4 minute read
Brasspoint at the Crypt
Mike Stones started Seaford-based Brasspoint School of Visual Arts eight years ago with just three students and now 80 to 90 artists are passing through each week to develop their creativity and ideas through the exploration of processes and materials.
The results were on show at the Crypt in late November when the gallery was abuzz with visitors discussing the work of 25 artists working in media ranging from linocut to pen and chalk, from watercolour to oil, and sometimes a variety of these.
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Take Ruth de Mallet Morgan for instance. She offered joyful limes and cerise in her acrylic Open Gardens Southease, angling a fence as if seen from above to create a welcoming openness to the scene, alongside a contrastingly styled watercolour of a chilly Hindover mantled by mauve-tinged snow, then a father and baby son study tenderly painted in acrylics from a distance that secluded them in their own private world; and in a complete change, a bold linocut of a shoal of fish in brown and black.
What I enjoyed about most of the work was its freedom of line – no painted ‘photographs’ here – for instance, Margot Little’s Westwards Birling Gap in ink and chalk on paper, where cliffs tinged with yellow soared behind a righthand foreground of lively vegetation and against a translucent turquoise sea.
Very different was Fran Kershaw’s Pathway in acrylics, with a flock of birds in a hot summer sky and a path diagonally located across sweeping striated downland. Kate Nicholls portrayed her cliff and sea images in crisp blue, black and ochre to great effect, and Sheila May Brown’s oil on canvas of fishing huts on stilts at sunset, dark against a palette of golds, was also arresting.
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From day’s ending to Darkness Descends, in which Lucie Jones portrayed a mysteriously looming fishing boat in charcoal and chalk.
Liz Newns also displayed multi-media talent with her Exhale, of a swimmer appearing to meditate while floating on a yellowy-green sea whose swirly depths were lit by a sun-filled sky, and three grounded images of unposed people called Reluctant Models.
I loved Angela Race’s Gerbera Heaven, of big, splashy blooms, and Lesley Faux’s Cuckmere Haven in acrylic on watercolour, apparently painted from a distance to slowly draw the viewer into the pleasures to come.
Bold black lines served to hold Emma White’s acrylic and chalk on board Rock Pool together, making one imagine the marine activity of flora and fauna below smooth rocks and calm water.
This was a well-curated exhibition by some very confident artists, and it must have been very rewarding – and not just in the financial sense – to see so many red ‘sold’ dots on the work.
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