November 9th - November 24th
weekends only 11.00 - 6.00
'Norfolk: One Way and Another'
This exhibition presents two styles of painting, both inspired by the ‘between land and sea’ landscape of north Norfolk. One body of work is exploring the colours and textures and emotional feel of the landscape through an abstract idiom: the other series, produced at the same time, is a collection of figurative impressions inspired by the marshes and creeks of north Norfolk as they appear at different times of day and in different seasons. While the landscape-based abstracts are working in a similar style to the St Ives artists of the 50’s and 60’s, the works on paper, produced using various solutions of inks and bleach, have some relation to the ‘Norwich School’ landscapes of the 19th century.
November 30th - December 22nd
weekends only 11.00am - 6.00pm
Recent Work, paintings and sculpture
Johm mFuller states that "it has always been important to me to work across different disciplines, exploring the relationship between two dimensions and three. So often the creative problems encountered in one can help solve the problems with another. In this respect, drawing provides the foundation for most of the work I make. This happens in small, pocket notebooks. There is no recipe for these; everything is thrown into the mix. To draw is to see and not just look. The paintings in this exhibition use the Dorset coast as their starting point. I have often observed the drama which gathers amongst transitional passages of the landscape; linking the land to the sea. The two forces are constantly reacting with each other and one strives to find an equivalent of this on the surface of the paper.
Much of the sculpture has its origins in the notebooks. The piece begins by a process of “fishing” for a chance collision of ideas and images. There follows a period of assembling and adjusting the material until the options seem exhausted. "
January 4th to January 26th
weekends only, 11.00am - 6.00pm
Margaret Higginson refuses to see stone as concrete. To her, stone is malleable, like glass. It begs to be touched and twisted. Yet, the texture and surface of her chosen material is restricting by its very nature. It is the site of that push and pull, that sense of confusion and complication, where ‘Convolutions’ is born.
What emerges from the contradictions are sculptures that push the limits of form and surface area. To appease the material, Margaret lets the stone reveal itself by carving what is both inside and outside. Again, we see another paradox in the work: the natural stone on the outside competing like a child for attention with the quiet newness of the carving inside.