Jeremy Gardiner BY
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Jeremy Gardiner BY THE COAST REVEALED – KENT TO CORNWALL
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Verney L. Danvers’ 1955 British Railways poster © National Railway Museum/Science & Society Picture Library
South by Southwest The Coast Revealed – Kent to Cornwall
Jeremy Gardiner’s coastal paintings have always contained references to human activity in the landscape. In the past, these were often discreet elements providing a sense of scale in the wider panorama. Recently, such features have come into sharper focus. Gardiner explains: ‘Man-made interventions have been making an increased appearance in my work and that may be partly due to my interest in railway posters. They tend to show the urban environment of the seaside, which is not always a resort, but often a coastal town or village.’ 1 The railways once brought millions of visitors to the south coast and, from the 1920s, posters were a vital part of their marketing campaigns. Elegant design and bright colours presented an idyllic vision of the British coastline: stylish, happy families enjoying a domestic riviera in guaranteed sunshine. Gardiner first encountered this kaleidoscope of imagery on station walls while travelling to school in Kent or on visits to his family in Swanage. It made a lasting impression: ‘it was the impact of the colour, the excitement of places where I hadn’t been.’ The influence of poster art in Gardiner’s most recent work can be seen in the bold, contrasting palettes, the use of flat colour to depict man-made features, and the choice of subject and viewpoint. In a sense, it is another filter through which he views the landscape, part of his longstanding desire to understand both the geological and cultural history of his subjects. 1
Quotations from Jeremy Gardiner are taken from an interview with the author, made in March 2019.
2
Verney L. Danvers, Training in Commercial Art: The Principles and Technique of the Subject with Chapters on FancyCostume Designing, Pitman, 1926, page 88.
Gardiner particularly admires Verney L. Danvers’ 1955 British Railways poster (opposite), a classic representation of Swanage Bay in vibrant colour, in which Danvers follows his own advice: ‘Broad flat treatment is the best...Make your poster sunny and crisp...idealise your illustration. Let it create a longing to be there.’2 Gardiner’s personal connection with this Purbeck resort stems from memories of returning to Britain for the first time after his father’s overseas postings: ‘Going from Singapore to Swanage,
it’s this incredible contrast even as a young boy of five: the flavours, the smells, and meeting my grandmother for the first time, it all made a big impression on me. That was my first experience of Swanage and I have been returning and walking the Dorset coast ever since.’ For newer subjects in Sussex and Kent, Gardiner has also immersed himself in the locality, walking and looking, trying to understand the underlying terrain, while telling stories of people, processes and events that have shaped the landscape. When choosing subject matter, he also consults historic maps and guidebooks. Gardiner says ‘There’s something about a printed guide or an Ordnance Survey map that connects you with the landscape in many different ways...they help me understand and think about how other people would have looked at these picturesque places in the past.’ Along with the postcards he collects, historic maps and guides allow Gardiner to undertake some painterly time travelling. Elements in the landscape which may have vanished are reinstated, providing layers of historical content to match the complex strata of paint and surface texture. The inclusion of carefully rendered architectural detail in this series reflects another stage in the continual evolution of Gardiner’s work. Much like the found objects that Paul Nash used to populate his paintings instead of people, Gardiner says we should ‘Think of them in the landscape like characters in a story. A lighthouse, cottage or tin mine chimney appear as such tiny features in my paintings because in the grand scheme of things, and in the fullness of geological time, they remind us how small and recent mankind’s interception has been.’
Steve Marshall Exhibition Curator, St Barbe Museum and Art Gallery
Gardiner’s research into his subjects unearths all kinds of unexpected stories. The title for this work is based on a quote from Ian Fleming’s James Bond novel Moonraker. In 1951, Fleming leased a cottage at St Margaret’s Bay from his friend Noel Coward; the locality became the setting for some of the book’s action.
CATALOGUE 1
An Afternoon of Blue, Green and Gold, St Margaret’s Bay, Kent signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 55 x 79 cms (22 x 31 ins) framed: 68 x 92 cms (27 x 36 ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 12, figure 4
While exploring Pegwell Bay, the location of William Dyce’s famous painting, Gardiner came across the remains of the nearby hoverport, which closed after less than twenty years in 1987. The approach markings are visible in the foreground, while the present-day calm of the bay reminds us of the sometimes fleeting nature of human innovation. CATALOGUE 2
Pegwell Bay, Kent, A Recollection signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 55 x 79 cms (22 x 31 ins) framed: 68 x 92 cms (27 x 36 ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 48, figure 33
Dramatic use of colour creates an entirely different atmosphere in this view of St Margaret’s Bay. The vivid greens, rubbed back to reveal underlying rectangles of scarlet, bring a sense of movement and tension to the scene.
CATALOGUE 3
Shingle Beach, St Margaret’s Bay, Kent signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 40 x 70 cms (16 x 27½ ins) framed: 53 x 83 cms (21 x 32½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 17, figure 8
The White Cliffs of Dover gleam against an electric blue sea, the intense colouring achieved through building multiple paint layers. The rectangular shapes above the cliffs give a sense of enormity to the sky, heightened by the minute scale of the lighthouse itself.
CATALOGUE 4
South Foreland Lighthouse, Kent signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 60 x 80 cms (23½ x 31½ ins) framed: 73 x 93 cms (28½ x 36½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 84, figure 65
The eye immediately falls on the stark beauty of the cliffs before being drawn into the depth of the painting. In characteristic fashion, Gardiner reduces the modern developments around Dover harbour into indistinct silhouettes, contained within an ellipse that straddles the horizon.
CATALOGUE 5
The White Cliffs of Dover, Kent signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 50 x 80 cms (20 x 31½ ins) framed: 63 x 93 cms (25 x 36½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 119, figure 96
Dover Castle historically guarded one of the key entry points into England. This painting evolved from a darker vision, where the Castle was shrouded by camouflage-like patterning, into this airy view where the towers are lit by the setting sun.
CATALOGUE 6
The Key to England, Dover Castle, Kent signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 35 x 70 cms (14 x 27½ ins) framed: 48 x 83 cms (19 x 32½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 89, figure 70
Hastings is glimpsed over the ghostly ruins of its castle. This was a viewpoint popular with poster artists, but Gardiner found his inspiration in a tiled mural in the nearby General Havelock pub. The distant pier is also a relic of Hastings’ history, recalling its heyday as a seaside resort.
CATALOGUE 7
Hastings Castle and Pier, Sussex signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 90 x 100 cms (35½ x 39½ ins) framed: 103 x 113 cms (40½ x 44½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 111, figure 89
Gardiner’s title refers to the annual walk used to raise funds for the lighthouse, which is shown throwing its beam into the surrounding sky. The composition and sense of calm is reminiscent of Dyce’s painting of Pegwell Bay.
CATALOGUE 8
Trek to Beachy Head Lighthouse, Sussex signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 66 x 89 cms (26 x 35 ins) framed: 79 x 102 cms (31 x 40 ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 109, figure 88
The sea is constantly reshaping the coast. Erosion separated the Stag Rock from the mainland long ago, while the nearby Arch Rock collapsed into the sea in 1992. In Gardiner’s paintings, time is also reconfigured through excavation and overpainting – the Albion Hotel’s extension is now a ghost and the rest of modern Freshwater is absent.
CATALOGUE 9
Stag Rock, Freshwater Bay, Isle of Wight signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 45 x 61 cms (18 x 24 ins) framed: 58 x 74 cms (23 x 29 ins)
The Pinnacle and Haystack chalk stacks are a subject Gardiner has been painting since the 1990s. Here, the rich layers of colour give a sense of depth to the sea while surface texture suggests unsettled weather.
CATALOGUE 10
Chalk Stacks, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 60 x 60 cms (23½ x 23½ ins) framed: 73 x 73 cms (28½ x 28½ ins)
Gardiner has drawn on his postcard collection to create a view that incorporates elements from various decades of the 20th century. These layers of time complement the complex surface structure of the painting itself.
CATALOGUE 11
Ballard Down and Promenade, Swanage, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 41 x 59 cms (16½ x 23½ ins) framed: 54 x 72 cms (21½ x 28½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 28, figure 16
Gardiner was conscious of Verney L. Danvers’ poster while making this painting (see catalogue introduction). Rather than summer holidays, he is remembering a cold day, empty of people but with a view brought vibrantly to life by spring sunlight. The boat trip kiosk and tramway rails in the foreground reflect both personal and local histories.
CATALOGUE 12
Quayside and Kiosk, Swanage Bay, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 40 x 65 cms (16 x 25½ ins) framed: 53 x 78 cms (21 x 30½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 83, figure 64
An imposing painting of strong vertical and horizontal lines evokes crisp winter sunlight picking out chimneys, moored boats, the pier and the Wellington Tower. These are contrasted by the blue shape on the right which emphasises the vast scale of the sky.
CATALOGUE 13
Swanage Bay from Peveril Point, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 80 x 150 cms (31½ x 59 ins) framed: 93 x 163 cms (36½ x 64 ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 106, figure 86
A view across Durlston Bay towards Peveril Point, its coastguard cottages tiny among the receding contours of the Dorset coast. Beyond is Swanage Bay and Ballard Point, the Pinnacles and Old Harry chalk stacks silhouetted against the white cliffs. The title and composition were suggested by a postcard in Gardiner’s collection.
CATALOGUE 14
The Two Bays from Durlston Head, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 40 x 80 cms (16 x 31½ ins) framed: 53 x 93 cms (21 x 36½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 82, figure 63
Gardiner has known this folly for decades and first painted it in the 1990s. Here, the Globe is viewed from the east in an expansive setting that includes the turret of Durlston Castle, perched on the hill’s summit. Gardiner’s treatment of the Globe is partly inspired by spheres seen in the paintings of John Tunnard.
CATALOGUE 15
Great Globe and Stone Tower, Durlston Castle, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 60 x 122 cms (23½ x 48 ins) framed: 73 x 135 cms (28½ x 53 ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 94, figure 77
The Great Globe was the subject for one of Graham Sutherland’s Shell poster commissions in the 1930s. Gardiner sees the poster as a kind of talisman for the site and has replicated Sutherland’s palette in the blue sky and surrounding greenery.
CATALOGUE 16
Early Evening, Great Globe, Durlston Castle, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 50 x 50 cms (20 x 20 ins) framed: 63 x 63 cms (25 x 25 ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 92, figure 75
Gardiner uses contrasting colour to dramatic effect in portraying the first light of a stormy day on the Dorset coast. The red of the sky is echoed on the nearby hillside as the landscape emerges from shadow.
CATALOGUE 17
Morning, Chapman’s Pool, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 60 x 60 cms (23½ x 23½ ins) framed: 73 x 73 cms (28½ x 28½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 113, figure 91
Gardiner has used a subtly varying palette of reds and greens in this work to portray several Dorset coastal subjects. Mupe Rocks with their angled strata dominate the foreground with the sweep of Kimmeridge Bay above.
CATALOGUE 18
Winter Gale, Mupe Rocks and Kimmeridge Bay, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 65 x 66 cms (25½ x 26 ins) framed: 78 x 79 cms (30½ x 31 ins)
Gardiner’s viewpoint is from Flower’s Barrow, an Iron Age earthwork which is gradually falling into the sea through coastal erosion. In the centre of the painting, picked out in green, is a later defensive construction – a Second World War pillbox.
CATALOGUE 19
Worbarrow Bay and Mupe Bay from Flower’s Barrow, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 60 x 89 cms (23½ x 35 ins) framed: 73 x 102 cms (28½ x 40 ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 16, figure 7
In this subject, underlying geology is brought to the surface in the spectacular folded strata of the Lulworth Crumple. Beneath the layers of pigment, abstract shapes and surface texture, the forms of Stair Hole and Lulworth Cove are still clearly recognisable.
CATALOGUE 20
Lulworth Crumple and Stair Hole, Dorset signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 50 x 65 cms (20 x 25½ ins) framed: 63 x 78 cms (25 x 30½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 44, figure 28
The Hooken Undercliff was formed by a major landslip in 1790. It is now an area rich in fossils, vegetation and wildlife. Gardiner contrasts its greenery with the darkness of the surrounding sea. Two pinnacles of chalk rise above like the towers of a castle.
CATALOGUE 21
Hooken Cliffs, Beer, Devon signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 60 x 75 cms (23½ x 29½ ins) framed: 73 x 88 cms (28½ x 34½ ins)
It may take a moment to spot the white zigzag of Jacob’s Ladder, a wooden staircase connecting the beach with the Clock Tower and Connaught Gardens above. It is a tiny but telling feature in this expansive eastward view of the Devon coast.
CATALOGUE 22
Jacob’s Ladder and Sidmouth, Devon signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 50 x 70 cms (20 x 27½ ins) framed: 63 x 83 cms (25 x 32½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 108, figure 87
Gardiner’s fascination with the geological features of the south coast naturally brought him to Ladram Bay, where erosion has created sandstone stacks. Their striated forms nestle under the rust-coloured cliffs, bordered by the inviting turquoise blue of the sea and the ominous green of the sky.
CATALOGUE 23
Sea Stacks, Ladram Bay, Devon signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 30 x 45 cms (12 x 18 ins) framed: 43 x 58 cms (17 x 23 ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 112, figure 90
Kynance Cove is known for its dramatic rock formations and the vivid greens and blues seen in the surrounding water. Gardiner silhouettes the rocks against a Mediterranean sea and also echoes the bright orange lichen found on nearby rocks.
CATALOGUE 24
Kynance Cove, Cornwall signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 45 x 80 cms (18 x 31½ ins) framed: 58 x 93 cms (23 x 36½ ins)
From the chimney in the central foreground, this painting leads the eye along the rooftops to the houses above the quay, across the harbour entrance to the church and back along the roofline to the starting point. The jutting breakwater points towards a distant headland.
CATALOGUE 25
Above Porthleven, Cornwall signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 80 x 160 cms (31½ x 63 ins) framed: 93 x 173 cms (36½ x 68 ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 24, figure 14
On visiting Lamorna Cove, Gardiner was struck by the damaged breakwater. The end had broken off in a storm, echoing the sea stacks portrayed in other works. The scattered houses and windswept coastline of Gardiner’s painting give a sense of this vulnerability to the elements.
CATALOGUE 26
Cliff Cottage, Lamorna Cove, Cornwall signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 30 x 45 cms (12 x 18 ins) framed: 43 x 58 cms (17 x 23 ins)
Gardiner’s atmospheric view of Porthcurno contains an oblique reference to its remarkable history. The small white building on the extreme left is the Cable Hut, a termination point for undersea telegraph wires which once made this tiny village world famous.
CATALOGUE 27
Porthcurno from the Minack Theatre, Cornwall signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 55 x 75 cms (22 x 29½ ins) framed: 68 x 88 cms (27 x 34½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 14, figure 5
What might seem a largely abstract painting, on closer viewing reveals the rocky cliffs and ruins at Botallack. Creamy rectangles on the left echo shapes surrounding the engine houses that once served mine shafts running half a mile under the sea. Surface texture suggests the waves that surge around this shore in rough weather.
CATALOGUE 28
The Crowns, Botallack, Cornwall signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 85 x 110 cms (33½ x 43½ ins) framed: 98 x 123 cms (38½ x 48½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 15, figure 6
Gardiner returned to this subject three years after painting it for his Pillars of Light series, conscious of its role as the backdrop for Virginia Woolf’s novel To the Lighthouse. Here it is separated from the rest of the landscape in a box of black, as if seen at night.
CATALOGUE 29
Godrevy Light, Cornwall signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 50 x 80 cms (20 x 31½ ins) framed: 63 x 93 cms (25 x 36½ ins)
While Gardiner’s use of texture always lends his paintings a sense of movement and changing atmospheric conditions, this view reminds us it is possible to experience glorious weather on southern coasts amid clear skies and deep blue seas.
CATALOGUE 30
Perranporth, Cornwall signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 50 x 100 cms (20 x 39½ ins) framed: 63 x 113 cms (25 x 44½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 114, figure 92
Tintagel Castle is inextricably linked with the romance of the Arthurian legends, although the remains seen here date from the 13th century. Gardiner’s earthy colours blend the ruins into the surrounding landscape as if they were natural features.
CATALOGUE 31
Tintagel Castle, Cornwall signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 45 x 55 cms (18 x 22 ins) framed: 58 x 68 cms (23 x 27 ins)
Gardiner visited Boscastle at Halloween when the streets were thronged with witches. Characteristically, no figures, magical or otherwise, appear in the painting. It follows the river as it meanders between breakwaters and out into the sea, the flanking hills contrasted in bands of red and gold.
CATALOGUE 32
Low Tide, Boscastle, Cornwall signed and dated 2019 titled verso acrylic and jesmonite on poplar panel 60 x 90 cms (23½ x 35½ ins) framed: 73 x 103 cms (28½ x 40½ ins) Publications South by Southwest, Sansom & Co, 2020, illustrated page 118, figure 95
Jeremy Gardiner
Chronology 1957 | Born 26 April in Münster, Germany. 1968–75 | Attends Duke of York’s Royal Military School, Dover, Kent. 1972 | Travels to Italy and sees the work of Italian primitives. 1975–79 | BA in Fine Art, Newcastle University. 1977 | Student exchange programme to the United States. Works and travels across the US during the summer months and visits Richard Diebenkorn retrospective. 1978 | Starts painting the industrial landscape of Northeast England. Visits Barbara Hepworth Museum, St Ives.
Receives Harkness Fellowship and becomes Fellow at Visible Language Workshop (VLW), Massachusetts Institute of Technology, Cambridge, US. Has studio in downtown Boston.
1986 | Visiting Professor at Pratt Institute of Art and Design, Brooklyn, New York.
2000 | Works in collaboration with the Clore Duffield Foundation on Artworks, the National Children’s Art Competition for launch of Tate Modern.
2016 | Featured in Pillars of Light, a film by Veronica Falcão. The film was Documentary winner at Santa Barbara Fine Arts Film Festival and Documentary finalist at Chicago Blow-Up Arthouse International Film Festival.
Exhibits at the XLII Venice Biennale. 1987 | Receives New York Foundation for the Arts Fellowship and moves to Rio de Janiero to draw and paint for the summer. 1988 | Has studio in Cold Spring, Hudson Valley, New York.
1989–93 | Assistant Professor of Art at Pratt Institute of Art and Design, Brooklyn, New York.
1980–83 | MA Painting, Royal College of Art. 1983 | Visiting Lecturer at Ealing College of Art. General Electric Commission for Hirst Research Centre. Has studio in the City of London. 1984 | Receives Churchill Fellowship to travel and investigate new directions in art and design education in the US.
First Prize at ING Discerning Eye, Mall Galleries for the painting Pendeen Lighthouse. 2014 | Starts painting lighthouses and their locations in the Southwest.
1980 | Interviewed on Radio 4’s Kaleidoscope by Michael Billington & Waldemar Januszczak (Radio 4, 7 July 1980).
First solo exhibition takes place at Parnham House (John Makepeace’s School for Craftsmen in Wood), Beaminster, Dorset.
1998 | Visiting Professor at Bennington College, Vermont. Family moves to Bath, England. Has studio in the City of Bath.
1989 | Marries Fulbright scholar and photographer Veronica Falcão.
Works as a chain-man on the Kielder Dam project, Northumberland.
Has studio in downtown Miami.
Solo exhibition Jeremy Gardiner: Unfolding Landscape, Kings Place Gallery, London.
1985 | Moves to New York City. Has studio in Tribeca.
1979 | Awarded Yorkshire Arts, Artist in Industry Fellowship. Has studio on the factory floor of Bridon Wire, Doncaster.
Interviewed on Yorkshire Television’s Calendar Carousel on his Artist in Industry Fellowship.
1993–98 | Professor of Art at New World School of the Arts, Miami, Florida.
Has studio in Chelsea, New York City.
1990 | Plein-air paintings of the Isle of Purbeck, Dorset. Daughter Marina born in New York City on 22 September. 1991 | First solo exhibition in an American museum. Fine Arts Museum of Long Island, New York. Plein-air paintings of Monhegan Island, Maine. 1992 | Sabbatical from Pratt Institute of Art and Design to work as tutor in the Printmaking Department of the Royal College of Art. Has studio in Camden Town, London. Son Marcus born in London on 12 May. First studies for Ballard Point series painted at Number 2, The Parade, Swanage - where Paul Nash lived in 1935.
2001 | Plein-air paintings of the archipelago Fernando de Noronha, in Northeast Brazil. 2001–07 | Professor at London College of Music and Media, University of West London (formerly Ealing College of Art). 2006 | Plein-air painting expedition to the Cornish Coast. 2007–10 | Senior Research Fellow at Birkbeck College, London. Awarded Arts and Humanities Research Council grant and organises conference Ideas Before Their Time.
2016–2019 | Painting and drawing expeditions to Dorset, Devon and Cornwall; Kent; and Sussex for South by Southwest. 2020 | Touring exhibition of paintings South by Southwest. Awards and Fellowships 1977 | John Christie Scholarship, Newcastle University Northern Arts Exhibition Award
Explores geology of Cyclades island Milos, Greece.
1978 | Midland Bank Drawing Prize
Takes part in The Quiet Man, a film by John Foxx.
1979 | Yorkshire Arts, Artist in Industry Fellowship
2010 | Artist in Residence, Nottingham University. Develops series of Lake District waterfall paintings. Receives Arts Council England Grants for the Arts Award. 2010–19 | Professor and Director of Postgraduate Studies, Ravensbourne University London. 2013 | Monograph The Art of Jeremy Gardiner: Unfolding Landscape published by Lund Humphries, London.
Hatton Scholarship, Newcastle University
1981 | John Minton Scholarship, Royal College of Art 1984 | Churchill Fellowship Harkness Fellowship 1985 | Major Works Grant, Massachusetts Council on the Arts and Humanities 1987 | New York Foundation for the Arts Fellowship 1988 | Prix Ars Prize, Austria 1995 | Florida Council on the Arts Fellowship
1998 | New Forms Grant, Cultural Affairs Council, Florida
ING, London
1991 | Fine Arts Museum of Long Island
Lawrence Graham LLP, London
2002 | National Endowment for Science, Technology and the Arts Grant
2000 | Ballard Point, Belgrave Gallery, London
LGV, London
2001 | Maltby Gallery, Winchester
NYNEX Corporate Collection, USA Pallant House Gallery, Chichester
2003 | Purbeck Light Years, Lighthouse, Poole Centre for the Arts
2015 | Jeremy Gardiner, Jurassic Coast, Victoria Art Gallery, Bath
Peterborough Museum and Art Gallery, Peterborough
2004 | Archipelago, Gallery 286, London Northcote Gallery, London
2016 | Pillars of Light, The Nine British Art, London
2003 | Peterborough Art Prize 2007 | Arts and Humanities Research Council Grant 2008 | Arts Council England Research and Development Award 2010 | Arts Council England Grants for the Arts Award Artist in Residence Nottingham University
Peter Taylor and Associates, London Pinsent Masons, London
Midtsommerfest, Tysvaer, Norway
Rank Xerox, London
Jurassic Coast, Black Swan Arts, Frome, Somerset
2013 | First Prize, ING Discerning Eye 2017 | Senior Fellowship, Higher Education Academy
Royal National Lifeboat Institution, Poole
2020 | Arts Council England Grant
St Barbe Museum and Art Gallery
Southampton City Art Gallery St Thomas’ Hospital Collection, London
Collections
Swindon Museum and Art Gallery
Barclays Wealth Management, Poole
Tudor Capital, London
BNP Paribas, London
University of Northumbria, Newcastle upon Tyne
Bournemouth University Art Collection, Bournemouth
Victoria and Albert Museum, London
Ente Nazionale Idrocarburi, Milan
1980 | Parnham House, Dorset
1984 | Galerie 39, London
General Electric, London
1985 | George Sherman Gallery, Boston University
Greenlight Capital, London Hatton Gallery, Newcastle Upon Tyne Imperial College Art Collection, London
Along the Coast, Campden Gallery, Chipping Campden 2008 | The Coast Revisited, The Nine British Art, London 2010 | A Panoramic View, Pallant House Gallery, Chichester
Atlantic Edge, Belgrave Gallery, St Ives
GDF Suez, London
Government Art Collection, London
Foss Fine Art, London
Solo Exhibitions
Gaz de France, London
Goodwin Proctor, London
Atrium Gallery, Bournemouth University
Light Years, Jurassic Coast, Lighthouse, Poole Centre for the Arts
1983 | Heuristic Journeys, General Electric, Hirst Research Centre, London
GlaxoSmithKline, London
2007 | Arvor, Belgrave Gallery, St Ives
Watson Wyatt, London
Centrebridge, London Davis Polk & Wardwell, Paris
2006 | 59th Aldeburgh Festival, Foss Fine Art
Rathbones, London Royal College of Art Collection, London
Cleary Gottlieb, London
Maltby Gallery, Winchester
1987 | Compton Gallery, MIT, Cambridge, Massachusetts 1990 | Centro Cultural Cândido Mendes, Rio de Janeiro Museu de Arte Moderna de São Paulo
Campden Gallery, Chipping Campden 2013 | Jeremy Gardiner: Intaglio Monoprints, Pratt Gallery, Pratt Institute of Art and Design, Brooklyn, NY
Jeremy Gardiner, Monoprints, Level 39, 1 Canada Water, London 2014 | Jeremy Gardiner, ING, City of London
2017 | Drawn to the Coast, The Nine British Art, London 2018 | Geology of Landscape, Candida Stevens Gallery, Chichester 2019 | Tintagel to Lulworth, The Nine British Art, London 2020 | South by Southwest, St Barbe Museum and Art Gallery, Lymington, The Nine British Art, London Selected Group Exhibitions 1978 | The Northern Art Exhibition, Shipley Art Gallery, Gateshead (touring exhibition) Student Drawing, Park Square Gallery, Leeds 1980 | Artist in Industry, Sheffield City Art Gallery (Arts Council touring exhibition) Drawing into Painting, LYC Museum and Art Gallery, Cumbria Reliefs, Royal College of Art 1981 | Royal Academy Summer Exhibition Metropolis, Royal Festival Hall, London
Cornish Monoprints, Belgrave Gallery, St Ives
Unicorn Trust, Morley Gallery, London
Exploring the Elemental, The Nine British Art, London
1982 | New Contemporaries, ICA, London
Unfolding Landscape, Kings Place Gallery, London Jeremy Gardiner, University of Northumbria Art Gallery, Newcastle Upon Tyne
Pictures for Schools Exhibition, National Museum of Wales Picture Loan Scheme, Ceolfrith Arts Centre, Sunderland 1983 | Electra 83, Musée d’Art Moderne de la Ville de Paris
The Pick of New Graduate Art, Christies, London 1985 | State of the Art, Twining Gallery, New York Major Works, New England Arts Biennial, University of Amherst Emerging Expressions, Bronx Museum of the Arts, New York Self Portraits, The Photographers Gallery, London Digicon, Burnaby Art Gallery, Vancouver, Canada Arts Festival, University of Nova Scotia, Canada 1986 | 42nd Venice Biennale, Italy Tradition & Innovation in Printmaking, Barbican, London Hurlbutt Gallery, Greenwich, Connecticut Louisville Art Gallery, Kentucky 1987 | Emerging Expressions, Bronx Museum, New York Casas Toledo Oosterom, New York High Tech/High Touch in Printmaking, Pratt Institute Gallery, New York 1988 | Emerging Visions, Tibor de Nagy Gallery, New York Summer in the City, Twining Gallery, New York
1994 | Nature Morte, Joel Kessler Gallery, Miami 1995 | ArCade Prints, Brighton University 1996 | Digital Salon, Visual Arts Museum, School of Visual Arts, New York Multimedia Artworks, University of Ghent, Belgium
Digital Terrains, Deluxe Gallery, London The Land, Dorset County Hospital, Dorchester 2004 | New Media Arts, First Beijing International Exhibition, China Works on Paper, Sears Peyton Gallery, New York Hunting Art Prize, Royal College of Art, London
1997 | Isle of Purbeck, Silicon Gallery, Philadelphia
2005 | Royal Academy Summer Exhibition
1998 | Landmark, Atrium Gallery, Bournemouth University
2006 | 59th Aldeburgh Festival
Royal Academy Summer Exhibition 1999 | CADE, Historical Museum, Novosibirsk, Siberia, Russia Belloc Lowndes Fine Art, Chicago Gamut, Colville Place Gallery, London 147th Autumn Exhibition, Royal West of England Academy, Bristol 2000 | Neuhoff Gallery, New York City 2001 | Jeremy Gardiner/Geoffrey Dashwood, Maltby Gallery, Winchester Laing Landscape Competition, Mall Galleries, London
Art Loan Collection, Winchester University
2010 | Earthscapes, Geology and Geography, Bridport Arts Centre, Dorset (touring exhibition) 105th Annual exhibition, Bath Society of Artists, Victoria Art Gallery, Bath Works on Paper, Campden Gallery, Chipping Campden 3D 2D, Edinburgh Printmakers 2012 | Painting the Sea, The Art Stable, Dorset Coast Unearthed, Bridport Arts Centre, Dorset 2013 | The Discerning Eye, Mall Galleries
Art Loan Collection, Bournemouth University
Mapping the Way, Walford Mill Crafts, Dorset
Ancient landscapes, Midtsommerfest, Tysvaer, Norway
Pave the Way, Intaglio Monoprints, Haysom Quarry, Dorset
Time Passes, Renscombe Farm, Worth Matravers, Dorset
Summer Show, Belgrave Gallery, St Ives
Originals, Mall Galleries, London 2007 | A Postcard from St Ives, Belgrave Gallery, St Ives Cornish Show, Thompson’s Gallery, London 2008 | Salon de Yutaka, Kanazawa, Japan Art de Art, Osaka, Japan Artzone, Kyoto, Japan
Art Loan Collection, Bournemouth University
Orie Gallery, Tokyo, Japan
Belgrave Gallery, London The Discerning Eye, Mall Galleries, London
Gallery Mai, Tokyo, Japan Gallery Atos, Okinawa, Japan
2014 | The Newcastle Connection, University of Northumbria Art Gallery Songs of Nature, Foss Fine Art Ways of Looking, Aldeburgh Gallery 2015 | Royal Academy Summer Exhibition Nature, Politics and Science, DLI Museum, Durham Shorelines – Artists on the South Coast, St Barbe Museum, Lymington The Discerning Eye, Mall Galleries, London 2016 | Facing History, Victoria & Albert Museum, London
2002 | Laing Landscape Competition, Mall Galleries, London
Acostage Gallery, Takamatsu, Japan
A Kiss is just a Kiss, Twining Gallery, New York
61st Aldeburgh Festival, Foss Fine Art
Quiet Waters, Poole Study Gallery
Digital Futures, British Computer Society, London
Cleveland Gallery, Cleveland (touring exhibition)
A Pelican in the Wilderness, Holburne Museum of Art, Bath
Streaming Museums, Federal Plaza, Melbourne, Australia
Secret, Royal College of Art
Prix Ars Electronica, Austria 1989 | Print 89, Arnolfini Gallery, Bristol Fictive Strategies, Squibb Gallery, New York 1991 | Virtual Memories, Friends of Photography, San Francisco
ISEA, Nagoya, Japan 2003 | Landscape, Campden Gallery, Chipping Campden Peterborough Art Prize, Peterborough Museum and Art Gallery
2009 | Imaginalis, Chelsea Art Museum, New York City Mapping the Coast, Dorset County Museum (touring exhibition) 157th Autumn Exhibition, Royal West of England Academy, Bristol
2017 | Capture the Castle, Southampton City Art Gallery Coastal Connections, The Otter Gallery, University of Chichester Secret, Royal College of Art 2018 | Coast, St Barbe Museum, Lymington Secret, Royal College of Art
Impressions on Paper, David Simon Gallery, Bath
Burt, Iain, ‘The Isle of Purbeck, A Very Surreal and Romantic Visit’, CTI Magazine, 1998
Present Day, Candida Stevens Gallery, Chichester
Collins, Ian, ‘Jurassic Portrait’, Dorset Magazine, June 2013
2019 | Twenty Stations of the Dorset Coast, Sladers Yard, Dorset Three x Nine, The Nine British Art, London Drawn to Dorset: Fifty Drawings, Fine Foundation Gallery, Swanage Sunday Times Watercolour Competition, Mall Galleries, London Sussex Landscapes, Manor Place, Chilgrove, Candida Stevens Gallery, Chichester 2020 | Secret Postcard, Royal West of England Academy, Bristol Films 2013 | Jeremy Gardiner, Unfolding Landscape, Aquiline Productions 2014 | A Page in the Book of Time, World Out There Productions 2016 | Pillars of Light, Edge 2 Edge Productions Selected Bibliography Angulo, Sandie, ‘Grants Reward the Creative Struggle’, Miami Herald, 17 August 1995 Authers, Kate, ‘Bath Lives’, Bath Life, 23 January 2015 Baker, Robin, Designing the Future, Thames & Hudson, 1993 Biggane, Dan, ‘Inspiration millions of years in the making’, The Bath Chronicle, 15 January 2015 Brompton, Sally, ‘Young Masters’, Daily Mail, 13 October 1975
Kerlow, Isaac, exh. cat. essay, ‘Time Passes, Listen, Time Passes’, Purbeck Light Years, Lighthouse, Poole Centre for the Arts, Poole, 2003
Roodhouse, Simon, ‘A Personal View’, Aspects, Autumn 1980
Darwent, Charles, exh. cat. essay, ‘Jeremy Gardiner: Atlantic Edge, From St Agnes to the Lizard’, Atlantic Edge, Belgrave Gallery, St Ives, 2010
Lucy, Sue, ‘Taking the Long View’, The Bath Magazine, January 2015
Rowland, Iona, ‘20 Years of ING Discerning Eye partnership’, Aesthetica, 15 November 2018
Mannheimer, Marc, ‘Jeremy Gardiner’, Art New England, December 1987
Silberger, Katherine, ‘Drawing the line’, Village Voice, 23 August 1988
Doyle, Jessica, ‘Diary: Jeremy Gardiner, Jurassic Coast’, House & Garden, February 2015
Marks, Lawrence, ‘Art at Work’, Observer Magazine, 7 December 1980
Simms, David, ‘Jeremy Gardiner’, IEEE Magazine, March 1994
McCready, Georgette, ‘Taking the Long View’, The Bath Magazine, January 2015
Solberg, Kirsten, ‘Isle of Purbeck’, Leonardo, vol. 29, no. 5, 1996
Miers, Mary, ‘Best art exhibitions opening in January’, Country Life, January 2015
East, Ben, ‘Gaze, Pendeen Lighthouse’, Cornwall Life, November 2016
Tipp, Gary, ‘Jurassic Landscapes’, Mogers Drewett, January 2015
Miles, Jeremy, ‘The Constant Gardiner’, Daily Echo, 13 March 2007
Elliot, Tom, ‘Jeremy Gardiner’, Blitz, July 1986
Wands, Bruce, Art in the Digital Age, Thames & Hudson, 2005
Miles, Jeremy, ‘Lighting up Lighthouse’, Daily Echo, 4 October 2003
Watson-Smyth, Kate, ‘Open to Visitors’, Independent, 6 September 1999
Miles, Jeremy, ‘Celebrating Art in Dorset’, Daily Echo, 15 May 1998
Wilkes, James, exh. cat. essay, ‘Paintings and Monoprints’, Jeremy Gardiner: Remaking the Present, Representing the Past, Atrium Gallery, Bournemouth University, 2007
East, Ben, ‘Prelude to a Storm, Lynmouth Foreland Lighthouse’, Devon Life, November 2016
Finch, Liz, ‘Heuristic Journeys, from Picasso to Rasta’, Ritz, May 1984 Franklyn, Charles, ‘Pillars of Light, Coastal Lighthouses of the South West’, The Association of Lighthouse Keepers magazine, Winter 2016
Olding, Simon, Quiet Waters, Colville Publishing, 2002
Gardiner, Ginnie, ‘Summer in the City’, Artspeak, June 1988
Packer, William, exh. cat. essay, Along the Dorset Coast, Campden Gallery, Chipping Campden, 2007
Garlake, Margaret, exh. cat. essay, ‘Jeremy Gardiner: The Ballard Point Paintings’, Ballard Point, Belgrave Gallery, London, 2000
Pill, Steve, ‘Mapping the Coast’, Artists and Illustrators, February 2015
Gerken, J. Ellen, Click, North Light Books, 1990 Hansford, Christopher, ‘Inspired by a Jurassic Landscape,’ Bath Chronicle, 13 January 2006 Harrison, Helen, ‘Varied Approaches of Expatriates’, New York Times, 9 June 1991
Powell, Anna, ‘Arts and Culture’, Bridport Times, June 2019 Purdon, James, ‘Jeremy Gardiner: Jurassic Coast at the Victoria Art Gallery’, Apollo, 5 February 2015 Rapp, Alan, ‘Picture Perfect’, I.D., November 1994
Hodge, Susie, ‘Layers of Time and Meaning’, The Artist, November 2018
Raynor, Vivien, ‘Bronx Museum of the Arts’, New York Times, 25 October 1987
Jones, Jonathan, ‘Facing History’, The Guardian, 25 July 2015
Robinson, Fiona, exh. cat. essay, Mapping the Jurassic Coast, Dorset County Museum, Dorchester, 2009
Ross, John, The Complete Printmaker, Free Press, 1990
Wise, Kelly, ‘Jeremy Gardiner’, Boston Globe, 6 June 1987 Woodward, Christopher, exh. cat. essay, ‘The Ruins of Corfe Castle’, Purbeck Light Years, Lighthouse, Poole Centre for the Arts, 6 September–15 November 2003 Worden, Suzette, ‘The Earth Sciences and Creative Practice: Entering the Anthropocene’, in Handbook of Research on Digital Media and Creative Technologies, ed. by H. Dew, Hershey, Pennsylvania, IGI Global, 2015, pages 110–140
Jeremy Gardiner BY THE COAST REVEALED – KENT TO CORNWALL
Published in 2020 The Nine British Art ISBN 978-1-9995993-6-2 The Nine British Art 9 Bury Street St James’s London sw1Y 6AB Telephone: 020 7930 9293 Email: info@theninebritishart.co.uk www.theninebritishart.co.uk © The Nine British Art 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 first seeking the written permission of the copyright holders and of the publisher. Photography: Paul Tucker Photography Design: Alan Ward @ www.axisgraphicdesign.co.uk Print: Graphius, Ghent Gardiner painting in Cornwall © Veronica Falcão
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