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Clyde & Co: Summer 2009 | ||
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“My work reflects the positive footprints on my life, dancing,music and working for the master of the “minimalisticline” Issey Miyake. It has evolved without the structureof a formal degree course. It has come from within. It isabout the human form, whether it is still or moving. Ifthe figure is still then the line must portray the mood,the physical presence of the model. If the figure is movingthen the line must portray the movement of the dance orsport. The smallest angle of a line can say so much. I likeless to be more. If the model is dancing to music thenthe line must play the music. The figure dancing MUST be moving . When I work, I stop thinking and allow the subject to lead me to the final form of my art.” Jo was born in Southern Rhodesia. She returned to England in 1954. She attended the Ballet Rambert School and went on to work as a professional dancer until 1972. After retiring from dancing she changed her career and went to work for the fashion designer Issey Miyake and stayed with the London company for 17 years, during which time she was greatly influenced by Issey, his meticulous attention to detail “line” and presentation. Jo started her art training in 1994. Whilst working she was able to attend courses at Central St Martins and Chelsea School of Art. Her figurative life studies capture the feeling and mood of the model with the simplest of lines. She is known for her "Dancers" and for capturing movement. The “Dancing Lines” series are frequently drawn from “live” dancing figures, the lines take on the music. These figures are an interpretation of a love of dancing, a love of music, movement and a sense of fun. Jo has exhibited her work since 1997 and is successful in the UK, America and in Italy. Galleries, Art Movement , The Affordable Art Fair, The Fountain Gallery Hampton Court,
A member of the Courvoisier’s The Future 500, Rosamund graduated with a BA in Fine Art from UCA (Farnham) in 2008 when she received the ‘Art at Work’prize, but has been exhibiting and selling her work for the last 5 years. She had two successful graduate shows with interest from Habitat, Nylon magazine and Getty Images, and her work has been shown extensively throughout the South-East including at The Old Truman Brewery, Mascalls Gallery, The Bentlif Art Gallery and The Graham Clarke Gallery. The artist is currently studying for a PGCE at Goldsmiths College and working as an arts tutor for Bromley Mytime whilst organising her own exhibitions. Over the summer she will return to Guildford to begin teaching at Potters Gate Primary School in Farnham alongside working towards solo exhibitions at Marle Place and Bromley Museum.
TONY HINWOOD was born and bred in Llandudno and attended High Wycombe College of
Art before working as a graphic designer in the UK and as an advertising
designer and layout artist in Vancouver, British Columbia. He then returned to
London to work as a creative artist and designer concerned with the creation,
design and production of direct mail advertising. While working as a freelance
graphic design consultant Tony became interested and involved in the publishing
of a range of books and CDs, well known as the Adlib series.
"Colour has always been difficult for me. The Island of Tierra Del Fuego is a dry windswept place, especially in the north where I lived. The grass was permanently burnt by the roaring forties gales, with the result that there was not much colour of any sort except for the grass around the house which was protected by huge windbreaks. Horses were the main means of transport, cars were rather unreliable, not meant for the rough boggy tracks of the area, hence my interest in horses, if I wasn't riding one I was drawing it!"
The Cornish coast is the starting point for my landscapes which are only loosely based on definite locations. Working from sketches and photographs, I endeavour to create a window on an imaginary coastal space. The absence of obvious landmarks and identifiable features enables the images to exist as timeless, dreamlike expanses where sea meets land, inviting the viewer into a restorative space and opportunity for reflection in calm solitude. Even though the beach usually constitutes the largest area in my paintings, I consider them more as seascapes than landscapes, as the central aspect to all of my images is the action and nature of the sea: both as a symbol for the passage of time and agent of change, and also as an icon for tranquillity and emotional depth, all of which is resonant with the ebb and flow of everyday human life. In a way, my painting process mimics the sea in this respect - I like to use gestural marks and loose brushwork to engage the viewer and charge the composition with movement and dynamism, whilst still maintaining balance, building up the paint and alternating transparent and opaque layers, dripping, washing, splashing, allowing it to take its own fluid course and give the image a life of its own.
Born in Ekaterinburg in the family of the well-known
Russian artists, I became an artist myself.
My paintings are of people – portraits and nudes - I don’t want to compete with nature. Fours years ago I packed in a successful publishing career to focus on my art. Coming from an artistic family, I had been attending an evening life-drawing class for 15 years and decided this was more important to me than my business career. Since then I have gained a diploma as a mature student from Heatherley's School of Art in Chelsea and at The National College of Art and Design, Dublin. I have also been lucky enough to have been given personal tuition by a close friend of Francis Bacon. I have exhibited in London, Oxford, Hong Kong, and France and have been awarded with a number of prizes. My work has also been featured in a variety of arts magazines and websites. My main influences include: Degas, Bacon, Monet, Velasquez, Ribot, Picasso, Van Gogh and some modern artists: Mark Demsteader, Shaun Ferguson, Conor Harrington and Michael Clark. Whilst an element of realism is important, I try to move beyond artistic convention and avoid an image that is too predictable. Realism is not enough - what you take away and what you add to what you see are what transform a picture into art. The decisions and selections you make allow you to express your personality onto a picture and distinguish it from mere photographic representation. I believe that the viewer wants to see a degree of draughtsmanship from an artist but they want and deserve more than this. I want my pictures to touch people personally and to be considered works of beauty.
During a career spanning over thirty years Liz has taken part in numerous exhibitions, both solo and with other artists, at galleries and other venues throughout the country. As a result her work is held in private and public collections (Surrey Heath Museum, Chertsey Museum) at home and worldwide. In London, she exhibits regularly at Mall Galleries with the Royal Institute of Painters in Watercolour and The Society of Women Artists to which she gained elected membership in 1993. In addition she is a full member of the Society of Floral Painters with whom she exhibits twice a year. An active and committed member of many local Art Societies, she has recently been elected President of the Arun Art Society. She has a widespread reputation for still life, floral, and landscape paintings (many of which have been regularly reproduced as greetings cards and prints by major companies) and has won a number of prestigious awards at local and national level. Her main inspirations are light, colour, and the heath land landscape around her home in Lightwater, Surrey.
My visits to Cornwall and the West Country are mostly made ‘out of season’. There is nothing more frustrating when looking for a subject than to have an ice cream van or a stream of tourists pop into view. I like to re-arrange shapes and colours to make an ensemble within the area of the canvas, and to dispense with perspective if it would disturb this. The dumpy boats, the squat houses, fishing paraphernalia – all part of a fast disappearing romantic ideal, but still infinitely attractive as a memory of things almost past.
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