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Posts Tagged ‘Exhibition’

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

Kristin Vestgard ‘Find You’ 2 page feature review in Western Morning News | 11 August 2018

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

Maggie Matthews | in Bloom | an exhibition observing the National Dahlia Collection | 10 July 2018

Maggie Matthews at the National Dahlia Collection
“We love to give flowers, expressing our most powerful feelings from the joyful celebration of love to profound grief, they mark the most important moments in our lives. Today we import most of our flowers from distant lands, but Cornwall has a rich history in farming flowers. On the Isles of Scilly in 1870 Mr William Trevellick packed some daffodils into an old hat box and posted them off to Covent Garden and so an industry was born.
Taking advantage of the early mild springs daffodils became an important crop and with the coming of the railway West Cornwall regularly supplied London and beyond. It was while crossing one of the many footpaths on the slopes opposite St Michael’s Mount that I came across Varfell Farm where “Greenyard Flowers” is the world’s largest daffodil producer, leaders in the growing and packing of daffodils. It’s not just daffodils grown here as I was about to find out, but spectacular fields of Agapanthus and Amaryllis. Following the sign to “The National Dahlia Collection” I wandered into the most spectacular field filled with every vibrant colour and form of flower you can imagine. I returned many times over the coming months with my sketchbook and camera in hand. It wasn’t long until I met the production manager of the collection Louise Danks and Gilles Deprez. Louise and Gilles explained that the collection holds over 1,600 new and heritage varieties, a real national treasure.   
This exhibition brings together the body of work which was to follow, I hope you find it as colourful and vibrant as The National Dahlia Collection, and if you ever get chance to visit the collection in the summer months you won’t be disappointed.”
Maggie Matthews

 

 

Maggie Matthew’s solo exhibition for Cornwall Contemporary in 2018, was an in depth look at the National Dahlia Collection near Penzance. Maggie has always used nature as the inspiration for her paintings, whether looking into rock pools, or in hedgerows and then abstracting the on site drawings into paintings in the studio, and this exhibition explored the floral patterns and shapes of the extensive collection of dahlias on the outskirts of Penzance. 

photograph of Sarah Brittain Mansbridge and Maggie Matthews smiling and sitting amongst flowers at an exhibition at Cornwall Contemporary gallery in Penzance

Sarah Brittain-Mansbridge, director of Cornwall Contemporary with Maggie Matthews, surrounding by beautiful dahlias from the National Dahlia Collection, whilst hanging Maggie Matthews’ In Bloom exhibition.

Image may contain: 12 people, people smiling, people standing and indoor

The exhibition got off to a flying start with a very busy private view and lots of red dots. There was a huge amount of interest and many reviews about the exhibition including features in Cornwall Today Magazine, Manor Magazine and the Western Morning News.

You can view Maggie’s paintings in the exhibition here

Janet Lynch | ‘Without a Map’ | exhibition | 30 April 2018

Janet Lynch

JOURNEY
Without a map

“Making art is a life long journey, a life long search, for an answer to an unknown question.
There are promises, and there are pitfalls , but best of all there are some days that are wonderfully surprising.
Sometimes you turn a corner and find the unexpected , days when out of nowhere, you find an image that did not exist before, but which will now always have its own place in the world.
Those are the worthwhile days that make me smile.”                             

 Janet Lynch, March 2018

a photograph of Sarah Brittain-Mansbridge and Janet Lynch at Cornwall Contemporary gallery in Penzance.

Sarah Brittain-Mansbridge, director of Cornwall Contemporary, with Janet Lynch at the launch of her exhibition ‘Journey – Without a Map’

     

Throughout April 2018, Janet Lynch showcased another solo exhibition of her narrative and lyrical figurative paintings at Cornwall Contemporary.

Janet Lynch lives and works in West Cornwall and she studied at St. Martins School of Art, later returning to art education at Hornsey College after taking time out to raise her family. She has had a prestigious career to date including solo exhibitions at White Space Gallery, Islington Arts Factory and Lauderdale House in London. Her work has also been featured in group exhibitions at a wide variety of locations including The Barbican, Royal Academy Summer Show, Beardsmore Gallery and the Hyde Park Gallery in London. Her paintings were also recently exhibited in the 2018 influential Lynn Painter-Stainers Prize.

In conjunction with her exhibition, Janet also launched a small book of her poetry –

The book ‘Life, Love, Sex, Death’ featuring Janet’s artwork and 14 of her short poems was sold with all proceeds raised donated to Smile Train – the international children’s charity that transforms the lives of children by giving them the power of a smile and providing corrective surgery for cleft lips and palates. £360 was raised whilst Janet’s exhibition was on, meaning that two children are going to have cleft repair surgery giving them the power to smile. A huge congratulations is due to Janet!

Signed copies of the book are still on sale with us and all money will go directly to Smile Train.
Contact us on 01736 874749 or email sarah@cornwallcontemporary.com if you would like to buy a signed copy for £10 (£11 inc p&p)

Neil Pinkett – St. Michael’s Mount exhibition | 15 April 2018

the artist Neil Pinkett painting en plein air at Cape Cornwall on the cliffsMarch 2018 saw a very special exhibition open at Cornwall Contemporary. Neil Pinkett, who has lived opposite St. Michael’s Mount in Marazion for a number of years, decided to dedicate all of the paintings in his solo show to the iconic view of the “castle in the sea” 

It was ironic that whilst the exhibition was on, Neil received news that he was actually to move from marazion, making the exhibition that much more poignant for him.

We had a bustling private view, including an appearance by Lord James St. Levan who kindly wrote this for our exhibition catalogue – 

 
 
“I am fortunate to live somewhere which has attracted artists over the centuries. At one level, this has produced pictorial evidence of how buildings and plantings have evolved over time. At another, it is often intriguing to see how a place one thinks one knows well is perceived in another’s eyes. 
 
And while St Michael’s Mount has been painted many times over, it is much more unusual for an artist to put together a whole collection of work that captures its different moods and picks out the detail that gives the island its individual and quirky character. 
 
Neil Pinkett’s art breathes his love of the Cornish coast. He lives in Marazion and is therefore constantly aware of the Mount. It is so very apt that he has been inspired to take on this ambitious project.”
 
James St Levan
 

you can see the paintings in Neil’s wonderful ‘St. Michael’s Mount’ exhibition here

Kristin Vestgard – December 2017 | 14 January 2018

Kristin Vestgard “Alone not Alone” a solo exhibition of paintings at Cornwall Contemporary

Throughout December at Cornwall Contemporary, we were delighted to host Kristin Vestgard’s second solo exhibition with us ‘Alone Not Alone’.

Born in Norway in 1976, Kristin Vestgard studied art at the Nordfjord Folk High School until 1996 and then at Oslo Painting and Drawing school. A Fine Art degree followed at Falmouth College of Art in 1997 and three years later her studies culminated in a sell-out degree show. She continued to live in Cornwall for a further ten years, with her paintings becoming increasingly sought after by collectors across the UK. A return to her native Norway has seen Kristin further develop the dreamlike and ethereal characters that live in her paintings and she has exhibited at various galleries in London, Cornwall, Norway and Denmark. Her exceptional studies are quintessentially Nordic and can be found in many private collections worldwide as well as being held in the Falmouth College of Art collection.

 

 

 

 

 

 

 

 

 

 

“I want my paintings to have a flux like moment. I keep painting until they have the right atmosphere, and it must be a gentle balance of being both here and not here – fleeting but with a nerve. To have a playfulness running in and out of the layers of oil paint, with a deep sincere essence holding it together. To me my paintings hold many secrets… and I like it that way. It gives them space to breathe and live their own lives; just like people… they have a sea of secrets too.” Kristin Vestgard

The exhibition was an enormous success with a huge amount of interest and many people coming back to see the paintings three, four times. You can see the exhibition here

Alasdair Lindsay | Shorelines | exhibition & book launch Sep 2017 | 10 September 2017

 

 

 

 

 

 

 

 

 

 

We had a very special solo exhibition and book launch in summer 2017 for Alasdair Lindsay, who we have been working with for the last 20 years.

 

I first saw Alasdair Lindsay’s paintings at Falmouth College of Art’s graduate show for Fine Art in 1999. Despite being a recent graduate, Alasdair was already an accomplished artist, and leaving a note for him tucked into his sketchbook, I suggested he come to the gallery (where I was working as Art Director at the time) to meet me and now, 18 years after first seeing that graduate show in Falmouth, and opening my own gallery Cornwall Contemporary 11 years ago, I have sold hundreds of his paintings and Alasdair has amassed a large number of ardent admirers and collectors of his work worldwide.

There is something about Alasdair’s paintings that really resonates with people. I have customers who have bought numerous paintings by Alasdair and his work can be found in private collections in homes all over the world. From Alasdair’s 2016 exhibition alone at Cornwall Contemporary, we packed up and shipped off paintings to Switzerland, San Francisco and Germany as well as across the UK.

He has racked up accolades along the way – winning 2nd prize in the prestigious Hunting Art Prize in 2000, 2004 and 2005. He was commissioned to produce a number of paintings in 2002 for display on the luxury Cunard liner Queen Mary II. In 2007 his work was exhibited in the Singer Freidlander Sunday Times Watercolour Competition at Mall Galleries, London. He was recently shortlisted for the Lynn Painter Stainers Prize along with the Jacksons Art Prize, where he was placed among the best 25 painters from over 2000 artists worldwide.

With each exhibition, Alasdair’s style and aesthetic grows and it has been a pleasure working alongside him and watching his career thrive and flourish. His ability to entirely capture a recognisable scene, wherever it may be of, and yet present it in such a unique, vibrant and unexpected way has led to him becoming one of the UK’s most exciting contemporary landscape painters.

Paintings in the exhibition can be seen here.

Sarah Brittain-Mansbridge 
Director, Cornwall Contemporary

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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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