JeremyGardiner Gardiner Jeremy Pillarsof of Light Light Pillars
Jeremy Gardiner Pillars of Light Coastal Lighthouses of the South West
Paisnel Gallery 9 Bury Street, St James's, London SW1Y 6AB telephone: 020 7930 9293 email: info@paisnelgallery.co.uk website: www.paisnelgallery.co.uk
Thank you to Ravensbourne for their support, Professor Christiana Payne of Oxford Brookes University for her insightful essay and to Trinity House, the National Trust and Cornwall Council for their permission to film.
All paintings are framed and are available for purchase on receipt of this catalogue Please contact the gallery for prices and availability Gallery hours: Monday – Friday, 10am – 6pm Saturdays and late viewings by arrangement
Foreword
It is a great privilege to introduce Jeremy Gardiner’s fourth solo exhibition at the Paisnel Gallery, London. Coastal lighthouses are a fitting topic for an artist with such geographical and geological knowledge, particularly of Dorset, Devon and Cornwall. The body of work Jeremy has produced for the lighthouse series is astonishing, both in the complexity of his sophisticated technique and in the comprehensive coverage of many hundreds of miles of the English coast. His trademark abstracted landscapes are now enhanced with meticulous reference to the lighthouse buildings themselves, creating evocative views of some of the most isolated outposts of the British Isles, from Lundy to the Isle of Wight by way of iconic locations such as St. Ives and the Lizard Peninsula. The lighthouses depicted here are highly interesting and engaging examples of primarily Victorian engineering and innovation, worthy of further investigation by those of us not previously aware of their significance. They represent stability in an uncertain world, and humankind’s struggle with the elements, determined and defiant. Artists, we are told, improve with experience. This exhibition, the culmination of over two years of research and diligent creative output, marks the pinnacle of Jeremy’s career to date, firmly cementing his position as one of the great ambassadors of contemporary landscape painting. The catalogue is complemented by the most fascinating and informative film, detailing the artistic process, Jeremy’s journey of exploration and the lifetime of personal experiences he brings to these works. Stephen Paisnel September 2016
Pillars of Light this exhibition of thirty six paintings centres around the theme of the lighthouse. jeremy gardiner has travelled around the south-west coast, painting sixteen lighthouses and their surroundings in three counties, cornwall, devon and dorset, including three islands, the isle of wight, lundy island and godrevy island. The work you see here results from many hours spent on the coast, making meticulous line drawings, studying weather conditions at first hand and painting en plein-air. This is followed by many further hours in the studio, recollecting the moods and emotions felt in each place, translating them into colours, textures and shapes, layering and excavating the surface of each panel, shifting the elements in the composition until the result satisfies the eye. Jeremy has studied the histories of each lighthouse and spent time inside them, talking to their custodians, examining the optics and engineering. His approach to the landscapes in which they stand is underpinned by a strong sense of what lies beneath. He is interested in the rocks and the mineshafts that lie physically beneath the surface, but also their history in deep time: the processes of erosion and upheaval that have shaped the coast as we see it today. He describes his work in the studio as “trying to locate a memory”; and just as his paintings are layered, so too are his memories, going back to his childhood on the Dorset coast and his first experience of the lighthouse at Anvil Point. Personal, cultural and geological memories come together in these evocative paintings. Lighthouses are powerful symbols. A warning or welcoming light in the dark, a strong tower by day, they signify the collective effort of a community to offer help to those out on the sea. The lighthouses around the British coast, run by the Corporation of Trinity House, have been vital navigational aids to seamen over many centuries. Their history in these islands goes right back to the first century, when a lighthouse was built at Dover Castle soon after the Roman invasion of
Britain in 43 AD. Lighthouses have been seen as metaphors for the conquest of darkness by light, and thus for the role of religious faith in enabling the human soul to negotiate the rocks and storms of the earthly life. In modern times, the distinctive codes of their lights were developed as a result of international cooperation, as an awareness of the needs of humanity in general took precedence over narrower nationalistic sentiments. As the French writer Jules Michelet put it in his classic work, La Mer, published in 1861, “Si le vent, la mer, sont contre, tu n’est pas seul; l’Humanité est là qui veille pour toi.”1 The lighthouse service in Britain British lighthouses have been fully automated since 1998. In several cases, the cottages that once provided accommodation for stoical lighthouse keepers and their families have been converted into holiday homes, much sought after for the wonderful views, walks and birdwatching opportunities they provide. Lighthouses no longer play such a crucial role in preventing shipwrecks, but they continue to be much loved. In 2010 an Aids to Navigation Review, conducted by Trinity House, concluded that lighthouses were complementary but secondary to Global Navigation Satellite Systems such as GPS. However, the resulting proposal that some of them, including Godrevy (cat 16) and Hartland Point (cat 12–13), could be closed aroused such strong opposition that a compromise had to be reached, and these two lighthouses continue to cast their beams (albeit of reduced strength) into the darkness of the Bristol Channel and the Atlantic Ocean. The Godrevy and Hartland Point Lighthouses appear prominently in three paintings in this exhibition.
1 “The wind and the sea may be against you; but you are not alone. Humanity yonder watches over you.” Jules Michelet, La Mer (Paris: Calmann-Levy, 1861), p. 91. Translated by W. H. D. Adams as The Sea (London: T. Nelson & Sons, 1875), p. 77.
The lighthouses painted by Jeremy Gardiner occupy, in nearly every case, dramatic positions on rocky coasts, exposed cliffs or islands. Lynmouth Foreland (cat 8), for example, was built halfway up steep cliffs, to which it seems to cling precariously; Start Point (cat 27, 28) is on one of the most exposed headlands in Britain, jutting out a full mile into the English Channel. Their histories are evidence of a constant battle against the eroding power of the sea. The Bull Point Lighthouse (cat 9–11) had to be rebuilt after fifty feet of the cliff face crashed into the sea in 1972; Hartland Point (cat 12–13) was strengthened by a sea wall in 1925, built near the jagged rocks which once surrounded a harbour, itself swept away by the sea in 1887. The sites of these buildings are places with a great sense of space and wind, constantly varying cloudscapes and ever-changing colours in the landscape. While such places offer great challenges to the artist – not least in finding a safe place from which to study them – they also offer great possibilities. The lighthouses themselves are extremely useful compositional devices. A vertical accent against a predominantly horizontal landscape, a flash of white against the darker land, sea and sky, a mathematically regular, precise form against the amorphous qualities of rocks and hills. Even when they are tiny forms, seen from a great distance, they draw the landscape together, gathering up the lines of perspective and structure in a single point of focus. Many artists have painted lighthouses, but few have been as successful as Jeremy Gardiner in communicating a sense of the uncompromising landscapes within which many of them sit. These are beautiful, but extremely dangerous coasts. Wreck maps show great clusters of vessels lost over the centuries. One of the most notorious graveyards for ships is the Manacles,
one and a half square miles of razor-sharp rocks lurking just beneath the surface of the sea between the Lizard peninsula and the approach to Falmouth Harbour, on Cornwall’s south coast. A lighthouse was built at the Lizard in 1619 to warn mariners of this hazard. However, its history illustrates some of the obstacles facing those who campaigned for a lighthouse. The local populace reportedly opposed the building of a lighthouse, fearing it would lessen the spoils they were used to gathering from wrecks. In addition, the owner, Sir John Killigrew, had to agree with the government to extinguish the light should enemy vessels and pirates approach, in case it guided them to a safe landing.2 Lighthouses in the seventeenth century were built as profitmaking ventures, financed by the dues collected at nearby ports, but a certain level of peace and stability was needed before this could offer a secure income. The first Lizard lighthouse was demolished in 1630, after only eleven years of operation, and the idea was not revived until 1751, when twin lighthouses were built by Thomas Fonnereau. Jeremy Gardiner’s paintings (cat 23, 24) show the surviving one from this pair which is still operational today. Most of the lighthouses in the paintings were built between 1835 and 1900, a golden age for lighthouse building, when coastal trade and passenger travel were expanding rapidly. In 1836 an Act of Parliament gave Trinity House complete authority over lighthouses, and the right to use compulsory purchase for those that were still privately owned. The famous scientist Michael Faraday was appointed as scientific adviser to Trinity House, a post he held until 1865; he was responsible for developing the system of fixed higher and lower lights, enabling
2 Robin Jones, Lighthouses of the South West. A Definitive Guide (Wellington: Halsgrove, 2011), p. 101.
mariners to chart their positions with accuracy. These lighthouses are constructed with all the admirable precision for which Victorian engineering is famous. Architectural drawings and surviving interiors show that not an inch of space was wasted, with furniture specially curved to fit. The lanterns housed powerful lenses and reflectors known as the optic: at Pendeen Lighthouse (cat 19–22), the optic weighs two and a half tons, but floats in a trough of mercury (itself weighing three-quarters of a ton) so that it can be moved with the slightest of touches.3 These lenses and reflectors were based on the principles developed by the French inventor Augustin-Jean Fresnel in 1822, and, until electrification, the light was provided by Argand lamps – oil lamps with a circular wick with a current of air passing through the middle – the invention of the Swiss engineer, Ami Argand in 1782. The Victorian lighthouse, therefore, embodied international cooperation in its most essential equipment. The buildings are functional and sturdy, made to withstand severe weather in exposed situations, and beautifully maintained by Trinity House. Several of the paintings here show the characteristic Trinity House colour scheme of dark green details such as windowsills, contrasting with the brilliant white of the buildings themselves. Whilst lighthouse designers were admired for their ingenuity, the building, especially of the rock lighthouses, involved many feats of endurance and bravery. Lighthouse keepers, moreover, were men noted both for their stoicism and for the assistance they provided to the shipwrecked. As a whole, then, the lighthouse could be seen as an embodiment of virtues, such as fortitude, steadfastness, and self-reliance, in addition to 3
Ibid, p. 67.
its connections with charitable benevolence and scientific discovery. The precision and discipline of the lighthouse, in both its design and its operation, have strong attractions for Jeremy Gardiner, who has acknowledged the formative influence of a military boarding school education on his methodical habits of work. His own drawings, with which he begins the process that leads to the paintings, are architectural in their clean lines and geometric shapes, and in braving the elements in his plein-air practice he replicates, to a lesser extent, the isolation and danger experienced by the keepers. Pillars of Light: Layers of artistic tradition Lighthouses have provided inspiring subject matter for many artists, not only in Britain but also on the Atlantic coasts of North America and France. An earlier British artist who admired the beautiful form and efficient functioning of the lighthouse was William Daniell, whose A Voyage Round Great Britain, a series of aquatints of coastal scenes with commentary, was published between 1813 and 1822. Daniell and his companion Richard Ayton evidently set off on their voyage supplied with information from Trinity House, for they recorded the measurements and histories of the lighthouses they encountered on their way, and the first volume of the Voyage carried a dedication “to the masters and assistants of the corporation of Trinity House of Deptford Strood.” Several of the plates depict lighthouses in their surroundings, including those at the Lizard and Portland, the only two from Jeremy Gardiner’s list that were there in the early nineteenth century (cat 23, 24 & 29, 30). The Lower Light at Portland, first built in 1789, is described as “an elegant structure, built
Fig. 1: William Daniell The Lizard Lighthouses, Cornwall, 1825
Fig. 2: Thomas Lupton after J M W Turner The Eddystone Lighthouse, 1824
Hand-coloured etching and aquatint 22.6 x 30.1 cm ©Trustees of the British Museum
Mezzotint 26 x 34 cm ©Trustees of the British Museum
in a conical form”, and the text adds that both this and its companion, the Higher Light, “are kept in such admirable order as to be visible at sea from a distance that reduces them to the very verge of the horizon.” Daniell transcribes the inscription over the door of the Lower Light, which records that the founders erected the building “for the direction and comfort of navigators, the benefit and security of commerce, and a lasting memorial of British hospitality to all nations.”4 The Lizard lighthouses, too, he found to be “in excellent order, and in an admirable state of cleanliness”.5
For example, Turner’s view of the Eddystone Lighthouse, the famous rock lighthouse off the coast of Cornwall (fig. 2), is a night scene, and the lighthouse is clearly illuminated, yet a ship has foundered on the rocks nearby and a huge piece of wreckage occupies most of the foreground.6
Daniell’s plate of the Lizard Lighthouse (fig. 1) is noticeably different to Jeremy Gardiner’s modern rendering of the theme, in its emphasis on the reason for the lighthouse being there in the first place: that is, the dangers of shipwreck. Daniell’s lighthouses are visible in the distance above a curving hill and cliff, but in front of them is a swirling, tempestuous sea, with a ship battling against the waves. Such scenes are also common in the contemporaneous work of J M W Turner. Indeed, it has been suggested that Turner, unlike Daniell, was sceptical about the lifesaving effects of lighthouses, since his depictions of them often include evidence of recent shipwrecks.
In the later nineteenth century, as seaside tourism grew, artists often depicted the lighthouse against blue seas and sky, in scenes that evoked cheerful holiday memories, rather than reminders of horror and wreck. In Georges Seurat’s The Lighthouse at Honfleur (1886, National Gallery of Art, Washington), for example, the tall, sunlit lighthouse is the central element in a harmonious beach scene. The same lighthouse was painted by Claude Monet in the 1860s. In his painting, Hauling the Boat Ashore, Honfleur (1864, Memorial Art Gallery of the University of Rochester) three fishermen haul a rowing boat on a calm evening, and the lighthouse is seen against a glowing sunset sky whose colours are reflected in the sea lapping gently on the beach. In both paintings, there is little hint of the perils of the sea. The buildings look somewhat insubstantial, silhouettes rather than solid round stone towers.
4 William Daniell and Richard Ayton, A Voyage Round Great Britain, (London: Tate, 1978), Vol. VII, p. 88 and Vol. VIII, p. 2. This inscription, on a marble tablet, was later moved to the new lighthouse on Portland Bill, built in 1906. 5 Ibid, Vol. VIII, p. 56. 6 The print is based on a lost watercolour executed in 1817 or 1822.
There is a more solid-looking lighthouse, and a rough sea, in another painting by Monet, The Quay at le Havre (1868, private collection), but in this instance the lighthouse is almost a decorative element at the end of a pier: the figures in the painting are holidaymakers, enjoying a bracing walk in the wind and rain, and there are no vessels on the water. Edward Hopper’s lighthouses are also sunlit, but unlike Monet and Seurat he gives them a monumental presence which probably reflects an autobiographical emphasis. In two summers, 1927 and 1929, he painted out of doors at Two Lights on Cape Elizabeth, near Portland, Maine. One of the results was Lighthouse Hill (fig. 3), in which a lighthouse and keeper’s cottage are seen from below, bathed in sunshine against a brilliant blue sky. As Carol Troyen has recently written, Hopper approaches the lighthouse in a spirit of reverence, showing it “stalwart and heroic at the top of a hill, from the vantage point of a supplicant.” Although Alfred H. Barr Jr. argued that Hopper’s lighthouses were substitutes for the skyscrapers of other modernists, Troyen maintains that, instead, they were “antidotes”, offering “architectural refuge from the contemporary urban, technological world”. She notes that his wife, Jo Hopper, called them “self-portraits” because, like Hopper himself, they were tall and solitary, natural emblems of sanctuary and contemplation.7 Jeremy Gardiner admits that when he planned the painting at Start Point titled Tiepolo Blue Sky (cat 28), he was thinking of Hopper, whose work he admires. The prominence and three-dimensionality of the lighthouse buildings in this painting are like Hopper’s work, but they are also dictated by the 7
Fig. 3: Edward Hopper Lighthouse Hill, 1927 Oil on canvas 73.8 x 102.2 cm Dallas Museum of Art, gift of Mr. and Mrs. Maurice Purnell Image courtesy Dallas Museum of Art
character of the location. One of the strengths of the current exhibition is the great variety of the paintings: different locations and perspectives result in very different compositions and colour schemes, different moods and meanings. In twentieth century art, the lighthouse has had a particular appeal for those artists whose work is balanced between representation and abstraction, being a satisfying example of a combination of geometric forms, cylinders, hemispheres and octagons. Tristram Hillier and Edward Wadsworth included lighthouses in their finelyfinished still life paintings, alongside propellers, anchors, cranes and boats. Wadsworth often includes a lighthouse in his paintings as a distant feature which draws the eye and establishes a sense of perspective. There is a particularly tiny lighthouse in his Regalia (fig. 4), in which an assemblage of ship’s instruments with contrasting shapes and volumes, including cylinders, triangles and spheres, is seen against a blue sky and sea. The white lighthouse on its strip of white pier, on the right-hand edge of the painting, marks the horizon and echoes the shapes in the still life. In Tristram Hillier’s Le Havre de Grâce (1939, Manchester City Galleries), the lighthouse has a more evocative function.
Carol Troyen, “’I come here to rest and paint a little’: Hopper in Maine”, in Kevin Salatino et al, Edward Hopper’s Maine (Brunswick: Bowdoin Museum of Art, 2011), pp. 31-2.
Fig. 4: Edward Wadsworth Regalia, 1928
Fig. 5: Eric Ravilious Beachy Head, 1939
Tempera and oil on canvas on board 76.3 x. 91.7 cm ©Tate, London 2016 © Estate of Edward Wadsworth. All rights reserved, DACS 2016
Watercolour 57.1 x 72.7 cm Private Collection/Bridgeman Images
The foreground is taken up by huge, sinisterlooking anchors and propellers: the sunlit lighthouse in the background acts as a marker of distance but also, perhaps, a welcome emblem of stability and protection at the outset of war. The lighthouses painted by Wadsworth and Hillier, like those in the work of Seurat and Monet, are always sea-level lighthouses, placed at the end of a pier, in a setting which is exclusively maritime and urban, with no hint of vegetation, rocks or hills.
watercolour, particularly, as a portent of the war to come. The Beachy Head Lighthouse is similar in its siting to the one at the Needles, constructed at sea level in 1859 for the same reason, to replace a lighthouse on top of the cliff that was ineffective as a result of fogs and sea mists.
Another British artist, Eric Ravilious, actually painted in a lighthouse in 1939 – Belle Tout, at Beachy Head, Sussex, which is now a Bed and Breakfast. By the time Ravilious arrived it had long been decommissioned as a result of cliff fogs and the threat of erosion, its role being taken over by the new Beachy Head Lighthouse at the bottom of the cliffs, built in 1902. From the lantern house, Ravilious painted two luminous watercolours, both of which are now in private collections. One, entitled Belle Tout Lighthouse, is a view through the glazing bars towards the sea in the sunshine, with the Beachy Head Lighthouse just visible in one of the left-hand panes of glass. The other, entitled Beachy Head (fig. 5), is a night scene looking in the same direction but without the bars, with the lower lighthouse casting its beam out across the Channel. It is difficult not to see this latter
Ravilious’s sense of the dramatic siting of the lighthouses, with their companions of grassy slopes leading to perilous cliffs, is similar to Jeremy Gardiner’s approach in the paintings exhibited here. These are lighthouses on the wild, windswept edges of the coast, not the tame, pier-bound lighthouses of Wadsworth or Monet. Unlike Ravilious’s lighthouse, however, they do not emit beams of light. Instead, there are suggestions of beams everywhere in the paintings, but they are concealed. Horizontal and vertical shapes, in a lighter colour than their surroundings, refer repeatedly to this idea. In the systematic approach of the series, the work is comparable to William Daniell’s A Voyage Round Great Britain. Like Daniell, Jeremy Gardiner has read about the history of lighthouses, visited their interiors, and talked to local custodians. He has also painted on site in every case, so that his paintings emerge from a deep understanding of the lighthouse’s functions and relationship to its surrounding landscape.
Jeremy Gardiner’s artistic process The process starts with a very precise line drawing. This provides the essential scaffolding of the final painting. Over time, sections are overlaid, excavated, stripped down and built up, but the lines remain. Some of the lines correspond to the essential features of the landscape – the shape of the hill, the line of a path – and, of course, to the lighthouse itself, and its associated buildings. Others define abstract shapes (Fig 6). The initial drawing for Turquoise Sea, Anvil Point Lighthouse, Dorset (cat 32), for example, has a triangle around the lighthouse buildings, its right hand line continued in the shape on the hillside below. This triangle remains a constant feature of the painting as it progresses. At one point it may record a particular cloud formation, observed while painting en plein-air. In the final work, the clouds are covered up and the triangle has become a ghostly shape, partially obscured by the black sky. This dramatic black sky was a feature that came into the painting at a late stage in the process, prompted by a summer storm Jeremy has seen in that area, and brilliantly setting off the white of the lighthouse and its accompanying buildings. In many of the paintings, there is a dramatic tension between the regular lines of the lighthouse and the irregularity of its surroundings. In the first painting of Hartland Point (cat 12), the lighthouse is seen from the top of the cliffs. This is the view winter visitors to Lundy Island see when their helicopter takes off from the heliport above, and here Lundy is on the horizon in the distance. In the second painting (cat 13), the lighthouse itself sits neatly on a level plateau, its stability emphasized by additional horizontal lines in the drawing. The jumble
Fig. 6: Jeremy Gardiner (Study) Turquoise Sea, Anvil Point Lighthouse, Dorset 2016 Line drawing on paper 29.7 x 42.0cm
of haphazard shapes around and below the lighthouse, however, conveys very convincingly the harshness of this landscape and the lighthouse’s precarious position within it. Summer visitors, however, arrive at Lundy on the boat, seen in Jeremy Gardiner’s paintings of the South Lighthouse on the island (cat 2, 7). In these paintings, too, the harsh shapes of the granite rocks are effectively expressed, most emphatically so in the paintings of the North Lighthouse (cat 1, 3, 6), which can be approached only by those who walk to the end of the island. Jeremy Gardiner has a long acquaintance with these coasts, particularly the Jurassic Coast of Dorset, and lighthouses feature in some of his earliest memories. He recalls walking with his grandmother to the Anvil Point lighthouse at the age of eight or nine. Later on, as a teenager, he befriended the local lighthouse keeper and was invited onto its balcony to watch a race in the Solent. The paintings have layers of meaning, personal, historical, scientific, philosophical, just as the landscape itself has layers of different strata of rock beneath its covering of soil and vegetation. These might be compared to layers, also, in the human psyche: looking at any landscape and thinking about its meaning for us, there will always be some things we are aware of and others that lie below the surface
– conscious and unconscious meanings. In an analogous way, Jeremy Gardiner will be aware of parts of each painting that are covered up for good, and others of which we are only allowed a brief glimpse. He describes them as “echoes”: in Turquoise Sea, Anvil Point Lighthouse, Dorset (cat 32), for example, the chimneys and the third outhouse on the perimeter of the enclosure were originally highly visible, but are now partially obscured by the background colour. The sea in this painting, similarly, has gone through a dozen transformations to make it harmonise with the rest of the painting. Jeremy describes his practice as “synthesizing the landscape from concrete observations – and in the studio creating subjective reactions to that.” He always works on three or four paintings simultaneously, and he will also put them aside for a while before they are finished. He can look at a painting he has not worked on for six to eight weeks, and realize that something needs to change. The balance of shapes within a composition exercises him constantly. Looking at the painting, Sunrise, Start Point Lighthouse, Devon in his studio (cat 27), I thought it was perfect. But Jeremy was not happy with it: “it’s too comfortable…the composition is too sedentary.” He reassured me that its dramatic colour scheme of oranges, reds, slate blues and blacks would not change, however. These colour schemes are determined by his defining memory of a place, his desire to recreate a particular day or an exceptional moment. They range from the almost monochrome grey of Winter Light, Pendeen Lighthouse, Cornwall (cat 22) – when, as he says, even on grey days the white-painted lighthouses glow – to the vibrant oranges of the large Godrevy (cat 16). In the latter painting, the warm colours and the striations of the rocks
provide, in Jeremy’s words, “visible evidence of the physical struggle to achieve the composition.” They also have a metaphorical function, suggesting the way the earth has been shaped by violent natural forces. Layering is an essential part of the painting process. Areas are built up, then sanded down, mimicking the action of weather on the landscape, and the accretion and erosion of surfaces over time. Jeremy is constantly aware of differences in time. Compared to the great age of the coastal rocks, the lighthouses represent a very recent human intervention in the landscape. Other human interventions are visible in the Cornish mines. West of the Wind, Pendeen Lighthouse, Cornwall (cat 19) shows the lighthouse in the distance, as seen from Levant Mine. The painting is like a slice through the earth, evoking the deep shafts in the area. Jeremy describes how he used a butane torch on this painting until the surface bubbled and popped, then he sanded it back to highlight certain areas. The result is that areas of this painting look exactly like the striations of minerals in the rocks, deep below the surface. In another painting, Summer Night, Anvil Point Lighthouse, Dorset (cat 33), there is a lower level of fiery red paint that covers the panel, but now only shows through in two relatively small areas, one near the lighthouse and the other near the base of the panel, suggesting the fire that lies beneath the earth’s crust. The sense of layering also affects the depiction of the sea. In the same painting, there is an area of thick grey-green paint on the left, which has been sanded down to reveal shapes which grow and branch in an organic way, evoking the kelp that flourishes in the half-light beneath the waves. Similarly, in the Hopper-like Tiepolo Blue Sky, Start Point Lighthouse, Devon (cat 28), the incredibly dark,
almost black sea has layers of bright green and blue underneath it, subtle vestiges of which have been revealed by sanding. Texture is an important feature. In some paintings, the surfaces look like stone. In others, there are more ephemeral effects. In Morning Mist, Portland Bill Lighthouse, Dorset (cat 29), the foam and froth on the sea become almost sculptural. Apart from the grassy slopes, vegetation rarely makes an appearance. The hawthorn bush in Autumn Evening, Hawthorn Bush, Anvil Point Lighthouse, Dorset (cat 31) is an exception, and Jeremy says it was the most complicated part of the picture, with hand-cut stencils being used for every branch. Its transparent, sloping form eloquently expresses the windiness of the exposed coastal site. Jeremy is very sensitive to the character and atmosphere of different places. Anvil Point (cat 31–33) and Start Point (cat 27–28) were favoured locations for lighthouse keepers of the past, the kind of posting they would like to have towards the end of their careers, because they were close to civilization, and the blessings of local pubs and shops. Portland (cat 29, 30), in contrast, is a mysterious place, with its prison, quarry and secret naval establishment. Godrevy (cat 16), sitting on its little island, has a more homely feel, with echoes, perhaps, of the naïve paintings of Alfred Wallis, who worked in nearby St Ives (fig 7). This area is the one that has received the most attention from earlier painters, since St Ives was an important artists’ colony in the nineteenth and twentieth centuries. Jeremy’s painting of Sunrise St Ives (cat 18) is very different from the rest of his series in the prominence it gives to architecture. The town sprawls across the panel, yellow light spilling out in all directions as the sun rises and the contrasting midnight blue of the night sky recedes. Jeremy mentions Wilhelmina
Fig 7: Alfred Wallis St Ives Harbour, 1936 Oil on panel 48.3 x 86.3 cm image courtesy of Crane Kalman Gallery
Barns-Graham’s harbour paintings as a source of inspiration, though the effect is very different. In the foreground, the artificial light behind curtains in the windows is beautifully evoked. But, the viewer may ask, where is the lighthouse? There are in fact two lighthouses in this painting, but they are small and placed far to the right: the lighthouse on Smeaton’s pier, and beyond it, so tiny that it is little more than a touch of white on the distant horizon, Godrevy, on its island. These paintings can be appreciated on several levels. From a distance, they are attractive and varied in their compositions and colour schemes, reflecting the mood of a place and of particular effects of weather and light. A closer scrutiny reveals satisfying contrasts of texture and relief. But beyond these initial appearances there are further layers of artistic tradition, recent human history and deep geological time. The paintings are the product of a prolonged engagement with lighthouses and their histories, and with some of the most evocative of Britain’s coastal landscapes. Christiana Payne
i left ilfracombe in north devon on lundy’s own ship, the ms oldenburg. on my arrival in lundy i made a coastal walk along the cliff tops past the north and south lighthouses, which sparked an idea for a whole series of paintings. at the south east point of the island i looked closely at the relationship between the separate elements of the contrasting forms of the quay, south lighthouse, ms oldenburg, and mouse and rat islands. at the north west point of the island, looking down on the north light, i painted ‘summer solstice’. i used secondary tones mixed with white to create a profusion of combinations describing the lighthouse and cluster of rocks as their stark forms stand out against the atlantic sea. [jg]
Lundy Island
1 sunlight, lundy north lighthouse
acrylic and jesmonite on poplar panel 24 x 48 ins (61 x 122 cms) signed and dated 2016 titled verso
2 turquoise harbour, lundy south lighthouse
acrylic and jesmonite on poplar panel 24 x 48 ins (61 x 122 cms) signed and dated 2016 titled verso
3 early evening, lundy north lighthouse
acrylic and jesmonite on poplar panel 12 x 18 ins (30.5 x 45.5 cms) signed and dated 2016 titled verso
4 the jetty, lundy south lighthouse
acrylic and jesmonite on poplar panel 12 x 24 ins (30.5 x 61 cms) signed and dated 2016 titled verso
5 emerald sea, lundy south lighthouse
acrylic and jesmonite on poplar panel 18 x 24 ins (45.5 x 61 cms) signed and dated 2016 titled verso
6 summer solstice, lundy north lighthouse
acrylic and jesmonite on poplar panel 24 x 24 ins (61 x 61 cms) signed and dated 2016 titled verso
7 the colour of the days, lundy south lighthouse
acrylic and jesmonite on poplar panel 24 x 36 ins (61 x 91.5 cms) signed and dated 2016 titled verso
1 sunlight, lundy north lighthouse
24 x 48 ins (61 x 122 cms)
2 turquoise harbour, lundy south lighthouse
24 x 48 ins (61 x 122 cms)
3 early evening, lundy north lighthouse
12 x 18 ins (30.5 x 45.5 cms)
4 the jetty, lundy south lighthouse
12 x 24 ins (30.5 x 61 cms)
5 emerald sea, lundy south lighthouse
18 x 24 ins (45.5 x 61 cms)
6 summer solstice, lundy north lighthouse
24 x 24 ins (61 x 61 cms)
7 the colour of the days, lundy south lighthouse
24 x 36 ins (61 x 91.5 cms)
sailing along the north devon coast i passed inlets, caves and buttresses and looked up at lynmouth lighthouse clinging to the cliff edge. i mixed cobalt blue and black to capture the oncoming storm as it rumbled overhead. further down the coast and from the safety of dry land i looked down at bull point using a kaleidoscope of colours to capture the slate rocks and sea. [jg]
Lynmouth and Bull Point
8 prelude to a storm, lynmouth foreland lighthouse, devon
acrylic and jesmonite on poplar panel 24 x 24 ins (61 x 61 cms) signed and dated 2016 titled verso
9 morte slate rocks, bull point lighthouse, devon
acrylic and jesmonite on poplar panel 12 x 24 ins (30.5 x 61 cms) signed and dated 2016 titled verso
10 summertime, bull point lighthouse, devon
acrylic and jesmonite on poplar panel 18 x 24 ins (45.5 x 61 cms) signed and dated 2016 titled verso
11 across the fields, bull point lighthouse, devon
acrylic and jesmonite on poplar panel 12 x 18 ins (30.5 x 45.5 cms) signed and dated 2016 titled verso
8 prelude to a storm, lynmouth foreland lighthouse, devon
24 x 24 ins (61 x 61 cms)
9 morte slate rocks, bull point lighthouse, devon
12 x 24 ins (30.5 x 61 cms)
10 summertime, bull point lighthouse, devon
18 x 24 ins (45.5 x 61 cms)
11 across the fields, bull point lighthouse, devon
12 x 18 ins (30.5 x 45.5 cms)
some 20th century paintings of lighthouses stress their purity of form and sculptural qualities rather than their original utilitarian purpose. at hartland point i have subscribed to this notion, focusing on the lighthouse perched on its platform by building the form from discrete lines and shapes. the shapes in the paintings of hartland point expose my revision of scale, colour value and orientation of pictorial elements. i then recompose a final order over the earlier still visible forms. [jg]
Hartland Point
12 towards lundy, hartland point lighthouse, devon
acrylic and jesmonite on poplar panel 24 x 36 ins (61 x 91.5 cms) signed and dated 2016 titled verso
13 winter sun, hartland point lighthouse, devon
acrylic and jesmonite on poplar panel 12 x 18 ins (30.5 x 45.5 cms) signed and dated 2016 titled verso
12 towards lundy, hartland point lighthouse, devon
24 x 36 ins (61 x 91.5 cms)
13 winter sun, hartland point lighthouse, devon
12 x 18 ins (30.5 x 45.5 cms)
i painted trevose lighthouse as both a positive and negative form, capturing it when the sun was low, to highlight its silhouette and create a stark negative shape against the setting sun and in another picture, in the bright white light of the midday sun. i painted godrevy lighthouse from the cliff edge of the mainland, only three hundred metres from the shore. i looked out at the tiny isolated rock on which this white octagonal tower stands. my colour palette was cadmium orange, lemon yellow, burnt sienna and graphite grey to create shades of gold and rust. i distorted the perspective to accentuate the abstract quality of 'the stones ', the submerged reef which extends towards st ives. [jg]
Trevose and Godrevy
14 against the light, trevose head, cornwall
acrylic and jesmonite on poplar panel 24 x 48 ins (61 x 122 cms) signed and dated 2016 titled verso
15 summer tide, trevose head lighthouse, cornwall
acrylic and jesmonite on poplar panel 18 x 24 ins (45.5 x 61 cms) signed and dated 2016 titled verso
16 cadmium sun, godrevy lighthouse, cornwall
acrylic and jesmonite on poplar panel 24 x 36 ins (61 x 91.5 cms) signed and dated 2016 titled verso
14 against the light, trevose head, cornwall
24 x 48 ins (61 x 122 cms)
15 summer tide, trevose head lighthouse, cornwall
18 x 24 ins (45.5 x 61 cms)
16 cadmium sun, godrevy lighthouse, cornwall
24 x 36 ins (61 x 91.5 cms)
i remember my first glimpse of godrevy lighthouse from st ives, over the rooftops, looking out into the bay. both godrevy lighthouse and the lighthouse on smeatons pier are visible in my paintings of st ives bay. the subject has been tackled by many artists, including alfred wallis, ben nicholson and wilhelmina barns-graham. i am not usually drawn to townscapes but welcomed the challenge to paint the complex subject of st ives harbour. the rocks of cornwall have a fascinating story to tell that includes tropical seas, deserts, volcanic eruptions and ever changing climate and sea levels. four hundred million years ago hot granites from inside the earth rose up and cooled to form the backbone of cornwall and on their margins, veins rich in tin and copper were created. pendeen lighthouse looks across to levant mine, one painting is almost monochromatic, another has marbled textures seen through a haze of light, another portrays a vertical dissection through the land and one the colour of daybreak. [jg]
St Ives and Pendeen
17 winter morning, st. ives harbour, cornwall
acrylic and jesmonite on poplar panel 24 x 36 ins (61 x 91.5 cms) signed and dated 2016 titled verso
18 sunrise, st. ives, cornwall
acrylic and jesmonite on poplar panel 24 x 48 ins (61 x 122 cms) signed and dated 2016 titled verso
19 west of the wind, pendeen lighthouse, cornwall
acrylic and jesmonite on poplar panel 24 x 12 ins (61 x 30.5 cms) signed and dated 2016 titled verso
20 daybreak, pendeen lighthouse, cornwall
acrylic and jesmonite on poplar panel 24 x 24 ins (61 x 61 cms) signed and dated 2016 titled verso
21 looking west to levant mine, pendeen lighthouse, cornwall
acrylic and jesmonite on poplar panel 24 x 48 ins (61 x 122 cms) signed and dated 2016 titled verso
22 winter light, pendeen lighthouse, cornwall
acrylic and jesmonite on poplar panel 18 x 24 ins (45.5 x 61 cms) signed and dated 2016 titled verso
17 winter morning, st. ives harbour, cornwall
24 x 36 ins (61 x 91.5 cms)
18 sunrise, st. ives, cornwall
24 x 48 ins (61 x 122 cms)
following spread
24 x 12 ins (61 x 30.5 cms)
19 west of the wind, pendeen lighthouse, cornwall
19
20 daybreak, pendeen lighthouse, cornwall
24 x 24 ins (61 x 61 cms)
21 looking west to levant mine, pendeen lighthouse, cornwall
24 x 48 ins (61 x 122 cms)
22 winter light, pendeen lighthouse, cornwall
18 x 24 ins (45.5 x 61 cms)
when painting the lizard lighthouse i am using colour to make us acutely aware of the changes brought about by season, time and weather, that affect the appearance of the subject and its surrounding atmosphere. the lighthouse of st anthony’s seamlessly and naturally grows out of the jagged planes of the coast line. i decided to alternate between representational and abstract modes, suggesting the range of different viewing strategies and perceptions that occur when the observer is in the landscape. [jg]
The Lizard and St Anthony's
23 scarlet fields, the lizard lighthouse, cornwall
acrylic and jesmonite on poplar panel 18 x 24 ins (45.5 x 61 cms) signed and dated 2016 titled verso
24 early spring, the lizard lighthouse, cornwall
acrylic and jesmonite on poplar panel 24 x 36 ins (61 x 91.5 cms) signed and dated 2016 titled verso
25 setting sun, st anthony's lighthouse, cornwall
acrylic and jesmonite on poplar panel 24 x 48 ins (61 x 122 cms) signed and dated 2016 titled verso
26 manacles rocks, st anthony's lighthouse, cornwall
acrylic and jesmonite on poplar panel 12 x 18 ins (30.5 x 45.5 cms) signed and dated 2016 titled verso
23 scarlet fields, the lizard lighthouse, cornwall
18 x 24 ins (45.5 x 61 cms)
24 early spring, the lizard lighthouse, cornwall
24 x 36 ins (61 x 91.5 cms)
25 setting sun, st anthony's lighthouse, cornwall
24 x 48 ins (61 x 122 cms)
26 manacles rocks, st anthony's lighthouse, cornwall
12 x 18 ins (30.5 x 45.5 cms)
jagged greenschist and mica-schist rocks comprise the rugged landscape of start point. it is one of the most exposed peninsulas of the english coast, running a mile into the sea. the name comes from the anglo saxon word 'steort' meaning a ‘tail’. i have tried to create an atmosphere of distance and solitude in these paintings and imbue the pictures with a timeless quality. they are never just landscapes. the paintings explore man’s position in the landscape, his very existence; the lighthouse becomes the symbol of that existence. [jg]
Start Point
27 sunrise, start point lighthouse, devon
acrylic and jesmonite on poplar panel 24 x 36 ins (61 x 91.5 cms) signed and dated 2016 titled verso
28 tiepolo blue sky, start point lighthouse, devon
acrylic and jesmonite on poplar panel 18 x 24 ins (45.5 x 61 cms) signed and dated 2016 titled verso
27 sunrise, start point lighthouse, devon
24 x 36 ins (61 x 91.5 cms)
28 tiepolo blue sky, start point lighthouse, devon
18 x 24 ins (45.5 x 61 cms)
there is a lighthouse that appears in the paintings of seurat. the atmosphere is pointillist, a phenomena of the way the light is reflected off the surrounding water. when i visit portland in the middle of winter i watch as the lighthouse is battered by gigantic waves but it remains steadfast. the sensation of being in that particular place can best be conveyed not by imitating in paint the appearance of its parts, but by summoning up its essential nature through the use of light, space and colour. landscapes are not static and when i walk the coastline at anvil point the composition of the scenery constantly changes. having painted at this location for over 40 years i am looking for something lost in time but retained in memory. i am trying to capture fleeting sensations between recollection and imagination to create moments of eternity using a layered surface of geometric shapes. [jg]
Anvil Point and Portland
29 morning mist, portland bill lighthouse, dorset
acrylic and jesmonite on poplar panel 12 x 24 ins (30.5 x 61 cms) signed and dated 2016 titled verso
30 mid summer, portland bill lighthouse, dorset
acrylic and jesmonite on poplar panel 24 x 24 ins (61 x 61 cms) signed and dated 2016 titled verso
31 autumn evening, hawthorn bush, anvil point lighthouse, dorset
acrylic and jesmonite on poplar panel 24 x 48 ins (61 x 122 cms) signed and dated 2016 titled verso
32 turquoise sea, anvil point lighthouse, dorset
acrylic and jesmonite on poplar panel 24 x 36 ins (61 x 91.5 cms) signed and dated 2016 titled verso
33 summer night, anvil point lighthouse, dorset
acrylic and jesmonite on poplar panel 24 x 24 ins (61 x 61 cms) signed and dated 2016 titled verso
29 morning mist, portland bill lighthouse, dorset
12 x 24 ins (30.5 x 61 cms)
30 mid summer, portland bill lighthouse, dorset
24 x 24 ins (61 x 61 cms)
31 autumn evening, hawthorn bush, anvil point lighthouse, dorset
24 x 48 ins (61 x 122 cms)
32 turquoise sea, anvil point lighthouse, dorset
24 x 36 ins (61 x 91.5 cms)
33 summer night, anvil point lighthouse, dorset
24 x 24 ins (61 x 61 cms)
these majestic structures can be found throughout britain’s coastline. besides their architectural beauty, lighthouses have a symbolic significance; they are feats of victorian engineering, designed to withstand storms and waves, a symbol of man's struggle with nature. i synthesize landscape from concrete observation by arranging the topography subjectively to make non objective forms, creating interlocking shapes of the rock face. at the needles i have utilised both aerial and frontal perspectives. the folds in the terrain at st catherine’s are accentuated by a path that leads to the lighthouse. i have incorporated the prominent shapes of the landscape and the gate in the foreground to create a dynamic walk through the pictorial space to the lighthouse. when you finally emerge into the lantern room you are in a glass canopy, it is like being inside an eye looking out. [jg]
Isle of Wight
34 pale cliffs, the needles lighthouse, isle of wight
acrylic and jesmonite on poplar panel 12 x 24 ins (30.5 x 61 cms) signed and dated 2016 titled verso
35 light above the sea, st catherine's lighthouse, isle of wight
acrylic and jesmonite on poplar panel 24 x 36 ins (61 x 91.5 cms) signed and dated 2016 titled verso
36 above the ridge, the needles lighthouse, isle of wight
acrylic and jesmonite on poplar panel 18 x 24 ins (45.5 x 61 cms) signed and dated 2016 titled verso
34 pale cliffs, the needles lighthouse, isle of wight
12 x 24 ins (30.5 x 61 cms)
35 light above the sea, st catherine's lighthouse, isle of wight
24 x 36 ins (61 x 91.5 cms)
36 above the ridge, the needles lighthouse, isle of wight
18 x 24 ins (45.5 x 61 cms)
Biography
Born 1957, MĂźnster, Germany
2016 Pillars of Light, Paisnel Gallery, London
Lives and works in Bath and London
2015 Jeremy Gardiner, Jurassic Coast, Victoria Art Gallery, Bath
Awards and Fellowships
2013 First Prize, ING Discerning Eye for Pendeen Lighthouse 2010 Arts Council England Grants for the Arts Award
Artist in Residence Nottingham University
2008 Arts Council England Research and Development Award 2007 Arts and Humanities Research Council Grant 2003 Peterborough Art Prize 2002 National Endowment for Science, Technology and the Arts Grant
Solo Exhibitions
2014 Jeremy Gardiner, ING, City of London 2013 Jeremy Gardiner, Intaglio Monoprints, Pratt Gallery, Pratt Institute of Art and Design, Brooklyn, NY
Cornish Monoprints, Belgrave Gallery, London
Exploring the Elemental, Paisnel Gallery, London
Unfolding Landscape, Kings Place Gallery, London
Jeremy Gardiner, University of Northumbria Art Gallery, Newcastle Upon Tyne
Jeremy Gardiner, Monoprints, Level 39, 1 Canada Water, London 2010 A Panoramic View, Pallant House Gallery, Chichester in association with Paisnel Gallery, London
1998 New Forms Grant, Cultural Affairs Council, Florida
Light Years, Jurassic Coast, Lighthouse, Poole Centre for the Arts
1995 Florida Council on the Arts Fellowship
Atlantic Edge, Belgrave Gallery, St Ives
1988 Prix Ars Prize, Austria
Jeremy Gardiner, Campden Gallery, Chipping Campden
1987 New York Foundation for the Arts Fellowship
2008 The Coast Revisited, Paisnel Gallery, London
1985 Major Works Grant, Massachusetts Council on the Arts and Humanities
2007 Arvor, Belgrave Gallery, St Ives
Atrium Gallery, Bournemouth University
1984 Harkness Fellowship
Foss Fine Art, London
Along the Coast, Campden Gallery, Chipping Campden
Churchill Fellowship
1981 John Minton Scholarship, Royal College of Art 1979 Yorkshire Arts, Artist in Industry Fellowship 1978 Midland Bank Drawing Prize
Hatton Scholarship, Newcastle University
1977 John Christie Scholarship, Newcastle University
Northern Arts Exhibition Award
2006 59th Aldeburgh Festival, Foss Fine Art
Midtsommerfest, Tysvaer, Norway
Jurassic Coast, Black Swan Arts, Frome, Somerset
2004 Archipelago, Gallery 286, London
Northcote Gallery, London
Maltby Gallery, Winchester
2003 Purbeck Light Years, Lighthouse, Poole Centre for the Arts 2001 Maltby Gallery, Winchester 2000 Ballard Point, Belgrave Gallery, London, 1991 Fine Arts Museum of Long Island 1989 Centro Cultural Candido Mendes, Rio de Janeiro
Museu de Arte Moderna de Sao Paulo
1987 Compton Gallery, MIT, Cambridge, Massachusetts 1985 George Sherman Gallery, Boston University 1984 Galerie 39, London 1983 Heuristic Journeys, General Electric, Hirst Research Centre, London 1980 Parnham House, Dorset
Group Exhibitions
2016 Facing History, Victoria & Albert Museum, London
2006 59th Aldeburgh Festival
Shorelines, Artists on the South Coast, St Barbe Museum
Art Loan Collection, Bournemouth University
Ancient landscapes, Midtsommerfest, Tysvaer, Norway
Secret, Royal College of Art 2015 Nature, Politics and Science, DLI Museum, Durham
Time Passes, Renscombe Farm, Worth Matravers, Dorset
The Discerning Eye, Mall Galleries, London
2014 The Newcastle Connection, University of Northumbria Art Gallery
Songs of Nature, Foss Fine Art
Ways of Looking, Aldeburgh Gallery
Originals, Mall Galleries, London
2005 Royal Academy Summer Exhibition
Art Loan Collection, Winchester University
2004 New Media Arts, First Beijing International Exhibition, China
2013 The Discerning Eye, Mall Galleries
Works on Paper, Sears Peyton Gallery, New York
Mapping the Way, Walford Mill Crafts, Dorset
Hunting Art Prize, Royal College of Art, London
Haysom Quarry, Purbeck Art Weeks, Dorset
2003 Landscape, Campden Gallery, Chipping Campden
Summer Show, Belgrave Gallery, St Ives
Peterborough Art Prize, Peterborough Museum and Art Gallery
Digital Terrains, Deluxe Gallery, London
2012 The Art Stable, Dorset
Coast Unearthed, Bridport Arts Centre, Dorset
Intuition and Ingenuity, Phoenix Square, Leicester
2010 Works on Paper, Camden Gallery, UK 3D2D, Edinburgh Printmakers, Scotland
2002 Laing Landscape Competition, Mall Galleries, London
Quiet Waters, Poole Study Gallery
A Pelican in the Wilderness, Holburne Museum of Art, Bath
Earthscapes, Geology + Geography, Bridport Arts Centre, Dorset (touring exhibition)
105th Annual exhibition, Bath Society of Artists, Victoria Art Gallery, Bath
Laing Landscape Competition, Mall Galleries, London
2009 Imaginalis, Chelsea Art Museum, New York City
Art Loan Collection, Bournemouth University
Mapping the Coast, Dorset County Museum (touring exhibition)
Belgrave Gallery, London
The Discerning Eye, Mall Galleries, London
157th Autumn Exhibition, Royal West of England Academy, Bristol
2000 Neuhoff Gallery, New York City
2008 Salon de Yutaka, Kanazawa, Japan
Art de Art, Osaka, Japan
Artzone, Kyoto, Japan
Orie Gallery, Tokyo, Japan
Gallery Mai, Tokyo, Japan
Gallery Atos, Okinawa, Japan
Acostage Gallery, Takamatsu, Japan
61st Aldeburgh Festival
Streaming Museums, Federal Plaza, Melbourne, Australia 2007 A Postcard from St Ives, Belgrave Gallery,
St Ives, Thompson’s Gallery, London
ISEA, Nagoya, Japan
2001 Maltby Gallery, Winchester
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
1998 Landmark, Atrium Gallery, Bournemouth University
Royal Academy Summer Exhibition
1997 Isle of Purbeck, Silicon Gallery, Philadelphia 1996 Digital Salon, Visual Arts Museum, School of Visual Arts, New York
Multimedia Artworks, University of Ghent, Belgium
1995 ArCade Prints, Brighton University 1994 Nature Morte, Joel Kessler Gallery, Miami 1991 Virtual Memories, Friends of Photography, San Francisco
Group Exhibitions continued
Collections
1989 Print 89, Arnolfini Gallery, Bristol
Barclays Wealth Management, Poole
BNP Paribas, London
Fictive Strategies, Squibb Gallery, New York
1988 Emerging Visions, Tibor de Nagy Gallery, New York
Bournemouth University Art Collection, Bournemouth
Summer in the City, Twining Gallery, New York
Centrebridge, London
A Kiss is just a Kiss, Twining Gallery, New York
Davis Polk & Wardwell, Paris
Cleveland Gallery, Cleveland (touring exhibition)
Ente Nazionale Idrocarburi, Milan
Prix Ars Electronica, Austria
Gaz de France, London
1987 Emerging Expressions, Bronx Museum, New York
Casas Toledo Oosterom, New York
HighTech/High Touch in Printmaking, Pratt Institute Gallery, New York
1986 42nd Venice Biennale, Italy Tradition & Innovation in Printmaking, Barbican, London
GDF Suez, London General Electric, London GlaxoSmithKline, London Government Art Collection, London Greenlight Capital, London Imperial College Art Collection, London ING, London
Hurlbutt Gallery, Greenwich, Connecticut
Lawrence Graham LLP, London
Louisville Art Gallery, Kentucky
LGV, London
1985 State of the Art, Twining Gallery, New York
NYNEX Corporate Collection, USA Pallant House Gallery, Chichester
Major Works, New England Arts Biennial, University of Amherst
Emerging Expressions, Bronx Museum of the Arts, New York
Pinsent Masons, London
Self Portraits, The Photographers Gallery, London
Rank Xerox, London
Digicon, Burnaby Art Gallery, Vancouver, Canada
Royal National Lifeboat Institution, Poole
Arts Festival, University of Nova Scotia, Canada
Royal College of Art Collection, London
Peterborough Museum and Art Gallery, Peterborough Rathbones, London
1983 Electra 83, Musée d’Art Moderne de la Ville de Paris
St Thomas’ Hospital Collection, London
Tudor Capital, London
The Pick of New Graduate Art, Christies, London
1982 New Contemporaries, ICA, London
Pictures for Schools Exhibition, National Museum of Wales
Picture Loan Scheme, Ceolofrith Art Centre, Sunderland
1981 Royal Academy Summer Exhibition
Metropolis, Royal Festival Hall, London
Unicorn Trust, Morley Gallery, London
1978 The Northern Art Exhibition, Shipley Art Gallery, Gateshead (touring exhibition)
Student Drawing, Park Square Gallery, Leeds
University of Northumbria, Newcastle upon Tyne Victoria and Albert Museum, London Watso Wyatt, London Zygos, London
Selected Bibliography Angulo, Sandie, ‘Grants Reward the Creative Struggle’, Miami Herald, 17 August 1995
Miles, Jeremy, ‘Celebrating Art in Dorset’, Daily Echo, 15 May 1998
Authers, Kate ‘Bath Lives’ Bath Life, 23 January 2015-02-27
Olding, Simon, Quiet Waters, Colville Publishing, 2002
Baker, Robin, Designing the Future, Thames & Hudson, 1993
Packer, William, exh. cat. essay, Along the Dorset Coast, Campden Gallery, Chipping Campden, 2007
Biggane, Dan, ‘Inspiration millions of years in the making’, The Bath Chronicle, 15 January 2015Brompton, Sally, ‘Young Masters’, Daily Mail, 13 October 1975
Pill, Steve, ‘Mapping the Coast’ Artists and Illustrators, February 2015
Burt, Iain, ‘The Isle of Purbeck, A Very Surreal and Romantic Visit’, CTI Magazine, 1998
Purdon, James, ‘Jeremy Gardiner: Jurassic Coast at the Victoria Art Gallery’ Apollo. 5 February 2015
Darwent, Charles, exh.cat. essay, ‘Jeremy Gardiner: Atlantic Edge, From St Agnes to the Lizard’, Atlantic Edge, Belgrave Gallery, St Ives, 2010
Rapp, Alan, ‘Picture Perfect’, I.D., November 1994 Raynor, Vivien, ‘Bronx Museum of the Arts’, New York Times, 25 October 1987
Davies, Peter ‘ Jeremy Gardiner: Jurassic Coast’ Evolver, January 2015
Robinson, Fiona, exh. cat. essay, Mapping the Jurassic Coast, Dorset County Museum, Dorchester, 2009
Davies, Peter, exh. cat. essay ‘After Tunnard: Jeremy Gardiner’s Temporal Landscapes’, A Panoramic View, Pallant House Gallery, Chichester, 2010
Roodhouse, Simon, ‘A Personal View’, Aspects, Autumn 1980
Davies, Peter, exh. cat. essay, Arvor – Cornish Coast, Belgrave Gallery, St Ives, 2007 Davies, Peter, St Ives, 1975–2005: Art Colony in Transition, St Ives Printing & Publishing Co., 2007 Davies, Peter, Jurassic Coast, Black Swan Publishing, 2006 Doyle, Jessica, ‘Diary’, House and Garden, February 2015 Elliot, Tom, ‘Jeremy Gardiner’, Blitz, July 1986 Finch, Liz, ‘Heuristic Journeys, from Picasso to Rasta’, Ritz, May 1984 Gardiner, Ginnie, ‘Summer in the City’, Artspeak, June 1988 Garlake, Margaret, exh. cat. essay, ‘Jeremy Gardiner: The Ballard Point Paintings’, Ballard Point, Belgrave Gallery, London, 2000 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
Ross, John, The Complete Printmaker, Free Press, 1990 Silberger, Katherine, ‘Drawing the line’, Village Voice, 23 August 1988 Simms, David, ‘Jeremy Gardiner’, IEEE Magazine, March 1994 Solberg, Kirsten, ‘Isle of Purbeck’, Leonardo, vol. 29, no. 5, 1996 Wands, Bruce, Art in the Digital Age, Thames & Hudson, 2005 Watson-Smyth, Kate, ‘Open to Visitors’, Independent, 6 September 1999 Wilkes, James, exh. cat. essay, ‘Paintings and Monoprints’, Jeremy Gardiner: Remaking the Present, Representing the Past, Atrium Gallery, Bournemouth University, 2007 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, Poole, 6 September–15 November 2003 Worden, S. (2015). The Earth Sciences and Creative Practice: Entering the Anthropocene. In H. Dew (Ed.), Handbook of Research on Digital Media and Creative Technologies (pp. 110140). Hershey, PA, USA: IGI Global.
Kerlow, Isaac, exh. cat. essay, ‘Time Passes, Listen, Time Passes’, Purbeck Light Years, Lighthouse, Poole Centre for the Arts, Poole, 2003 Mannheimer, Marc, ‘Jeremy Gardiner’, Art New England, December 1987 Marks, Lawrence, ‘Art at Work’, Observer Magazine, 7 December 1980 McCready, Georgette, ‘Taking the Long View’ The Bath Magazine, January 2015. Miles, Jeremy, ‘The Constant Gardiner’, Daily Echo, 13 March 2007 Miles, Jeremy, ‘Lighting up Lighthouse’, Daily Echo, 4 October 2003
Films 2016 Pillars of Light, Edge 2 Edge Productions 2014 A Page in the Book of Time, World Out There Productions 2013 Jeremy Gardiner, Unfolding Landscape, Aquiline Productions
Jeremy Gardiner Pillars of Light Published in 2016 by Paisnel Gallery isbn 978-0-9931746-4-3 Paisnel Gallery 9 Bury Street St James’s London SW1Y 6AB Telephone: 020 7930 9293 Email: info@paisnelgallery.co.uk www.paisnelgallery.co.uk Š Paisnel Gallery, the authors and artist 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 @ axisgraphicdesign.co.uk Print: Graphius, Ghent, Belgium