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Archive for the ‘Gallery’ Category

Alasdair Lindsay exhibition reviews | 1 November 2018

There was a wonderful double page feature on our Alasdair Lindsay exhibition in the November issue of Cornwall Today magazine. “Alasdair Lindsay has become one of Cornwall’s most distinctive landscape painters. In an area of fine art currently dominated by high-energy brushwork and low-key colour, his work stands out for its crisp, graphic quality and vibrant palette…. Lindsay’s work combines clean shapes and razor sharp compositions with an extraordinary understanding of complementary colour… In a show that takes us from the raw beauty of Cornwall and the Scillies, to the famous bridges of London and the elegance of Venice, to the drama of the Scottish Hebrides, ‘Islands and Bridges’ ventures finally to Iceland… and all painted by a uniquely talented artist with an exceptional take on contemporary landscape”.

Frank Ruhrmund wrote this wonderful review in The Cornishman of our Alasdair Lindsay exhibition ‘Islands and Bridges’….

“With several of the works sold before its official opening, Alasdair Lindsay’s new exhibition could not have had a more promising start. No stranger to success, this is his 12th exhibition in this gallery and while all the previous shows were winners this one is likely to beat them all….”

Alasdair Lindsay solo exhibition ‘Islands and Bridges’ | 29 October 2018

‘Islands and Bridges’ was Alasdair’s 12th exhibition at Cornwall Contemporary, and included places where the artist spent time throughout 2018 including Iceland and the Isles of Scilly.

 

Alasdair Lindsay moments before his private view opened, with ‘Tower Bridge, Summer Morning’ which was acquired by a collector.

It’s just one of the paintings that was snapped up at the start of the show.

 

The exhibition was a huge success with paintings being sent to all parts of the UK and overseas to America and Switzerland. You can view paintings in the exhibition here.

Alasdair Lindsay was born in Cheshire in 1975 and came to Cornwall in 1996 to study at Falmouth College of Art and has remained ever since.
His paintings are based on what he sees everyday. He studies these places regularly and sometimes sketches on site, 
although Alasdair usually paints from memory and through experimentation. His studio work is down to decisions based on instinct rather than theory, and aerial views have become a regular compositional element in his paintings.

Alasdair’s work has been garnering increasing acclaim and in 2002 he was commissioned to produce 12 paintings and 312 prints of those paintings for permanent display on the luxury Cunard Line Queen Mary II.
In 2004 he won 2nd prize in the prestigious Hunting Art Prize and was also selected to exhibit in the Hunting Art Prize in 2000, 2004 and 2005. In 2007 his work was exhibited in the Singer Freidlander Sunday Times Watercolour Competition at Mall Galleries, London. One of his paintings was featured on the cover of Coast Magazine, with an accompanying 6 page feature in February 2018 and his work has also been shortlisted in the prestigious Jacksons Art Prize for the last 2 years running.

The hardback book ‘Shorelines’ was published in 2017 to coincide with his solo exhibition at Cornwall Contemporary, and signed copies are available from the gallery.

Alasdair’s next exhibition is a 3 man show at Cornwall Contemporary – a show of contemporary landscape paintings with Myles Oxenford and Paul Wadsworth, which opens 29th May 2019.

David Mankin – Perpetual Flux – solo exhibition | 17 October 2018

From 26th September – 20th October 2018 at Cornwall Contemporary, we were delighted to hold David Mankin’s first ever solo exhibition.

Titled ‘Perpetual Flux’, the exhibition of abstract expressionist paintings based on the Cornish landscape was a huge success. With catalogue requests from collectors worldwide, the exhibition went on to be a near sell-out with paintings shipped to collectors in Philadelphia, Miami, Düsseldorf and across the UK. 

“David Mankin’s work is about landscape, yet there is no attempt to mimic a ‘view’. Instead he conjures the feeling of being in the natural world, and a sense of our human insignificance in the face of the elements.
His paintings express a love for the landscape surrounding his Cornish home and studio, and a sense of freedom in the wild open spaces – the raw physical elements, big skies and surging seas.
In this new body of work Mankin sets out to explore the forces and rhythms underpinning the shifts we see and feel in the landscape.

In these paintings, it is as if the artist has gathered fragments of sensory experience from the outside world which, brought back to the studio, are allowed to spill out onto canvas. There is no imposed narrative or comment – just ‘here, this is what it was like.’
In Mankin’s working method the formal qualities of his medium are not neglected and the initial, intuitive flow is followed by a quiet process of refinement. Thought is given to balance in colour, line, tone, texture and shape. Mankin aims for a balanced composition, with dialogue between mark-making and passages of paint. The surface is built up, scratched, removed, scraped, and further layers added, all punctuated by marks and lines and graffiti-like scribble. The surface becomes activated as historical layers are allowed to seep through.During the course of a day’s work, a painting may change completely as elements or relationships are discovered, buried, lost and re-found, echoing the shifting ‘perpetual flux’ of the natural world. Buried scars of previous iterations echo the dark,
abandoned lodes beneath the earth; the soaring flight of a gull, encountered on a windy day, becomes a sweeping gestural brush mark; a tangle of fine sgraffito lines suggests the wind-blown branches of tamarisk at the cliff edge. A series of tiny dashes moving delicately across the corner of one painting is reminiscent of the dainty steps of an oystercatcher foraging on the edge of the shore. Irregular charcoal shapes seem traced directly from flotsam discovered on the beach – or perhaps they refer to the disused mine chimney stacks dotted along the cliffs. Mankin offers these painterly impressions for viewers to interpret as they will. Always there is the underlying energy of the sea, at times an early morning milkiness, at others a raging elemental force. The artist is remembering in paint.

As these recollections of the Cornish landscape tumble on to his surfaces, and the process ebbs and flows, art historical influences reveal themselves. Mankin admires Richard Diebenkorn’s insistent pushing of process; also Prunella Clough’s subtly layered and textured surfaces, and the way she isolated small details. Passages of visceral paintwork evoke Joan Eardley’s Catterline works.There’s a muscularity of line reminiscent of Roger Hilton, and a Lanyonesque influence discernible in the apparently aerial perspective of some paintings.
As with all painting, Mankin’s work needs to be seen ‘in the flesh’ – words can’t convey the subtleties. We need to stand in front of his paintings, taste the salt air and feel the warmth of the sun.”

Pippa Young,
Pippa Young is a fine art painter whose work is collected internationally.

David Mankin with Sarah Brittain-Mansbridge at the opening of Perpetual Flux

David Mankin with the painting ‘Moor Gallop’

David Mankin – Perpetual Flux

“The blueness one sees in a David Mankin painting is redolent of the sea, the magnetic pull and spirit of Cornwall, a landscape freighted with significance for the artist. However often one looks, one is never accustomed to the sea – there is almost nothing to add to its mystery, David suggests. Blues are a reflected beauty, an apogee of looking at shifting perspectives, submerged rhythms. An eloquence perhaps resists articulation with words yet is clearly derived from a working relationship with nature. The unquiet of nature is where the artist is enveloped by an andante of flux amid, beneath and above layers.

‘The sea has so much in it, in terms of its movement and energy – there is a real rhythm in the sea, an ebb and flow; that is what I love about the Cornish landscape’.

Here is an artist concerned with living in contact with nature, remembering that our minds are shaped by our bodily experiences of being in the world. He is a lover of big skies, surging sea and the intoxicating equilibriums found within the West Penwith landscape.

A passion for the landscape is rooted in an interest in geology, the topological aspect of the land; grooves, lines, ancient preferential pathways and a profound sense of freedom and openness which is gained from an intensely visual and spatial experience.

Often immersed outside – walking, cycling, browsing the coastal path, David is open to the elusive and primordial. ‘How one cannot help not to be influenced by this,’ he suggests.

Spending much time at the shoreline, he talks of coves, hidden beaches, long vistas and thus an astonishment found which is his motivation and inspiration. ‘I love my environment,’ he says. The ocean is loaded with personal significance and only a few hundred meters away from his studio, although its image is yet closer. An obvious cynosure of David’s studio is the pretty window above his desk looking out to the offing.

Asked how a work is begun; a number of paintings are often worked on at the same time. Paint may be thrown down onto canvas, and materials are explored using free association, gestural mark-making using any materials that the artist can lay hands on. Beginnings can vary but are generally built up slowly in layers of acrylic paint, then scratched, removed, sanded, scraped; each substrate of the paint comprising an archipelago of lines and graffiti-like scribble. The aim is to animate the surface, even an intentionally flat surface, to reveal an underneath seepage of history or narrative, which in places may spill to the surface.

Essential to the quality of the artist’s work is atmosphere. In going beyond reason and explanation (rocking a sense of order) the artist points to awe and the sublime. The rather demure blue of a painting: naïve, pale, is reminiscent of a shimmering grey sand, gossamer under moonlight. The painting could evoke an aerial view of a beach, looking down from a high cliff in the half-light. Muted flurries of criss-crossed lines at the top periphery lend a sharp synesthetic eeriness for a split second. A literacy of the timeless conjured from sensations, recognisable shapes, poetic lines, curves, queries, and mystery is enchanting. When asked whether the artist would concur with my thoughts, he didn’t agree or disagree, it was up to me. ‘It’s that sense of something that I am trying to get across – that atmosphere,’ he stated.

One notes the assemblage of familiar and unfamiliar shapes, veiled forms, and diaphanous layers over and under shifting tones in many of David Mankin’s paintings. Shadows and light fall across canvas, reinforcing an inherent sense of transience and flux, the core feature of this exhibition.

A kind of surface tension is created enthralling to inspect, a kind of tactile membrane that one wants to explore – an earthiness with serendipitous features that one enjoys finding unexpectedly. These are the painting’s chief ingredient and reward. ‘It is important that there is depth and suggestion, which comes out of the process’.

I think there is a trust for the viewer, in a Mankin painting, that whatever crosses one’s path will not be passed over. The artist has an entrepreneurial spirit, eager to express creativity from interaction and experience within the present microsecond, and from working-memory as well as having an awareness of the timeless.

One particular painting sends me a shiver of pleasure; and as with all the body of work for this exhibition confers a tranquility.”

Ali Day, September 2018

Antonio Lopez Reche | Bronze Sculpture | 23 September 2018

Showing alongside Melanie Goemans’ paintings throughout September 2018, was a collection of bronze figurative sculpture by renowned artist Antonio Lopez Reche.

Antonio Lopez Reche with one of his bronze sculptures

Born in Barcelona, Antonio Lopez Reche was educated at the University of Barcelona and served as a post graduate teaching assistant there. In 1994 he received the Erasmus Grant from the European Commission to study at Saint Martins School of Art and Design, London. He has been working in the UK since 1995, and has produced numerous commissions for private and public spaces. His bronze sculptures have been exhibited in Barcelona, Vienna, Greenport, NY and venues across the UK. He has also produced a number of public commissions including Canary Wharf, London and is in a number of private collections across the world including Spain, England and the United States. Drawing inspiration from Greek Mythology and Folk Tales, his work describes such universal themes as internal conflict, strength, and man’s search for knowledge. 

” My work is a diverse approach to the language of sculpture. For the past twenty years, I have been experimenting with figurative and non figurative work.

My figurative work has been inspired by Western tradition, often relating to Mediterranean mythology and folk tales, in which my interest in expressive tool marks and spontaneous modeling with materials such as clay, wax or plaster, translates into bronze, in an attempt to capture the immediacy and rawness of the material.

I also have a deep interest in a more conceptual line of work in which, still using mostly bronze casting, the repeated reproduction of an object, sometimes created by me, sometimes snatched from our immediate daily life, creates a new form. Although these pieces start with the fascination with the chosen object, soon the repetition and organisation of these elements creates a new dimension far from the original object.”

 

 

 

 

 

 

 

 

 

This very lovely couple (and lovely dog) came in to buy Antonio Lopez Reche’s “Nearly Time” bronze sculpture (on the left) but once we put it side by side with “Kitzune”, the only possible choice was to buy both as they make such a stunning pair. 

I’m sure these pieces will be treasured for years to come.

You can see Antonio’s exhibition here

Melanie Goemans | Tree. Bird. Stone. | 10 September 2018

From 29th August – 22nd September 2018 Cornwall Contemporary was delighted to host a solo exhibition of exquisite paintings and printmaking by Melanie Goemans.

 

The way in which Melanie paints is very traditional, using materials such as oil paint, gesso, linseed oil, gold leaf… all with very fine brushes. This demonstrates Melanie’s innate precision and skill and her fascination in the history of art and wanting to connect with painting in the way that the old masters did.

 

 

“The work in this exhibition is a response to my environment, the places in and around which I have lived the everyday; the new that has become the familiar, that has resonated the thoughts and experiences lived through here. I like that the paintings are mine only briefly while I work on them in my studio. Their life begins when they fly to another context, to a different viewer who I hope will find their own significances in this work. This is the life of the painting. The birds animate the landscape, the heron like a god, disproportionate and mysteriously significant. The stone – the earth – underlines everything, and the trees have been my enduring fascination for the past fifteen years. I am interested in the overlooked, incidental forms in nature – how painting / printmaking can draw attention to things with no conventional value and mark them as important through the use of traditional materials, such as oil paint, gesso, gold leaf, etching. I like looking at complicated shapes and drawing them with a very fine brush. The act of painting like this feels almost like stitching or weaving, as slowly with each brush mark the work comes together. I used to think art had to be complex to be good, but over time I have realised that keeping things simple or paring them down can make a bigger statement.”

Melanie grew up in the Lincolnshire fens. She spent time in Italy before studying Florentine Renaissance art at the Courtauld Institute, London and Fine Art at the School of Art, University of Gloucestershire. She went on to teach Art and History of Art and take up Artist in Residence posts in Cheltenham and Devon before settling in London. Melanie relocated to the Cambridgeshire fens with her young family in 2010 and now works from her studio in Ely. Over her career, Melanie has exhibited in group and solo shows across the UK at various venues including the Jerwood Space, Bridgeman Gallery, Rebecca Hossack Gallery and Florence Trust in London. Her work is held in corporate and private collections in the UK and overseas and has recently been selected for the National Open Art Competition; the ING Discerning Eye Exhibition; and the JohnMoores Painting Prize (second round).

Melanie Goemans ‘Cuckold’s Row’ painting used on Richard Holloway book cover

 

 

 

 

 

 

 

 

 

 

View Melanie Goemans’ exhibition here

Cornwall Contemporary Book | 1 September 2018

To coincide with our Summer Collection at the gallery, we published a book featuring work by many favourite Cornwall Contemporary artists.

The new 28 book features Cornwall Contemporary artists along with artist biographies and portraits and it is available to purchase from the gallery for £10 (including P&P). They are the perfect keepsake of all your favourite artists and for anyone interested in the contemporary arts scene on Cornwall. Give us a call on 01736 874749 or email us at sarah@cornwallcontemporary.com to order your copy.

Cornwall Contemporary’s Summer Collection | 25 August 2018

Our Summer Collection 2018 featured a vibrant and diverse selection of paintings, sculpture and ceramics throughout the 3 floors of the gallery. 

 

From portraiture, to landscape, to abstract, to figurative, it was a wonderful showcase of Cornwall Contemporary talent. You can view the exhibition

here

Kristin Vestgard ‘Find You’ exhibition | 10 August 2018

“I work intuitively, I usually have an abstract idea or an emotion that lingers with me, or it might be something I have seen somewhere; a glimpse of something that draws me in. I like playing with my figures, their faces and their bodies, the way they place themselves in an atmosphere and what they quietly speak of. This takes me on a journey and often I am not sure where my figures come from until a few years later, or why they end up like this. I keep wiping off and adding paint, keep adding marks and building layers into the final piece, until the feeling is right.
I know I don’t want anything to feel stuck or pinned down. It must be a gentle balance of being both here and not here,
fleeting but with a nerve. I gather pieces here and there bringing it all together, trying to make some sense and poetry
without words, manifesting an existence.
Putting it all into words is difficult I think; I want the viewer to bring their own stories.”
Kristin Vestgard, 2018

Kristin’s 2018 solo exhibition at Cornwall Contemporary was another stunning collection of sensitive and heartfelt oil on canvas portraits.

Sarah Brittain-Mansbridge, Director of Cornwall Contemporary, hanging Kristin Vestgard’s portrait paintings.

 

 

 

Kristin Vestgard was born in Norway in 1976 and studied Painting and Drawing at Nordfjord Folk High School 1995 – 96, then at Oslo Painting and drawing School 1996 – 97 and finished her studies at Falmouth College of Arts, obtaining a first class honours degree 1997 – 2000. She subsequently lived in Falmouth for a further 10 years before returning to live and work in Norway. 

Her paintings have become highly sought after and her 2018 exhibition at Cornwall Contemporary drew many people to the gallery and resulted in many sales and commissions for the artist.

you can see Kristin’s paintings in the exhibition

here

David Mankin studio visit | 27 July 2018

Had the most wonderful morning yesterday visiting David Mankin in his studio, selecting paintings and discussing his forthcoming show with us. I can’t wait to hang these paintings in the gallery and share them all with you. They are brilliantly dynamic and filled with a huge amount of movement and depth, and his palette is exceptional. It’s going to be a simply stunning exhibition. David’s show opens on 26th September – definitely a date for your diary.

Maggie Matthews – 4 page feature in Cornwall Today Magazine | 11 July 2018

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Cornwall Contemporary
1 Parade Street
Queens Square
Penzance
Cornwall
TR18 4BU

Telephone: 01736 874749

opening times:
monday - Saturday  10 - 5

Gallery Director:
Sarah Brittain-Mansbridge
sarah@cornwallcontemporary.com

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