to the Ashurst Prize. If you have an Instagram account, it would be great if you could follow the Ashurst Prize @theartprize and please look out for me @harleysculpture on Saturday 25th January.
The following week I am delighted that I am taking part in a recorded discussion 'This Stuff Matters' at the Unit 3 Gallery, Empson Street E3 3LT. Taking part are three other fabulous sculptors.Gillian Brent, Jill Gibson and Sheila Vollmer. Our first recording will take place on Friday 31st January in the Unit 3 Gallery https://www.stuff-matters.co.uk/News-and-Events.php at Unit 3 Project space, London E3 https://unit-3.tumblr.com/
We look forward to welcoming you at the private view afterwards from 4pm.
This is a one day event only
The London Ultra @ Bargehouse, OxoTower Wharf, Bargehouse St, Bankside SE1 9PH
31st October – 10th November 2019 | Open daily 11am - 6pm
Preview Party: Thursday 31 October 6pm I Open theme Fancy Dress With Live Performances throughout the evening I 7.30pm Prize Giving
The FreePainters and Sculptors Collective are delighted to invite you to the London Ultra 2019
Back for its second year, The London Ultra is a unique exhibition format that brings together artists and performers from a multitude of disciplines in an art extravaganza at London's iconic Bargehouse.
Visitors are invited to discover a multi-sensory spectacular of over one hundred artists, showcasing styles ranging from traditional to eccentric, conceptual to accidental and from minimalist compositions to opulent installations and intriguing abstractions. Providing a take home piece to suit every visitor.
Paintings, sculpture, installations and photography are carefully grouped in curated sections, including The Artist's Garden, Gaia’s Room and The Luminism Room, deliberately breaking conventional definitions and themes.
Art, culture and
politics have long existed in a complex and fascinating interrelation. This is
the territory that “FOR WALLS WITH TONGUES” explores as it happened in regard
to the creation of public murals in Britain in the late twentieth
concentrates on formally trained artists who sought, in various styles, to make
accessible art by painting large murals in places such as street walls and
gable ends, where their work was freely viewable.
The work of thirty-one muralists is included
both through striking and beautiful illustrations, and via transcripts of
interviews, supplemented with five essays about artists, on their motivations,
as well as the techniques, problems and influences that contributed to their
During the time
covered by the book most such work was often funded by local and national state
bodies, for instance the Arts Council, and the Greater London Council. This is
discussed in an introductory essay by the editors.
cultural and political contexts of the time often led to works which were in
some senses ‘against’ dominant cultures and structures Some works explicitly
depicted and promoted causes and movements such as nuclear disarmament,
anti-racism and feminism. Also, many of the more figurative murals drew on
artistic traditions of depicting workers, or local residents of working class
areas, as deserving of as much attention and celebration as that customarily
accorded to high status powerful individuals in artworks. Arguably, even an
abstract mural in a working class neighborhood is a political act, as it has
taken art out of museums and galleries, where it might only be viewed by the
An essay by Professor Bill Rolston about murals in Northern Ireland, includes
a place where there was, and is, a different mural tradition, not coming from
formal art education, but related to political and physical conflict between
republican and unionist communities.
Macey House Mural by Greenwich Mural Workshop 1976
Could a similar movement to the muralists covered in FWWT exist in
contemporary Britain? Surely the emergence of climate change as a mainstream
political issue must provide muralists with a fantastic wealth of subject
matter. However, the drastic cutbacks made to public funding of art, and to
almost every other area of society, probably means that we won’t see the like
of this public art movement, at least in England, until the stranglehold of
neo-liberal economics over public life is broken.
Murals and other
public in the spirit of the works presented in FWWT still are being made but in
a less friendly climate and new creations may be made in ways which involve
different interactions between trained and untrained art workers. Whatever the
increasingly uncertain future holds, the work shown and described in FWWT
provides an example of the great potential of genuinely accessible public art.
Steve Lobb and Carol Kenna
have done an excellent job in presenting this. P.Murry 9/2019
I crave forgiveness for another email hard on the heels of the last, I don't send many overall and the frequency is erratic. This missive highlights a written contribution by yours truly, to an online portal so no galleries to visit or trekking out in gloomy winter evenings -:
Highly flattered I was, to be asked to contribute to the online forum www.instantloveland.com a website devoted to abstract art, examining and debating the diverse forms of art practise. I am indebted to the incredible patience and skills of the editors John Bunker www.johnbunkerartist.com and Matt Dennis. As I had chosen to write about a visit I had made to an open studio event many years ago (and it was a very very long time ago!!), we had some interesting discussions about the subsequent changes in the art world once I had submitted my first draft. This whole project has been challenging as well as food for thought for me certainly, and extremely rewarding. I hope you enjoy my foray into the past
Free Painters and Sculptors came into existence in the early 1950's as a splinter group from the Institute of Contemporary Arts. It was initially a group of painters who wished to break free of the stereotype that the ICA wished to impose on its members, it attracted other members and became organised as on a charity and corporate basis.
FPS has always maintained high standards with strict selection procedures for its exhibitions at a variety of fine venues including the Mall Galleries, the Barbican, Bankside Gallery and many others.
In the 1970's FPS gained support from The Society for Protection of Animals Abroad which leased part of its premises to FPS for admin and exhibition purposes.
Applications for membership, subject to selection , are welcome. we are looking for new members who are practising artists, or people who are interested in art who would like to help support FPS through admin, organising and publicising exhibitions etc.
We provide exhibition opportunities annually for members at various venues, mostly around London, we also provide a website where members work can be shown and sold, a blog and a regular newsletter which both publish articles from members.