Fiona Robinson Writing

Veil – cement, polythene, house paint, acrylic and graphite on paper, 11 x 12 inches (28 x 30 cm) Painting is a meditative practice for Andrew Crane. He is fascinated by the space in between things:  the pause between words; the gap between numbers; the split second that is the present rather than t

Standing in Gerry Dudgeon’s remote studio the overwhelming sound is of birdsong.  The walls are lined with paintings in his very distinctive palette. Terracottas, pinks and oranges sum up the pulsating heat rising off the deserts of Morocco.   Moroccan Hinterland.  Acrylic, 76 x 86cm Vibrant blues:

Silver Casts.  Wall, Ellis Island Step, Broom Stitching Meryl Ainslie’s  small, quiet works have a profundity that belies their diminutive size, addressing issues of value, beauty, legacy and scale.  Based on detailed observation of her surroundings her work is about experience rather than mere reco

Coastal Light Works on paper No. 7 Martyn Brewster spent the summer  of 2011 drawing intensively. In a new departure he worked indoors rather than going out and making observational drawings in the landscape. Sketchbooks of all shapes and sizes are piled in his studio containing hundreds of little d

Aqueduct Woodcut Emma Stibbon’s work is large, monumental in scale and intention, dark and brooding by nature.  If she were a painter or a sculptor this would perhaps not be surprising but she is a printmaker and our default position is to see print as something that is relatively small. Whaling Sta

‘I’d rather learn from one bird how to sing than teach ten thousand stars how not to dance                     ee cummings This lovely quote, is just one of many, which expresses for Laurie Steen how ee cummings ‘gives a humanness to nature’.  A quality that emerges again and again from the simplici

Shadow 2011   “There is no perfect, it is unobtainable”, according to George Meyrick.   His sculptures are hand-made and he sees their inaccuracies.  Others see their exactness. For him “The pieces that really succeed are the ones that the viewers create in their minds and they will be utter perfect

‘I thought of walking round and round a space Utterly empty, utterly a source Where the decked chestnut tree had lost its place In our front hedge above the wallflowers.’ This quote from Clearances In Memoriam M.K.H., 1911-1984 by Seamus Heaney encapsulates Tony Martin’s sparse enclosing blue lines.

Betty Gannon’s large powerful Structure drawings dominate any space in which they are hung.  Graphite powder, sticks, pencils, even blocks of this shiny carbon mineral are manipulated on square or generous rectangles of hot press paper.  The work is process based, rubbed, scratched, manipulated.  Po