Les Artisans Du Champ
The creation of art is my ultimate catharsis; an intensely religious experience for me. Before colour is brought to canvas, I must meditate on a particular subject matter till the point of mental saturation. My work is influenced by the world; paths humanity once trod and those it treads still. That is why I engage far beyond the realm of realism. How does one paint his anger, frustrations, joys and hopes? I find that the only way I can properly encapsulate these phenomena is to let loose and let my heart direct my brush. My work is emotion. Without this, I am finished.
These artworks are clues on my search for inner peace. They do not aim to impress or garner attention, but rather display to the best of their abilities my innermost thoughts, worries, joys and regrets. They are stories which I feel must be told. I simply submit myself, as a humble instrument of their propagation. I’ve been called to explore the unique attributes of the human experience by emphasizing the Arts through performance and education, in such a manner as to uplift, include and inspire progress. To my greatest delight, I have no choice in the matter.
Ann Palmer paints seascapes in oil on hand prepared canvas, using a brush and palette knife, in her studio in Rochester, Kent, from her plein air paintings from the beach in Whitstable, Kent, her sketches and photographs. She is inspired by seashores in Kent and Cornwall, standing on the pebbly beach watching the tide ebb and flow, the morning mist across the Swale, the light on the horizon, the clouds coming in from the west over London, and the light out to sea to the north and east. The low tide exposes sandbanks, pebbles, seafood for the gulls to seek.
Ann presents four from a recent series of paintings called Shoreline. This series depicts the beaches of Kent and Cornwall, at various times of day and year, state of the tide and weathers. The paintings often include found objects from the beach – sand, tiny shells and pebbles.
Clare Law is an artist passionate about the landscape around her. She works from her studio in the heart of the beautiful Tamar Valley in Cornwall. Having been inspired by the richness of Impressionism throughout her life, her sculptural creative process involves a method of working using oils with only a small painting knife.
The importance of texture has been unconditional, conscious response to the physicality of the subject matter. The tonal values and light are beautifully observed and represented in the peaks and valleys of the oils.
Her eye for detail enables Clare to fully explore and work with the complexity of light, colour and texture. In particular, she is drawn to rich vegetation and scenes of water where the intricacy of all three values can be fully explored. Through this method, she is able to create beautiful vistas which celebrate nature. Her delight in the natural world is tangible and drives her need to embrace those perfect moments to be shared.
My art over the years has progressed and will continue as something will come to mind for a painting or something I see, I feel I have to put into paint.
These paintings are a ‘free’ style which contrasts nicely with the more controlled work I do.
Whilst it is gratifying to produce work that is appreciated, it is more important to me that my art is not only noticed but I am producing work that provokes reaction and discussion.
In searching for peace and contentment in his life Patrick Elder came across Vipassana Meditation in 1989. Over the years of practising this profound technique, it became apparent that a great beneficial change had come about, not only in his daily life but also in his sculpture. In integrating the technique into his life it was to become the basis for all his work. Freeing up the mind allows a natural flow of creativity to occur. A natural result of this process is a sense of peace and harmony, which he tries to instil in his work. He says: "My purpose is to help create and promote a loving and peaceful world in which all may live happily and harmoniously together. To achieve this, I endeavour to work in a spontaneously creative manner, from a balanced centre of unconditional love, peace and harmony."
She loved art and followed her passion, spreading positive energy with every painting. Refusing to keep her feelings buried, she translated them through strokes that reflect the feelings of every gazer, leaving everyone who lays eyes on them dazzled by all the nostalgia, love, strength and femininity they hold.
She is the creative Arab painter, The artist Hayam Elsayed gives us intense images that go beyond mere physiognomic documentation revealing the artist's interpretative gaze on the subject.
Jude Caisley was born and raised in Northumberland, England, She originally trained in fashion and textiles and worked in the fashion industry for a number of years before discovering her love for painting. Jude’s work is primarily about releasing and reflecting her inner world through the vehicle of colour and movement, whilst in awe of the Master Creator.
She works mainly in acrylic, using an intuitive approach where form is allowed to develop from spontaneous movement and a deep connection to music. Using a mix of traditional and innovative techniques the search for beauty and intricate details within the initial phase is enhanced. Her Work encompasses bold gestural brushwork, vibrant colour, subtle blended layers and rich textures which are at once dynamic, ethereal and captivating.
The two major elements of magic and emotion are the driving forces behind my photography. The camera is a completely objective observer, simply recording everything the lens sees, rather than filtering it through our individual human perceptions. I work a lot with experimental and alternative photo processes, which allow me to work with the more painterly aspects of photography-- to portray what I see in a more subjective way. The art for me is to produce a photograph that engages our imagination.
Many of Fleur’s paintings are inspired by an experience or a specific place, which often leads to a series of works paintings. Growing up in Africa but travelling back to boarding school in England, Fleur has always been acutely aware of her surroundings and the contrasts in both physical and cultural aspects of different places. She has evolved a personal range of mark-making, often using a variety of mediums to paint large colourful canvases.
Martyn Royce is a contemporary painter living in London. His painting style expresses emotions and experiences rather than depicting actual objects and explores a private inner world of dreams, fears, fantasies and reflections. All large-format works and exclusively in oil, Martyn’s paintings are brightly coloured, thought-provoking and highly collectable. With a lifetime of representational figurative study behind him, Martyn rejoices in the total freedom of form, colour and spatial depth that the medium allows, and has developed his own unique and memorable visual language. Continuing to experiment with styles, subjects and treatments, Martyn’s work has an immediately distinctive and powerful pictorial repertoire that is now his unique signature style. Martyn is an exciting and memorable painter and his works have been exhibited worldwide.
I use a mixture of oil and coldwax (CWM), which I find works well to achieve the desired aesthetics and it gives it a matte, tactile finish. Other mediums I use are sand, soil, crayons, acrylics, coal and oil pastels. The semi-dried paint is then scraped back in places to reveal the layers beneath and I gauge into the surfaces with various tools. My work is abstract and I take my inspiration from places, the colours around me and buildings with aged surfaces that show the passage of time; I’m very much drawn to the decay of faded frescos, ancient walls and graffiti. Working with oil and wax takes patience, as each layer takes at least a day to achieve a semi-dryness, ready for the next layer. All of my paintings are multi-layered, adding complexity, contrast and texture. I work mostly intuitively and colours are very important to me - a painting often starts with an idea of putting certain colours together that feels right.
My paintings are deliberately left without figurative titles to engage the viewer to explore their own relationship to the work. Initially, the paintings are visual conundrums for the brain to detangle. During the process of ‘seeing,’ the connection is formed both figuratively and emotionally with the individual. Marks and lines provide the scaffolding then using personal memories, reasoning and emotional attachment the image is built. I am fascinated how abstract art can connect with people using their inherent primitive instincts. I also allow those instincts in part to dictate the direction of the work. Using paint as the subject itself allows freedom of exploration of marks and colour to build the compositions. The end painting will ignite a flash of recognition electrifying a long lost memory, feeling or a dream. The purpose of my abstract work is to connect with people dissolving any barriers of culture, gender, age and history. You are free to enjoy an experience that is uniquely your own.