Samuel Beckett in dialogue with King's College Chapel
King's will be holding a multimedia event in the Chapel from 2-4 November and also 6 November, which will run from 8pm to 9pm each day. See the event web page.
An Elephant in the Room
Recent Watercolours by Emrys Williams
31 October - 21 November 2015, King's Art Centre, King's College
This exhibition will be an installation of recent watercolours selected by the artist for the Large Art Room at King’s College. Watercolour is generally seen as a very traditional and conservative form of making paintings. In this show the artist exploits the liquidity, spontaneity and speed of the medium to create works in an intuitive manner.
The exhibition installation also responds to the space and challenges traditional notions of display. Subjects used in the paintings are diverse, often with juxtapositions of imagery that play with scale and pictorial space.
The paintings are made on Indian handmade khadi paper. This allows for physicality, a varied sense of surface and playful painterly abstraction which balances figurative motifs. The works have an intimacy and mystery, taking the viewer on a journey. All works are for sale.
Workshop – Exploratory watercolour
The artist will hold a workshop that explores the use of watercolour as a medium to open up possibilities for intuitive and experimental ways of working. There will be a talk about the exhibition and the artists approach on Friday 30 October at 5.30 pm.
A practical session for King’s members will be led by the artist on Saturday 31 October. This will allow for individual ways of working inspired by Emrys’s images and his methods. Detailed information will follow by email to King’s members at the start of October.
Emrys Williams was born in Liverpool in 1958 and moved with his family to Colwyn Bay on the North Wales coast in 1969. He studied at the Slade School of Fine Art, London (19761980). Since 1990, he has balanced his work as a professional artist with work as a lecturer at Coleg Menai in Bangor where he is currently joint coordinator on the BA Fine Art programme.
Emrys has exhibited widely in Britain and has shown in important group exhibitions including the 12th Liverpool John Moores Painting Exhibition (1982) where he was a prize winner and the Serpentine Summer Show (1983). He has held three one man shows in London at the Benjamin Rhodes Gallery and has had major public touring shows including: Sunny Spells (1995) organised by Oriel Mostyn/Berwick Gymnasium Gallery, touring to MAC Birmingham, the Glynn Vivian Swansea and Turner House Penarth; Various Fictions (1998), Collins Gallery, Glasgow; and Emrys Williams – Recent Paintings (2003), Oriel Davies, Newtown.
He has also worked with opera as artist-in-residence at the Welsh National Opera and also with film projects such as Sunny Spells – A Game for Optimists (1994) with Director Paul Islwyn Thomas. His work is in many public collections such as the Arts Council of England, the Government Art Collection, the National Museum of Wales and the Metropolitan Museum, New York.
In 2006 he was given a Creative Wales award by the Arts Council of Wales; prizes in Wales include University of Glamorgan Purchase Prize (2006), Artist of the Year Painting Prize, St Davids' Hall (2006) and the Gold Medal in Fine Art at the National Eisteddfod (2007).
King's Chapel Angels
Recent paintings by Jean Bacon
28 November - 24 December 2015, King's Art Centre, King's College
In the Easter term 2015, Nigel Meager, the Art Teacher at King’s, started weekly visual art workshops. One explored drawing, and an exercise was to focus on a fragment of the chapel architecture.
I had always admired Ruskin's drawings of architecture and decided to continue this theme as a summer project, a new subject for me.
Ken Moody and I took photographs of details of the chapel exterior. On blowing up the images I found the angels high up on the chapel sides (some, alas, are badly eroded).
I drew and painted (pencil and watercolour, a little pastel) through the summer, exploring how to combine architectural features into a composition. I have made no attempt to achieve a particular coherent perspective.
Later, Ken was able to photograph two of the angels from the balcony of the Gibbs building. This view is from a little above their level.
The work on show is very much work-in-progress, with different approaches still to be explored. I've come to think of the angels as long-enduring guardians, exposed to the elements. I should love to know who designed and created them. To view some of the angels I have painted visit:
I have had exhibitions in the Art centre in 2005 and 2008:
Thanks to Ken Moody for the websites.
Workshop – getting to know the King's Chapel angels, 28 November
There will be a Saturday afternoon event and workshop on 28 November. This will combine: a more in depth look at the angels in situ with an art historical perspective led by Christina Farley; an observational drawing activity designed to help participants look more carefully at the angels; and a discussion in the Art Rooms of the art work together with artistic and art historical approaches to understanding the angels. Please look out for more details nearer the event.
Jean retired as a Professor in the Computer Laboratory in 2014 and now works on her research there as an Emeritus Professor. She is also an Emeritus Fellow of Jesus College. From schooldays, she has carried on informally as an artist, while following a career in science. On coming to Cambridge she found the King's Art Centre to be somewhere she could paint, draw and exhibit – a wonderful resource.
Process and Space
Landscape paintings and drawings by Laetitia Ward 16 - 29 October 2015, King's Art Centre, King's College
This is the first, in what is planned to be a new and on-going series of exhibitions in the Art Rooms by King’s members. Tish Ward is an undergraduate at the College for whom art has been central part of her life since primary school.
My practice as an artist manifests through the process of drawing, which I define as an exercise in critical observation, exploration, investigation and description of space. This exhibition represents a selection of my work with a focus on landscape, which I almost exclusively create by working directly from my subject matter, outside, surrounded by the elements and space that I seek to explore and describe. Much of the work shown here came from the Suffolk coast, where the open spaces of pastures, sea and expansive sky, always there and yet ever changing, provide an endless source of inspiration.
In most recent work, I have used mainly pencil on paper and oil on board, and focused primarily on the natural subject matter of landscape. However, both the subject of the process and the medium through which this process is carried out are to me of secondary importance to the process itself and the conceptualisation behind it. This process, drawing, is where the external and internal constructs of mind and space meet and interact. It is, for me, a sort of language: constructed by and for myself to provide an introspective, investigative and descriptive system of dissection and analysis in relating to the external world, a dialogue between mind and space, which aids in my own personal understanding of it.
My core influences come firstly from the Euston Road School and those who stemmed from it, especially in the form of William Coldstream, Euan Uglow and Patrick George. Others whose work has informed my own practice include Nicolas de Staël and Paul Cézanne, to name just a couple, among a myriad of many more whose influence has spread through those that have come before me and can in turn be seen in my work today.
Landscape painting workshop, Saturday 17 October
Tish Ward (with King’s Art Teacher, Nigel Meager) will host a three-hour workshop to explore some elements of Tish’s landscape painting processes. More information and how to book will be sent by email nearer the time.
Laetitia Ward is in her final year as an undergraduate at King’s College, studying Psychological and Behavioural Sciences (PBS). She has had a rather unorthodox (and hence rather extended) path through an undergraduate degree, which, following a gap year, began in 2011 by studying Russian and Arabic, an AMES/MML tripos combination. Tish then switched into Part II of the PBS tripos last year.
Tish grew up in between London and rural Sussex, going to school in London but spending all weekends and holidays staying with grandparents in Sussex. As a result she came to know the best of both urban and rural life, but came to love the countryside most of all. Her love of the visual qualities in the rural landscape is central to her art.
Before coming to King’s, Tish’s plan had always been, since childhood, to go to art school. She has always been passionate about art, drawing in any spare moment in her sketchbook – a constant companion since year 3 of primary school. Nurtured by an inspiring art teacher through primary school, she was awarded an art scholarship at an independent secondary school.
In the sixth form, Tish’s art practice flourished with the guidance of art teachers, a new freedom to work outside the classroom, and a valuable opportunity to attend life-drawing classes at the Royal Academy. However, at her high achieving academic school, other forces came into play. With those shaping her path, before she knew it she had a place at Cambridge. There is a tension between ideas expressed in words within the framework of academia, and those expressed with the sensual qualities of paint. Tish is all too aware of this tension as she progresses towards her degree and states that: “To be an artist remains a core and essential part of who I am and how I live”.
2 - 16 March 2013, King's Art Centre. Open daily 11am-5pm.
Anthony Connolly’s observation of his sitters was described by the critic John McEwen as tender and searching. Likeness matters because it has truth in it. Paint, just as it is, seems to have consequence.
Connolly’s work is a direct, sometimes clumsy response to the animate and inanimate alike. Close, painstaking observation adds weight and presence to pictures of people and quinces and whatever else comes into notice. Sometimes the exotic happens by, like the dead barn owl found by a neighbour. Objects, like unexpected callers, are welcomed into the frame, moved around, replaced and recovered.
The work is often made and effaced and made again. Thin layers are laid down over previous moments and failures until something dances on the surface. The repertoire changes slowly. There is something hospitable and humorous about these pictures.
Anthony Connolly is a member of the Royal Society of Portrait Painters. He trained at Goldsmiths College and has won several national prizes including the Prince of Wales Prize for Portrait Drawing and the Changing Faces Prize.
Anthony Connolly will be exhibiting a small collection of portraits and still lifes.
Head, breasts, back & toes, back & toes
Art by Pam Winbolt
2 - 15 December, King's Art Centre. Open daily 10-4pm. Closed Wednesday 5 December
My mother suffered with Dementia, the memory was visibly playing tricks with her, seeing a vibrant past through today’s dark shadow . Shadows don’t have to be dark, as my son so delicately puts it, 'shit happens' but use shit and you can encourage new growth.
The English writer Fanny Burney recorded the agony of the mastectomy she endured in October 1811. Burney was given a glass of wine cordial, stretched out on the bed with only a transparent handkerchief over her face. Now began 'the most torturing pain.'
When the dreadful steel was plunged into the breast - cutting through veins - arteries - flesh - nerves - I needed no injunctions not to restrain my cries. I began a scream that lasted unintermittingly during the whole time of the incision - & I almost marvel that it rings not in my Ears still! So excruciating was the agony. When the wound was made, & the instrument was withdrawn, the pain seemed undiminished, for the air that suddenly rushed into those delicate parts felt like a mass of minute but sharp and forked poniards that were tearing the edges of the wound.
Burney goes on to recall in excruciating detail 'the terrible cutting' and the knife scraping against the breastbone. The operation lasted for twenty minutes - twenty minutes of 'utterly speechless torture' performed on a fully conscious woman whose sole anaesthesia had been a glass of wine.
Fanny Burney went on to live for almost thirty more years after her operation.
How lucky we are today. After being diagnosed with breast cancer, I had a mastectomy under anaesthetic and returned home the next day. The one that got away!
Dancers are physically strong and flexible although sometimes the pain, due to the stress put onto the body, can be unbearable, but as soon as the performance begins the pain disappears. The mind rejects the pain and gives the strength needed to dance allowing a freedom to move.
The ballerina is depicted as a woman not bound to the earth, so dainty she can balance on a flower. When she rises on point she achieves an ethereal lightness, an otherworldly grace. She appears to hover and skim the stage weightlessly. To achieve this quality the feet of female dancers are squeezed into hard-ended point shoes, causing not only blisters and deformities but a change in the shape and size of the foot.
Other Works include
Ageing: ageing is another fascinating process which everyone goes through daily no matter what our age, yet it's something most seem to dread. It is a colourful adventure to travel through to old age. The lines, wrinkles and wisdom which age brings to a person's face are wonderful.
As our skin ages the elasticity starts to give and lines appear, although the more the elasticity fails the softer the skin is to the touch. The lines start to feel loose and sag. This is a process everyone will encounter with age, but is it negative? Our society says yes, I say no. It’s a fascinating changing process that brings texture and interest to the face.
Water: water is necessary to sustain life, we drink it when thirsty, we allow it to delight our senses as it trickles through our body. It protects us from disease keeping us and our environment clean, giving us a feeling of purity as it pours over us. The pleasures it gives us as it allows us to play in its caressing movement. Yet this delightful substance has the power to destroy us and all we know.
I was lucky enough to pursue a career as a ballet dancer, starting in London before moving on to Germany where I was also co-founder of a youth ballet company, choreographer and teacher. On returning to England I ran a ballet school for 6 years before the restrictions of arthritis took me along another path into the world of the visual Arts.
I obtained a Fine Art degree at the Norwich School of Art and have since exhibited in America, Germany, France and throughout England. I have worked on many community projects and have received several awards during my career. I founded 49&Rising and have been an Artists Advisor for professional development with Suffolk County Council.
My work is inspired by the mind and body, how the mind functions when the body is in pain and how the nervous system manages to cope under pressure. Taking a look “inside” is a fascinating and beautiful journey. The mind is an instrument of such complexity so that with such little knowledge I can only pretend to tinkle a tune.
Using the mind with discipline and energy gives the human body strength through its fragilities. Looking inside is a fascinating and beautiful journey. Life’s shadows can create new begins.
Time and Place
Works by Gurpran Rau
Monday 5 November - Thursday 15 November
King's Art Centre, 12 noon - 5pm daily
Private view: Saturday 10 November, 6.30 - 9.30pm
My work attempts to connect experiences of different places, landscapes and environments with moments in time that reside in my memory.
My nomadic life causes the definition of home to shift continually. My imagery comes from both the recollections of places I have inhabited and the places I have visited - from as far away as Bhutan and San Francisco to Cambridge. These journeys are not only physically displacing but also a psychological and emotional passage, each one leaving a trace in my consciousness.
Layers of paint create surfaces that evoke weathered walls, revealing underlying histories and showing the passing of time. Using fragmented maps as a backdrop, I share my own unique experience of these places with the viewer, suggesting a world where political and geographical boundaries do not exist. Overlaid symbols of shelter - rooftops, nests and dwellings recur in these paintings in my constant search for a place to call home. I have come to recognize that geography and heritage are irrelevant and home is just a state of mind!
See Gupran Rau's website for more about her work.
Work by Natania Thomas
Sunday 21 October - Saturday 3 November, King's Art Centre
Natania is both a professional musician and printmaker. Her exhibited prints reflect the iconic 1940's "Schirmer" music scores. She questions the beaming and wholesome optimism of wartime posters alluding, if obliquely, to the realities and depravities of war.
Natania's recent print show ("Pulling Punches" at Wolfson Court, Girton College in April 2012) incorporated her own vocal improvisations over a piano accompaniment. Her visceral relief prints put a contemporary spin on Punch and Judy's story. Live musical performance is an important aspect of her artistic practice.
Natania completed her M.A. in Printmaking at Anglia Ruskin University this summer.
An exhibition of original artwork, prints, cards and photographs
by Ann Biggs, Valerie Sims and Jeff Harrison
Tuesday 9 October - Friday 19 October, King's Art Centre
Ann Biggs is a wildlife artist with a studio at Haddenham Galleries near Ely Cambs. She works in pencil, watercolour and pen to illustrate the birds and animals that she loves. Working from sketch books that she takes where ever she goes and an extensive collection of her own photos, her paintings reflect her love of the natural world. She also accepts commissions from private individuals for pets from cats and dogs, to parrots, horses and reptiles. She has done her fair share of illustrating for groups such as the RSPCA.
Valerie Sims practises as an artist-printmaker from her studio in Cambridge, creating original hand-made prints in small limited editions. This year she has made a series of woodcuts on the theme of 'Hunter & Hunted'. Valerie is inspired by what she sees around her that links with her subject of change and loss or transition - the consequence of the passing of time or human / animal intervention.
Jeff Harrison has been photographing the UK's wildlife and landscapes for more than 35 years. During that time he has developed the necessary fieldcraft and photographic skills to get 'up close' with his wildlife subjects, enabling him to capture images of fleeting moments in time and some of the intimate details of the natural world that are difficult - or may even be impossible - to see with the naked eye. For more examples of Jeff's work please see his website.
"il faut que je sois"
Photography exhibition by Roeland Verhallen
Monday 30 April - Sunday 13 May 2012
The photographic essay "il faut que je sois" (it must be that I am) was shot in Paris by Roeland Verhallen - a Cambridge graduate researcher in visual perception - using black and white medium format film and a Hasselblad 503CX. It explores the concept of time, the necessity of being, and ancestry.
The photographs will be presented alongside a critical review from the viewpoint of photographic theory, as delivered by Simeon Koole, a Cambridge graduate researcher in photographic history and theory. The exhibition creates a triad consisting of photographs, text, and viewer, thereby facilitating constant interaction and reinterpretation of all three elements.
For more information, visit the exhibition's Facebook page.
An exhibition of work by four local artists
King's Art Centre, 4 - 17 March 2012 10-4pm
Private View - 3 March, 6-8pm
'King's connections' is an exhibition featuring the work of four local artists, all formerly art teachers at the King's School, Ely. All four are now free to focus on their own art practice and although their work is seemingly quite diverse in subject and application, connections can be seen within their approach. The varied range of media they use reflects their environment and the surface qualities they observe. All four are concerned with texture, detail and surface and particular elements of this can be seen echoed throughout their work.
Terry's work is concerned with creating a sense of depth and form through the use of colour and colour relationships.
An integral part of work is that it is non-representational in a direct sense, leaving the interpretation of the work up to the viewer. Some of the work is made as a direct response to observed elements in the world around her, while her use of colour has been informed to some extent by a childhood spent in Africa.
She uses various media to achieve her aims, including acrylics, mono-printing and collage. She has exhibited widely and has work in numerous private and corporate collections.
Natalie approaches insects with a scientific eye and draws every detail with meticulous accuracy.
'My work is mainly concerned with the symbolic and aesthetic value of insects. They have limitless diversity in terms of their shape, colour and texture and when studying their physiognomy at close range, they can appear both monstrous and beautiful.
To execute these meticulous studies I am employing the traditions of natural history illustration and the scientific depiction of insects. I am also interested in a wider range of zoological specimens and I am fascinated with the way in which museums classify and display their historical finds.'
Stephens' work is concerned with the exploration of form and surface, which evolves through a gradual process of hand-building and refinement. Influences are diverse and come from the natural and built environment.
The forms are mainly hand-built and altered by a range of techniques. This process creates significant marks and textures, which are enhanced and revealed by the subsequent use of glaze and oxides.
The work is all Raku fired, and smoked and carbonated areas of the clay, resulting from the post-firing reduction, are left exposed to form a contrast with the glazed surfaces. Stephen's ceramics have been exhibited widely and are held in many private and public collections. Corporate clients have included: Coopers and Lybrand, Lovells, the international law firm and The Royal Bank of Scotland, all based in London. Author of The Glaze Book, published by Thames and Hudson in 2002.
Since 1981, when he moved to Ely, Stuart has exhibited all over East Anglia both in solo and group shows. He has also exhibited in Germany and has work in private collections both in Europe and Australia. A teaching exchange in Australia dramatically changed his way of working.
Seeing the world literally from many different perspectives encouraged new approaches and experimentation.
"By inclination I am a painter of landscape. At times I will record simply for the enjoyment of being in a particular place and at other times I will search more deeply for the marks that both man and nature have made. It is through this search that I find the colours, patterns, textures and forms that are the roots of my work."
Photography by Colin Hampden-White
12 - 25 February 2012
Private View 6-8pm 11 February
Colin is intrigued by the question: nature or nurture? He is adopted and, in his late teens, learned that his birth parents were an artist and a concert pianist. This discovery led to a desire to explore the relationship that people have with the place they inhabit: at home, at work, or in the local area. His photographs open up the fault-lines between subject and environment to reveal the space in which identity is created.
Colin’s style is strongly narrative, with minimal interaction between subject and viewer. His pictures are intensely personal, yet freighted with strangeness, playing on the tension between familiarity and absurdity, convention and innovation. His work is imaginative, intuitive and has an honesty which is rarely found elsewhere.
See the exhibition website. The King's Art Centre is on 'A' staircase, which is the first door on the left as you enter the Front Court of the college. Exhibitions at the centre are open to the public 11am to 5pm daily, and entry is free.
Colin’s obsession with photography started in his early teens. He spent much of his youth experimenting with cameras of different formats.
Colin is inspired by people, and the environment they inhabit. He has been strongly influenced by the diverse cultures in which he has lived and travelled. As a child, Colin lived in Sudan in the years immediately preceding the civil war. He returned to live in Africa again in his late teens and early twenties, when he spent time amongst the different tribes in Kenya. He was fascinated by the ordinary, everyday people, especially those living in and around Nairobi.
Scottish by descent, Colin’s artistic path has been unconventional. His parents initially persuaded him to pursue a traditional path and he trained as a quantity surveyor. However, he rapidly realised that his strengths lay elsewhere and he eventually broke away to follow his instincts as a photographer.
Moving to Glasgow, he fed his love of music and the dramatic arts in the theatres and clubs. Much of his later work reflects on his experiences during this period: the ebb and flow of city life, and the familiarity of people and things seen every day.
In 2001 he took his amateur portfolio to Tony Marsh, a picture editor at Scotsman publications, who offered him work on the spot. There he received some of his first professional training, including from award-winning photographers Ian Rutherford and Neil Hanna.
Two years later, Colin took another important step and moved to London where he worked with newspapers including the Financial Times and the Times, specialising in portraiture.
Subsequently he moved away from photo journalism to enable him to have more time to photograph subjects of his own. By 2008 he had produced a body of fine art photography and was discovered by Rebecca Hossack, the well-known contemporary art gallerist.
Hossack gave him his first London solo show in February 2009; his work is now exhibited all over the UK and internationally including the National Portrait Gallery; January/February 2012 sees his first solo show in New York.
As well as producing fine art photography, Colin continues to work for Condé Nast, LUX and Decanter magazine.
Paintings by Bob Crack
21 January - 4 February 2012
Born in 1941 Bob has lived, worked and painted in Cambridgeshire all his life. Having trained at Cambridge College of Art and Technology, he began life as a sign writer. Some of his early heraldic work can still be seen today in and around the colleges of Cambridge.
Much of Bob's working life was spent in the graphic industry using litho and screen printing techniques.
Painting became a passion early in his life and using oil on canvas, wooden panels (the floorboards series) and mixed media Bob has created figurative images which give a narrative of the world around him.
In recent years Bob has concentrated on creating finely detailed portraits. Whilst full of realism, these portraits have a stark, somewhat menacing undercurrent.
"The images I paint are reflections of the world around me - personal, political and religious." - Bob Crack
Colour coding Julien & Jasper, Agnès Poitevin-Navarre
Fellow Artists - Fellow Muses
11 - 26 November 2011, King's Art Centre
'Maps have the capacity to open worlds of reality and imagination' wrote Professor Jeremy Black in Remarkable Maps – Examples of How Cartography Defined, Changed and Stole the World. The art practice of Agnès Poitevin-Navarre epitomizes that idea. The exhibition at King’s College Arts Centre is a wonderful platform to explore and engage with this conceptual artist’s past and new body of work.
‘The Art of Being Anecdotal’ could be the subtitle of this exhibition that includes the ‘Colour Coding’ series, ‘The Reader’ and the magnificent ‘Fellow Artists, Fellow Muses’ installation that was shown last year at the Royal Geographical Society in London. This solo show also features new work such as the artist hair embroidered floorplans series as well as the newly commissioned ‘Proustian Map of Cambridge’, a collaboration with Cantabrigians that elaborates on the locals’ greatest achievements and pearls of wisdom.
Agnès Poitevin-Navarre is a conceptual artist interested in the limits of categorizations and semantics. She graduated with an MA from the Slade, UCL, in 1997 and has since been exhibiting locally, nationally and internationally. She works across a range of media but is known primarily for her cartographic and anecdotal work. She uses maps as a shorthand to explore notions of identity, nationality and social codes. She also composes collages and masterminds installations, giving them a poetic twist. See the artist's website for more about her work.
An exhibition by Edita Gazibara , 15 - 28 May 2011
Private view Saturday 14 May 6-8pm
I was born in Sarajevo in 1984, in the year when my hometown was the host to thousands of people from all over the world which participated in the Olympic games. Sadly, the spirit of unity and happiness was replaced by the most brutal destroying of human dignity in the years that followed. As a child, I witnessed the longest siege in modern history. This was the time when I started to reshape my world.
I studied Graphic design, and at the moment I'm a postgraduate at the Academy of Fine Arts in Sarajevo.
While reading the Lotus Sutra, I came across many beautiful stories which have been a great inspiration when making a certain illustration. These stories are abundant in metaphors which may be understood in lots of different ways. And with each new reading I perceive a new association. I start to play with shapes. And I illustrate what I feel. I have made ten illustrations which represent ten worlds from Buddhist philosophy.
The idea was to express the personal attitude and feeling through the ten worlds of Buddhism. These ten worlds are closely linked, inseparable from our daily lives. They represent what we feel and what we go through on a daily basis. In creating this work, I did not want to imitate Eastern atmosphere nor the content of ‘ukiyo-e’ (pictures of the floating world) and their topics, though they are present in this work and they guided it to a certain extent. Inspired by ‘ukiyo-e’, I created these works while placing them in the realm of my own life.
My work is presented in three layers: abstract aesthetic forms, semantic drawing and text. Such exhibition is used as a metaphor of the world we live in, where everything can be found in layers: our body, the planet Earth, as well as this world.
The entire process of making this work was very inspiring for me. I think I have reached another level of understanding the philosophy of Buddhism. I have come to know many beautiful and ugly sides of my environment. I have sharpened my perception.
It has meant a lot to me that so many people were involved in this very process related to this work. All the final results have been a direct development of the relationships with people around me.
Lisa Wigham, 24 April - 7 May
Private view: 23 April 6 - 8pm
Sixteen Pages on Elevation and Loss, Rif Mountains Series
This exhibition at Kings College Art Centre brings together a body of work that explores landscape from a Romantic point of view, in which horizons, seascapes, mountains and woodlands are represented in series to describe changing views and emotions of journeys.
The work is made using etching processes derived from drawings made while en route around the English Lakes, across the Pennines and to and from the south of England. Some of the work is drawn from memory of travel overseas, through Asia and North Africa.
These drawings are collected in sketch books and journals, where the intimate space of the page is used for a fathoming of experiences and observations. The importance of this approach to the book form and is referred to in the display of the work.
The moments that induce the work into being are those that disrupt monotony, views captured at pivotal moments in time, when a sensation of being alive to surroundings overwhelms, emotionally connecting to a view or form where the drama of natural light or forms play out a scene of perceived significance.
This work is driven by a fascination with the dramatic tension of fragility and weight in mark making. Etchings reference panoramas and maps using line that holds tactile qualities to suggest imminence of experience, movement and the passing of time.
Landscape is explored in this work as an autobiographical equivalence. Narratives can be teased and assumed from the sequences, intended as a mirror to project though or desire.
Lisa Wigham is co-founder of the Two a.m. Press, this makes and disseminate artists multiples taking the form of books or editions of prints. Lisa Wigham uses digital or traditional printmaking, such as etching for the expression of contemporary ideas. Please visit: www.twoampress.com for more information.
Paintings and Stories
New Work by John Clark, 3 - 16 April
Private view: 2 April 6 - 8pm
The world is sodden with narrative in film, in photography, in games and elsewhere in the media. The art world too has its stories, although they tend to take a more reflexive form. Taken together they present an enormous challenge if, like me, you're interested in narrative painting. Questions of futility must naturally arise. The work on this exhibition plots my recent path through this tricky but entertaining terrain, ranging from the lighhearted to the sombre. I hope you enjoy some of it.
All the Colours
Paintings by Emily Kirby, 6 - 19 March 2011, King's Art Centre
An exhibition of acrylic paintings by Zambian-born artist Emily Kirby.
"I was born into a family of artists in Zambia in the early eighties. These roots have always had a deep impact on my painting. The majority of my work has drawn on the study of people I met during time I spent in Africa, Brazil and Europe. I have always been moved by the exotic and now living and working in London, I feel immersed in a fresh and exciting cultural melting pot.
I am fascinated by the concept of tribe and subculture and consider it to be a route of exploration offering endless possibilities. My primary aim is to explore techniques in which to portray people in a free and powerful way, in a celebration of their identity.
I have always been primarily concerned with the study of people, finding the figure to be a landscape in itself and people’s emotions an invigorating challenge to capture. A loose style and bold colour combinations have become a defining aspect of my work."
'What is Belarus?'
Paintings by Helena-Alexandra Reut, 20 - 26 February 2011
"Where are you from?"
"Where's that? What's that? How do you spell it?"
This is a conversation which is heard often by people from Belarus, the country where I was born. These questions led me to think - "but seriously, what is Belarus?"
It's a country of indescribable beauty. Not a radiant beauty, it doesn't blind you - it's a weightless beauty, like a wisp of smoke, light as a cloud, transparent and spectre-like. Our fairytales and legends embody this beauty. Belarus is called the blue-eyed country, because there are so many lakes, from the great lakes you can see from outer space to the tiny lakes hidden in the forest, so deep that people call them bottomless, full of life and mystery. The forests are still inhabited by strange and magical creatures. The entire atmosphere engulfs and captivates. There is not a living soul who could forget or remain indifferent to this country if they went there.
This exhibition presents a series of paintings where I try to convey the atmosphere of this country: this feeling of attraction enveloped in a cloud of mist.
A larger selection of my work is available on my website: www.reut-studio.eu
'Between two worlds'
Algimantas Ramanauskas, 1-14 November 2010
The Lithuanian artist Algimantas Ramanauskas creates paintings in acrylics. His works are in a romantic abstractive style and are a pathway between reality and the artist's imagination. You can find a list of his paintings on the Saatchi Gallery website.
12 - 25 June 2010
This exhibition of 22 architectural sketches in a naive, intuitive idiom looks at a fanciful expansion of King's College, Cambridge in the spirit - if not the letter - of the man who founded it in 1441, the saintly king Henry VI.
They are 8.5 x 11 inch sheets, executed in ball point pen, crayola crayon, Laurentian colour pencils and simple marker pens to give a sense of the quickness of doodling, which may also be architectural sketching.
John studied architecture at Dalhousie/TUNS in Canada graduating in 1977, before going on to Cambridge (St Edmund's) to study theology for a year in 1979.
Berber Pot by Sian Griffiths
Paintings by Sian Griffiths (KC 1979)
19 February - 5 March 2010
Paintings are oil on panel, still life and landscape.
King's student exhibition
31 January - 17 February 2010
The King's Draughtsmen
Drawings from the King's College Art Room
11 - 29 January 2010
Art to die for
Deanna Tyson, 13 - 27 November 2009
Inspired by Africa and the African Diaspora, artist Deanna Tyson brings her narrative, textile based work to Kings. Her work is strongly influenced by political cartoonists from Gillray to Scarfe and takes the form of gowns (kimono), wall hangings, pictures and soft sculptures.
Africa at Kings is part of a tripartite exhibition that makes reference to the long term effects on Africa and its peoples of the Triangular Trade in human beings that linked together three continents, Europe, Africa and The Americas.
Deanna has exhibited widely with solo exhibitions in Bali, Jamaica, Mexico and the UK. She is a Fellow of the Royal Society of Arts and will be discussing her work with RSA Fellows on Monday 23 November at 7pm. Theodore Menelik who leads an educational project in Kinshasa, Democratic Republic of Congo will also speak with reference to the importance of developing the arts in Congo.
The King's Art Centre is open from 11am to 5pm daily and entry is free. Follow the signs from the front of the College or enquire at the Porters' Lodge.
36 Views of King's College Chapel
Photographs by Tony Eva, 17 - 29 October 2009
Tony Eva calls his exhibition '36 views of King’s College Chapel' in homage to Hokusai's 'Thirty Six Views of Mount Fuji'.
Like Hokusai, Tony Eva has created images of a famous landmark from unusual viewpoints. We see the Chapel reflected in a window or a puddle, or on a CCTV monitor in the basement of the Guildhall.
Eva's photos are accompanied by haikus by Graham High, and the exhibition is curated by King's Fellow Dr Ken Moody. The Art Centre is open from 11am to 5pm daily. Follow the signs from the front of the College or enquire at the Porters' Lodge.
The photos have been published in a book - 36 views of King’s College Chapel - to mark the 500th anniversary of the bequest of King Henry VII in 1509 which enabled the completion of the Chapel. In 1509 the Chapel still had no corner turrets, roof or windows. The book costs £12.99 and you can buy it from the Shop at King’s on King's Parade, Cambridge.
You can see a slideshow of some of the photos on the BBC Cambridgeshire website.
Evolving Darwin's Gaze
Steve DiPaola, 5 - 18 July 2009
This installation of generative abstract paintings attempts to embody a cognitive approach to modelling portraiture. The exhibition asks the question - can you bring the ghost (creativity) out of the machine (the computer)?
Artist Steve DiPaola attempts to define the answer by applying Darwinian evolutionary techniques to the architecture of a computer program that generates unique expressions of the gaze of Darwin's face in John Collier's 1883 portrait (which has travelled back to Cambridge and will be at the Fitzwilliam during the show). The ever evolving families of related generative portraits strive to resemble the original, while at the same time are infused with computational interpretations of creativity.
In DiPaola's work, achieving Darwin's exact resemblance is not the goal, rather, it is to explore the creative process and evolutionary techniques as a medium for contemporary portrait painting. Evolving Darwin's Gaze coincides with the Darwin 2009 Festival, see www.darwinsgaze.com for additional information and to interact with a version of the paintings.
24 April - 14 May 2009
Rhonda Whitehead is returning to Cambridge for her solo exhibition at Kings Arts Centre. All works included in the exhibition are from her recent Australia series.
She lives and works on the Norfolk/Suffolk borders. Since leaving London in 2003 she has been professionally active, having had five solo exhibitions. Two were at the Grapevine Gallery in Norwich, reviewed enthusiastically by the critics Christopher Smith and Mary Rudd, two were at at the AWD gallery in Halesworth, Suffolk and one at Clare Hall Gallery in Cambridge. Her painting 'Venice Ochre' won first prize at the Byard Open exhibition in 2006 in Cambridge. She has also taken part in various mixed shows and open studio exhibitions.
"Rhonda Whitehead paintings reveal a kaleidoscopic response to her experiences of Australia, Italy and Istanbul, capturing the effects of time and erosion on both natural and man - made materials. Remnants of urban posters appear torn, their layers stripped away to reveal luminous areas of pure colour in her studies of Italy. The atmosphere of Istanbul is captured in a work that abstracts the light falling on the weathered surface of a building. Her paintings represent the essential nature of surfaces, materials and structures observed in close - ups that are both 'details' and total views reminding one of the work of Tapies. The emphasis on the physicality of the paint and spontaneity of technique, together with a sense of meditative contemplation create not only carefully observed studies but also heightened realities. "
- Imma Ramos.
27 March - 9 April 2009
Ray has lived in Cambridge over the past 20 years. Ray's work is strongly influenced by High Renaissance painting subject matter, and the architecture of both Italian cities and Cambridge.
The exhibition will include oil paintings, watercolours and drawings, with a small selection of prints. All works are for sale, with prices on application.
Life and Likeness
Bing Jones, 20 February - 6 March 2009
Bing Jones paints portraits from live sittings. He believes that mastering traditional methods is the best way to express the subtlety of the human face.
This exhibition is of recent work, including formal commissioned oil and tempera portraits. It also includes more intimate paintings and drawings in chalk, graphite and ink. A portrait of Dr Geoffrey Cook, retired Vice-Master, has kindly been lent by St Edmund's College.
The artist is both a painter and a doctor. He trained in Bristol and at Sheffield School of Art. Commissions include Presidents of Medical Royal Colleges and Senior Academic, Sporting and Business figures. Please visit www.bingjones.co.uk.
King's student exhibition
16 January - 5 February 2009
The King's College Student Exhibition shows works from all student years without preference for style or type. It includes sketches, paintings, pastel-works and photography.
Students exhibiting work this year include N. Amladi, A.T. Addis, Christina Bouthillier, Diane Doliveux, Quinby Frey, Heenali Patel, Cameron G.W. Foote, Madeleine Golding, Kat M. Ailes, Ji H. Moon, Rebecca Clayton, Halliki Voolma, Sandy Peng, S.C. Rochard, Jessica Middleton-Pugh and James Hillson.
Kate King and Renee Spierdijk
14 November - 5 December 2008
Kate King teaches fine art at Cambridge Centre for Sixth Form Studies and life drawing at King's Art Centre. She is exhibiting her small oil pastels together with more experimental mixed media pieces using layers of wax, gesso, ink, bleach and paint.
She has gathered her subject matter from years of photographing details of beautiful juxtapositions of colour and shape in the environment which often just happen for a fleeting moment.
Kate King studied fine art and ceramics at Cheltenham and Farnham Colleges of Art and Goldsmiths College, London. She has exhibited nationally and in Cambridge at Primavera and Ely Fire Engine House Gallery.
For more information, contact Kate on firstname.lastname@example.org.
Renee Spierdijk's work is inspired by photographs of unknown children, mostly girls. She finds them in albums, newspapers, and on the internet. They are formal portraits reworked in colour.
As Sandy Goldbeck-Wood quotes in her essay on Renee's work: "But though wan, these girls are not dead. There remains a sense of their potential for breaking free and recovering from their half hidden psychic imprisonments. Some appear patient, others quietly mutinous, as they wait, and hope, to become themselves".
Richard Swift, 11 - 31 October 2008
Richard Swift's show consisted of a series of dramatic, large-scale paintings of the human body.
'Swift's paintings confront the body of the spectator through an immediately felt identification. It is through the physical sensate body that all experience flows,' says Roger Cook of the Fine Art Department, Reading University, where Swift studied. 'There are no expressionist brush strokes, but a painstaking and 'hard-won' pictorial process of finding, losing and refinding the image by a technique which allows it to emerge, disappear and re-appear out of the darkness.'
Swift studied at the University of Reading and the Courtauld Institute of Art, London. He co-founded the Chisenhale Art Place in East London (an international centre for contemporary art and dance), and was a prize winner in the Tolly Cobblod Eastern Arts fifth national competition. He has shown his work at a series of solo exhibitions including Esbank Istanbul, Sutton House London, the Towngate Gallery Basildon, and Churchill College Cambridge.