THE PROJECT

This project offered the opportunity to explore different elements of the rural landscape. I usually paint industrial or urban subjects so found the challenge of painting trees and foliage quite refreshing.

My intention was to make a series of work to reflect the diverse nature of the environment, from the fragility of the smallest insect to the grandeur of the hornbeams; all this interwoven with footpaths carved out by everyday life. A microcosm.

The Avenue was incredible. I wanted to capture the atmosphere, the light coming through the tree canopy and the sound of the forest creaking in the wind. The light draws us into the forest and down to the brook with a quaint little bridge and rope swing. Where does it take us?

I am always interested in the relationship between the landscape and its occupants, I love the ramshackle building mimicking its environment whilst enveloped in the surrounding foliage. Built in part certainly from local foraged materials that wouldn’t look out of place in rural China.

I like my paintings to invite the viewer to question the narrative, where is this place? What is this building? Where are we going? It’s the mystery of these locations that draws you in.

JOHN BALL

Coccinella Septempunctata

Oil paint on reclaimed MDF panel

27 x 40cm

2021

£1000

THE PROJECT

I like my paintings to invite the viewer to question the narrative, where is this place? What is this building? Where are we going? It’s the mystery of these locations that draws you in.

THE ARTIST

Based in Romford (London, U.K) and working primarily in the South East of the United Kingdom, contemporary artist John Ball creates unsettling images of a dystopian suburban landscape.

John is probably best known for his appearance on the Sky Arts ‘Landscape Artist Of The Year’ television show where he was fortunate enough to place as finalist.

‘Incredibly cinematic, foreboding vacant landscapes’ comparable to the work of Edward Hopper and David Lynch. (Kate Bryan, Head of Collections for Soho House)

'John Ball's work was like a breath of fresh air on Sky Arts Landscape Artist of the Year in 2017 with its unique sense of mood and use of colour. The melancholic scenes that he constructs are poetic in themselves and full of story, to the point that they demand your attention and hold it very firmly indeed.' (Kathleen Soriano, curator)

These artworks I share with you have been created in response to the Somerset landscape surrounding my home near Bath, UK.⁠

The concept came about through my love of nature, which was renewed during the recent lockdown restrictions we have all endured. I spent a great deal of time looking at this breathtaking view from my bedroom window, as well as walking through my garden and the surrounding countryside.

This project is born of a very personal experience: I have developed relationships, named and even hugged many of the trees here... I am always amazed by the many shades of green in the landscape, the undulating hillsides and of course in the magnificent variety of trees.

This re-connection with nature inspired me to invite others to respond to this magnificent view, so I set about gathering these artists, intentionally diverse in their practices. I invited them to each respond to the same landscape view through their own personal response, and welcomed them to visit my home in Englishcombe.⁠ There was no specific remit, I simply asked them to relate to what they hear, what they see and what they feel when they create their works.

The artists range from abstract to figurative, surreal and pop, thus the exhibition is as much a study of their individual emotional relationship with nature as the artistic depiction of it through the works they have created.

As they say; ‘Beauty is in the eye of the beholder’. I trust you will experience the beauty of the Somerset landscape through the personal visions these artists have shared for us to enjoy.

Sandra Higgins

December 2021

PARTICIPATING ARTISTS

John Ball

Day Bowman

Louisa Burnett-Hall

Iain Cotton

David Ferry

Pete Hoida

Marguerite Horner

Timothy Emlyn Jones

Susan McDonald

Fiona McIntyre

Roy Osborne

Richard Walker

David Walsh

SHADES OF GREEN

AN ART PROJECT AND EXHIBITION CURATED BY SANDRA HIGGINS

These artworks I share with you have been created in response to the Somerset landscape surrounding my home near Bath, UK.⁠

As they say; ‘Beauty is in the eye of the beholder’. I trust you will experience the beauty of the Somerset landscape through the personal visions these artists have shared for us to enjoy.

Sandra Higgins

December 2021

PARTICIPATING ARTISTS:

John Ball

Day Bowman

Louisa Burnett-Hall

Iain Cotton

David Ferry

Pete Hoida

Marguerite Horner

Timothy Emlyn Jones

Susan McDonald

Fiona McIntyre

Roy Osborne

Richard Walker

David Walsh

ARTIST BIO

Based in Romford (London, U.K) and working primarily in the South East of the United Kingdom, contemporary artist John Ball creates unsettling images of a dystopian suburban landscape.

John is probably best known for his appearance on the Sky Arts ‘Landscape Artist Of The Year’ television show where he was fortunate enough to place as finalist.

‘Incredibly cinematic, foreboding vacant landscapes’ comparable to the work of Edward Hopper and David Lynch. (Kate Bryan, Head of Collections for Soho House)

Commissioned by Teeth of the Sea (Rocket Recordings) to produce their debut album cover in 2009 and subsequently 'Your Mercury' (2010) and 'Master' (2013).

John has previously exhibited in The National Portrait Gallery with the BP Portrait Awards in 2007 with his painting 'Commuter' This was also published in the '500 Portraits' hardback in 2011.

In 2018 His first solo show ‘Beware the Void’ debuted in Escondido, California.

TIMOTHY EMLYN JONES

Rhapsodie Acer, Beauty

Acrylic with Chinese wash on Fabriano

Artistico 640gsm

30 x 38cm

2021

£850

THE PROJECT

Rhapsody in Acer : Sonatina in Ink

The starting point for these drawings was a photograph by Sandra Higgins of an acer tree seen from her window. What I saw was more a flame than a tree, more a dynamic than a thing, a rhapsodic melody. Here was a subject that was self-evidently impossible to capture but which invited a response, and being attracted to doing the impossible I had no alternative.

The first of my ongoing set of drawings represented what the photograph showed, interpreted through the possibilities of a hand-cut bamboo pen dipped in Chinese ink. Then the pen took over, combined with monoprint and collage, and the music and the dancing began. Each mark has its own life, like notes on a score, and as they multiply of their own accord they play off each other and lose themselves, much like voices in a choir. While I can see where they’re going, I respect the need not to interfere and I have to get out of my own way so these drawings may go their own way. This series is far from complete.

THE ARTIST

Timothy Emlyn Jones was educated at the Royal College of Art, London, and Cardiff Metropolitan University, and was a member of Joseph Beuys’s Free International University. Timothy has exhibited widely across Europe for many years, as well as in China and Australia, and is represented in public collections in a number of countries, including the UK’s Government Art Collection, the Royal Collection and the Ashmolean Museum, Ireland’s State Art Collection, the Hungarian Museum of Fine Arts, and the Museum of the Book in The Hague. Timothy’s most recent exhibitions have been at the Oliver Sears Gallery, Dublin, at Burren College of Art, Ireland, and as an invited artist at the RHA, Dublin. He has been awarded professorships by Wimbledon College of Art, Glasgow School of Art, Xi’an Academy of Fine Arts, China, and Burren College of Art, Ireland.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

After a serendipitous meeting with artist David Ferry just before the first lockdown I was honoured to be invited by Sandra Higgins to participate in 'Shades Of Green', a group exhibition curated by Sandra celebrating trees specific to her locality of Englishcombe. This area is unique and steeped in history dating back to the bronze age and ticked all my boxes of unspoilt landscape, ancient history and fabulous trees, so I was very excited to explore and develop work in response to this place with the very interesting group of artists that had been selected.

How I responded?

I made several visits to Englishcombe to conduct large drawings and sketches on site which I prefer and need to do before I develop paintings back in the studio. Drawing is an important part of my practise because it gives me an opportunity to be completely immersed in place, atmosphere, weather, sounds and to interact very directly with what I am drawing. This is particularly important when beginning a relationship with specific trees.

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

The drawings have been made with natural materials such as home-made oak charcoal, lump pigments, inks and graphites but I have also been developing these in different more experimental directions back in the studio. Within the confines of my studio I am free to break away from the original environment armed only with drawings and deeply implanted memories.

This particular project inspired me to focus on Sandra's favourite pine tree which she fondly calls 'King Arthur'. Tall and proud he guards the valley from her garden and when the wind blows his wonderful branches creak and play a sort of music. The colours and powerful forms in the branches and immense trunk were such an inspiration to me that I made several drawings and developed them into a large but simplified oil painting to capture Arthur's essence and energy. I also developed smaller works on paper combining inks with collage to move my interpretation towards abstraction.

THE ARTIST

Born 1963 Kenya and brought up in Ireland and England. McIntyre achieved a BA hons from Edinburgh College of Art in 1985 followed by a fertile period in Sweden where she set up studios in an old leather factory; exhibited regularly in museums and commercial galleries; was invited to perform the poetry of Bengt Adlers which was recorded for Swedish National Radio; won a major commission to make public art for Malmo General Hospital; and came under the mentorship of Surrealist Imaginist printmaker Bertil Lundberg at his print workshop Grafikskolan Forum, Malmo where McIntyre developed a series of expressionist etchings and drypoints on copper plate for which she later won prizes.

The Nordic period was followed by Spain in 1982-3 to study an MA in European Fine Art at the Winchester School of Art studios in Barcelona, where she assisted master printmaker Masafumi Yamamoto in viscosity techniques. It was here that McIntyre's work evolved in a more experimental direction fusing Nordic introspection with a more daring colourist approach. This clash of cultures includes English analytical drawing, Scottish Colourism, Nordic Imaginist introspection and the intuitive extroversion of Catalonia, all of which continually informs McIntyre's philosophy to painting and printmaking, teaching and public speaking.

In November 2021 Fiona began a residency at The Rodd for the Sidney Nolan Trust, Herefordshire, to develop work inspired by Nolan at these unique surroundings and leading to a solo exhibition the following year.

In 2013 McIntyre was invited to exhibit in the seminal exhibition 'Under The Greenwood Picturing British Trees' at St Barbe Museum of Art, leading to her becoming a founding member of The Arborealists with which she has exhibited in 24 national and international exhibitions including art\ecology collaborations. The group has found themselves in the zeitgeist of public awareness of environmental issues and this is increasingly informing McIntyre's more recent work to include a return to an arts and crafts sensibility of materials and their origins, and a journey into the making of paint and drawing media from natural pigments. This has led naturally to Fiona's current collaboration with curator Sandra Higgins.

SUSAN McDONALD

Moss Gathering 2

Mixed media on watercolour paper

21 x 29cm

2021

£1000 - For set of three

THE PROJECT

I was born on a farm and my early life was defined by the seasons and cycles of nature; procreation, growth, decay and death followed by bounteous growth again. And so the cycle continues. My painting springs from an acute love and keen observation of the movements of nature. It is both my challenge and joy to connect with the universe’s energy through my art.

These works were inspired by the feelings I had walking through the shaded paths in the countryside near Bath during the glorious, explosive spring of 2021. The contemplation of the absolute irreversibility of that moment will always be in my mind. The ephemeral beauty evoked a raw emotion in me which I have attempted to convey with these works.

THE ARTIST

Born in the United States, Susan McDonald’s upbringing on her family farm in Illinois was defined by the seasons and life cycles; growth, procreation and decay. Her painting is born out of this acute love, and keen observation of the movements of nature.

Some of Susan's paintings have a vibrant density and some a delicate fragility, reflecting the cycles in her own world. Her exhilaration of being alive and aware underpins this body of work, which is also influenced by Louise Bourgeois’s nature drawings which mine the symbolic potential nature of trees, branches, leaves and rivers in various media.

Susan has lived in London for the past 20 years and studied at Central Saint Martins. Previously, she spent years living and working in Japan and the Far East which sparked her own calligraphy inspired abstract painting. Recent exhibitions have been at the Urbanek Gallery in London and the Ninoska Hurta Gallery in Coral Gables, Florida. Susan’s work is held in many private collections in Paris, London, New York, Miami, Sydney, Athens and Panama.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

TIMOTHY EMLYN JONES

The Ancient Yew Beside the Tythe Barn, Englishcombe

Acrylic with Chinese wash on Fabriano

Artistico 640gsm

30 x 38cm

2021

£850

THE PROJECT

Rhapsody in Acer : Sonatina in Ink

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

TIMOTHY EMLYN JONES

Birch Grove Beside Padleigh Brook, Englishcombe

Acrylic with Chinese wash on Fabriano

Artistico 640gsm

30 x 38cm

2021

£850

THE PROJECT

Rhapsody in Acer : Sonatina in Ink

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

SUSAN McDONALD

Moss Gathering 1

Mixed media on watercolour paper

21 x 29cm

2021

£1000 - For set of three

THE PROJECT

THE ARTIST

IAIN COTTON

Englishcombe Crossing 1

Foraged White Lias Limestone and Walnut

12 x 21 x 4cm

2021

£700

THE PROJECT

The day I visited Englishcombe with Sandra Higgins, the valley was quiet and clothed in soft light and a gentle mizzle. I was there to experience the landscape and begin to formulate my response for the landscape exhibition Sandra is curating. I was impressed by the peacefulness of the valley, shaped perhaps by the solace of nature, experienced in recent lockdown walks in the countryside.

Other impressions were of benign neglect: A junglesque wildness but with well trodden paths and subtle boundary making. There was evidence of a former life. A path framed by overarching trees; a spoil-heap of fragmented terracotta, indicating the nursery that once occupied the valley. Both these sites became the inspiration for sculptures. As did the wooden bridge over the babbling brook.

I make sculpture in response to place, using stone, text and carving. Often using foraged materials. I am interested in exploring our connectedness with the natural world using simple forms - a carved word - a line cut - a stone with human marks.

THE ARTIST

Iain Cotton studied sculpture at Bath Academy of Art and went on to an apprenticeship in masonry, carving and stone conservation at Nimbus Conservation where he worked as an assistant to stone carver and sculptor Laurence Tyndall.

After Nimbus, he continued as a ‘journeyman’ carver, in the field of stone conservation until 2010, working on projects for English Heritage, The National Trust, and many other public and private clients of historic buildings.

Having worked with the language of stone for thirty years as a sculptor, carver and lettering artist, Iain is concerned with exploring our place in the world through text and carving and with capturing experiences of deep connection with places and nature. Roads, paths, journeys and human marks in the landscape are recurring themes in his work today.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Sunburst, King Arthur

Ink and Collage on paper

43 x 57.50cm

2020

£1500

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Late Summer

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Pine Glade

Vine and walnut ink on paper

50 x 70cm (framed)

2021

£894

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

DAY BOWMAN

Shades of Green 6

Household paint, charcoal and graphite on cartridge paper

40 x 40cm

2021

£350

THE PROJECT

I have to confess I was a little fearful when Sandra Higgins invited me to be part of the Shades of Green project and exhibition as trees aren’t really my thing. O.K. so I have a fascination with sunken forests and showed a series of small canvases recently at Bermondsey Project Space as part of the Arborealists exhibition, but trees and greenery, well, it’s just not a palette I’m drawn to.

So, I travelled over to Bath and to a small hamlet where Sandra lives and enjoyed her sharing lunch and the view which was very green. Slowly I started to see beyond the foliage and the green and concentrate on the structure of the garden and the hills and slopes beyond. ‘Sit down and draw’ beckoned my host so I sat down and sketched and doodled and returned to the studio with a sketchbook full of lines and shapes.

In the following weeks I just allowed my mind to wander and the hand to doodle and a series of small works emerged that are very much about the structure of the land and how man, the gardener and the farmer are architects of all they sow.

THE ARTIST

In the past few years Day Bowman’s work has gained first prize in the Anima Mundi International Painting Prize and was exhibited at the Venice Biennale 2019; this was quickly followed by being awarded first prize in the Bath Open Art Prize 2019 and first prize for the inaugural Wales Contemporary 2019. Most recently, Day was awarded the Winsor & Newton Prize 2020 by the Royal Institute of Painters in Watercolours and her work was short-listed for the 2020 Holly Bush Woman Painting Prize.

Tearing up the Rule Book, a solo international exhibition at Westminster Reference Library London and Atelier Melusine France, was praised by critics and bloggers at its London showing in March 2019, Artlyst reviewed the show saying… ’There's something very irresistible in Day Bowman’s abstract paintings… it has something to do with the tactility of their surfaces.’

Day’s work is held in numerous private and public collections worldwide including Hilton Hotel Group, British Dental Association, Dorset County Hospital, St. Vincent and Grenadines Govt. Art Collection, the Priseman Seabrook Collection and the Yantai Art Museum Collection China.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

DAY BOWMAN

Shades of Green 3

Household paint, charcoal and graphite on cartridge paper

40 x 40cm

2021

£350

THE PROJECT

THE ARTIST

DAY BOWMAN

Shades of Green 4

Household paint, charcoal and graphite on cartridge paper

40 x 40cm

2021

£350

THE PROJECT

THE ARTIST

DAVID FERRY

Englishcombe Velux 1

Mixed media and photomontage on board

84 x 59cm

2021

£950

THE PROJECT

Scenes from the Velux window

When I first learnt to drive I was fascinated by the view from the rear view mirror. The fact it is even called ‘rear view’ has many connotations, particularly in the sense that what we look back at is a selection and therefore a focused abbreviation of a greater whole of a much more vast reality.

The Velux windows in the roof of the barn in Englishcombe look out on to a view of a partitioned landscape that is further punctuated by natural growth, dividing walls, and ancient ditches; combinations of things made, developed and grown over centuries.

These arrangements of fractured time and space are viewed through a more modernist concept of form and function which is resplendent in the production values of the actual framework of the Velux window design.

I could not imagine the scene beyond these window frames without consideration of the frames itself. It would be like looking through the rear view mirror in a car, without the car!

THE ARTIST

David Ferry RE, studied at the Blackpool, Camberwell and Slade Schools of Art. He is a leading British printmaker and the current President of the Royal Society of Painter/Printmakers, London, and is a former Pollock-Krasner Grantee, New York, and a medal winner at the Seoul International Book arts Competition.

He has represented the UK in the Tallinn, Senefelder and Krakow Printmaking Triennials and has had solo exhibitions in UK museums and art galleries and also in Berlin, Dusseldorf, London, New York, Melbourne, and Poznan

David’s prints and book-arts are in significant international museum, corporate, and university collections.

He is Emeritus Professor of Printmaking and Book-arts at Cardiff, Wales and Hon Doctor of Arts at Solent University.

In 2017 he was the International Artistic in Residence at the Federation University in Ballarat, Victoria, Australia.

David is a former Chairman of the Chelsea Arts Club, London.

DAVID WALSH

Spring over Englishcombe, near Bath

Oil on canvas

30 x 40cm

2021

£1525

THE PROJECT

I work en plein air as it is essential for me, as a landscape artist, to react to the three dimensions before me.

I am a painter of the light. And it is the light that unifies a view before me.

Weather and season are the motivators for me to be in a particular place at a particular time.

Although I do some work on a painting in the studio, it is of far more interest and importance for me to be outside before nature. I will paint outside in the extreme cold of January on the wild Atlantic coast of Ireland, right through to the intense heat of summer in Tuscany, and many places and times between.

My reaction to the land around Englishcombe is quite profound. It is rare to find such steep sided valleys one after another and interlocking. The tiered landscape lends itself to both a landscape and portrait shaped canvas.

I have been painting there in the hot summer with the golden harvest colours, but it is the autumn trees I am really looking forward to in relation to the topsy turvy hills.

THE ARTIST

I cycled to Italy from England in 1984 to embrace a ‘Grand Tour‘ of great art, architecture and land. I spent two years in the mid-eighties living in Rome where I learnt the joys of chairo/scuro drawing and all about colour. My love of landscape has always been with me and I am entirely at one with countryside and seascapes when painting. I am a plein air artist using the finest materials to create what the light before me gives.

I spent much time and research carefully finding places that move me to paint in various seasons with their light changes.

I paint in the UK and Europe and have exhibited since 1993.

Every painting is a revelation, unique and individual. My work is constantly going on. I cannot detach non painting time from painting time, the former is a necessary preparation for the latter. I feel this lack of distinction both more of the time and more intensely.

I do not see myself as having a style but rather as representing a moment of vision, that is to say that which has captivated me by its own truth.

I want my work to be deeply beautiful and a calming influence on the viewer.

DAVID WALSH

Summer over Englishcombe, near Bath

Oil on canvas

24 x 35cm

2021

£1250

THE PROJECT

I work en plein air as it is essential for me, as a landscape artist, to react to the three dimensions before me.

I am a painter of the light. And it is the light that unifies a view before me.

Weather and season are the motivators for me to be in a particular place at a particular time.

I have been painting there in the hot summer with the golden harvest colours, but it is the autumn trees I am really looking forward to in relation to the topsy turvy hills.

THE ARTIST

I spent much time and research carefully finding places that move me to paint in various seasons with their light changes.

I paint in the UK and Europe and have exhibited since 1993.

I do not see myself as having a style but rather as representing a moment of vision, that is to say that which has captivated me by its own truth.

I want my work to be deeply beautiful and a calming influence on the viewer.

DAY BOWMAN

Shades of Green 7

Household paint, charcoal and graphite on cartridge paper

40 x 40cm

2021

£350

THE PROJECT

THE ARTIST

DAVID WALSH

View over Englishcombe, near Bath

Oil on canvas

30 x 40cm

2021

£1525

THE PROJECT

I work en plein air as it is essential for me, as a landscape artist, to react to the three dimensions before me.

I am a painter of the light. And it is the light that unifies a view before me.

Weather and season are the motivators for me to be in a particular place at a particular time.

I have been painting there in the hot summer with the golden harvest colours, but it is the autumn trees I am really looking forward to in relation to the topsy turvy hills.

THE ARTIST

I spent much time and research carefully finding places that move me to paint in various seasons with their light changes.

I paint in the UK and Europe and have exhibited since 1993.

I do not see myself as having a style but rather as representing a moment of vision, that is to say that which has captivated me by its own truth.

I want my work to be deeply beautiful and a calming influence on the viewer.

DAVID FERRY

Englishcombe Velux 3

Mixed media and photomontage on board

84 x 59cm

2021

£950

THE PROJECT

Scenes from the Velux window

I could not imagine the scene beyond these window frames without consideration of the frames itself. It would be like looking through the rear view mirror in a car, without the car!

THE ARTIST

David’s prints and book-arts are in significant international museum, corporate, and university collections.

He is Emeritus Professor of Printmaking and Book-arts at Cardiff, Wales and Hon Doctor of Arts at Solent University.

In 2017 he was the International Artistic in Residence at the Federation University in Ballarat, Victoria, Australia.

David is a former Chairman of the Chelsea Arts Club, London.

DAVID FERRY

Englishcombe Velux 2

Mixed media and photomontage on board

84 x 59cm

2021

£950

THE PROJECT

Scenes from the Velux window

I could not imagine the scene beyond these window frames without consideration of the frames itself. It would be like looking through the rear view mirror in a car, without the car!

THE ARTIST

David’s prints and book-arts are in significant international museum, corporate, and university collections.

He is Emeritus Professor of Printmaking and Book-arts at Cardiff, Wales and Hon Doctor of Arts at Solent University.

In 2017 he was the International Artistic in Residence at the Federation University in Ballarat, Victoria, Australia.

David is a former Chairman of the Chelsea Arts Club, London.

DAVID FERRY

Englishcombe Velux 4

Mixed media and photomontage on board

84 x 59cm

2021

£950

THE PROJECT

Scenes from the Velux window

I could not imagine the scene beyond these window frames without consideration of the frames itself. It would be like looking through the rear view mirror in a car, without the car!

THE ARTIST

David’s prints and book-arts are in significant international museum, corporate, and university collections.

He is Emeritus Professor of Printmaking and Book-arts at Cardiff, Wales and Hon Doctor of Arts at Solent University.

In 2017 he was the International Artistic in Residence at the Federation University in Ballarat, Victoria, Australia.

David is a former Chairman of the Chelsea Arts Club, London.

JOHN BALL

Ramshackle

Oil paint on reclaimed MDF panel

48 x 36cm

2021

£750

THE PROJECT

I like my paintings to invite the viewer to question the narrative, where is this place? What is this building? Where are we going? It’s the mystery of these locations that draws you in.

THE ARTIST

Based in Romford (London, U.K) and working primarily in the South East of the United Kingdom, contemporary artist John Ball creates unsettling images of a dystopian suburban landscape.

John is probably best known for his appearance on the Sky Arts ‘Landscape Artist Of The Year’ television show where he was fortunate enough to place as finalist.

‘Incredibly cinematic, foreboding vacant landscapes’ comparable to the work of Edward Hopper and David Lynch. (Kate Bryan, Head of Collections for Soho House)

THE PROJECT

I work en plein air as it is essential for me, as a landscape artist, to react to the three dimensions before me.

I am a painter of the light. And it is the light that unifies a view before me.

Weather and season are the motivators for me to be in a particular place at a particular time.

I have been painting there in the hot summer with the golden harvest colours, but it is the autumn trees I am really looking forward to in relation to the topsy turvy hills.

ARTIST BIO

I spent much time and research carefully finding places that move me to paint in various seasons with their light changes.

I paint in the UK and Europe and have exhibited since 1993.

I do not see myself as having a style but rather as representing a moment of vision, that is to say that which has captivated me by its own truth.

I want my work to be deeply beautiful and a calming influence on the viewer.

ARTIST BIO

Based in Romford (London, U.K) and working primarily in the South East of the United Kingdom, contemporary artist John Ball creates unsettling images of a dystopian suburban landscape.

John is probably best known for his appearance on the Sky Arts ‘Landscape Artist Of The Year’ television show where he was fortunate enough to place as finalist.

‘Incredibly cinematic, foreboding vacant landscapes’ comparable to the work of Edward Hopper and David Lynch. (Kate Bryan, Head of Collections for Soho House)

Commissioned by Teeth of the Sea (Rocket Recordings) to produce their debut album cover in 2009 and subsequently 'Your Mercury' (2010) and 'Master' (2013).

John has previously exhibited in The National Portrait Gallery with the BP Portrait Awards in 2007 with his painting 'Commuter' This was also published in the '500 Portraits' hardback in 2011.

In 2018 His first solo show ‘Beware the Void’ debuted in Escondido, California.

THE PROJECT

I like my paintings to invite the viewer to question the narrative, where is this place? What is this building? Where are we going? It’s the mystery of these locations that draws you in.

ARTIST BIO

I spent much time and research carefully finding places that move me to paint in various seasons with their light changes.

I paint in the UK and Europe and have exhibited since 1993.

I do not see myself as having a style but rather as representing a moment of vision, that is to say that which has captivated me by its own truth.

I want my work to be deeply beautiful and a calming influence on the viewer.

THE PROJECT

I work en plein air as it is essential for me, as a landscape artist, to react to the three dimensions before me.

I am a painter of the light. And it is the light that unifies a view before me.

Weather and season are the motivators for me to be in a particular place at a particular time.

I have been painting there in the hot summer with the golden harvest colours, but it is the autumn trees I am really looking forward to in relation to the topsy turvy hills.

ARTIST BIO

David’s prints and book-arts are in significant international museum, corporate, and university collections.

He is Emeritus Professor of Printmaking and Book-arts at Cardiff, Wales and Hon Doctor of Arts at Solent University.

In 2017 he was the International Artistic in Residence at the Federation University in Ballarat, Victoria, Australia.

David is a former Chairman of the Chelsea Arts Club, London.

THE PROJECT

Scenes from the Velux window

I could not imagine the scene beyond these window frames without consideration of the frames itself. It would be like looking through the rear view mirror in a car, without the car!

THE PROJECT

Scenes from the Velux window

I could not imagine the scene beyond these window frames without consideration of the frames itself. It would be like looking through the rear view mirror in a car, without the car!

ARTIST BIO

David’s prints and book-arts are in significant international museum, corporate, and university collections.

He is Emeritus Professor of Printmaking and Book-arts at Cardiff, Wales and Hon Doctor of Arts at Solent University.

In 2017 he was the International Artistic in Residence at the Federation University in Ballarat, Victoria, Australia.

David is a former Chairman of the Chelsea Arts Club, London.

THE PROJECT

Scenes from the Velux window

I could not imagine the scene beyond these window frames without consideration of the frames itself. It would be like looking through the rear view mirror in a car, without the car!

ARTIST BIO

David’s prints and book-arts are in significant international museum, corporate, and university collections.

He is Emeritus Professor of Printmaking and Book-arts at Cardiff, Wales and Hon Doctor of Arts at Solent University.

In 2017 he was the International Artistic in Residence at the Federation University in Ballarat, Victoria, Australia.

David is a former Chairman of the Chelsea Arts Club, London.

THE PROJECT

Scenes from the Velux window

I could not imagine the scene beyond these window frames without consideration of the frames itself. It would be like looking through the rear view mirror in a car, without the car!

ARTIST BIO

David’s prints and book-arts are in significant international museum, corporate, and university collections.

He is Emeritus Professor of Printmaking and Book-arts at Cardiff, Wales and Hon Doctor of Arts at Solent University.

In 2017 he was the International Artistic in Residence at the Federation University in Ballarat, Victoria, Australia.

David is a former Chairman of the Chelsea Arts Club, London.

THE PROJECT

I like my paintings to invite the viewer to question the narrative, where is this place? What is this building? Where are we going? It’s the mystery of these locations that draws you in.

ARTIST BIO

Based in Romford (London, U.K) and working primarily in the South East of the United Kingdom, contemporary artist John Ball creates unsettling images of a dystopian suburban landscape.

John is probably best known for his appearance on the Sky Arts ‘Landscape Artist Of The Year’ television show where he was fortunate enough to place as finalist.

‘Incredibly cinematic, foreboding vacant landscapes’ comparable to the work of Edward Hopper and David Lynch. (Kate Bryan, Head of Collections for Soho House)

Commissioned by Teeth of the Sea (Rocket Recordings) to produce their debut album cover in 2009 and subsequently 'Your Mercury' (2010) and 'Master' (2013).

John has previously exhibited in The National Portrait Gallery with the BP Portrait Awards in 2007 with his painting 'Commuter' This was also published in the '500 Portraits' hardback in 2011.

In 2018 His first solo show ‘Beware the Void’ debuted in Escondido, California.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

ROY OSBORNE

Rounded IV, Appletreewick

Oil on canvas

92 x 92cm

2009

£2250

THE PROJECT

Often my painting starts with colour, though I have never worked with one color alone. When I visited Sandra in Englishcombe, she set me this challenge of working with green, painting with only one colour.⁠ I don’t know whether it will have the same movement, or optical bending effect, I don't know what would come out. We’ll just see where the painting leads. (…)

Of all the hues, green seems able to offer the greatest number of variants without it losing its basic identification;

Bright green can be dulled with magenta, its complementary colour, to imitate grass green, while adding grey can rapidly deprive it of its vital greenness.

Adding white extends it to pale lime-green, and adding black increases its apparent ‘weight’ and moves it towards deep avocado.

Most obviously, green can be ‘cooled’, and extended towards sea-green and turquoise, or ‘warmed’, and extended into vivid yellow greens.

THE ARTIST

Roy Osborne is a British painter, educator, historian and writer.

As an artist he has contributed to over 140 group exhibitions in Britain and abroad as well as 6 solo shows.

As an educator he was a visiting lecturer in higher education, presenting practical courses and lectures at over 200 institutions worldwide.

As an author, he has contributed to some 30 books on colour starting with Lights and Pigments: Colour Principles for Artists in 1980 and including Colour Influencing Form, 2004, Books on Colour 1495-2105: History and Bibliography, 2015, and translations of Renaissance publications on colour symbolism. In acknowledgement of his contributions to colour theory and practice, in 2003 he was the first recipient of the Turner Medal of the Colour Group (Great Britain) and in 2019 was the first recipient of the Medal for Colour in Art, Design and Environment of the International Colour Association.

In his various ongoing series of works, his abstract illusionist paintings explore implied depth, figure-ground ambiguity, pattern symmetry, hard versus soft edge, implied transparency and light and shade. They typically feature horizontal, vertical, diagonal or curvilinear divisions of a square and are primarily concerned with colour contrast, harmony, contour, optical blending and texture.

SUSAN McDONALD

Moss Gathering 3

Mixed media on watercolour paper

21 x 29cm

2021

£1000 - For set of three

THE PROJECT

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

RICHARD WALKER

Map Referenced

Acrylic on canvas

30 x 30cm

2021

£950

THE PROJECT

My response to landscape is twofold: it is either a hazy memory of childhood and teenage holidays or is about the drama of the vast panoramas of the American west.

Also, I have always had an affinity with cloudscapes and seascapes that are full of energy and movement.

The landscape of Somerset is very English and elegiac, which for me is an interesting challenge. I started to think about the ancient history, mythology, the spiritual convergence of ley lines and of course Glastonbury. This train of thought has led me to geometry… grids, circles and symbols that come from my interest in urban and industrial landscapes. Also returning to my childhood reveries, I have always thought that the English landscape with all it’s dark and mysterious past requires a certain amount of respect and reverence, but must not be seen as a historical theme park overseen by the National Trust.

I am very aware of all the great artists that have documented this subject in all its variety, from Constable and Turner to Nash and Nicholson through to Richard Long and Anthony Gormley. To add to this rich seam of talent in a meaningful way is a very tall order indeed!

THE ARTIST

Richard Walker is an established British painter/printmaker exhibiting internationally since 1978.

He studied at Kingston and Camberwell art schools and received a Masters in Printmaking at Chelsea.

Richard's work is in many public and private collections and he has numerous one person shows in the UK, Germany, Italy and the USA. He is currently working for an exhibition in Paris, later in 2021.

As well as a landscape themed project with Sandra Higgins, Richard is working on a series called ‘American Prayer’ celebrating writers and musicians ranging from Walt Whitman to John Cage. These current themes combine location, time, space, text and memory. Influences include De Chirico, Klee, Tàpies and Kiefer.

In an article about Richard’s work in Galleries magazine, Nicholas Underwood wrote: ‘Layered and subtle, joyful and poignant, he is very much his own voice’

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

MAGUERITE HORNER

Hope

Oil on linen

50 x 50cm

2021

£2950

THE PROJECT

All the inspiration for my work for the exhibition ‘Shades of Green’ came from my visit to see Sandra Higgins near Bath. I was amazed at the lush beauty, the rolling hills providing distant views of houses that appear to become buried under the avalanche of green foliage… sinking under the weight of nature. The symbolism of the house is associated with enclosed and protected space similar to the mother's womb. In fact it is the first place in each person's life. As an enclosed space it serves to shelter and protect from the outside world.

THE ARTIST

Marguerite Horner is a British artist who won the 2018 British Women Artist Award. Her paintings aim to investigate, amongst other things, the notions of transience, intimacy, loss and hope.

She graduated with an MA in Fine Art from City & Guilds of London Art School in 2004 and was presented by Sir Peter Blake with the Kidd Rapinet Prize for outstanding MA degree work.

Lady Marina Vaizey CBE wrote the catalogue essay for Marguerite's first London solo exhibition in 2012 at the Pitzhanger Manor & Gallery in which she said, ‘Marguerite's paintings lift the ordinary into the extraordinary and the specific into the universal… they are about the seen and the unseen, the life behind the eye as well as the world in front of it.’

Marguerite has since exhibited widely in art fairs and group shows including the 54th Venice Biennale in 2011 and the 58th Venice Biennale in 2019. Several of the works featured here are from her 2019 residency at the Nanxi Academy inYongjia, China.

Marguerite's work is in collections in Art museums in England and also internationally in the USA and China.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

PETE HOIDA

Frayed Moss

Acrylic on canvas

30 x 42cm

2020

£2000

THE PROJECT

The question of the relationship between nature and my own painting is an interesting one. As a general rule I try to avoid pronouncing on my own work. My caution issues from two diametrically opposed positions taken by two pre-eminent critics who have expressed themselves in print; whereas the late Mel Gooding related that my work, though abstract, finds its root in the place where I have lived and worked for fifty odd years, Chris Stephens states that the paintings could just as easily been made in a studio block in Dalston.

I find it difficult to take a view or position on this, but viewers of the film 'The Black Severn Angel’ will observe me striding about 'in nature' by my beloved River Severn (it is of course a dirty and dangerous old river). Perhaps these ambiguities are what fascinates me and I hope are expressed in the light given out by naturalistic colour bodying forth from my canvases.

THE ARTIST

Pete Hoida's paintings are known for strong colour relationships alongside tonal subtlety and a unique approach to textures. They aim to delight and they are on walls in numerous private homes as well as corporate collections in the UK, France, Israel and the U.S.A.

Pete studied Landscape Architecture, working briefly for the LCC, followed by Art School in London, at Hammersmith prior to graduating from the Higher Diploma course at Goldsmiths.

Pete Hoida's work has been authoritatively endorsed in essays by Mel Gooding – Britain's foremost critic of abstract paintings – and Chris Stephens of The Holburne Museum (formerly Director of Modern British Painting at Tate Britain). He is well regarded by his peers – always a mark of artistic authority.

Pete has lived and worked in Stroud for over 40 years in the same hillside studio.

ROY OSBORNE

Chromotopia Study 21

Acrylic paint on canvas

60 x 60cm

2021

£2000

THE PROJECT

Of all the hues, green seems able to offer the greatest number of variants without it losing its basic identification;

Bright green can be dulled with magenta, its complementary colour, to imitate grass green, while adding grey can rapidly deprive it of its vital greenness.

Adding white extends it to pale lime-green, and adding black increases its apparent ‘weight’ and moves it towards deep avocado.

Most obviously, green can be ‘cooled’, and extended towards sea-green and turquoise, or ‘warmed’, and extended into vivid yellow greens.

THE ARTIST

Roy Osborne is a British painter, educator, historian and writer.

As an artist he has contributed to over 140 group exhibitions in Britain and abroad as well as 6 solo shows.

As an educator he was a visiting lecturer in higher education, presenting practical courses and lectures at over 200 institutions worldwide.

RICHARD WALKER

Ordinance Surveyed

Acrylic on canvas

30 x 30cm

2021

£950

THE PROJECT

My response to landscape is twofold: it is either a hazy memory of childhood and teenage holidays or is about the drama of the vast panoramas of the American west.

Also, I have always had an affinity with cloudscapes and seascapes that are full of energy and movement.

THE ARTIST

Richard Walker is an established British painter/printmaker exhibiting internationally since 1978.

He studied at Kingston and Camberwell art schools and received a Masters in Printmaking at Chelsea.

Richard's work is in many public and private collections and he has numerous one person shows in the UK, Germany, Italy and the USA. He is currently working for an exhibition in Paris, later in 2021.

In an article about Richard’s work in Galleries magazine, Nicholas Underwood wrote: ‘Layered and subtle, joyful and poignant, he is very much his own voice’

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

PETE HOIDA

Hurricane Lamp

Acrylic on canvas

50 x 166cm

2016

£4000

THE PROJECT

THE ARTIST

Pete studied Landscape Architecture, working briefly for the LCC, followed by Art School in London, at Hammersmith prior to graduating from the Higher Diploma course at Goldsmiths.

Pete has lived and worked in Stroud for over 40 years in the same hillside studio.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

RICHARD WALKER

Country Coded

Acrylic on canvas

30 x 30cm

2021

£950

THE PROJECT

My response to landscape is twofold: it is either a hazy memory of childhood and teenage holidays or is about the drama of the vast panoramas of the American west.

Also, I have always had an affinity with cloudscapes and seascapes that are full of energy and movement.

THE ARTIST

Richard Walker is an established British painter/printmaker exhibiting internationally since 1978.

He studied at Kingston and Camberwell art schools and received a Masters in Printmaking at Chelsea.

Richard's work is in many public and private collections and he has numerous one person shows in the UK, Germany, Italy and the USA. He is currently working for an exhibition in Paris, later in 2021.

In an article about Richard’s work in Galleries magazine, Nicholas Underwood wrote: ‘Layered and subtle, joyful and poignant, he is very much his own voice’

PETE HOIDA

Ionic Beauty

Acrylic on canvas

175 x 166cm

2019

£8500

THE PROJECT

THE ARTIST

Pete studied Landscape Architecture, working briefly for the LCC, followed by Art School in London, at Hammersmith prior to graduating from the Higher Diploma course at Goldsmiths.

Pete has lived and worked in Stroud for over 40 years in the same hillside studio.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

ROY OSBORNE

Bends 52

Oil on canvas

50.5 x 50.5cm (with 2.5cm grey border)

2008-2009

£1000

THE PROJECT

Of all the hues, green seems able to offer the greatest number of variants without it losing its basic identification;

Bright green can be dulled with magenta, its complementary colour, to imitate grass green, while adding grey can rapidly deprive it of its vital greenness.

Adding white extends it to pale lime-green, and adding black increases its apparent ‘weight’ and moves it towards deep avocado.

Most obviously, green can be ‘cooled’, and extended towards sea-green and turquoise, or ‘warmed’, and extended into vivid yellow greens.

THE ARTIST

Roy Osborne is a British painter, educator, historian and writer.

As an artist he has contributed to over 140 group exhibitions in Britain and abroad as well as 6 solo shows.

As an educator he was a visiting lecturer in higher education, presenting practical courses and lectures at over 200 institutions worldwide.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

MAGUERITE HORNER

Out Beyond

Oil on linen

50 x 50cm

2021

£2950

THE PROJECT

THE ARTIST

Marguerite Horner is a British artist who won the 2018 British Women Artist Award. Her paintings aim to investigate, amongst other things, the notions of transience, intimacy, loss and hope.

She graduated with an MA in Fine Art from City & Guilds of London Art School in 2004 and was presented by Sir Peter Blake with the Kidd Rapinet Prize for outstanding MA degree work.

Marguerite's work is in collections in Art museums in England and also internationally in the USA and China.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

MAGUERITE HORNER

Tangled

Oil on linen

50 x 50cm

2021

£2950

THE PROJECT

THE ARTIST

Marguerite Horner is a British artist who won the 2018 British Women Artist Award. Her paintings aim to investigate, amongst other things, the notions of transience, intimacy, loss and hope.

She graduated with an MA in Fine Art from City & Guilds of London Art School in 2004 and was presented by Sir Peter Blake with the Kidd Rapinet Prize for outstanding MA degree work.

Marguerite's work is in collections in Art museums in England and also internationally in the USA and China.

JOHN BALL

Descent

Oil paint on reclaimed MDF panel

43 x 66cm

2021

£2000

THE PROJECT

I like my paintings to invite the viewer to question the narrative, where is this place? What is this building? Where are we going? It’s the mystery of these locations that draws you in.

THE ARTIST

Based in Romford (London, U.K) and working primarily in the South East of the United Kingdom, contemporary artist John Ball creates unsettling images of a dystopian suburban landscape.

John is probably best known for his appearance on the Sky Arts ‘Landscape Artist Of The Year’ television show where he was fortunate enough to place as finalist.

‘Incredibly cinematic, foreboding vacant landscapes’ comparable to the work of Edward Hopper and David Lynch. (Kate Bryan, Head of Collections for Soho House)

IAIN COTTON

Englishcombe Crossing 2

Foraged White Lias Limestone and Walnut

18 x 16 x 5cm

2021

£700

THE PROJECT

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

LOUISA BURNETT-HALL

King Arthur's Kiss

Acrylic, ink, rice paper on canvas

20 x 20cm

2021

£475 (including frame)

THE PROJECT

I respond to the energy and rhythms of the natural world, with a particular focus on water. My paintings and drawings are meditations on specific sites, exploring the marks of time, the lines of movement, and the spatial play between layered dimensions. I mainly use water based media - acrylic, inks and watercolour - on paper and canvas for their ranging properties of strength and fluidity.

For the Shades of Green exhibition, I have focussed on the 3 Japanese Acers that Sandra has brilliantly named ‘the Three Graces’. My eye is caught by their delicate branches and star shaped leaves, their suppleness, the way they toss, entwined in the breeze, and by their warm beautiful colours of the changing season. The Acers have much in common with the Three Graces: they sway and dance with a joyful lightness and in Autumn, when they put on all their glory, they are fully in tune with the Graces’ attributes of fertility and prosperity. I am unsurprised to learn that the cult of the Charites links them to springs and rivers. From studying movement in the currents I observe the rhythms in branches, as light is captured and spread through the leaves across the body mass. They dance together around a heart, warm and mysterious.

Unable to travel to the UK, I have relied on videos and photos to make my work.

‘Dancing with the Graces’ is the first one. Three small works followed, based on photos showing the Graces and King Arthur, the lone pine.

‘Sylvan Chatter’ represents their leafy interaction. And

‘King Arthur’s Kiss’ is an interpretation of the dark pine with one of the Graces as she reddens with the first blush of autumn.

Bare red branches full of snowballs and blue snow covered fields is the theme of ‘Mirth in Winter’.

THE ARTIST

Louisa Burnett-Hall has her studio in Paris, France where she lives and works. She is a part-time drawing tutor at ESAM Design School in Paris.

Direct contact with her material is essential to Louisa’s practice, thus she feels the need to touch the surface of her works creating her marks whether using fingers, rags, pens or other tools, appropriating the subject and making it personal.

She obtained a Fine Art MA Hons, Degree from Edinburgh University where she concurrently studied printmaking, painting and drawing at Edinburgh College of Art.

It was through the practice of printmaking that she found her approach to landscape painting, breaking the images down into its essential expression through mass and line which she continues to develop today. In 2012, Louisa travelled to Iceland and this series, Continuum, is inspired by the streams of bright boiling water running over the rocks at Hveragerði.

Louisa has exhibited in solo and group exhibitions in many countries including UK, France, Spain and China.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

LOUISA BURNETT-HALL

Sylvan Chatter

Ink, watercolour, acrylic Chinese paper mounted on canvas

20 x 20cm

2021

£475 (including frame)

THE PROJECT

Unable to travel to the UK, I have relied on videos and photos to make my work.

‘Dancing with the Graces’ is the first one. Three small works followed, based on photos showing the Graces and King Arthur, the lone pine.

‘Sylvan Chatter’ represents their leafy interaction. And

‘King Arthur’s Kiss’ is an interpretation of the dark pine with one of the Graces as she reddens with the first blush of autumn.

Bare red branches full of snowballs and blue snow covered fields is the theme of ‘Mirth in Winter’.

THE ARTIST

Louisa Burnett-Hall has her studio in Paris, France where she lives and works. She is a part-time drawing tutor at ESAM Design School in Paris.

She obtained a Fine Art MA Hons, Degree from Edinburgh University where she concurrently studied printmaking, painting and drawing at Edinburgh College of Art.

Louisa has exhibited in solo and group exhibitions in many countries including UK, France, Spain and China.

LOUISA BURNETT-HALL

Mirth in Winter

Acrylic on canvas

20 x 20cm

2021

£475 (including frame)

THE PROJECT

Unable to travel to the UK, I have relied on videos and photos to make my work.

‘Dancing with the Graces’ is the first one. Three small works followed, based on photos showing the Graces and King Arthur, the lone pine.

‘Sylvan Chatter’ represents their leafy interaction. And

‘King Arthur’s Kiss’ is an interpretation of the dark pine with one of the Graces as she reddens with the first blush of autumn.

Bare red branches full of snowballs and blue snow covered fields is the theme of ‘Mirth in Winter’.

THE ARTIST

Louisa Burnett-Hall has her studio in Paris, France where she lives and works. She is a part-time drawing tutor at ESAM Design School in Paris.

She obtained a Fine Art MA Hons, Degree from Edinburgh University where she concurrently studied printmaking, painting and drawing at Edinburgh College of Art.

Louisa has exhibited in solo and group exhibitions in many countries including UK, France, Spain and China.

IAIN COTTON

Wilding

Foraged Terracotta Tile and enamel paint

9 x 13 x 1.5cm

2021

£500

THE PROJECT

THE ARTIST

LOUISA BURNETT-HALL

Dancing with the Graces

Acrylic on canvas

97 x 130cm

2021

£3875

THE PROJECT

Unable to travel to the UK, I have relied on videos and photos to make my work.

‘Dancing with the Graces’ is the first one. Three small works followed, based on photos showing the Graces and King Arthur, the lone pine.

‘Sylvan Chatter’ represents their leafy interaction. And

‘King Arthur’s Kiss’ is an interpretation of the dark pine with one of the Graces as she reddens with the first blush of autumn.

Bare red branches full of snowballs and blue snow covered fields is the theme of ‘Mirth in Winter’.

THE ARTIST

Louisa Burnett-Hall has her studio in Paris, France where she lives and works. She is a part-time drawing tutor at ESAM Design School in Paris.

She obtained a Fine Art MA Hons, Degree from Edinburgh University where she concurrently studied printmaking, painting and drawing at Edinburgh College of Art.

Louisa has exhibited in solo and group exhibitions in many countries including UK, France, Spain and China.

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

IAIN COTTON

Hornbeam

Foraged Blue Lias Limestone

35 x 20 x 3.5cm

2021

£1800

THE PROJECT

THE ARTIST

FIONA McINTYRE

Woodland Clearing

Oil on linen

50 x 70cm

2021

£2250

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE ARTIST

IAIN COTTON

Englishcombe Crossing 3

Foraged White Lias Limestone and Walnut

18 x 18 x 4cm

2021

£700

THE PROJECT

THE ARTIST

THE PROJECT

Of all the hues, green seems able to offer the greatest number of variants without it losing its basic identification;

Bright green can be dulled with magenta, its complementary colour, to imitate grass green, while adding grey can rapidly deprive it of its vital greenness.

Adding white extends it to pale lime-green, and adding black increases its apparent ‘weight’ and moves it towards deep avocado.

Most obviously, green can be ‘cooled’, and extended towards sea-green and turquoise, or ‘warmed’, and extended into vivid yellow greens.

ARTIST BIO

Roy Osborne is a British painter, educator, historian and writer.

As an artist he has contributed to over 140 group exhibitions in Britain and abroad as well as 6 solo shows.

As an educator he was a visiting lecturer in higher education, presenting practical courses and lectures at over 200 institutions worldwide.

ARTIST BIO

Richard Walker is an established British painter/printmaker exhibiting internationally since 1978.

He studied at Kingston and Camberwell art schools and received a Masters in Printmaking at Chelsea.

Richard's work is in many public and private collections and he has numerous one person shows in the UK, Germany, Italy and the USA. He is currently working for an exhibition in Paris, later in 2021.

In an article about Richard’s work in Galleries magazine, Nicholas Underwood wrote: ‘Layered and subtle, joyful and poignant, he is very much his own voice’

THE PROJECT

My response to landscape is twofold: it is either a hazy memory of childhood and teenage holidays or is about the drama of the vast panoramas of the American west.

Also, I have always had an affinity with cloudscapes and seascapes that are full of energy and movement.

ARTIST BIO

Richard Walker is an established British painter/printmaker exhibiting internationally since 1978.

He studied at Kingston and Camberwell art schools and received a Masters in Printmaking at Chelsea.

Richard's work is in many public and private collections and he has numerous one person shows in the UK, Germany, Italy and the USA. He is currently working for an exhibition in Paris, later in 2021.

In an article about Richard’s work in Galleries magazine, Nicholas Underwood wrote: ‘Layered and subtle, joyful and poignant, he is very much his own voice’

THE PROJECT

My response to landscape is twofold: it is either a hazy memory of childhood and teenage holidays or is about the drama of the vast panoramas of the American west.

Also, I have always had an affinity with cloudscapes and seascapes that are full of energy and movement.

THE PROJECT

Of all the hues, green seems able to offer the greatest number of variants without it losing its basic identification;

Bright green can be dulled with magenta, its complementary colour, to imitate grass green, while adding grey can rapidly deprive it of its vital greenness.

Adding white extends it to pale lime-green, and adding black increases its apparent ‘weight’ and moves it towards deep avocado.

Most obviously, green can be ‘cooled’, and extended towards sea-green and turquoise, or ‘warmed’, and extended into vivid yellow greens.

ARTIST BIO

Roy Osborne is a British painter, educator, historian and writer.

As an artist he has contributed to over 140 group exhibitions in Britain and abroad as well as 6 solo shows.

As an educator he was a visiting lecturer in higher education, presenting practical courses and lectures at over 200 institutions worldwide.

ARTIST BIO

THE PROJECT

Rhapsody in Acer : Sonatina in Ink

ARTIST BIO

Roy Osborne is a British painter, educator, historian and writer.

As an artist he has contributed to over 140 group exhibitions in Britain and abroad as well as 6 solo shows.

As an educator he was a visiting lecturer in higher education, presenting practical courses and lectures at over 200 institutions worldwide.

THE PROJECT

Of all the hues, green seems able to offer the greatest number of variants without it losing its basic identification;

Bright green can be dulled with magenta, its complementary colour, to imitate grass green, while adding grey can rapidly deprive it of its vital greenness.

Adding white extends it to pale lime-green, and adding black increases its apparent ‘weight’ and moves it towards deep avocado.

Most obviously, green can be ‘cooled’, and extended towards sea-green and turquoise, or ‘warmed’, and extended into vivid yellow greens.

THE PROJECT

Rhapsody in Acer : Sonatina in Ink

THE PROJECT

Rhapsody in Acer : Sonatina in Ink

THE PROJECT

Unable to travel to the UK, I have relied on videos and photos to make my work.

‘Dancing with the Graces’ is the first one. Three small works followed, based on photos showing the Graces and King Arthur, the lone pine.

‘Sylvan Chatter’ represents their leafy interaction. And

‘King Arthur’s Kiss’ is an interpretation of the dark pine with one of the Graces as she reddens with the first blush of autumn.

Bare red branches full of snowballs and blue snow covered fields is the theme of ‘Mirth in Winter’.

ARTIST BIO

Louisa Burnett-Hall has her studio in Paris, France where she lives and works. She is a part-time drawing tutor at ESAM Design School in Paris.

She obtained a Fine Art MA Hons, Degree from Edinburgh University where she concurrently studied printmaking, painting and drawing at Edinburgh College of Art.

Louisa has exhibited in solo and group exhibitions in many countries including UK, France, Spain and China.

THE PROJECT

ARTIST BIO

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE PROJECT

ARTIST BIO

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

ARTIST BIO

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

THE PROJECT

ARTIST BIO

Marguerite Horner is a British artist who won the 2018 British Women Artist Award. Her paintings aim to investigate, amongst other things, the notions of transience, intimacy, loss and hope.

She graduated with an MA in Fine Art from City & Guilds of London Art School in 2004 and was presented by Sir Peter Blake with the Kidd Rapinet Prize for outstanding MA degree work.

Marguerite's work is in collections in Art museums in England and also internationally in the USA and China.

ARTIST BIO

Marguerite Horner is a British artist who won the 2018 British Women Artist Award. Her paintings aim to investigate, amongst other things, the notions of transience, intimacy, loss and hope.

She graduated with an MA in Fine Art from City & Guilds of London Art School in 2004 and was presented by Sir Peter Blake with the Kidd Rapinet Prize for outstanding MA degree work.

Marguerite's work is in collections in Art museums in England and also internationally in the USA and China.

THE PROJECT

ARTIST BIO

Pete studied Landscape Architecture, working briefly for the LCC, followed by Art School in London, at Hammersmith prior to graduating from the Higher Diploma course at Goldsmiths.

Pete has lived and worked in Stroud for over 40 years in the same hillside studio.

THE PROJECT

How I was invited?

How I responded?

It takes time and patience to draw a tree on site but also to become sensitised to colours, textures and the extraordinary organic shapes and forms of branches and leaves.

ARTIST BIO

THE PROJECT

ARTIST BIO

THE PROJECT

ARTIST BIO

THE PROJECT

ARTIST BIO

Pete studied Landscape Architecture, working briefly for the LCC, followed by Art School in London, at Hammersmith prior to graduating from the Higher Diploma course at Goldsmiths.

Pete has lived and worked in Stroud for over 40 years in the same hillside studio.

ARTIST BIO

Pete studied Landscape Architecture, working briefly for the LCC, followed by Art School in London, at Hammersmith prior to graduating from the Higher Diploma course at Goldsmiths.

Pete has lived and worked in Stroud for over 40 years in the same hillside studio.

THE PROJECT

ARTIST BIO

THE PROJECT

I work en plein air as it is essential for me, as a landscape artist, to react to the three dimensions before me.

I am a painter of the light. And it is the light that unifies a view before me.

Weather and season are the motivators for me to be in a particular place at a particular time.

I have been painting there in the hot summer with the golden harvest colours, but it is the autumn trees I am really looking forward to in relation to the topsy turvy hills.

ARTIST BIO

I spent much time and research carefully finding places that move me to paint in various seasons with their light changes.

I paint in the UK and Europe and have exhibited since 1993.

I do not see myself as having a style but rather as representing a moment of vision, that is to say that which has captivated me by its own truth.

I want my work to be deeply beautiful and a calming influence on the viewer.

ARTIST BIO

THE PROJECT

My response to landscape is twofold: it is either a hazy memory of childhood and teenage holidays or is about the drama of the vast panoramas of the American west.

Also, I have always had an affinity with cloudscapes and seascapes that are full of energy and movement.

ARTIST BIO

Richard Walker is an established British painter/printmaker exhibiting internationally since 1978.

He studied at Kingston and Camberwell art schools and received a Masters in Printmaking at Chelsea.

Richard's work is in many public and private collections and he has numerous one person shows in the UK, Germany, Italy and the USA. He is currently working for an exhibition in Paris, later in 2021.

In an article about Richard’s work in Galleries magazine, Nicholas Underwood wrote: ‘Layered and subtle, joyful and poignant, he is very much his own voice’

THE PROJECT

I work en plein air as it is essential for me, as a landscape artist, to react to the three dimensions before me.

I am a painter of the light. And it is the light that unifies a view before me.

Weather and season are the motivators for me to be in a particular place at a particular time.

I have been painting there in the hot summer with the golden harvest colours, but it is the autumn trees I am really looking forward to in relation to the topsy turvy hills.

ARTIST BIO

"I cycled to Italy from England in 1984 to embrace a ‘Grand Tour‘ of great art, architecture and land. I spent two years in the mid-eighties living in Rome where I learnt the joys of chairo/scuro drawing and all about colour. My love of landscape has always been with me and I am entirely at one with countryside and seascapes when painting. I am a plein air artist using the finest materials to create what the light before me gives.

I spent much time and research carefully finding places that move me to paint in various seasons with their light changes.

I paint in the UK and Europe and have exhibited since 1993.

Every painting is a revelation, unique and individual. My work is constantly going on. I cannot detach non painting time from painting time, the former is a necessary preparation for the latter. I fell this lack of distinction both more of the time and more intensely.

I do not see myself as having a style but rather as representing a moment of vision, that is to say that which has captivated me by its own truth.

I want my work to be deeply beautiful and a calming influence on the viewer."

ARTIST BIO

Marguerite Horner is a British artist who won the 2018 British Women Artist Award. Her paintings aim to investigate, amongst other things, the notions of transience, intimacy, loss and hope.

She graduated with an MA in Fine Art from City & Guilds of London Art School in 2004 and was presented by Sir Peter Blake with the Kidd Rapinet Prize for outstanding MA degree work.

Marguerite's work is in collections in Art museums in England and also internationally in the USA and China.

ARTIST BIO

Louisa Burnett-Hall has her studio in Paris, France where she lives and works. She is a part-time drawing tutor at ESAM Design School in Paris.

She obtained a Fine Art MA Hons, Degree from Edinburgh University where she concurrently studied printmaking, painting and drawing at Edinburgh College of Art.

Louisa has exhibited in solo and group exhibitions in many countries including UK, France, Spain and China.

THE PROJECT

Unable to travel to the UK, I have relied on videos and photos to make my work.

‘Dancing with the Graces’ is the first one. Three small works followed, based on photos showing the Graces and King Arthur, the lone pine.

‘Sylvan Chatter’ represents their leafy interaction. And

‘King Arthur’s Kiss’ is an interpretation of the dark pine with one of the Graces as she reddens with the first blush of autumn.

Bare red branches full of snowballs and blue snow covered fields is the theme of ‘Mirth in Winter’.

THE PROJECT

Unable to travel to the UK, I have relied on videos and photos to make my work.

‘Dancing with the Graces’ is the first one. Three small works followed, based on photos showing the Graces and King Arthur, the lone pine.

‘Sylvan Chatter’ represents their leafy interaction. And

‘King Arthur’s Kiss’ is an interpretation of the dark pine with one of the Graces as she reddens with the first blush of autumn.

Bare red branches full of snowballs and blue snow covered fields is the theme of ‘Mirth in Winter’.

ARTIST BIO

Louisa Burnett-Hall has her studio in Paris, France where she lives and works. She is a part-time drawing tutor at ESAM Design School in Paris.

She obtained a Fine Art MA Hons, Degree from Edinburgh University where she concurrently studied printmaking, painting and drawing at Edinburgh College of Art.

Louisa has exhibited in solo and group exhibitions in many countries including UK, France, Spain and China.

THE PROJECT

Unable to travel to the UK, I have relied on videos and photos to make my work.

‘Dancing with the Graces’ is the first one. Three small works followed, based on photos showing the Graces and King Arthur, the lone pine.

‘Sylvan Chatter’ represents their leafy interaction. And

‘King Arthur’s Kiss’ is an interpretation of the dark pine with one of the Graces as she reddens with the first blush of autumn.

Bare red branches full of snowballs and blue snow covered fields is the theme of ‘Mirth in Winter’.

ARTIST BIO

Louisa Burnett-Hall has her studio in Paris, France where she lives and works. She is a part-time drawing tutor at ESAM Design School in Paris.

She obtained a Fine Art MA Hons, Degree from Edinburgh University where she concurrently studied printmaking, painting and drawing at Edinburgh College of Art.

Louisa has exhibited in solo and group exhibitions in many countries including UK, France, Spain and China.