Kurt Jackson: RNLI Cornwall

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RNLI Cornwall Kurt Jackson KURT JACKSON Editions 2023 for Caroline
front cover Punching through 2022 mixed media on canvas 91 × 91 cm
Kurt Jackson RNLI Cornwall

The RNLI (Royal National Lifeboat Institution) is the charity that saves lives at sea. It does this by providing, on call, a 24-hour lifeboat search and rescue service and a seasonal lifeguard service, across the UK & ROI.

Volunteers are the heart of the RNLI and make up 95% of its people. They are ordinary people who do extraordinary things and without them the RNLI couldn’t save lives at sea.

The RNLI is honoured to have its work in Cornwall celebrated in this extensive exhibition of Kurt Jackson’s work, it being a charity that we know is close to the hearts of Kurt and his family.

There are 14 lifeboat stations around the coasts of Cornwall & Isles of Scilly, with eight All Weather Lifeboats and thirteen Inshore Lifeboats, crewed and supported by over 600 operational volunteers. In addition, during the summer season the RNLI provides a seasonal lifeguard service on 59 beaches around the Cornish coast. But behind these resources there is a larger team of volunteers across Cornwall providing fundraising support, running its shops, showing visitors around its stations and providing water safety advice, all contributing to the charity’s aim to save lives around our coasts.

In 2024 the RNLI will celebrate its 200th anniversary, having saved 143,900 people since the charity launched

its first lifeboat in 1824. The RNLI memorial in Poole records the names of over 800 people who have paid the ultimate price and lost their lives while trying to save others.

It is fantastic news that the Jackson Foundation Gallery have provided the RNLI space in its upper gallery to explore the work of the RNLI in Cornwall as seen through the lens of the camera over the last two hundred years. These photographs provide a unique view of the RNLI’s development in Cornwall through the eyes of various photographers and their ever-changing techniques.

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The RNLI
Today’s Penlee Lifeboat. © RNLI / Nigel Millard

I spend a lot of my time watching and being aware of the many moods and states of the Cornish seas. see her anger and deceiving calm, her currents and depths. There is a phenomenal beauty leading to a desire to be close, within touching distance, to get in the water, but it deserves respect; there is a fickleness and unpredictability, an unknown quality that can easily catch you out. can swim reasonably well but know my limits, don’t take risks. know by being alongside, in the shallows, on the surface, on the coast path or sat watching while I paint, making my marks, there is always potential for a mishap. try not to take this place for granted but I know if something does go wrong (when distracted, in the depths of painting, a little slip, a loose rock, the unexpected wave…) the lifeguards and lifeboat crews are there. Equally, it is reassuring to know that my family, friends and the wider community are also being watched over.

And so, I want to thank the RNLI. This project is my acknowledgement of their dedication, their hard work, their sacrifice and their care. salute the RNLI.

stand on the old quay and stare out over the fishing fleet moored in the summer sunshine.

I’m at the quiet end of the harbour, this pier is now largely disused with only a few old vintage sailing boats and some derelict old hulks tied up to the granite bollards. Over there though, down the other end, all is busy, noisy and crowded. The lifeboat sits glowing in its orange livery amongst the mass of fishing boats – a forest of metal spars, masts, bows, winches, poles, booms and gaffs rising from the decks in a complicated lattice of white, black and blue with dashes of red and yellow. How to paint this complexity? Maybe it’s a matter of finding a shorthand, a new language of marks replicated across the harbour and reflected in the blue water. need a repeating motive that to the eye reads as a crowded marina.

Gulls scream, boat engines rumble, crews cut and grind with their noisy tools, conversations carry across the water from fishing folk aboard boats in one direction and from the gaggle of drinkers outside the Red Lion in the other. The scent of old fish, diesel and exhaust is carried on the breeze.

Newlyn
All of us who live, work or play on the coast or larger rivers are reliant on the RNLI for our safety. We may be unaware, ignore or be in denial of their service and patrols, but they are there for us.
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RNLI Cornwall 30 mph NW winds 2021 (detail) mixed media on linen 140 × 200 cm Newlyn 2021 mixed media on museum board 22 × 22 cm

The lifeboat sits there still and confident, waiting for her call amongst the busy chaos. That is my focus, my subject - the one orange craft shining bright in the midst of all my dashes, blobs and strokes of boat structurevibrant in the sun against the backdrop of the rooftops of Newlyn, yellow and ochre with lichen on the hillside above the harbour.

stand on the quay using the old granite wall as my easel and find that time speeds by; the tide flows in, boats come and go, a big shoal of mullet splash in the shallows below me. I concentrate and get lost in my painting.

St Mary’s Harbour, Scilly

Several mornings I crawled from my bed, briefly washed my eyes clear and strolled down to the harbour as dawn was breaking. Early enough to beat the hustle and bustle of the crowds searching for their boats and launches to the off islands. The only people around were the bright neon workers loading and unloading on the quay. I keep my head down and walk behind the containers to the furthest point on the pier.

Here behind a container for protection from the inevitable squalls, I am at the nearest point to the lifeboat’s

moorings, rocking up and down and swinging around the buoy she was tied to. The Whiteheads set in her orange navy uniform waits patiently. wanted to paint her with all the other boats the sailing boats, launches and fishing boats, all those different shaped crafts floating alongside her in the early morning light.

squat down and spread my gear around me to sit, leaning against the base of a post, although still not exactly comfortable. The rain does come in and put up an umbrella. I angle it in one hand and paint with the other with the painting on my lap trying to slide off or blow away. I try to concentrate on the matter in hand without losing my different materials or getting washed away.

Tricky, but I always argue that the elements contribute to the mark making by removing the predictability and introducing surprises and accidents. The paint goes on and comes off. The rain stops, the sun breaks through, lighting up the water surface and silhouetting the boats. The lifeboat is off to the left her orange upper decks delineated by light; the other boats all become solid dark blocks against the sunlight, their masts and gantries penetrating the land and skyline behind.

Dramatic but dynamic, fast moving light shifts, vanishes, returns. I have to compromise, find a direction but be flexible in the painting’s approach - it all changes each moment with the rain, wind and sun. try to get to the point where am almost happy but realise that I still have to make it back along the quay without the painting being washed away by one final squall. So, I grab my moment, it feels like another compromise.

At the end of the week, I have a series of these small studies, each slightly different, shaped by the varying weather, the changing flotilla and myself - my different energies, attitude and wakefulness.

Summer solstice

A warm sunny day spent on the Penlee slipway painting, looking out across the bay towards the Mount. stand alone just outside the big, closed double doors of the lifeboat station, no one can reach the slip from the coast except via the boathouse. Two swimmers stop briefly to rest but they are my only visitors. Boats pass frequently but that’s it, I’m alone on this busy coast. The sea is blue and calm, slow in its movements, the boats’ wakes cast a few ripples to catch the sunlight, a deep dark blue except where the slip is visible beneath the sea’s surface in its

aquamarine and turquoise shallows. The slip is a concrete structure of rectangular geometric repeating forms in white, grey and rusting orange, bright in the sunshine. The sun moves across on its arc, slanting the shadows from me, my easel and the boat shed. The gulls cry, warblers above on the cliff sing, flies and bees buzz past –a summer soundtrack. The slip sits still, vacated, now unused, a memorial to that last hurried departure. My watercolour splashes at my feet will soon be washed away by the cleansing cleaning surf and tides.

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Kurt Jackson Scilly harbour morning 2022 (detail) mixed media on museum board 22 × 22 cm Lifeboat 2018 (detail) mixed media and sand on wood panel 60 × 60 cm
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The lifeboat station, St Marys, Scilly, sunshine and squalls 2022 mixed media on canvas board 50 × 61 cm Thunderstorm approaching, Scilly 2022 mixed media on card 60 × 60 cm
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The moorings in front of Samson, Scilly 2022 mixed media on museum board 60 × 60 cm Scilly boats, town beach St Marys. Bright sun and sharp shadows 2022 mixed media on museum board 60 × 60 cm
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Autumn evening above the Lizard lifeboat station, Church Cove 2022 mixed media on museum board 60 × 60 cm Lifeboat passing 2021 mixed media on paper 57 × 61 cm

Sennen practice launch

At first, she creeps slowly

Slips to slide

Inching out of the boathouse

Emerging into the sea air

Like some nervous animal exiting her lair

Suddenly she speeds up

The momentum gathering

Till full tilt

She flies down the slipway

To hit the sea in a splashing climax

Of bright orange

And royal blue and white foam

Spume and suds

With the same exhilaration

From watching a firework burst into flower

Or a whale breaching

Brief but spectacular

A freed force

This impact of splashdown

Sea, gravity, speed, boat

Before the engine’s revs fill the air

And she leaves us

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Thursday evening is practice night. Low water launch, Sennen 2022 mixed media on museum board 50 × 50 cm The Sennen lifeboat passes Cape, evening high water 2022 mixed media on card 60 × 60 cm
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Sennen, the incoming tide 2022 mixed media on wood panel 60 × 60 cm Midday, Sennen lifeguards, neap tide 2022 mixed media on card 60 × 60 cm
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The lifeguards’ hut, Sennen 2022 mixed media on canvas board 60 × 60 cm Above Gwenver lifeguards’ hut, hottest day of the year 2022 mixed media on museum board 60 × 60 cm
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Lifeboat 2018 mixed media and sand on wood panel 60 × 60 cm Newlyn lifeboat at the back of the harbour 2020 mixed media on museum board 50 × 50 cm
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Mother Ivey’s Bay, skylark song and the crash of the waves 2021 mixed media on wood panel 60 × 60 cm Lifeguards and surfers, Porthtowan. Summer’s morning 2022 mixed media on museum board 50 × 50 cm

Penlee

The old Penlee Lifeboat Station sits on the road between Newlyn and Mousehole at the cliff edge. Inside it is a big space – empty, a void where the boat should be. It’s all ramps, levels, steps and slopes; the third steepest ramp in the UK. The slipway leads down and out through ancient huge bi-folding wooden doors. Everything is blue, red, white, and orange with RNLI flags everywhere. The walls are covered with photos, lists of rescues, records of boats and mariners and crews and dates, plaques, celebrants, heroes. Like on a boat, all is tacky with salt to the touch.

Frozen in time, the boat left, never to return.

The big old doors that the old man and I pushed and pulled half open to give me light and a view out are 30-foothigh and these days looking a bit rotten with peeling paint, rusting hinges and bolts. The slipway is still largely intact; a bit of wear and tear from wave damage, it points down and out into Mounts Bay’s blueness with the Mount distant over there and Penzance glowing in the sunshine with a hazy horizon above the open sea.

paint all day on my own with the sound of the waves and the wind in the gutters as a soundtrack. Fishing boats bound for and from Newlyn pass with loud thumping engines, horns blaring, the wash of the waves. At high tide the waves rise up the slip, their heights and their breaking cutting off or adding to the light entering the big doorway. People visit to pay their respects, clutching flowers, in their best dresses and slacks, walking silently, gazing, thinking. Quietly I try to concentrate on the work, to not think too much about what happened here, the missing, the loss, the pain, the disaster. But it is always there, and it should be, it must be in the paintings, that reason, never to be forgotten. That sacrifice.

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Penlee – paying their respects 2022 mixed media on canvas board 61 × 50 cm Doors open, Penlee slipway 2022 mixed media on museum board 40 × 40 cm Oilskins hanging and doors half open to the sunshine in the bay, Penlee 2022 mixed media on card 40 × 30 cm
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Doors half open, Penlee frozen in time since 1981, 2022 mixed media on canvas board 60 × 60 cm Newlyn, Ripple and Ivan Ellen 2021 mixed media on museum board 22 × 22 cm Newlyn 2021 mixed media on museum board 22 × 22 cm
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The tide comes in with a rush across Sennen. End of the season 2022 mixed media on card 60 × 60 cm Big shoals of tuna out there, choughs all around me, the winds trying to blow me over, Lizard Point 2022 mixed media on card 60x60 cm
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Over to Church Cove lifeboat station, waiting for the storm to hit 2022 mixed media on card 60 × 60 cm Liam and Sam, Trebarwith lifeguards. High water 2022 mixed media on card 40 × 40 cm
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The tide comes in with speed, Sennen 2021 mixed media on wood panel 60 × 60 cm The lifeboat station, Newquay Harbour. Sunshine and showers 2022 mixed media on museum board 40 × 40 cm
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The rain comes in. The fishing fleet; low water across the harbour to the lifeboat station, Newquay 2022 mixed media on museum board 40 × 40 cm Sennen gets a pounding 2021 mixed media on wood panel 52 × 52 cm
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Summer’s evening 2022 mixed media on museum board 22 × 22 cm St Ives low water flock of gulls in front of the lifeboat station 2021 mixed media on museum board 22 × 22 cm Evening low water Sennen Cove 2021 mixed media on museum board 22 × 22 cm
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RNLB Anne Allen Padstow 2022 mixed media on museum board 22 × 22 cm Sennen high water low light 2021 mixed media on museum board 22 × 22 cm Tides up, Mother Ivey’s Bay 2021 mixed media on museum board 22 × 22 cm Padstow 1930’s lifeboat 2022 mixed media on museum board 22 × 22 cm
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Between the flags 2022 mixed media on museum board 22 × 22 cm The lifeboat’s wake 2022 mixed media on museum board 22 × 22 cm She suddenly appears hurtling around the headland from Lands End 2022 mixed media on museum board 22 × 22 cm Into the cove 2022 mixed media on museum board 22 × 22 cm
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Newlyn Lifeboat in the fishing fleet 2020 mixed media on museum board 22 × 22 cm The Scillonian, the Lifeboat, the medical boat Scilly 2022 mixed media on museum board 22 × 22 cm Dwarfed by big ships, the Richard Scott Cox arriving into Falmouth Docks 2022 mixed media on museum board 22 × 22 cm Over the harbour wall, Scilly 2022 mixed media on museum board 22 × 22 cm
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We walked through the rain to Porthloo… Scilly 2022 mixed media on museum board 22 × 22 cm Practice launch into the sunshine 2022 mixed media on museum board 30 × 30 cm 17–29 Falmouth 2022 mixed media on museum board 22 × 22 cm
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Sennen Lifeguards 2022 mixed media on museum board 30 × 30 cm Dogs, surfers, lifeguards. Trebarwith morning 2022 mixed media on card 60 × 60 cm
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Gwithian Summer, evening high water 2022 mixed media on museum board 30 × 30 cm Gwenver late afternoon 2022 mixed media on museum board 22 × 22 cm Winter sunlight, the old Padstow lifeboat station on the Camel 2020 mixed media on museum board 22 × 22 cm

For the duration of RNLI Cornwall’s exhibition period (between March and August 2023), the Jackson Foundation will hold a prize draw to win Sennen flowing tide with each ticket purchased equalling one entry and the winner randomly selected at the exhibition’s conclusion.

100% of proceeds from the Sennen flowing tide prize draw will be donated to support the invaluable work of the Royal National Lifeboat Institution, the charity that saves lives at sea.

Tickets and information are available from the Jackson Foundation website at www.jacksonfoundationgallery.com/RNLI-draw or by scanning the QR code.

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Moored Newlyn Lifeboat 2021 mixed media on museum board 22 × 22 cm The RNLI flag flies over Port Isaac 2020 mixed media on museum board 22 × 22 cm Sennen flowing tide 2021 mixed media on museum board 22 × 22 cm Sennen flowing tide has been donated by Kurt Jackson to fundraise in aid of the RNLI.
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Penlee Point 2021 mixed media on museum board 22 × 22 cm Old Lizard Station 2022 mixed media on museum board 22 × 22 cm Cadgwith fishing boat, Lizard Lifeboat Station 2022 mixed media on museum board 22 × 22 cm On the slipway, Lizard Point 2022 mixed media on museum board 22 × 22 cm
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Hayle’s Sarah 2022 mixed media on museum board 22 × 22 cm Fowey Lifeboat Station, wet and windy 2022 mixed media on museum board 22 × 22 cm Dark river, Fowey lifeboat 2022 mixed media on museum board 22 × 22 cm
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series
Scilly
Windy bright morning, Scilly 2022 mixed media on museum board 22 × 22 cm Bright, damp blustery morning, Scilly 2022 mixed media on museum board 22 × 22 cm Scilly harbour morning 2022 mixed media on museum board 22 × 22 cm Scilly harbour morning, terns squeaking like rusty bicycles 2022 mixed media on museum board 22 × 22 cm
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Early morning Scilly 2022 mixed media on museum board 22 × 22 cm Early morning harbour, sun and showers, Scilly 2022 mixed media on museum board 22 × 22 cm
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Scilly 2015 – 2021 mixed media on linen 180 × 194 cm
62 Red flag 2022 mixed media on canvas 122 × 122 cm
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Red flags 2022 oil and mixed media on linen 114 × 114 cm
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Toy boat 2021 mixed media on linen 201 × 200 cm
68 30 mph NW winds 2021 mixed media on linen 140 × 200 cm

Lifejacket Bags

Refugees have fled conflicts and persecution since time immemorial. In a destabilized and unequal world, they will continue to do so. Climate emergency will make many people’s homelands unviable and more people will be on the move than ever before. Of that there is little doubt.

In 2015 and 2016 over one million refugees headed towards Europe from places like Syria, Afghanistan, and many African countries, taking hostile, dangerous and exploited journeys to seek sanctuary, by any means available.

This involved, for most, crossing the short but treacherous Aegean Sea channel between Turkey and the Greek island of Lesvos, in overloaded, flimsy, inflatable dinghies. They wore the now familiar, ultra-brightly coloured, (but usually fake and lethal) lifejackets, carrying their remaining personal possessions, often jettisoned to try to prevent sinking. Many could not swim. Despite all the dangers most survived the crossing, but tragically many did not. These waters, as elsewhere in the Mediterranean, have become an unmarked graveyard for thousands of people, unidentified and unrecovered. Others who were recovered were laid to rest on the island in makeshift graves, hidden amongst the ancient olive groves.

Many found their way from the degrading detention camps on Lesvos to the Greek mainland, and made the arduous walk to northern Europe where Germany above all welcomed a million refugees, but most other countries remained either indifferent or hostile, the United Kingdom included. In 2022 and continuing, many who had made their way to the northern French coast to try to reach their families and communities in the UK found they had to once again risk their lives in dangerous boats, there being no other means of entering the UK either safely or officially, to claim asylum.

Members of the Royal National Lifeboat Institute (RNLI) and of other volunteer sea rescue groups have risked their lives to save refugees in the busy, dangerous English Channel as well as the Mediterranean. They have been harassed, prevented from disembarking their rescued passengers, had vessels impounded and been prosecuted for their humanitarian work, in Greece, in Italy and elsewhere. The seas have become prohibited spaces for human rights defenders. Our compassion for people in distress at sea has been

About Kurt Jackson

transformed into hostility and abuse, including against highly respected organizations like the RNLI. Government reactions have been to punish those taking such dangerous journeys and those who come to their assistance rather than establish safe and legal routes.

I n the winter of 2015 our newspapers and TV screens were filled with images of lifejackets along the shorelines of Europe and piled like mountains on rubbish dumps, alongside the remains of shipwrecked boats. These vivid life-jackets became seared on the retina and synonymous with the human misery of those fleeing the conflict zones of the world. But one particular project turned these symbols of distress into symbols of hope and at the same time provided an income and a source of funding for refugees and projects supporting refugees on Lesvos. Salvaged, abandoned, life-jackets were reclaimed and transformed, by refugees themselves, incorporating other conventional textiles, into beautiful hand-made bags of all shapes, sizes and uses, at the Mosaik Support Centre in Mytilini, the capital city of Lesvos, as part of the ‘Safe Passage’ campaign. They remind us of the individuals who had to wear them, who risked their lives and who survived to seek a safer life. They remind us of all those who did not make it.

Kurt’s exhibition of paintings, poetry and this installation of ordinary yet totally extraordinary objects, are powerful expressions of solidarity and witness amidst the loud noises of hostility. They are a reminder to us all of our inherent duty to come to the rescue of all those in distress, of their personal stories, as unique as each of these handmade bags, not just another statistic but real people, with ordinary lives, people just like ourselves, who one day had to flee, risking everything they had.

A dedicated environmentalist and true polymath, Jackson’s holistic approach to his subject seamlessly blends art and politics providing a springboard to create a hugely varied body of work unconstrained by format or scale.

Jackson’s artistic practice ranges from his trademark visceral plein-air sessions to studio work and embraces an extensive range of materials and techniques including mixed media, large canvases, print-making and sculpture.

The son of artists, Jackson was born in Blandford, Dorset in 1961. While studying Zoology at Oxford University he spent most of his time painting and attending courses at Ruskin College of Art. On gaining his degree he travelled extensively and independently, painting wherever he went before putting down roots in Cornwall with his wife Caroline in 1984.

Jackson’s focus on the complexity, diversity and fragility of the natural world has led to artist-in-residencies on the Greenpeace ship Esperanza, the Eden Project and for nearly 20 years Glastonbury Festival which has become a staple of his annual working calendar

Over the past thirty years Jackson has had numerous art publications released to accompany his exhibitions. Five monographs on Jackson have been published by Lund Humphries depicting his career so far; A New Genre of Landscape Painting (2010), Sketchbooks (2012), A Kurt Jackson Bestiary (2015) and Kurt Jackson’s Botanical Landscape (2019) Kurt Jackson’s Sea (2021). A Sansom & Company published book based on his touring exhibition Place was released in 2014.

Jackson regularly contributes to radio and television and presents environmentally informed art documentaries for the BBC and was the subject for an award-winning BBC documentary, A Picture of Britain.

He has an Honorary Doctorate (DLitt) from Exeter University and is an Honorary Fellow of St Peter’s College, Oxford University. He is an ambassador for Survival International and frequently works with Greenpeace, Surfers Against Sewage, Friends of the Earth and Cornwall Wildlife Trust. He is a patron of human rights charity Prisoners of Conscience and is an academician at the Royal West of England Academy.

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The Last Rights Project works for bereaved families across the world and campaigns for dignity, truth and justice for all those who have lost their lives as a consequence of a migration journey. The Last Rights Project introduced the Safe Passage workshop project to Kurt and facilitated the bags coming to Cornwall. Kurt using one of the ‘Safe Passage’ bags from Lesvos

the Jackson Foundation

The Jackson Foundation is a unique, ambitious art-space celebrating and championing arts and the natural world.

Housed within a massive ex-industrial building in the centre of the thriving former mining town of St Just-in-Penwith, the Foundation was set up by leading contemporary artist Kurt Jackson and his wife Caroline and hosts an annual programme of quality contemporary exhibitions working in partnership with a variety of environmental and campaigning organisations. This award-winning world class art gallery is free to the public, bridging the gap between public and private art centres and a venue to view an eclectic range of artistic expression spanning painting, poetry, sculpture, installation and film.

Run by husband and wife Fynn and Zinzi Tucker, this environmentally focused art space is a green built sustainably managed carbon-positive concern. Powered by an array of high efficiency solar panels and ground-source heat pumps, the Foundation goes further by using a fleet of zero-emission fully electric cars.

Providing local employment, raising awareness and funds for groups working to protect the environment and giving back to a community that has been home to the Jackson family for nearly thirty years, the Foundation works to become a positive force for change.

The Jackson Foundation aims to provide a space, open to one and all, to reflect on our symbiotic relationship

with the natural world, and the rewards to be found by taking a step back and looking around, whilst enjoying contemporary art in a world heritage, ‘area of outstanding natural beauty’ – a post-industrial, rural setting.

Upstairs@the Jackson Foundation

Upstairs@theJacksonFoundation aims to foster an appreciation of the natural world and the pressures upon it; to promote and encourage an awareness of the environment and conservation through education and the arts.

With thanks to RNLI, Syd Bolton and Catriona Jarvis for their support with this project, Zinzi and Fynn Tucker and the team. Caroline for her companionship and logistics.

Jackson Foundation

North Row | St Just | tr17 7lb

info@kurtjackson.com

jacksonfoundationgallery.com

+44 (0) 1736 787638

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jacksonfoundation

@jacksonfgallery

@jacksonfgallery

First published in 2023 for the exhibition RNLI Cornwall

Published by Kurt Jackson Editions in 2023

www.kurtjackson.com

isbn 978-1-9196521-6-0

Publication © Kurt and Caroline Jackson Ltd

All images, words and poetry © Kurt Jackson 2023

Portrait photography © Caroline Jackson 2023

Art Photography by Fynn Tucker and PH Media

RNLI words, p.2 © RNLI

Lifejacket Bags words, p.70 © Syd Bolton & Catriona Jarvis

Catalogue design by Lyn Davies

www.lyndaviesdesignfolio.com

Printed by Park Lane Press, Corsham, on fsc® certified paper, using fully sustainable, vegetable oil-based inks, power from 100% renewable resources and waterless printing technology. Print production systems registered to iso 14001, iso 9001 and over 97% of waste is recycled.

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KURT JACKSON Editions 2023

Jackson Foundation

f cover Punching through. 2022.

mixed media on canvas 91 × 91cm £24,000

8 The lifeboat station, St Marys, Scilly, sunshine and squalls. 2022.

mixed media on canvas board 50 × 61 cm £8,000

9 Thunderstorm approaching, Scilly. 2022.

mixed media on card 60 × 60 cm £8,500

10 The moorings in front of Samson, Scilly. 2022.

mixed media on museum board 60 × 60 cm £8,500

11 Scilly boats, town beach St Marys . . . 2022.

mixed media on museum board 60 × 60 cm £8,500

12 Autumn evening above the Lizard lifeboat station . . . 2022.

mixed media on museum board 60 × 60 cm £8,500

13 Lifeboat passing. 2021.

mixed media on paper 57 × 61 cm £8,500

14 Thursday evening is practice night. Low water launch, Sennen. 2022.

mixed media on museum board 50 × 50 cm £7,500

15 The Sennen lifeboat passes Cape, evening high water. 2022.

mixed media on card 60 × 60 cm £8,500

16 Sennen, the incoming tide. 2022.

mixed media on wood panel 60 × 60 cm £8,500

17 Midday, Sennen lifeguards, neap tide. 2022. mixed media on card 60 × 60 cm £8,500

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The lifeguards’ hut, Sennen. 2022. mixed media on canvas board 60 × 60 cm £8,500

19 Above Gwenver lifeguards’ hut, hottest day of the year. 2022. mixed media on museum board 60 × 60 cm £8,500

20 & 7 Lifeboat. 2018.

mixed media and sand on wood panel 60 × 60 cm £8,500

26 Doors half open, Penlee frozen in time since 1981. 2022.

mixed media on canvas board 60 × 60 cm NFS

27 Newlyn, Ripple and Ivan Ellen. 2021.

mixed media on museum board 22 × 22 cm £3,500

27 & 5 Newlyn. 2021.

mixed media on museum board 22 × 22 cm £3,500

28 The tide comes in with a rush across Sennen. End of the Season. 2022. mixed media on card 60 × 60 cm £8,500

29 Big shoals of tuna out there, choughs all around me . . . 2022.

mixed media on card 60 × 60 cm £8,500

30 Over to Church Cove lifeboat station, waiting for the storm . . . 2022

mixed media on card 60 × 60 cm £8,500

31 Liam and Sam, Trebarwith lifeguards. High water. 2022

mixed media on card 40 × 40 cm £6,500

32 The tide comes in with speed, Sennen. 2021.

mixed media on wood panel 60 × 60 cm £8,500

33 The lifeboat station, Newquay Harbour. Sunshine and showers. 2022.

mixed media on museum board 40 × 40 cm £6,500

34 The rain comes in. The fishing fleet; low water . . . Newquay. 2022

mixed media on museum board 40 × 40 cm £6,500

35 Sennen gets a pounding. 2021.

mixed media on wood panel 52 × 52 cm £7,500

36 Summers evening. 2022.

mixed media on museum board 22 × 22 cm £3,500

36 Evening low water Sennen Cove. 2021.

mixed media on museum board 22 × 22 cm £3,500

37 St Ives low water flock of gulls in front of the lifeboat station. 2021

mixed media on museum board 22 × 22 cm £3,500

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Newlynlifeboatatthebackoftheharbour.2020.

mixedmediaonmuseumboard 50×50cm £7,500

MotherIvey’sBay,skylarksongandthecrashofthewaves.2021.

mixedmediaonwoodpanel 60×60cm £8,500

Lifeguardsandsurfers,Porthtowan.Summer’smorning.2022

mixedmediaonmuseumboard 50×50cm £7,500

Penlee–payingtheirrespects.2022.

mixedmediaoncanvasboard 61×50cm NFS

Doorsopen,Penleeslipway.2022.

mixedmediaonmuseumboard 40×40cm NFS

Oilskinshanginganddoorshalfopentothesunshine ... Penlee.2022.

mixedmediaoncard 40×30cm NFS

38 RNLB Anne Allen Padstow. 2022.

mixed media on museum board 22 × 22 cm £3,500

38 Padstow 1930’s lifeboat. 2022.

mixed media on museum board 22 × 22 cm £3,500

39 Sennen high water low light. 2021.

mixed media on museum board 22 × 22 cm £3,500

39 Tides up, Mother Ivey’s Bay. 2021.

mixed media on museum board 22 × 22 cm £3,500

40 Between the flags. 2022.

mixed media on museum board 22 × 22 cm £3,500

40 She suddenly appears hurtling around the headland . . . 2022.

mixed media on museum board 22 × 22 cm £3,500

KURT JACKSON RNLI Cornwall price list page title / media dimensions pricepage title / media dimensions price JacksonFoundation North Row, St Just tr 19 7 lb | t 01736 787638 | e info@kurtjackson.com  | w jacksonfoundationgallery.com  |  jacksonfoundation  |  @
fgallery
jackson
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JACKSON RNLI Cornwall

Thelifeboat’swake.2022. mixedmediaonmuseumboard 22×22cm £3,500

Intothecove.2022.

mixedmediaonmuseumboard 22×22cm £3,500

NewlynLifeboatinthefishing fleet.2020.

mixedmediaonmuseumboard 22×22cm £3,500

Dwarfedbybigships,theRichardScottCoxarriving...2022. mixedmediaonmuseumboard 22×22cm £3,500

TheScillonian,theLifeboat,themedicalboatScilly.2022. mixedmediaonmuseumboard 22×22cm £3,500

Overtheharbourwall,Scilly.2022. mixedmediaonmuseumboard 22×22cm £3,500

WewalkedthroughtheraintoPorthloo...Scilly.2022. mixedmediaonmuseumboard 22×22cm £3,500

17–29 Falmouth.2022.

mixedmediaonmuseumboard 22×22cm £3,500

Practicelaunchintothesunshine.2022.

mixedmediaonmuseumboard 30×30cm £5,000

Dogs,surfers,lifeguards.Trebarwithmorning.2022. mixedmediaoncard 60×60cm £8,500

SennenLifeguards.2022.

GwithianSummer,eveninghighwater.2022.

Gwenverlateafternoon.2022.

£3,500

Wintersunlight,theoldPadstowlifeboatstationontheCamel.2020.

22×22cm £3,500

TheRNLI flag fliesoverPortIsaac.2020. mixedmediaonmuseumboard 22×22cm £3,500

MooredNewlynLifeboat.2021.

£3,500

Sennenflowingtide.2021. mixedmediaonmuseumboard 22×22cm *

PenleePoint.2021.

52 Old Lizard Station. 2022. mixed media on museum board 22 × 22 cm £3,500

53 Cadgwith fishing boat, Lizard Lifeboat Station. 2022.

mixed media on museum board 22 × 22 cm £3,500

53 On the slipway, Lizard Point. 2022.

mixed media on museum board 22 × 22 cm £3,500

54 Hayle’s Sarah. 2022.

mixed media on museum board. 22 × 22 cm £3,500

54 Fowey Lifeboat Station, wet and windy. 2022.

mixed media on museum board 22 × 22 cm £3,500

55 Dark river, Fowey lifeboat. 2022.

mixed media on museum board 22 × 22 cm £3,500

56 Windy bright morning, Scilly. 2022.

mixed media on museum board 22 × 22 cm £3,500

56 & 6 Scilly harbour morning. 2022.

mixed media on museum board 22 × 22 cm £3,500

57 Bright, damp blustery morning, Scilly. 2022.

mixed media on museum board 22 × 22 cm £3,500

57 Scilly harbour morning, terns squeaking like rusty bicycles. 2022.

mixed media on museum board 22 × 22 cm £3,500

58 Early morning Scilly. 2022.

mixed media on museum board 22 × 22 cm £3,500

59 Early morning harbour, sun and showers, Scilly. 2022.

mixed media on museum board 22 × 22 cm £3,500

60 Off Scilly. 2015 – 2021.

mixed media on linen 180 × 194 cm £65,000

63 Red flag. 2022.

mixed media on canvas 122 × 122 cm £35,000

65 Red flags. 2022.

oil and mixed media on linen 114 × 114 cm £35,000

66 Toy boat. 2021.

mixed media on linen 201 × 200 cm £65,000

68 & 4 30 mph NW winds. 2021.

mixed media on linen 140 × 200 cm 60,000

* prize draw in aid of RNLI – see page 51 for details

page title / media dimensions pricepage title / media dimensions price JacksonFoundation North Row, St Just tr 19 7 lb | t 01736 787638 | e info@kurtjackson.com  | w jacksonfoundationgallery.com  |  jacksonfoundation  |  @ jackson fgallery
price list, continued 41 41 42 42 43 43 44 44 45 46 47 48 49 49 50 50 51 52
KURT
mixedmediaonmuseumboard 30×30cm £5,000
mixedmediaonmuseumboard
30×30cm £5,000
mixedmediaonmuseumboard 22×22cm
mixedmediaonmuseumboard
mixedmediaonmuseumboard 22×22cm
mixedmediaonmuseumboard
22×22cm NFS

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