A World withOut End, an exhibition in 7 parts.
Curated by Shizico Yi
Tracy Nors
'The Edge'.
The ‘Edge’ of something can be described as a dangerous
moment or in a precarious
position, as we all are right now with Covid 19 My image represents a dramatic image of the natural world. --Tracy N.
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Tracy Nors. 'Hope' 50 x 50 cms
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Jen Orpin 'Concrete Elegance II'. Oil on linen
40x50cm
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Jen Orpin 'Safe Passage'. Oil on primed cradled panel
30x40 cm
These paintings form part of a series of work that explore the relationships we have to the journey's made to and from the places that hold significance in our lives. Some of these roads are so well travelled they echo sensory memories of times past and landmarks in geography that spark feelings of nostalgia. They are also a symbolic reference to the endless possibilities of the open road.
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Jen Orpin 'Freedom, Space and Time'. 15x20cm
Medium: Oil on canvas board.
Like a 70's postcard sent back from a family holiday, these empty open road paintings are a response to journeys made, memories, nostalgia, love and loss. They are small in scale
Inviting the viewer in and up close adding an intimacy between the two, the narrative becomes theirs. Stopping and standing still can often make you take stock of where you've been, what you have and what you want.
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Imogen Eveson 'Southern Ocean 1.2.3 (next stop, Antarctica)'.
Intended as an exercise in light, colour, composition and atmosphere (capturing the feeling of a view where there’s only ocean between you and Antarctica), this series of three images has taken on more meaning since I shot it, from the end of a boardwalk at Southern Ocean Lodge, in July 2019. In January 2020, Southern Ocean Lodge was razed to the ground by the bushfire that ripped through the western end of Australia’s Kangaroo Island, causing untold destruction to the most beautiful and pristine of places and its remarkable wildlife. Southern Ocean Lodge will rebuild, and the rest of the island will recover in time, but Covid-19 has hampered efforts. At a time of unprecedented change and uncertainty, I look at these images now and feel comforted. The wild Southern Ocean remains ever-changing yet constant. This view is eternal. A world without end indeed.
Intended as an exercise in light, colour, composition and atmosphere (capturing the feeling of a view where there’s only ocean between you and Antarctica), this series of three images has taken on more meaning since I shot it, from the end of a boardwalk at Southern Ocean Lodge, in July 2019. In January 2020, Southern Ocean Lodge was razed to the ground by the bushfire that ripped through the western end of Australia’s Kangaroo Island, causing untold destruction to the most beautiful and pristine of places and its remarkable wildlife. Southern Ocean Lodge will rebuild, and the rest of the island will recover in time, but Covid-19 has hampered efforts. At a time of unprecedented change and uncertainty, I look at these images now and feel comforted. The wild Southern Ocean remains ever-changing yet constant. This view is eternal. A world without end indeed.
‘Rorschach Landscape’ Laura Courtney oil and wax on board 100 x 140 cm 39 x 56 in
After 7 years as an oil landscape painter, I incorporated cold wax medium into my practice and found its unpredictable and serendipitous nature gave me the developmental leap and expressive range that I was seeking and launched an entirely new oeuvre. These new works inspired by classical Mythologies and the romantic inspiration from specific French, Scottish, Spanish and Italian landscapes visited in the last 3 years, are woven into my evolving personal narrative. Cycles within cycles that can unwittingly and magically create patterns that take our breath away ‘Rorschach Landscape’ --Laura Courtney
Andrew McNeile Jones. It Was Something Like This. 60 x 80 cm, oil on canvas. This painting has the quality of an old
family snapshot, a half-forgoSen
memory of an ou#ng. The children
here may well be parents themselves
now, possibly even grandparents; in
this way the viewer can look back into
the past as well as forward, since
these things will return, and repeat
again. The high-key tones graduate
to darker swirls, depths that hint of
darker shadows, and overall the
dream-like colours point towards a
narrative that is far from
straight forward
Lu Xu. 'As You Like It'.
"This is about how people can find their inner peace, be patience, life will surprise us." --Lu Xu.
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Lu Xu, 'Roam in the Wild' - 1. 2
These two images are a series under the theme ‘Wanderer’.
"There must be a lot of difficulties if you try to go out for a trip and find yourself. However, heaven always leaves one a way out. I tried to describe different situations we might meet when we were wandering around in the wild, and add some imagination to the real world."---Lu Xu
These two images are a series under the theme ‘Wanderer’.
"There must be a lot of difficulties if you try to go out for a trip and find yourself. However, heaven always leaves one a way out. I tried to describe different situations we might meet when we were wandering around in the wild, and add some imagination to the real world."---Lu Xu
Andrew McNeile Jones. Nothing To Share But Yesterday 50 x 70 cm, oil on canvas.
A figure in a landscape, a woman stands on a grassy ridge above the sea, stretching up as she pegs unruly laundry to a line. She appears to be a figure from the past, a memory of another age.
Warwick Stein. Social Gathering. Digital Medium format.
Hasselblad h3d
A pleasure activity that may not be possible ever again. People, some strangers, mixing together without fear.
Diverse mix of colours and people on Scarborough Beach. A scene which brings memories of times past that we took for granted.
Warwick Stein. Goa-n Fish-ing
Shot on Canon DSLR
Taken in Goa, showing the depth of colour of fresh fish even when viewed against the bright blue of the boat.
Some benefit from lockdown, pollution has been reduced, fishermen ashore…so the fish population increases.
Lulu Hancock.
The World is Upside Down No 2 .( 17 April 1966- 2 June 2016 )
Lawrence Mathias. Church of St Botolph with a view of the City, London.
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Lawrence Mathias.
Vitsa 31: View across Eagle Point, Grand Canyon, Arizona, USA 65x38cmcm. Watercolour on watercolour paper
A large watercolour done in an applied style with emphasis on more methodical, detailed work. Washes are spare and attention is played to the careful working out of the structure within the subject
The painting seeks to explore the complex contours and strata of the enormous West Rim rock face. In so doing, the viewer is invited to experience Wirth the artiste process of disentangling its dense rock sequences, and contemplate the scale and power of ancient geological process.
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Laura Courtney. Battle of Ten Kings with murmuration.
After 7 years as an oil landscape painter, I incorporated cold wax medium into my practice and found its unpredictable and serendipitous nature gave me the developmental leap and expressive range that I was seeking and launched an entirely new oeuvre. These new works inspired by classical Mythologies and the romantic inspiration from specific French, Scottish, Spanish and Italian landscapes visited in the last 3 years, are woven into my evolving personal narrative. Ancient battles that repeat again and again - man’s hubris against the backdrop of a sublime landscape and some magical natural phenomena. ‘Battle of Ten Kings’
Sandra Storey. 'Robin and Sill'.
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Sandra Storey 'Cycladic Figure and Moorland Road' Drypoint and mixed media monoprint.
Storey is interested in the permanence of talisman like objects and enduring childhood memories of the natural world. This permanence sits in relationship to the actual fragility of our natural world, its habitat and species. |
Sandra Storey on her printmaking process:
Many of my works are drypoints. I apply a sharp steel scriber to score into either an aluminium or plastic plate, sometimes, plastic; Ink is then wiped onto the surface before being carefully wiped off to allow ink sits in the scored areas, I then deliberately left thick areas of ink in some places and also reapplied ink where I feel too much has been wiped away or where I want additional colour (a la poupée); and then, a piece of damp paper is placed over the plate before they are rolled through the press together to produce the print. Ink from the scored grooves is squeezed onto the paper along with traces of additional ink added a la poupée.
Another method I love to work with is Subtractive Monotype: That is created by first coating a surface , such as glass , with ink. Areas of ink are then rubbed, scratched or erased away to create the image. These are the white marks left when the image is finally printed on to paper. In this process, damp paper is placed over the plate. With some images, I applied pressure to the back of the paper manually, before carefully removing the paper to reveal the image.
Many of my works are drypoints. I apply a sharp steel scriber to score into either an aluminium or plastic plate, sometimes, plastic; Ink is then wiped onto the surface before being carefully wiped off to allow ink sits in the scored areas, I then deliberately left thick areas of ink in some places and also reapplied ink where I feel too much has been wiped away or where I want additional colour (a la poupée); and then, a piece of damp paper is placed over the plate before they are rolled through the press together to produce the print. Ink from the scored grooves is squeezed onto the paper along with traces of additional ink added a la poupée.
Another method I love to work with is Subtractive Monotype: That is created by first coating a surface , such as glass , with ink. Areas of ink are then rubbed, scratched or erased away to create the image. These are the white marks left when the image is finally printed on to paper. In this process, damp paper is placed over the plate. With some images, I applied pressure to the back of the paper manually, before carefully removing the paper to reveal the image.
Sandra Storey 'Curlew and Figure' 59 x 48 cm. Drypoint/Monoprint
Joe Ryan. The Island. Oil on Canvas. Dalkey Island Dublin.
The Island examines metaphor and paradox of a country renowned for its beauty while at the same time savage contrast of being underpinned by austerity, corruption and recession and the isolation they cause.
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Guilherme Bergamini. Amazon River. Macapá boasts that it is the only state capital to be bathed by the Amazon River. Between the high and low tides, the pair of beams turns into a football field popularly known as foot-mud. When the river goes down, the game begins, when the river rises, the match ends. The interaction of time as a factor of nature, with the simple passing of a rain, allows numerous shades. Between 15h 10 and 18h 50 when it’s at the low tide and colours vibrate in a unique and particular way of the State of Amapá. Group exhibitions: 6 in 2 countries. Review: 8 Vehicles, Magazines, Newspapers, TVs and Internet in 3 Countries.
