Update 2024

 Live and updated March 2024

Update 2022

Updated and live 10 22

Exhibition Interview Compendium

Following the conclusion of the exhibition phase of the project the film featuring short interview extracts from each participating artist can be viewed in ARTIST INTERVIEWS.

The exhibition statements can be found on each artist page at the project website.

Gilly Thomas page updated

continued on Gilly's page

Noel McCready page updated and re-updated

What particularly did I get from the Michael Andrews painting ?  I believe now that I chose him because I recognised him as a member of the same “clan” as me. That I felt an urge to say “hello” when I looked at his painting.  Certainly I’m grateful that he provided me with a signpost for my direction of travel. Through “Lovers” I have developed a better understanding of painting figures in their space. His subject also provoked me to explore and research into how love has been such a dominating subject in all of the arts.

Continued on Noel's page

Joanna Evans page updated

The challenge was pretty scary to begin with, and maybe I did not achieve a mono-print quite as wide as I had anticipated; nevertheless, I haven’t done too badly, considering that some of them are roughly the size of my cabin door.

It has all been quite cathartic I feel, forcing oneself to create ambitious work and to stretch one’s imagination to ever increasing heights.

continued on Joanna's page

John Renshaw page updated

I am seeking to maintain some visual connections concerning relationships between the illusion of three dimensions and flat surfaces. This is explored through tone and also the grouping and compression of separate forms and shapes. My response continues to be highly intuitive and remains a process of discovery through making drawings.

Continued on John's page

Gareth Griffith page updated

Continued on Gareth's page

Noëlle Griffiths page updated

For each book I have tried to incorporate different aspects of the creative process of making a painting.  I have looked through my notebooks and included selected notes, sketches and words that relate to each painting.  For the Fragile – Barragan book I used studio paper (often old posters) with the evidence of paintings painted on top to print text on.  A record of many paintings’ colours, brush marks and spatters.  For Fragile – Enclosed (studio) book I photographed the studio at the time of making the painting and each day includes a small studio view with three or four words.  Some books do not include any text and are purely visual.  The swipes of colours used each day are in their own right quite beautiful.

Continued on Noëlle's page.

Wanda Zyborska page updated

As I mentioned before, in Fuseli’s painting Anticleia is within a spiral of energy made up of ghosts.  She has become a symbol for overlooked older women to me, and I have invested her with my own desires.  She is my mascot, and in a way I am inventing her just as much as Homer did, except that I am not using her to fill some narrative gaps but trying to envisage her as a creative event, a site for possibilities. ...

Continued on Wanda's page

John Renhasw page updated

I must concede that responding to his paintings remains quite challenging - (particularly in connection with the issue of repetition .....but this is perhaps inevitable!)

Each new drawing becomes a problem to solve. Although I am not not working directly from actual objects,there has been an emerging concern with what perhaps might be referred to as 'visual / pictorial mechanics'.My drawings are an attempt to deal with both shape and form.Decisions concerning potential tonal relationships emerge during their making,gradually exposing and revealing structure.

 

 

 

Continued on John's page

Marged Pendrell page updated

I had to include one of my peat vessels (made for one of the circles) and also decided to use slate, not as a solid material but by sifting the chips I found on the slate tips and using the resulting dust as a surface skin as for the leather. This circle of vessels was clearly becoming an enquiry not only into the collected material but the material that was found on the surface and below the surface of the land.

Continued on Marged's page..

Noëlle Griffiths page updated

I have finished the large canvas Tree and Fragile – Tree book which relates to the colours used to make that painting. I have chosen to make this book purely visual without text in a concertina format...

continued on Noëlle's page