREGONY GALLERY | RICHARD FITTON Richard Fitton is a figurative painter from Oldham with a Fine Art Degree from

Loughborough

University.

became the youngest ever member of the Manchester Academy of Fine Arts (MAFA) whilst still a student. Richard attempts to push boundaries, and the challenge in moving out of the comfort zone of what can be easily achieved. searching, new

ways

which

Richard is constantly

feeling convey

and his

evolving work.

The paint, the quality of the brushwork and the immediacy of the lines that define the work is paramount. Each painting is a means to another. Another beginning, the potential always there, that is what drives him. “I was born in Oldham, Greater Manchester, and have only ever wanted to be a painter. It is more than a job - it is simply who I am. Art classes with John McCombs, the former president of the Manchester Academy of Fine Art, showed me how this dream was possible, and I later went to Loughborough University. Studios in Sheffield, Rochdale and now Hyde have given me access to new sitters, new surroundings and inspirations, all mixed with the day-to-day struggles, joys and tests we all face. I force myself into new experiences and situations, my work is all about an emotional reaction to a subject or sitter and I need to generate stimulus and responses in myself to achieve satisfaction. My life never stands still, it can’t, it’s just not in me.“ ‘Portrait of Adam’, Oil on Board, 30 x 21 cm.

TREGONY GALLERY | RICHARD FITTON

‘Adam’, Oil on Board, 24 x 24 cm.

‘Interior’, Oil on Board, 30 x 38 cm.

TREGONY GALLERY | DEAN FISHER Dean Fisher has been a painter and draughtsman for over thirty years, and has exhibited extensively throughout the U.S. In the late ‘80s and early ‘90s, Dean spent eight years in Spain, France, and England copying the masters in major European museums as a form of study, while simultaneously developing his own style of work. He is the recipient of the Elizabeth Greenshields grant and numerous awards for his paintings and drawings throughout the US over the past twenty five years. Dean has taught painting at Silvermine Art Center in Connecticut for the past twelve years, and has recently been invited to teach still life painting in the summer of 2018 in Rome, Italy, through Rome Art Workshops. Dean’s paintings and drawings can be found in many private and corporate collections throughout North America and Europe. Dean and his artist wife Josephine Robinson live in Milford, Connecticut. “There are certain things I see which I know I have to paint, this can be many different subjects but is usually an assemblage of forms and colours which create a compelling compositional structure. I’m not interested in analyzing beforehand why a subject speaks to me so much because this is very complex, many things enter into this equation. By defining the reasons too much I fear that my response to the subject will be pre-meditated, based on assumptions and a fragment of what is really there, all which I believe can inhibit the paintings outcome. Instead, I just jump in and with my knowledge, experience and skills try to put everything I see, think and feel about the subject into the painting. This most often leads to a more satisfying result and a painting which I feel is a more complete representation of who I am.” 30

‘Vertical Still Life’, Oil on Panel, 96 x 40 cm.

TREGONY GALLERY | DEAN FISHER

‘Still Life With Reflections’, Oil on Panel, 45 x 45 cm.

‘Still Life With Sculpture’, Oil on Panel, 36 x 36 cm.

TREGONY GALLERY | JUDI GREEN Judi Green studied Graphic Design at Kingston School of Art returning to painting at the Slade School of Fine Art. In 2001 Judi gained a scholarship to study full time at the Royal Drawing School on their Drawing Year MA programme. Artist Residencies include Kensington

Palace

2009,

Dumfries

House 2015 and 2020. Her painting ‘Gold Beach, Jig Sector’, was selected for the Threadneedle Prize 2009, her painting ‘ Seeing Differently’ was selected for the Ruth Borchard Self-Portrait Prize Exhibition 2019. Group shows include the Royal Academy Summer Exhibition, Lynn Painter-Stainers Prize, the ING Discerning Eye, Royal Society of Portrait Painters, Royal West Academy and Royal Society of Oil Painters. Widely collected, Judi’s work can be found in numerous private collections including The Royal Collection, Dawn French, Sir Clive Woodward OBE, Dumfries House, Anthony Van Laast CBE and Sir Lenny Henry CBE. Echoing her background in graphic design, Judi uses a scaffold of drawing to inquire into the compositional forces of the painting, a balance between movement and stability. “My landscapes rely on repetition, finding their forms and colours potent emblems of the fluid and fleeting nature of all human experience.” Above, ‘Seeing Differently’, Oil on Board, 30 x 21 cm, Below, ‘Summer Becomes Autumn’, Oil on Board, 28 x 36 cm.

TREGONY GALLERY | JUDI GREEN

‘Living Under Blus Skies, Roseland #4’, Oil on Board, 21 x 34 cm.

‘Light Slips, April 2020, Cornwall’, Acrylic and Graphite on Panel, 38 x 44 cm.

TREGONY GALLERY | CLAIRE IRELAND “My working practice as a ceramic sculptor is changing and I have made a conscious decision to focus on a more sculptural approach, studying the form in relationship to the surface with more clarity. I use my studio location, based in the grounds of a historical steam museum to inform my practice, absorbing

the

industrial

heritage

surrounding me, it has been a significant element when developing ideas. I am fascinated by constructivist assemblages and the pioneers of abstract art - Hans Arp, Sophie Taeuber-Arp, Victor Pasmore and Kurt Schwitters have all made a great impression on me. I find the varied and experimental approach to their work inspirational.I am a dedicated hand builder and revel in how ideas develop out of process, experiments with materials and techniques. I will often create a series of small sculptural forms that serve as working maquettes. Recently I have been drawn to a more minimal and reductive strategy, simplifying the structures, but constantly enhancing and developing the surface. It is crucial that the surfaces I achieve envelop my ceramic forms and are integral to the whole. I find great enjoyment and creative impulse through making collections and arranging man made and natural forms. The discipline of drawing, my continuous studies and a renewed passion for printmaking, are all essential components. I seek to catch the eye but hold the form in my sculptural pieces and strive to and achieve a balance and fluidity between intuition, craft and concept in clay.” 34

Typologies Series II, #2 Craft Crank, Grey Clay with White Engobe and Oxide decoration and Saggar Fired Porcelain. 29 x 11 x 32 cm.

TREGONY GALLERY | CLAIRE IRELAND

Typologies Series II, #4

Typologies Series II, #1

Grey Clay, Black Clay, with White Engobe and Monoprinted Underglaze colours on Porcelain.

Terracotta Crank, Black Clay, White Stoneware with White Engobe and Oxide decoration.

29 x 11 x 30 cm.

28 x 11 x 24 cm.

TREGONY GALLERY | IAN NORRIS MAFA ‘I like to deal with subject matter that is familiar to me — whether that is a landscape, a coastline, a cityscape, or the interior of my studio. I usually work on the same motif over long periods’. Ian Norris studied fine art at Blackburn College of Art and is a member of The Manchester Academy of Fine Arts. Ian starts the process of any painting by producing numerous drawings and small studies from observation. Then the artist returns to the studio to paint larger works from memory, using his sketches and studies as a reference. Norris expresses feelings of being before his subject or present in a place, relying upon memory, instinct, and the act of drawing and painting to bring about the work of art. The artist uses abstraction to reveal this emotional underpinning, and his organic process embraces chance, spontaneity, and modification. Ian is interested in the physicality of paint itself. His larger paintings contain multiple applications of paint to create texture and layers; sometimes small or entire sections are scraped back to unveil a variety of colours and textures in the depths of the board or canvas.

‘Still Life with Scissors’, Oil on Canvas. 81.5 x 107 cm.

TREGONY GALLERY | IAN NORRIS MAFA

‘Pink Reading Glasses‘, Oil on Canvas laid on Board, 75 x 75 cm.

‘Purple Studio Light ’, Oil On Canvas, 60 x 90 cm.

TREGONY GALLERY | KAREN McENDOO SWAc Karen McEndoo SWAc NAPA was born in Carshalton in Surrey but her early life was spent in Africa which has had a tremendous influence on her work, inspired particularly by the rich colours, designs and music. She trained as a graphic designer/illustrator in Taunton but her work has evolved into a more expressive and abstract form of painting. Science and nature are huge influences and she is an avid lover of nature. Karen is a member of the South West Academy of Art and the National Acrylic Painters Association. “Many artists find the idea of a blank canvas daunting and I am no exception. My first task is to break the whiteness by putting down a base colour which, because of the nature of my work, shines through and becomes an intrinsic part, uniting the picture as a whole. It is rare that I plan the picture preferring instead to allow the work to develop its own language. Colour is everything to me and I spend a good deal of time mixing the hues and tones until I have arrived at a coherent palette, something I find a genuine pleasure. The rest is generally, albeit an oxymoron, ordered chaos. Whilst working it is important for me is to disengage the thinking brain and allow instinct to take over, this can often take a good while to achieve but once you get there it is from where the very best work is born. The act of placing paint onto any surface is rich in possibilities but every bit as fraught with challenges and frustration. Herein lies the crux of the exciting nature of painting, the never knowing what will arrive before you.” 38

Above, ‘A View From The Top’, Acrylic On Canvas, 60 x 90 cm, Below, ‘Water On Granite’, Acrylic On Canvas, 23 x 30 cm.

TREGONY GALLERY | KAREN McENDOO SWAc

‘Flotsam And Jetsom’, Acrylic On Canvas, 60 x 90 cm.

TREGONY GALLERY | EUAN McGREGOR Euan McGregor studied at the Glasgow School of Art from 1994-1998 and completed a BA ( Hons ) in Printmaking. Euan has won numerous awards at the Royal Glasgow Institute and became a Diplomate of the historical Paisley Arts Institute in 2015. From his degree show Euan won the Royal Glasgow InstituteTravelling spent

six

Scholarship

months

exploring

and and

painting in Catalonia while based in Barcelona. Euan’s influences are wide and varied including Edward Hopper, Eric Ravilious, Milton Avery, Keith Vaughan and John Piper. Euan’s work has a strong sense of shape and subject and he uses his printmaking skills to give the illusion of depth by adding texture in thinly applied layers. His work is striking, yet subtle in its makeup. Euan has a particular love of fringe or marginal spaces linking land and sea. His recent series of work took him around the UK exploring outdoor pools and lidos from some of our more established treasures to more derelict remnants of a once thriving ‘holiday at home’ culture. “I have an idea which I flesh out as a photo montage, I superimpose photos and pieces of old paintings together to give me a starting point. Even at this early stage the work is undetermined and goes through a series of stripping back and layering forward to get to the desired look”.

Above, ‘Old Mumbles Lifeboat Station’, Acrylic on Board, 40 x 43 cm, Below, ‘Neist Point Lighthouse’, Acrylic on Board, 37 x 37 cm.

TREGONY GALLERY | EUAN McGREGOR

‘Cantick Head Lighthouse, Orkney’, Acrylic on Board, 41 x 62 cm.

TREGONY GALLERY | CHANDLER McLELLAN “I am inspired by the past and the renditions of the future. I have a degree in archaeology and am driven by the hope that I will be able to leave the world with a greater abundance of material beauty. I hope to create objects that inspire stories, interpretation, and imagination, regardless of the passage of time. I have spent the majority of my life working in the trades. I am a trained carpenter and cabinet maker. I currently live in Wyoming where the open landscape and relative isolation drives the escapism present in my work”.

Chandler McLellan was born and raised in Fort Wayne, Indiana. His higher education was completed in Scotland where he obtained his BA in Archaeology. After returning to the US he trained in carpentry and fine woodworking and in 2018 he used his knowledge of woodworking to express himself creatively. Chandler’s sculptures are inspired by ancient cultures, architecture and robust natural formations, where his aim is to create pieces of art that will stand the test of time and withstand any absolute definition.

‘Henno’, Walnut, 36 x 13 x 8 cm.

TREGONY GALLERY | CHANDLER McLELLAN

‘Volur’, Walnut, 30 x 20 x 10 cm.

‘Itealaich’, Walnut, 36 x 23 x 8 cm.

TREGONY GALLERY | MARY MABBUTT Mary Mabbutt is a painter whose career has spanned four decades. She has taught for many years on the BA Fine Art course at University College Falmouth and also as a visiting lecturer to a number of other Fine Art courses in England and Wales. She has shown work in solo and mixed exhibitions throughout her career at the New Grafton Gallery, Paton Gallery and Russell Gallery, London, and was chosen to be Artist of the Day at Flowers Central, London. Mary was a prize-winner in the John Moores Liverpool Exhibition and was short-listed for the Ruth Borchard Self–Portrait First Prize 2011. Her work is held in a number of private and public collections that include Arts Council, London, Usher Gallery Lincoln, Ruth Borchard Collection London, Susan and Robert Summer Collection New York and the Metropolitan Museum of Art, New York. “My paintings emerge from the apparently ordinary world of everyday surroundings, depicting the spaces and places of my life formed by particular qualities of lived experience. The paintings are initially derived from observation and are then developed with an integration of spatial clarity and carefully structured colour relationships. In the process of my paintings I hope to transform moments of transience into images of permanence”.

‘Warm Room’, Oil on Canvas, 90 x 90 cm.

TREGONY GALLERY | MARY MABBUTT

Top, ‘Love in a Mist and Astrantia I’, Oil on Board, 30 x 25 cm. Bottom, ‘Love in a Mist and Astrantia II’, Oil on Board, 30 x 30 cm.

‘Another Yellow Table’, Oil on Canvas, 110 x 88 cm.

TREGONY GALLERY | DAVID MOORE “Over time my paintings have evolved in recognising the importance of how chance and an instinctive approach to mark- making play a major role in producing emotional effects. There are many ways to achieve the results that contribute to this end. My preferred method is to explore with different methods of application to the canvas surface, using not only brush and knife but other material that can transfer paint either thickly or thinly to the canvas. An important part of my development is to draw into the wet paint that gives the painting a certain structure or as I like to call it scaffolding, but it is important that the lines are considered very carefully in the sense that they do not look manufactured and without the nervous energy required. Sometimes the lines are partially covered with the next application of paint or score the areas of paint. A movement that is necessary for the best results is one that relies on an instinctive approach by the hand rather than the eye. The distance at which one stands away from the canvas to paint or draw is important to the instinctive approach, my personal way is to draw into the paint from a distance where I cannot see the whole of the work, but only what I am drawing into. At other times standing a distance away can be the means of measuring the balance of the whole with small adjustments made by scraping off or an emphasis applied with further contrast or tonal adjustment.” ‘Above Zennor Hill’, Oil on Canvas, 98 x 98 cm.

TREGONY GALLERY | DAVID MOORE

‘On The Sands’, Oil on Canvas, 98 x 98 cm.

‘Night Fisherman’, Oil on Canvas, 98 x 98 cm.

TREGONY GALLERY | JENNIFER POCHINSKI “It has taken me a long time to figure out how to handle paint. I moved to California from Greece a number of years ago, where I was encouraged to paint the figure. My painterly marks were reminiscent of the Bay Area Figurative tradition. I laid it on thick with gusto. I was seduced by the sensuousness of paint. But I spent a number of frustrating years feeling stuck and felt I could not progress. My marks always had a rapid gestural quality and I wanted to bring the element of time into my work, but always reached an obstacle within”. Jennifer Pochinski studied at the University of Hawaii from 1991 and completed a Bachelor of Fine Arts in Painting, and then a Diploma of Higher Education in Interior Architecture at Middlesex University AKTO Athens, Greece. In 2002-3 she returned to the University of Hawaii. Jennifer exhibits widely and her work can be found in the collections of Triton Museum, Santa Clara, California, Alexandros Tombazis Architect, Athens, Greece, the David & Pamela Hornik Collection and Shasta College Collection, as well as many private collections. More recently Jennifer has completed a major public work ‘Museum View’ at the Davis Enterprise Building, Davis, California.

‘Man And Boat’, Oil on Paper, 49 x 38 cm.

TREGONY GALLERY | JENNIFER POCHINSKI

‘Italiano’, Oil on Paper, 61 x 41 cm.

‘Man in German Landscape’, Oil on Paper, 61 x 41 cm.

TREGONY GALLERY | DANIEL PREECE LG Spanning

both

rural

and

urban

landscapes, Daniel Preece’s everyday subjects lack human presence yet capture the traces of our lives. His paintings narrate moments that are often overlooked or unseen, elevating them through tight compositions and the use of vivid colour. By confronting the viewer with a deep stillness, Daniel asks us to pause and survey the balance of structural form and interrelated plains of colour held within the richly layered paint. Daniel Preece studied at Chelsea School of Art 1988–89, graduated from Slade School of Fine Art in 1993 and the Royal Drawing School in 2007. He was runner up in the Laing Landscape and Seascape Award in 2001 and won second prize in the Gilchrist Fisher Memorial Prize for Landscape Painting in 1997. His work has been exhibited widely and internationally including the Creative Cities Collective at the Barbican, The London Group at Southampton City Art Gallery; The First International Invited Exhibition of Emei Contemporary Art, China; Allen Gallery, New York; Purdy Hicks and Flowers Gallery in London. He has had solo shows at One Paved Court; The Project Gallery, Capsticks Solicitors, and at Gillions Art. Daniel’s work is held in a number of private and public collections including The Chinese Government Collection, University College London, Dumfries House Collection, Unilever plc, Bayer plc, and the Canary Wharf Group.

Above, ‘Last Man Standing’, Acrylic on Canvas, 39 x 41 cm, Below, ‘Barn’, Oil on Canvas, 46 x 62 cm.

TREGONY GALLERY | DANIEL PREECE LG

‘Battersea Power Station’, Oil on Canvas, 62 x 43 cm.

‘Cakes’, Acrylic on Canvas,102 x 110 cm.

TREGONY GALLERY | NICOLE PRICE Nicole’s painting practice examines relationships between the personal and the shared experience and between interior and exterior spaces. Using both photographs and film stills as source material, Nicole is interested in the captured moment, as memory maker or keeper, as narrative or as personal historical archiving. Process is key to the work; Nicole selects,

copies,

collages

and

amalgamates images to use as source material and to experiment with composition. The paintings often have a certain ambiguity, allowing the viewers to bring their own stories or recollections to the viewing experience. Nicole studied at Leeds University, Heatherley’s and Wimbledon College of Arts (UAL) for her MFA and more recently at the Turps Banana Studio Painting Programme. Her work has been exhibited regularly in group exhibitions including the Royal Academy Summer Exhibition, the Lynn Painter–Stainers, the ING Discerning Eye, Paper Cuts at the Saatchi Gallery, the SWA and the RWA. She was a finalist in the 2019 Ingram Prize.

‘Best Foot Forward #I’, Oil on French Polyester, 100 x 60 cm.

‘Best Foot Forward #II’, Oil on French Polyester, 100 x 60 cm.

TREGONY GALLERY | NICOLE PRICE

‘Cathy Lomax Studio Wall’, Oil on French Polyester, 100 x 80 cm.

‘Ryan Mosley Studio Wall’, Oil on Wood Panel, 61 x 92 cm.

TREGONY GALLERY | SARA LEE ROBERTS Sara trained at the Byam Shaw School of Art. She also studied Chemical Physics at Sussex University and trained as a restorer at the Hamilton Kerr Institute, Cambridge. After working on paintings in the Wallace Collection and the Royal Collection, she moved to Paris where she started painting full time and showing her work. Her early work showed a particular interest in the creation of light and space within the confines of observational painting. Her work from this period is in many private and public collections including Jesus College Cambridge, Unilever and Charterhouse Securities. In 1999 she won the Discerning Eye Chairman’s prize. In 2008 Sara gained a scholarship to study full time at the Royal Drawing School on their Drawing Year. At the end of this year she won the Paintings in Hospitals prize. Her work moved away from straight observational painting and towards working from memory, from drawings and from paintings of other artists. She is now also making purely abstract work and seeks a synergy between the figurative and the abstract. Sara teaches at the Royal Drawing School and at the Wallace Collection. “ When I work, I am looking for the moment at which, in either abstract or figurative work, the image emerges as a presence – a person, or a space and a light – which I can only recognise at the moment it reveals itself to me in paint. “ Above, ‘Portrait’, Oil on Gesso Panels, 43 x 55 cm, Below, ‘After Watteau’, Oil on Canvas, 56 x 53 cm.

TREGONY GALLERY | SARA LEE ROBERTS

‘Diptych After Le Brun’, Oil and Acrylic on Gesso Panels, 178 x 120 cm.

TREGONY GALLERY | JOSEPHINE ROBINSON “I see my studio as a laboratory and my painting as a continual experiment. I use the world I find around me as my subject matter. I like to try to “un-know” the subject matter of, my paintings. This “un-knowing” allows an element of experimentation, and clears my mind of the world of the literal cursory glance. Jumping that literal hurdle, enables me to engage the viewer. I want to paint so I can start a conversation. I try to suggest some mystery in my paintings. When making a painting, I do not want to paint a literal likeness, but I do want to to present some coherence, or attribute of the subject matter, which has caught and held my attention, in the first instance. So in my paintings, I have to decide how much to explain of the subject matter, what doesn’t need explanation, or, indeed, how the subject needs to be explained. That is my continuing experiment. Living through the current times, when perceptions have become sharpened, and for me, quite frayed, I find myself thinking even more, of the ways in which we perceive the presence of objects, and “reality”. I have pondered over appearances, (at large, and in my paintings), and wondered, in painting my paintings, how I am able to perceive objects, and how I am defining them, pictorially. Thinking purely in a painterly mode, I wanted to dwell over some of these ways in which we are able to gain a” hold” on our own reality: Do we perceive objects because we are able to identify their edges, or do we identify objects by the shadows they cast? What happens to our “view” of an object when parts of that object are engulfed by other objects, casting shadows upon the original object? What happens to the object, if the light and texture, of the object, and the space it resides in, are almost identical? In this instance, are we able to discern an object at all? If not, is it even necessary we do so? “. 56

‘Other Still Life’ , Oil on Panel , 35 x 30 cm.

TREGONY GALLERY |

‘Whites’, Oil on Linen, 25 x 35 cm.

JOSEPHINE ROBINSON

‘Vase And Jug, II’ , Oil on Linen laid on Panel , 30 x 35 cm.

TREGONY GALLERY | SARAH SPACKMAN RBA Sarah Spackman is a contemporary figurative artist. Her work is distinguished by a strength of drawing, together with a delicate and subtle use of colour. Sarah studied at Byam Shaw School of Art 197879 and Camberwell School of Art 1979-81. She won The Winsor and Newton Young Artists Award at the Royal Institute of Oil Painters Exhibition. In 2019 Sarah was elected as a member of the the Royal Society of British Artists and won the Gordon Hulson Memorial Prize. Sarah has exhibited with the NEAC, the ROI and the RBA, she has also had work selected for the Discerning Eye and the Jerwood Drawing prize. Since the early 1980s Sarah has exhibited widely and regularly, both in the UK and abroad. A number of Sarah’s paintings were selected for the contemporary art collection of the Allied Irish Bank, she also has work in many private collections internationally. Sarah has become particularly well known for her still-life paintings. She works in a quiet considered way applying the principle that good drawing is the basis of good painting. Sarah uses colour to enhance the organisation and definition of observed form. Sarah considers the setting up of a still life a crucial part of the process. Focusing on the objects themselves, everyday objects that are often looked at but not seen, how they re- late to each other and the space in which they sit. When painting Sarah pursues the development of these relationships through constantly looking, contemplating, redrawing and colour adjusting. “I am often inspired by the specific beauty of an organic form be it a nasturtium picked from the allotment or a particularly handsome fig at the market. My way of expressing my response to these objects is through drawing and painting”. 58

Above, ‘Here Come The Reds’, Oil on Board, 25 x 30 cm, Below, ‘Three Quarters’, Oil on Board, 20 x 25 cm.

TREGONY GALLERY | SARAH SPACKMAN RBA

‘Little African Violet’, Oil on Linen, 40 x 50 cm.

‘January Camelia’, Oil on Linen, 54 x 44 cm.

TREGONY GALLERY | KAY VINSON Kay Vinson studied at the Slade School of Fine Art, achieving a first class Degree and MA in painting. Her awards include The Boise Scholarship and she is a two time recipient of the Canadian Elizabeth Greenshield’s Foundation Award for figurative painting. The Slade awarded her the William Coldstream Prize for the most promising newcomer, the Rosa Morrison scholarship and the Douglas Woolf Award. Kay has exhibited at the Royal Academy Summer Exhibition, Leighton House, London and the Millennium Gallery, Penlee House and Tregony Gallery since 2016. She has work in private and public collections, including University College London and Jesus College Cambridge. “I work directly from the motif: doorways, windows, the figure in a beautiful light; the visual dance of spatial shifts and flat pattern are a recurring fascination. Being in the moment and responding in an unknowing way is a key concern, working and reworking to reveal the beauty of edges touching edges, the interaction of colour along a line, how my sensations knit together, the love of Ingres, Chardin and Seurat does not go away”.

‘Yellow Window, Open Door’, Oil on Panel, 48 x 35 cm.

TREGONY GALLERY | KAY VINSON

‘Girl Looking’, Oil on Panel, 56 x 41 cm.

‘Looking Through’, Oil on Panel, 35 x 35 cm.

Contact: Brian Green. Tregony Gallery,58 Fore Street, Tregony, CORNWALL TR2 5RW

T: 01872 530505 | M: 07496 953471 | info@tregonygallery.com | www.tregonygallery.com All content © Tregony Gallery 2020/21, Assembleº 21 exhibition and their respective owners. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of the copyright holder. Measurements are given in centimetres, height before width, and does not include framed dimensions. E&OE. Catalogue record for this publication is available from the British Library, ISBN 978-1-5272-8198-1. Not all works featured in this publication will be part of the Assembleº 21 exhibition. The publication presents a selection of artists represented by Tregony Gallery, Cornwall. For further details do email through or visit the website. www.tregonygallery.co.uk