Exhibitions

Sun & Doves Present 'Without Gloss'

Article ImageAndy Preston is in summer photography exhibition with two other Photographers at Sun & Doves in Brixton

13–31 July 2010

Photography by Andy Preston
Krystina Stimakovits & Nick Cobb
Far from the tourist’s eye that settles on iconic landmarks, these
images portray the city as it is known to its inhabitants, its
authentic appearance. Familiar, though overlooked subjects that we
pass by every day, are brought into sharp focus by the photographer.
These images are the photographer’s creative responses to realities we
may only sublim-inally absorb as we go about our hectic urban lives.

Sun & Doves
61 – 63 Coldharbour Lane
Camberwell, London SE5 9NS
sunanddoves.co.uk

 

Wandsworth Artists open house 2010

Article ImageArt atelier will all be exhibiting work in this years open house weekends on 2nd-3rd October 2010 10am-6pm and the 9th-10th October 10am-6pm. The work will be on the theme of 'Chemistry and the 4 elements' and there will be an experimental installation space http://www.wandsworth.gov.uk/arts
 

 

 

 

 

 

 

Nancy Carline Centenary exhibition, 1909-2004

Article ImageNANCY CARLINE 1909-2004 
presented by Hermione and Francis Carline 
Saturdays & Sundays 14 – 29 November 2009

11am – 6pm; and on other days by appointment 

NANCY CARLINE, 1909 – 2004 
A celebration of her work 
Our mother would have reached 100 years at the end of this November. Her life spanned almost 
the entire 20th century, and she witnessed its profound cultural and political changes.
Yet she followed her own artistic intuition, choosing her own influences based on her 
love of literature and music as well as painting. She developed an early fascination with 
heroic literary or historical figures of the past, and her vivid imagination was fired by storiesfrom mythology. 

It was inevitable that Nancy would become an artist, and by twenty she was a studentat the Slade School. Professor Henry Tonks seemed to her at first a severe, forbidding figure:
yet she came to have “complete confidence in Tonks and his judgement”. She appreciatedthe narrow, rigorous training at the Slade, where the first year was devoted to drawingin pencil from the casts of antique sculpture. In her second year she was given permission 
to draw (still with hard pencil) short poses from the life model—in the female Life Room,
as male and female students were segregated at the classes. Eventually she was permitted to 
paint in oil, first two antique heads, then the live model. In her final year she was taught by 
Allan Gwynne-Jones,Professor of Painting,who still favoured a traditional approach.At this 
time the Slade regarded all ‘modern’ art with disfavour. 


An opportunity emerged for her in 1933 to be employed 
voluntarily at Sadler’s Wells Ballet, where she worked on 
costumes for Lilian Baylis and Ninette de Valois. One of her 
tasks was to paint directly on to the costumes themselves.
It was here that her sense of romance and drama was 
enriched by her love of ballet and the Commedia dell’Arte 
characters. She took up scene-painting with Vladimir 
Polunin, who in 1935 invited her back to the Slade, where 
he was also teaching stage design. He had been Diaghilev’s 
scene-painter and introduced her to the work of avant-garde 
artists such as Picasso and Derain. “This had a great effect 
on my painting and I felt ready for these new influences.” 
Nancy recalls a happy and lively atmosphere at Polunin’s Slade class, where she made many 
of her lifelong artist friends. Yet she felt she had to make a deliberate decision to concentrate 
on her own painting. Up to the outbreak of the second world war she made frequent 
painting trips to the Continent, with Slade friends such as Rosemary Allan, Aelred Bartlett,
Elizabeth Steven and Anthony Baynes. The South of France, for example St. Remy, wasa favourite destination, while Venice exercised a special fascination. 

The war years are represented by ‘Soho’, the nocturnal street scene illuminated by snow and 
dim lights, and VE Night was celebrated in a large painting now at Manchester City Art 
Gallery. The post-war years were perhaps her most productive. She developed the habit of 
painting outdoors on small panels, and working these up into larger compositions. Examples 
of these are the paintings done on the Thames at Hampton, while by contrast she revived 
her love of the romantic and otherworldly in ‘Orpheus’, which is imbued with a wonderful 
copper hue. She built on her admiration for Cézanne and Degas, as well as ‘old masters’ such 
as Titian, Claude, Poussin and Goya. 

It could be said that ‘The Stage’, populated by actors, was a metaphor for many of Nancy’s 
compositions throughout her life. Almost all her paintings contained people or animals 
presenting an incident, story, or way of life. Nancy’s stage set could be anywhere from 
Hampton on the Thames to Lake Chapala in Mexico, but it was Venice that she kept 
returning to. 

Nancy had known for some years her future husband Richard Carline, who had beena War Artist in 1918-19. He adopted ‘modern’ ideas in painting and was a close friend of 
Stanley Spencer. Nancy and Richard together enhanced each other’s already wide knowledge 
and shared a keen critical judgement of art past and present. She celebrated taking up life 
with the Carlines in ‘Supper on the Terrace’ (painted 1946, now in the Tate; a sketch for itis in this exhibition). In the painting she depicts Richard, his mother Anne, and his sister 
Hilda the former wife of Stanley Spencer,and herself looking on from the background.In the 
1950s she and Richard resumed long painting trips abroad, for example to Greece in 1960,
and to Mexico in the 1960s and 1970s. Arid landscapes with strong warm light attracted her,
but she felt at home in green pastoral scenery, which she enjoyed particularly when stayingin Gloucestershire with Rosemary Allan (who had married Allan Gwynne-Jones). 

Late in life the early fascination with mythology and history, her experience at Sadler’s Wells, 
together with a keen interest throughout her life in music,poetry and literature,fused together 
in a late flowering of her painting. Examples are carnival scenes, peopled with harlequins and 
cherubic figures, and notably a scene from Mozart’s Figaro. Representations of reality took 
on a dreamlike significance, merging her memories of place with sets from theatre or ballet,
and heroic characters from her own earlier experience. 

Nancy’s paintings contain a current of understated emotion. Many have noted their poetic 
quality; she invested in them a wealth of personal feeling which she expressed pictorially 
rather than verbally. You sense her quiet presence in the scene, whether implied or in person 
as in the Soho painting, or maybe in the person of a figure she places in the composition –
be it a Mexican village road, a windswept bay in Wales, or the evening light at Portland.

 

"Face A....Face B"

Article ImageAndrea Ellis is in new Exhibition in the South of France, "Face A....Face B" Andrea Ellis Vs Herve Perdriel at 'La Galerie 13 Avril', Biarritz From 31st July-15th August http://www.13avril.com Since beginning to work with the 'Gallery13 Avril' in Biarritz in April, Andrea Ellis has been producing some larger pieces, still using her 'trademark' devore technique. Three pieces – 'Lady Geisha', 'Souvenirs du Japon' and 'Culture Clash' are a continuation of the geisha theme; while 'Animoto' re-visits ideas started in Strasbourg about anatomy, fossils and relics; and erosion and decay, but with a hint of fantasy and humour. The viewer is encouraged to look closely as things are not as they appear to be – hence in 'Culture Clash', a beautifully patterned kimono is in fact made up of MacDonalds logos and American Express cards; and in 'Animoto', a vintage motorbike is made up of bones, with references to Darwin. In 'Billy Goat', a man's suit is topped with a goat's head, in front of a traditional Toile de Jouy landscape – featuring goats! Galerie 13 Avril is in Biarritz, in a converted warehouse; it houses a collection of art and classic and contemporary design and furniture, all chosen by Arnaud Caffort, an antique dealer and interior decorator from Paris. Various artists will be showing there this Summer and later on in the year at 'Galerie Espace R' in Geneva, Look at the site : www,13avril.com (which is really fun) for further information, or call 0033540392865.
 

 

Madeleine Hunter is exhibiting work in Scenery Chewer presents 'Yes!I am a long way from home'

Article ImageThe first Scenery Chewer event curated by someone else other than me sees the young Kimberly Liu stepping up to the plate and organising her first ever art show. It promises to be wild and exotic, with work being exhibited and sold over the course of the following week, so if you are feeling flush, get your wallet out, and buy someone something lush.

Or just come along to the launch party on November the 6th and get joyous! It will be at The Others in Stoke Newington (go here for a map - www.theothers.uk.com).

We have three musical debuts from three soon-to-be Scenery Chewer favourites.

Liam Butler will open proceedings with his heart-snapping lyrics and tender guitar, and, we hope, one or two Daniel Johnston covers, as well as his own gorgeous songs.

www.myspace.com/liambutlermusic

Then, we have the return of the elusive genius of Ylid. If you have never heard of Ylid, let alone knew that he had been away, and are dying to ask him why he went away and why he has come back, or if you don't really care but would still like to make conversation with someone/anyone, come down and ask him. But only after you pick your jaws up off the floor. 

And if that wasn't enough, poetry troupe Press Free Press will be on stage bringing the literary rock and roll fun, iambic pentameter to your skulls.

The suggested donation on the door of £5 will all go towards the work of Youth Music (www.youthmusic.org.uk). When I say "suggested donation", I say that loosely. Scenery Chewer does what it does to raise funds for worthy causes so please be generous, be kind, and rewind.