louise plant
From an article by Ashley Franklin, Derbyshire Life.
Night Theme, Derby Cathedral shows the building as if a beacon, while his various impressionistic depictions of the market place show the Guildhall to be positively iconic. Winter Afternoon from Darley Park has archival resonance as it captures a moment in time: the Westfield site beginning to impose itself on the city skyline; and while a painting like Evening Skyline and Into Derbyshire could be anywhere, it’s still pleasing to know that it’s our city, especially as Nick has invested this twilight scene with a dramatic Turneresque flourish of big skies and bold colour brushstrokes.
Matt Edwards, Collections Access Assistant at Derby Museum & Art Gallery who has closely followed Nick’s career since his Derby City Open success and helped inspire Nick by showing him works from the Goodey Collection, notably Ernest Townsend’s Derby Fish Market by Night, 1922 and W. E. Mosley’s Friar Gate, 1924, direct influences on the aforementioned Night Theme, Derby and Early Morning, Friargate respectively. Both the Townsend and Mosley will be displayed at the Museum to coincide with the Tregoning Gallery exhibition.
‘Nick’s Derby paintings are beautifully emotive and capture quiet, atmospheric moments in the city’, declares Matt. Matt dearly hopes Derby Museum will acquire some of Nick’s paintings – ‘they will certainly have historical appeal for future generations’, believes Matt. Nick reveals that Nottingham City Museum recently bought one of his pictures. ‘They’ve hung it next to a Lowry’, he coos. ‘If Derby Museum put one of my pictures next to a Townsend, I’d feel so proud’.
Marvellous new paintings by
Mark Preston
A Year - En Plein Air
Show opens 21st September until 6th October
Although most of my work during the last ten years has been painted on location, this has been the first exhibition for which I have painted “en plein air” consistently during each month of the year. This can involve working in some difficult conditions; being frozen, buffeted by strong winds, soaked by rain or sea spray, or baked by hot sun, but the emotions I feel at the time can go directly into the work.
Autumn Hawthorn
Stormy Sea, Priests Cove
Foxgloves, Ashleyhay
Daffodils and Damson Blossom, Ashleyhay
January Snow, Stanage Edge
There’s a certain magic and feeling In the landscape which can only be captured by working directly from nature, allowing time to observe and absorb the subtle changes of colour, light and atmosphere.
There’s a certain magic and feeling In the landscape which can only be captured by working directly from nature, allowing time to observe and absorb the subtle changes of colour, light and atmosphere.
Sue Vesely
CUBE
Chapel Street Derby
Tregoning Gallery collaborating with Derby Dance Centre
until 14th September
"My work is about the body being seen as an expression of the mind.
I use the figure from every angle, to me the surface of the body is an expressive landscape.
The pose the figure takes is a mechanical structure, which is a three dimensional description of the emotional life within the mind of that figure. The limitations of the body are a common language. We all know how it feels to be in the pose when we see splayed fingers or an arched back.
We are connected below the surface by a common language that is wordless.
Our minds also work with colour and imagery.
To use this connection, I show the figure in a narrative situation and the composition is often constructed to give the viewer a role to play in the picture”
Works in Private Collections: Australia, France, Norway, Switzerland & USA
CUBE
Chapel Street Derby
Tregoning Gallery collaborating with Derby Dance Centre
until 14th September
"My work is about the body being seen as an expression of the mind.
I use the figure from every angle, to me the surface of the body is an expressive landscape.
The pose the figure takes is a mechanical structure, which is a three dimensional description of the emotional life within the mind of that figure. The limitations of the body are a common language. We all know how it feels to be in the pose when we see splayed fingers or an arched back.
We are connected below the surface by a common language that is wordless.
Our minds also work with colour and imagery.
To use this connection, I show the figure in a narrative situation and the composition is often constructed to give the viewer a role to play in the picture”
Works in Private Collections: Australia, France, Norway, Switzerland & USA
inSitu
low tide 20x40cm £850
first good spring afternoon 30x30cm £850
fresh as a daisy 30x30cm £850
a slate beach in wales 120x120cm £4000
crows in the distance 30x30cm £850
afternoon 17th april 20x20cm £575
determining distance 100x100 £3000
raining sky 30x30cm £850
spring haziness 30x30cm £850
suddenly, shadow 16x16cm £475
slate beach 46x46cm £1200
3pm spring day 21x34cm £775
west 21x34cm £775
cliff edge 120x120cm £4000
south east 30x30cm £850
liquid sky 21x40cm £850
shock to the system 16x16cm £475
slate beach I 15x25cm £560
first good spring afternoon 30x30cm £850
fresh as a daisy 30x30cm £850
a slate beach in wales 120x120cm £4000
crows in the distance 30x30cm £850
afternoon 17th april 20x20cm £575
determining distance 100x100 £3000
raining sky 30x30cm £850
spring haziness 30x30cm £850
suddenly, shadow 16x16cm £475
slate beach 46x46cm £1200
3pm spring day 21x34cm £775
west 21x34cm £775
cliff edge 120x120cm £4000
south east 30x30cm £850
liquid sky 21x40cm £850
shock to the system 16x16cm £475
slate beach I 15x25cm £560
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