Please join us for the private view on 10 August 2-4 pm.
Guests are invited to bring a picnic and enjoy the lawn and
canal at the front of the Mill and local walks nearby. Drinks
and nibbles will be provided.
Please also save the date for forthcoming exhibition: Line and Location, Space2 Gallery, Watford Museum 6 September - 25 October with artists Alex McIntyre
and Ross Loveday.
Private View 5 September 6-8pm
Wishing you a wonderful Summer and looking
forward to seeing you at a Private view one day soon!
'Nothingness' includes the
work of five artists with links
to Digswell Arts: Hideki Arichi
Ella Carty, Jo Howe, Alex
McIntyre and William White.
These artists respond to the theme
of nothingness using a variety of
media: Painting, Printmaking,
Sculpture and Drawing. Originally
inspired by an edition of 'Start the
Week', a BBC R4 programme in
which the idea of 'nothingness' was
examined from different perspectives these artists bring their own creative insight to the subject.
For Alex McIntyre 'nothingness' is a leap
of faith; the emptiness into which inspiration
rushes. Nothingness is difficult to comprehend
because the very act of considering it changes
it. It is glimpsed at the periphery of conscious
ness: both before and after, ecstasy and grief.
For this exhibition Alex is producing drawings that question human states of being.
Ella Carty's work is a personal exploration of
the existential state of 'nothingness'. Her
paintings of landscapes evoke a sense of
both isolation and stillness. There is a sense
in which these empty and seductive landscapes
are both intriguing and unsettling. Her use of
colour and its capacity to entice emotion is
striking. Ella says 'I wanted to convey a
sense of unreality as well as detachment, to communicate a sense of how it feels to be
in a state of nothingness.'
Jo Howe explores the notion of 'nothingess'
by exploring emotional responses to 'the
space in-between'. Jo's practice focuses
on the frustrations of human communication
working with old manuscripts that bear the
physical imperfections and aromas of past
human handling and thus retain elements
of their human presence. The book or
page becomes a tool for looking inwards
to our evolving personal narratives rather
than the read contents of the book as
William White is a printmaker based in
Cornwall. His take on 'nothingness' is a
study of the satellite dishes at Goonhilly
on the Lizard peninsular in Cornwall, which
are currently in the process of being
recommissioned. Goonhilly is a cluster
of satellite dishes known for receiving
the first ever Trans-Atlantic satellite
TV images, broadcast by Telstar in1962.
These gigantic structures, seemingly
staring at nothing were perfect inspiration
for the title 'nothingness'.
Hideki Arichi is a British born Japanese
artist. He is approaching the idea of
'nothingness' by reading Eastern
philosophical interpretations found in Zen
Buddhism and by identifying personal
reactions and indicators to these. The
work includes paintings, drawings and
171 FIGURES FROM THE ARTS SIGN LETTER ON THE DAY TATE CELEBRATES 20 YEARS OF BP FUNDING A letter was published today signed by 171 figures from the art world condemning BP's sponsorship of cultural institutions in the UK. The letter has been published on the day that Tate Britain is hosting a party to celebrate 20 years of BP's sponsorship.  A group of artists under the banner of 'The Good Crude Britannia' are planning on protesting outside the event, and will be handing out the "Licence to Spill' briefing to people attending the party.  Arts/activist organisation Platform  has gathered 171 signatories from the international arts community, for a letter that says: "As crude oil continues to devastate coastlines and communities in the Gulf of Mexico, BP executives will be enjoying a cocktail reception with curators and artists in the Tate Britain. These relationships enable big oil companies to mask the environmentally destructive nature
Tatlin - Monument to the Third International Constructivism We can derive stimulus and pleasure from visual art in a multitude of forms and styles, although personal subjective taste will of course determine what is the strongest “turn on” for any individual. Landscape, still life, city scenes, portraiture, life studies, to mention but a very few approaches, all have their addicts, but I would, for the purpose of this review, like to make a special plea for hard edged, geometric abstraction. There is something profoundly satisfying about the purity of geometric forms – straight lines, curves, circles, ovals, squares, triangles and whatnot strike a chord in many, if not all of us, and this satisfaction is intensified if the forms are the context for vibrant, dynamically juxtaposed pure colour. Many movements in modern art have sought expression in this way, e.g. de Stijl, Cubism, Futurism, Orphism – one could multiply the “-isms”. But not least among these schools of expression were t
By Phillip Worth (FPS President) The Open Studios movement has been a welcome development in the art world in recent years. Typically based on specific areas, be they counties, cities, districts or whatever, it involves artists inviting members of the public to visit their studios, to meet and talk with them, and to view their output. And it is always an added attraction if they can see artists at work. The area of West Sussex centred on Chichester has a particularly lively tradition, and is rich in creative talent, as the writer discovered on a recent visit. The occasion for this was to renew acquaintance with Max Birne, a former FPS personality, who has recently moved house from Wembley, where he had lived for many years, to Selsey, near Eric Coates’s ‘Sleepy Lagoon’. After the move Max lost no time in building himself a conservatory/studio at the rear of his bungalow and it was here that he entertained visitors during ‘Open Doors 2008’, a mandatory stop on the Chichester ‘Stud