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Exhibitions in the ArtSpace
5/6th and 12/13th July CAMBRIDGE OPEN STUDIOS: OPEN STUDIO WEEKEND AT ARTWORKSSeventeen artists open their studios. Opening their studios is seen as an important part of the artistic process as the artists welcome the discussion, exchange of ideas and feedback they gain from their visitors. All studios will have art on view, with much of it for sale, and the Artspace will showcase a mixed exhibtion by the studio artists. Visitors are made to feel very welcome with refreshments available throughout the day. 25 Sept - 5 Oct Face UpPhotography by Kay Goodridge and Norah Al-AniPrevious exhibitions in ArtSpace
Rachel and Lizzy, in very different ways, have re-appraised the most basic of ceramic forms, functional tableware. Rachel’s expressive throwing freezes the moment when a piece is removed from the wheel, and all her porcelain work retains the fluidity and elegance of the making process. Lizzy is fascinated by the possibilities of mixed media. With this body of work she brings together materials and processes which occupy widely differing places on the scale of values operating within contemporary art crafts.
Sails - Adeline Darling Adeline comes from a background of both art and science – she has a degree in medicine but she has always been pulled towards art and painting – and both disciplines form part of her quest to answer the bigger questions in life. This is her first exhibition. She says, “What inspires me to paint is usually abstract. I'm drawn to that which is truly real within all of us, and which often only manifests itself in our common struggle, but is also there in our brief glimpses of a world which fades when we try and put it into words.” The title 'Sails' is about being held up, pulled along, by something indefinable. Parallels - James Ward James studied painting at the Accademia de Belle Arte in Florence and at Bath Academy of Art. He has exhibited widely, including at Kettles Yard and the Fitzwilliam Museum. He lives in Cambridge. “My response to landscape and geometric forms has shifted from abstract to figurative. The reason for this change of approach springs from drawing directly from the figure. “As a result the paintings arise directly from the drawings so that the original pencil lines enclose and dictate the painted shapes. Lying, standing, sitting and crouching, the figure represents itself. As with previous work there is no reference to place and there is no story, except that which we choose to project onto the image. “The paintings remain a series of patterns and rhythms, and like abstract art, are open to the subjective gaze.”
30 May – 5 June 7° and rising
5-6 APRIL Fugitive Fox Exhibition Public preview Saturday 5th April 18:00-21:00 Also open Sunday 6th April 11:00-16:00 Steve Westbury and Kate Theodore who originally met at the Cyprus College of Art are delighted to showcase the premier of their collaberative Fugitive Fox exhibitions. The show consists of a series of over 20 very foxy paintings and drawings. 25 – 27 April ROGER PRIME - Textiles Wall hangings - sculptural pieces - printed textile pieces Friday 25 April Preview 6.30-9pm
Chiara Mu IN-SIGHT SERIES mixed media 3-10 February 12.00 -19.00 daily
click here for more info about Chiara
Winter fundraising event Charity art auction. Saturday 8 December 2007 CamIris
A diverse and exciting selling exhibition of framed prints of local areas, nature, abstract, still life and more. Digital and black and white images. Prints and cards also available. CamIris is a group of women photographers who meet on a regular basis and hold exhibitions, conferences and workshops.
Jan Ayton, Millie Brierley, Julie Coimbra, Alex Gilbert,
For further information, please contact Jan Ayton Building on Common Ground 24 November -3 December 2007
Friday 23 November Preview 6-8.30pm
Georgina Amos’ paintings involve layering planes of colour, and masking areas that are then later removed to reveal the hidden image. Past work has always revelled in the specialism of painting, being set apart from the three dimensional art forms of sculpture, installation and other media. Recent works still play with illusion while exploring surface more radically. Paintings inescapable dependence on surface opens further possibilities, both the surface of the paint and the underlying shape of the material underneath, form the texture of this new body of work. Using discarded packaging to create a relief, the shadows they cast are painted in, exploring the illusion of painting. New objects are formed through this process, possessing new visual qualities, creating an oscillating illusion of depiction and reality. Amos’ paintings often give the impression of landscape through the use of strong horizon lines; often suggestive of desolate places where there is a sense of new growth. The title plays with this barren impression with the optimism of creating new things. Explored in these works is the notion of Utopia, a ‘no place’, an idea that is originates with the hope of producing something different, while still dealing with the same materials, playing th current ideas on the development of contemporary painting. The forms that are built within the paintings are combination of the shapes and shadows cast from the relief of the packaging, familiar shapes that are built into new things with new characteristics. Often items that are non- communicating objects are formed into a new visual language. After studying at Chelsea College of Art, Amos is based in Cambridge, exhibiting in galleries throughout the country. For further information and high resolution images, please contact george_amos@hotmail.com 07973 361188 click here for more info about Georgina Rosanna’s Story: an exhibition of new work by Jill OgilvyJill Ogilvy’s large, dark and atmospheric landscapes display a timeless, spiritual quality, suggesting a previous existence or experience, with their remnants of old tin mining architecture. An accompanying illustrated narrative, Rosanna’s Story, relates the fictitious account of a Cornish mining disaster, which actually occurred at Levant in 1919. Resembling a book of remembrance, the story enhances the larger work and evokes the harsh lives of those who lived and worked in the old tin mines of the landscapes.
A Celtic influence also infuses new smaller work but contrast the paintings with a more contemporary feel. Incorporating ogham script with various motifs referencing ancient pre-Christian tradition, richly layered images in ochres and reds evoke strange sacred ritual, offering and sacrifice. Collagraphs and monoprints display organic designs developed from ammonites, fossils, and ferns. Like a seam of iron ore through the land, this show is stitched together with a thread of Celtic cultural heritage and symbolic imagery resulting in a rich and engaging collection of work.
click here for more info about Jill
April 2007 Ceramics: Paul McAllister
click here for more info about Paul
Nathan Huxtable 23 March to 1 April 2007
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