tag:blogger.com,1999:blog-43724456720932513862023-11-16T05:38:17.712-08:00Bath Academy of Art Re-formedThis blog aims to share and promote current work and/or exhibitions by ex-students of the dearly departed Bath Academy of Art in Corsham. The college was based in the Wiltshire village for approximately 40 years before finally closing its doors in 1986.
Whether you are currently a full time artist or only get to dabble once in a blue moon why not send us details and images of your latest work and we'll post them here on the blog. Send them to bathacademyofart@yahoo.co.ukBath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-4372445672093251386.post-23360579708256712502013-02-06T15:03:00.000-08:002013-02-06T15:03:05.407-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9rh_tciHpPExQ7KhvzUz9eMREp7r0qa0yj8DEsfXnMtjc_v0Z7a6TTmTGftCXEpXJjWPHR64o5iIzHuv-TdeC7ckB6eQndh4KWFxVvwmPko3KhisLQ2oqUVoJukbmp1NmCzZ8uIJu/s1600/Spaces_in_Transition.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9rh_tciHpPExQ7KhvzUz9eMREp7r0qa0yj8DEsfXnMtjc_v0Z7a6TTmTGftCXEpXJjWPHR64o5iIzHuv-TdeC7ckB6eQndh4KWFxVvwmPko3KhisLQ2oqUVoJukbmp1NmCzZ8uIJu/s1600/Spaces_in_Transition.jpg" /></a></div>
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<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Paul Tucker</span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Graphic Design and Photography </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">1984-87</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">A chance to see Paul's photographs of a gallery being refurbished in another gallery that is itself being refurbished!</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Private view on Wednesday 13th February 6-9pm at the Hanmi Gallery 30 Maple Street London W1 6HA - <a href="http://www.hanmigallery.co.uk/" id="yui_3_7_2_1_1360190865161_4514" rel="nofollow" target="_blank">www.hanmigallery.co.uk</a> - <a href="mailto:info@hanmigallery.co.uk" id="yui_3_7_2_1_1360190865161_4341" rel="nofollow" target="_blank">info@hanmigallery.co.uk</a></span></span></div>
Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-82430967032305544512013-01-07T14:08:00.001-08:002013-01-07T14:08:09.868-08:00<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">First of all Happy New Year! Wishing you all a creative 2013.</span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">A brilliant start to the year with the following piece sent to me by Diana Dean now residing in British Columbia, Canada.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZR-rOhRtAks4WUfdD-BI9htCash4oYQOb3wS4sMzUICK0Bn5HC019v4KD4LuOlCcynDcrwS74NThnCOnTSupDEXmQM5My69H98qkLV-d8-5BqrzquO0RjOQOupakp7k1sgGMugpn8/s1600/The+Clayoquot+07+2010+008.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="479" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZR-rOhRtAks4WUfdD-BI9htCash4oYQOb3wS4sMzUICK0Bn5HC019v4KD4LuOlCcynDcrwS74NThnCOnTSupDEXmQM5My69H98qkLV-d8-5BqrzquO0RjOQOupakp7k1sgGMugpn8/s640/The+Clayoquot+07+2010+008.jpeg" width="640" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;">"The Demonstration " 6' x 8' oil on canvas</span><br />
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<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Diana Dean</span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">1962-65</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">"This painting was done after I had gone with other artists to the Clayoquot
Rainforest, an area in British Columbia, Canada where they intended to
log this huge old growth forest. I did this painting from a few
scribbled drawings, done at this time. The demonstration was successful
and this special area is now protected from further logging."</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.dianadean.com/"><span style="font-size: small;">www.dianadean.com</span></a> </span></span></div>
Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-25787529627167262722012-12-22T10:26:00.000-08:002012-12-22T10:28:38.702-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheBsdOSVjIG6kV0N_h5Ip7Ava2TVVjPdU9GX9qgkaDOOjYEx5Lzw_tPf8qCR2tfq8vuLKOFFh4QkXdCxbXpuHv2rrnY-_G90E10Yne52UPmmDov-ijRAq1g3izmhv9vj6k0xuDkyDm/s1600/21_c.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheBsdOSVjIG6kV0N_h5Ip7Ava2TVVjPdU9GX9qgkaDOOjYEx5Lzw_tPf8qCR2tfq8vuLKOFFh4QkXdCxbXpuHv2rrnY-_G90E10Yne52UPmmDov-ijRAq1g3izmhv9vj6k0xuDkyDm/s640/21_c.jpg" width="433" /></a></div>
<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Stephanie Sampson</span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: large;">Painting </span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">1979-1981</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">I recently recieved an email from Stephanie, a Greek Canadian artist who sent me these striking pictures from her The Faces of Nemesis; Investigative<span style="font-size: small;"> </span>Painting on the Streets of Athens (2012). The work shows people affected</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">by the recession and are watercolour portraits done on location on the streets of</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Athens, Greece 2012. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Stephanie says "I will b<var id="yiv836459085yui-ie-cursor"></var>e doing similar portraits on London streets in Feb 2013..</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">(needless to say, the risk of making cliche images of the poor is a danger, but</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">I try to bypass that with economy of means and unsentimentality)".</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">After leaving Corsham Stephanie went on to do a MFA in Canada.</span> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzbxD1BrGhcH4OTRsctuel5Nzgkd98EsEcyC_AVx_KNmiQIleBb2x8P2C7QhdAu4itraAgBKQh-nPAeaCoeuy9QXnmzQhQmjGvS8x7NY6jqXdAz82uv1FoS05vCZmTI3FIS8s1rbbz/s1600/02_c.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzbxD1BrGhcH4OTRsctuel5Nzgkd98EsEcyC_AVx_KNmiQIleBb2x8P2C7QhdAu4itraAgBKQh-nPAeaCoeuy9QXnmzQhQmjGvS8x7NY6jqXdAz82uv1FoS05vCZmTI3FIS8s1rbbz/s640/02_c.jpg" width="427" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0DV2YEEeW_rrwRw_W4dwsJ9cXZNh7I219I90s_zA0hCviq3Ps3GYLdFF223rBEPPTFMvif6mOxhHxFwYlYPR6_PQr2zB2m_X1ufPJSd-4vIwKwygxIsBcX5kRMlL2o7jAtXoKUspY/s1600/07_c.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0DV2YEEeW_rrwRw_W4dwsJ9cXZNh7I219I90s_zA0hCviq3Ps3GYLdFF223rBEPPTFMvif6mOxhHxFwYlYPR6_PQr2zB2m_X1ufPJSd-4vIwKwygxIsBcX5kRMlL2o7jAtXoKUspY/s640/07_c.jpg" width="481" /></a></div>
Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-32662634107191654632012-11-05T15:23:00.001-08:002012-11-05T15:23:26.417-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2nLTJeK49lGvi1uED1ajAd0ofXFRpMVd85HPJnO5nxNZbheM5dt9O9XGqNuCyRXkrkjzwLPdNZx_oI_PmVCW1wIMKccrk2IKK2vzvOoqLc3RZ2vCP-WA2w9lRD7S091rRSgqp3YO/s1600/rogerdeakins.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2nLTJeK49lGvi1uED1ajAd0ofXFRpMVd85HPJnO5nxNZbheM5dt9O9XGqNuCyRXkrkjzwLPdNZx_oI_PmVCW1wIMKccrk2IKK2vzvOoqLc3RZ2vCP-WA2w9lRD7S091rRSgqp3YO/s1600/rogerdeakins.jpg" /></a></div>
<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Roger Deakins</span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Graphic Design</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">1968-70?</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">A real hero of mine, <span style="font-size: small;">and </span>the cinematographer on many of the Coen brothers finest films, Roger Deakins, on the set of Sam Mendes's Skyfall with that car! And yes he went to Corsham, <span style="font-size: small;">but </span>just not quite sure of the exact dates.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTTyMI4GbU2bp-tai4byH9WMelRKSb3Tw3LYWzmte2nQ9Iu8qQpZtEX-_qNktdnbtffa47976sTtcuwp4M1nxE4-cyxFAQEzaQsB8TbKI1cmhMt_56PWHQsFhyWTNdzEYzn5WqCpCE/s1600/o-STAMPS-570.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTTyMI4GbU2bp-tai4byH9WMelRKSb3Tw3LYWzmte2nQ9Iu8qQpZtEX-_qNktdnbtffa47976sTtcuwp4M1nxE4-cyxFAQEzaQsB8TbKI1cmhMt_56PWHQsFhyWTNdzEYzn5WqCpCE/s1600/o-STAMPS-570.jpg" /></a></div>
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<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Axel Scheffler</span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Illustration</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">1982-84</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">As a first year I was lucky enough to help a certain third year put up his degree show in Beechfield house to the sounds of the Cocteau Twin's Treasure album. He kindly rewarded me with an illustrated card for my younger sister which she loves til this day. The show got a first, Axel illustrated The Gruffalo, and what do you know this year his illustrations are on the Christmas stamps.</span>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-17613527398926853792012-11-05T14:49:00.000-08:002012-11-05T14:49:19.849-08:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLCGnu-Ds9ym9FmFsjR_I8UyEG-FcF0roofpzvID-xIC9X9LsSy0LTWnGTaT8rVvLhMFNsIBMD9U1fxe_ph7F_23tvzQ2IfMV1HNe4QXJvKBt7NFG-NtTsz-SPiB-6Hmgw2qHClf04/s1600/P1010860.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLCGnu-Ds9ym9FmFsjR_I8UyEG-FcF0roofpzvID-xIC9X9LsSy0LTWnGTaT8rVvLhMFNsIBMD9U1fxe_ph7F_23tvzQ2IfMV1HNe4QXJvKBt7NFG-NtTsz-SPiB-6Hmgw2qHClf04/s1600/P1010860.jpg" /></a></div>
<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Gwilym John</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">1957-1962 </span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwEnVFIJBj8WsCZ1KZ7C_fbDnNKQFp6LvUtlv3dq8Oy3q0aVfTstsM-zFPnbl4Av1EaJKM0n3Dp0VTZ5bzwO2YAOr_hatkvVEg-Wjcvc-lgTPsiY6xxh7JujIFZowTnJO7CTIuNzqN/s1600/P1010864.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwEnVFIJBj8WsCZ1KZ7C_fbDnNKQFp6LvUtlv3dq8Oy3q0aVfTstsM-zFPnbl4Av1EaJKM0n3Dp0VTZ5bzwO2YAOr_hatkvVEg-Wjcvc-lgTPsiY6xxh7JujIFZowTnJO7CTIuNzqN/s320/P1010864.jpg" width="320" /></a></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;">New paintings in acrylic</span>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-64893980312825984052012-10-29T14:37:00.000-07:002012-10-29T14:37:35.281-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvgylCHmCK24tzJjDPcPdxd60P_aaw4giepw9qRMVGi5iVtiRQx6z4Is684mklLH3dPbHiDlWBOn3HYIBLP-UflYG8zoCbfQOy7Dfzxlg4qSIfZI85CuEwGW1hsq46NdU2PuQH-MuO/s1600/Two+Roses,+2012.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvgylCHmCK24tzJjDPcPdxd60P_aaw4giepw9qRMVGi5iVtiRQx6z4Is684mklLH3dPbHiDlWBOn3HYIBLP-UflYG8zoCbfQOy7Dfzxlg4qSIfZI85CuEwGW1hsq46NdU2PuQH-MuO/s1600/Two+Roses,+2012.jpg" /></a></div>
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<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Helen Simmonds</span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Sculpture</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">1982-85</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Thanks to Helen for sending me one of her paintings from the forthcoming show</span></span><br />
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<span style="font-size: x-large;"><b><span style="font-family: "Trebuchet MS",sans-serif;">Small Works for Christmas</span></b></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="letter-spacing: 1pt;">Beaux Arts</span> Bath</span></span></span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;"> </span></span> </span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">19 November - 22 December</span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Private View Saturday 17 November</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">The show will also feature work by Simon Allen, Jackie Anderson, Jennifer Anderson, Akash Bhatt, Mark Johnston, Nick Mackman, Elisa McLeod, Nathan Ford, Anthony Scullion, Jason Walker and Simon Wright.</span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="letter-spacing: 1pt;"> </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="letter-spacing: 1pt;">Beaux Arts</span> Bath, 12-13 York St, Bath BA1 1NG
00441225464850</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.beauxartsbath.co.uk/" target="_blank">www.beauxartsbath.co.uk </a></span></span></div>
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Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-28202353589527017382012-10-17T13:42:00.000-07:002012-10-17T13:42:14.221-07:00<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Guy Thomas, Richard Crooks and Iain Cotton</span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Sculpture</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">1984-87</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXEz2QblcYG0nchzS9sGmfypTF-pB1uoiRLpoEIaYH962TL8X0Yw8wktlBc4IKDCVtPLfC2bL8VjdzmQY3S9nPor3P3ZQcDCjm8Bq8EjzksWanMp7RJj4dhOoljoVc5RV1wrrtVHm6/s1600/3+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXEz2QblcYG0nchzS9sGmfypTF-pB1uoiRLpoEIaYH962TL8X0Yw8wktlBc4IKDCVtPLfC2bL8VjdzmQY3S9nPor3P3ZQcDCjm8Bq8EjzksWanMp7RJj4dhOoljoVc5RV1wrrtVHm6/s1600/3+1.jpg" /></a></div>
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<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">30 October–4 November 2012<br />Open daily 10.30am–5pm<br />Private View on Tuesday, 30 October 5.30–8.30pm</span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">3+1 steel stone clay paint presents three sculptors and one painter<br />who over a 25-year period have shared a critical dialogue relating to<br />the formal considerations and influences in their work – abstract and<br />figurative alike.<br />The three sculptors – Iain Cotton, Richard Crooks and Guy Thomas –<br />work respectively in stone, clay and steel to explore the expressive<br />elements of their material. They studied together at Bath Academy of<br />Art (1984–7), where they were influenced by the teaching of Charles<br />Hewlings. He supported the direct, exploratory and three-dimensional<br />approach to making sculpture that these students were engaged in.<br />At Wimbledon School of Art, Barbara Cheney studied painting<br />(1988–91) and in the same period, Charles taught in the sculpture<br />department where Guy worked as technician and lecturer, and<br />Richard undertook an MA in Site Specific Sculpture. After graduating,<br />Barbara and Guy immediately formed a close, ongoing critique of<br />each other’s work.<br />All four artists believe that their work should speak for itself and<br />reveal strong formal qualities; underpinning this is the discipline of<br />drawing. All are members of Bath Society of Artists and Guy is the<br />current Chairman. The Society has had strong connections with Bath<br />Academy of Art, including artists that taught there such as Patrick<br />Heron, William Scott and Howard Hodgkin. </span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><i>‘Iain, Richard and Guy constituted, for me, the core of their year<br />group at Bath Academy of Art. My visits there were unfailingly<br />enlivened and made stimulating by them. How to account for the<br />unusual chemistry between them? On the one hand, a shared<br />belief (untaught for the most part) that inanimate material can,<br />with passion, be made to speak; and, on the other, very different<br />aptitudes, temperaments and (sculptural) rhythms. And hunger,<br />and intellectual curiosity and much more. Always in the light of<br />a recent discovery in the world of sculpture, each piece of work<br />was a criticism of the one before, and of course a response to<br />each other’s latest. So, I believe, the creative rivalry between<br />them continues…’</i> – Charles Hewlings </span></span>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-74474330822947021752012-10-11T12:34:00.001-07:002012-10-11T12:34:58.207-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiilrJf-So7QOWbkRbavOSHCcxMpdneWWyeoKxCDJh9t6Nivw522xz6P54Z6CFZOjNz0MDTEBFqzCwTFoIlylxyz-7mHhJBuoerj_8zrp8yP1Q8G7O6IYFZ-3wZgm0gBuuT87b_6lhF/s1600/corsham_247a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiilrJf-So7QOWbkRbavOSHCcxMpdneWWyeoKxCDJh9t6Nivw522xz6P54Z6CFZOjNz0MDTEBFqzCwTFoIlylxyz-7mHhJBuoerj_8zrp8yP1Q8G7O6IYFZ-3wZgm0gBuuT87b_6lhF/s640/corsham_247a.jpg" width="640" /></a></div>
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<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Corham Re-formed Exhibition <br />at Tokarska Gallery, London</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">163 Forest Rd., Walthamstow, London E17 6HE Tel.: +44 (0) 20 8531 5419</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">5 minutes from Blackhorse Road at the North end of the Victoria Line underground </span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">After a year's planning the show is finally up! Private View tomorrow, 6-10pm.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Works by former students of Bath Academy of Art many of whom's work I've posted on this blog: Anna Bisset, Iain Cotton, Richard Crooks, Tim Daly, Frank Gambino, Paul Lindt, Mark Mainwood, Guy Thomas, Paul Tucker, Simon Ward, Jon Woolfenden in this group exhibition.</span><br />
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<a href="http://www.tokarskagallery.co.uk/" target="_blank">www.tokarskagallery.co.uk</a>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-60120619411408803582012-10-08T14:14:00.000-07:002012-10-08T14:14:25.873-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxXc_ujnVHp24e6NjemuGPqDccN2plSccMvDbzL9ekGUwEAoiV05Y1a_DSdmEPMCDfVOIq-RCR6k_Su5_5yzMPFWZETQHMpQFDKAVGeGt1xpDe4mZr_eXchRM4tDk_DQHwKugJcwC/s1600/Cross+poster+Manchester.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxXc_ujnVHp24e6NjemuGPqDccN2plSccMvDbzL9ekGUwEAoiV05Y1a_DSdmEPMCDfVOIq-RCR6k_Su5_5yzMPFWZETQHMpQFDKAVGeGt1xpDe4mZr_eXchRM4tDk_DQHwKugJcwC/s1600/Cross+poster+Manchester.jpg" /></a></div>
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<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Michael O-Donnell</span></span><br />
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<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">1964-67</span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;">Corsham Student still working hard.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">This exhibition has been shown in Truro Cathedral Cornwall</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Then Manchester Cathedral, Lancashire,</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Next Portsmouth Cathedral in Hampshire in the new year.</span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://www.michael-odonnell.co.uk/" target="_blank">www.michael-odonnell.co.uk </a></span></span></div>
Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-91785415946204618752012-10-07T10:55:00.001-07:002012-10-07T10:55:33.384-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6Nb9uMm-kdqOFkJ9s64hKPqmOxV6ODY13DzzR-ZbufxOLFLKNe4FfAEPhzcbOljzl4Ab6XtxVVJT3-DMkVKWDwhOt296p_8P8TnqWq2xivHSLO5YvVCGCNvthz3_UXyhmAzfwqSk/s1600/Corsham_Court.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6Nb9uMm-kdqOFkJ9s64hKPqmOxV6ODY13DzzR-ZbufxOLFLKNe4FfAEPhzcbOljzl4Ab6XtxVVJT3-DMkVKWDwhOt296p_8P8TnqWq2xivHSLO5YvVCGCNvthz3_UXyhmAzfwqSk/s1600/Corsham_Court.JPG" /></a></div>
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;">Corsham Court, main site of Bath Academy of Art 1946-1986</span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">For those of you unable to make it to the Corsham Re-formed show here is Stephen Clarke's essay from the catalogue in full:</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">In a paper for a series of conferences at the Tate Gallery in the early 1990s, the artist Susan Hiller related the comment that whereas Paris has artists’ cafes and New York has artists’ bars, in England we have art colleges. She then went on to elaborate that the function of the British art college was to validate a professional path but tied to this was its nature as a socialising body. British art education, she says, “has been a rite of passage more than a form of training, a situation where older artists influence, criticise and sponsor younger ones and where the younger ones keep their elders on their toes”. This relationship between master and pupil, authority and the acolyte, was neatly visualised by another artist, Tom Phillips. As an introduction to a profile of his own work on BBC2 television in 1989, Phillips traced his lineage from his own tutor/master Frank Auerbach through to Auerbach’s tutor Bomberg, followed by Bomberg’s tutor Sickert, and so on until he reached Raphael. Many of us who went to art college can trace a similar lineage. We were all taught by artists who were taught by artists. It is a ‘vertical’ chronology stretching through time. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Alongside this vertical heritage is a horizontal plateau. On this plateau are our contemporaries at college, our fellow students. We look across to their example; we learn from the work that they have done; we acquire skills that they have forged; and we take sustenance from both their encouragement and their criticism. It is easy to label this as mere influence but in both cases, tutor to student and student to student, it is more a matter of dialogue. This dialogue does not end with college, it can last many years as can be seen with this group and their current exhibition project.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Traditionally at the centre of the art academy was the life room. Drawing the figure from life was an essential skill that all were trained to master. It is the expectation of the man in the street that an artist can capture a likeness – make a drawing of them or their loved one. Life class drawing is much more than this. It demands honest looking, and the result might not be attractive. Frank Gambino continues to work from life with the basics of drawing, a stick of charcoal and a sheet of paper. As he states: “My work is a record of the time I spend drawing the people who are in my pictures.” It is not just a finished result that we consider, but also the event of making a drawing. Gambino has described his drawings as ‘big ugly heads’, not very flattering to the sitters but this label gives heft to the drawings as worked events.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />This emphasis upon the process of making is the approach that Anna Bisset brings to her work. Using the subject as the starting point, she explores materials, techniques and production methods. Bisset has commented upon her time spent working in an industrial foundry saying that “making the original piece (in wood, clay or resin) and mass-producing it in metal using the sand-casting method was something I could observe every day as being an influence in techniques and methods of production”. While Gambino’s drawings may point to a more traditional perspective of the art academy, Bisset’s emphasis upon process may be the outcome of a necessity to consider design and the links to industry. Many art colleges in Britain trace their history to the Victorian period and the foundation of design education that would strive to take account of the new manufacturing processes, an approach that would inform design education across Europe. Art academies became colleges of art and design. This relationship between functional design and the aesthetics of art have become an important factor of visual culture. Many of the practitioners in this exhibition are trained designers and part of a contemporary industry. Industry is the key aspect to Jon Woolfenden’s work. He says: “I enjoy all things oily and industrial… I visited a turbine factory; man, machine, smell and sound akin to a scene from Fritz Lang’s Metropolis”. Not for Woolfenden the refined approach of the academy. He applies paint with kitchen knives, rollers, stencils and even an icing sugar applicator. These worked surfaces reflect wrought products of the factory worker.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Guy Thomas uses the material of industry – steel – to fix the forces of nature. Thomas orchestrates the dynamic fluidity of landscape and seascape, but the organic force has become unyielding metal. Both Thomas’s practice, and that of his fellow sculptor Richard Crooks, comes out of late modernist sculpture as advocated by Clement Greenberg. Following the discourse set out by the American critic, the sculptor Anthony Caro established a truly British tradition of post-war sculpture in the British art colleges of the 1960s that would concentrate upon the formal aspects of the discipline. This bedrock of abstract sculptural practice provided a discourse that other artists could expand upon. Charles Hewlings, a tutor at Bath Academy of Art, had himself studied under Caro at St Martin’s School of Art, London. Both Thomas and Crooks identify Hewlings as a mentor and an influence on their thinking in relation to this discourse. The forces of nature crash into Thomas’s work while for Crooks the culture of international commerce makes its impact. In Crooks’ work imagery from a colonial and trading past, such as the humble teapot and Indian figurines, has been brought into conflict with the language of international modernist forms. Richard Crooks’ practice as a sculptor has been transformed by more recent study in relation to Craft, specifically ceramics. His present work encapsulates the border skirmishes between Craft and Fine Art. Crooks’ subjects are forced into compliance by the action of casting processes and subtle modelling. The result is ceramic pieces that have the weight and mass of stone sculpture.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Parallel to the work of the British abstract sculptors was the work of British abstract painters, notably the St Ives group in Cornwall. Unlike their American counterparts, the Abstract Expressionists, the St Ives painters took inspiration from the landscape. As with the sculptors who followed Anthony Caro, these post-war abstract painters would have a significant impact upon British art education. The question has always been whether the British painters just copied their American peers or whether they offered something else. It is this strand of discourse that Mark Mainwood engages with. Starting off with small-scale organic forms such as insects and microbiology Mainwood produces abstract compositions that, although largely concerned with formal properties, have the ambition to contain references to day-to-day emotions and experiences. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />By the 1970s the boundaries between practices had started to melt as the Postmodern era dawned. Hybridity rather than purity would become the norm. Paul Lindt, a graphic designer since leaving college, uses some of the abstract devices of Fine Art practice in his work. However, with Lindt’s work we take a significant leap forward to art colleges of the present day as he experiments with the digital tools of contemporary graphic design to create his pieces. Avoiding obvious simulated images, Lindt constructs what he terms an ‘abstract architecture’. This architecture incorporates vivid colours and the texture of photographic elements to produce a fabricated space.</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />The impact of technology in art colleges has always been present. Since its birth in the 19th century photography has been the upstart. Now it is perhaps a traditional media as all are consumed in the digital revolution. Paul Tucker’s photographs follow a tradition of observed street photography that stretches as far back at the French photographer Atget. His seemingly ordinary scenes are the stuff made art by the American photographer William Eggleston. As with the painters and sculptors in this group Tucker is concerned with colour and form, using the pretext of place to pull the images together into a body of work. Until recently, photography was not shown in galleries alongside other art media. By the 1980s photographers in Britain had developed the photobook as an alternative space to disseminate their work. Closely related to the artist’s book (books produced by artists as art works in their own right), Tim Daly has developed this format to construct books that use photography to picture events that are associated with particular sites. Daly includes discarded material, such as paper ephemera or textiles, to give his pieces a sensory aspect; consequently looking at his photographs becomes haptic as well as visual. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />British art colleges have changed. Most art colleges have been subsumed into Universities and become departments of the larger institution rather than remain independent bodies. Alongside this change in organisational structure are the changes in curriculum and the changes in working methods. New media now dominate; notably studios are equipped with computers. Iain Cotton’s practice dates back to even before the art academies. As a stone carver Cotton’s work is both ancient and permanent. His work is as much part of a craft tradition as it is a part of art and design. His word sculptures and his use of the written word have strong links to Conceptual Art practice of the 1970s and in particular the work of Ian Hamilton-Finley. Both old and new, Cotton’s work stands stubbornly in contradiction to the immateriality of digital breakdowns. As he states: “I design and carve my own letters by hand, because I want them to be human, full of life, and distinctive rather than mass produced”. The British art college of the past may have had its summer. Like Simon Ward’s watercolour images of pressed flies, all we have are the ephemeral marks on paper. Ward’s work encapsulates the delicacy of the fleeting moment, something that was hardly there. </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />All of the artists in this exhibition went to the Bath Academy of Art in the mid 1980s. What is apparent from the work of these artists is the emphasis upon crafted skills honed in the studio rather than conceptual critique sharpened in the seminar room. Although art and design education in Britain still thrives it has become something different. The conferences referred to at the beginning of this essay sought to look at the state of British art education in the 1990s. Twenty years on perhaps we are still asking what should the art college of the twenty-first century be? </span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br />Stephen Clarke is an artist, writer, and lecturer based in the northwest of England.<br /></span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br /><span style="font-size: x-small;"><i>Susan Hiller, ‘An artist on art education’, in P. Hetherington, (ed.), Issues in Art and Education: Aspects of the Fine Art Curriculum, London (Tate Publishing / Wimbledon School of Art) 1996, p. 43BBC TV film The Artist’s Eye: Tom Phillips directed by Jake Auerbach (1989), from The Artist’s Eye series.</i></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-small;"><i>All quotes from exhibiting artists are taken from email communications between the author and the artists from March to August 2012.</i></span></span></span>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-10660635690367463062012-09-27T08:42:00.001-07:002012-09-27T08:44:09.651-07:00<div>
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">The following is the press release for the show I posted the invite for yesterday:</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: x-large;">Corsham Re-formed</span><i>
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<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Private View</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">12 October 2012, 6pm - 9pm<br />Show runs<br />11- 20 October 2012 </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Thur - Sat, 12pm - 7pm</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> This show explores the continuing influence of a uniquely British
institution, Bath Academy of Art. The artists are drawn from the final
years of the college’s independence in Corsham, near Bath in Wiltshire,
over 20 years ago. A small number of the group moved to East London in
1987 and have been pursuing their creative work, some alongside other
careers, ever since.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> Inspired by the exciting developments in the arts in Waltham Forest
over recent years, the artists decided to bring this larger group
together for a celebration of their achievements as well as to note the
significance of the three years that were spent immersed in the art
college community. These artists live and work in Chester, Bath and
Devon as well as in London, and all continue to develop the creativity
that was uniquely formed in Corsham.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">the following is an <i>extract from an essay</i> by Stephen Clarke</span></span> <br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> In a paper for a series of conferences at the Tate Gallery in the
early 1990s, the artist Susan Hiller related the comment that whereas
Paris has artists’ cafes and New York has artists’ bars, in England we
have art colleges. She then went on to elaborate that the function of
the British art college was to validate a professional path but tied to
this was its nature as a socialising body. British art education, she
says, “has been a rite of passage more than a form of training, a
situation where older artists influence, criticise and sponsor younger
ones and where the younger ones keep their elders on their toes”. This
relationship between master and pupil, authority and the acolyte, was
neatly visualised by another artist, Tom Phillips. As an introduction to
a profile of his own work on BBC2 television in 1989, Phillips traced
his lineage from his own tutor/master Frank Auerbach through to
Auerbach’s tutor Bomberg, followed by Bomberg’s tutor Sickert, and so on
until he reached Raphael. Many of us who went to art college can trace
a similar lineage. We were all taught by artists who were taught by
artists. It is a ‘vertical’ chronology stretching through time.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> Alongside this vertical heritage is a horizontal plateau. On this
plateau are our contemporaries at college, our fellow students. We look
across to their example; we learn from the work that they have done; we
acquire skills that they have forged; and we take sustenance from both
their encouragement and their criticism. It is easy to label this as
mere influence but in both cases, tutor to student and student to
student, it is more a matter of dialogue. This dialogue does not end
with college, it can last many years as can be seen with this group and
their current exhibition project.</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> All of the artists in this exhibition went to the Bath Academy of
Art, in Corsham in the mid 1980s. What is apparent from the work of
these artists is the emphasis upon crafted skills honed in the studio
rather than conceptual critique sharpened in the seminar room. Although
art and design education in Britain still thrives it has become
something different. The conferences referred to above sought to look at
the state of British art education in the 1990s. Twenty years on
perhaps we are still asking what should the art college of the
twenty-first century be? </span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> Stephen Clarke is an artist, writer, and lecturer based in the northwest of England. </span></span>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-75951238300342156742012-09-26T14:49:00.002-07:002012-09-26T14:49:55.689-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMifd_NLJl8GJZ_yYtr2Fn74AODSZfWPVo7zjYP_wfIXTCJFREVukaZtxfrxeblcFzdLeF-CluzRm6jwHeX9J-eu_fngZ0LSglv816o4WUeMYFOnDVVt-Ch98uQxFVV713yY4sEymD/s1600/invite_pl.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMifd_NLJl8GJZ_yYtr2Fn74AODSZfWPVo7zjYP_wfIXTCJFREVukaZtxfrxeblcFzdLeF-CluzRm6jwHeX9J-eu_fngZ0LSglv816o4WUeMYFOnDVVt-Ch98uQxFVV713yY4sEymD/s1600/invite_pl.jpg" /></a></div>
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<a href="http://tokarskagallery.co.uk/re-formed"><span style="font-family: "Trebuchet MS",sans-serif;">http://tokarskagallery.co.uk/re-formed</span></a>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-63567067594593722542012-09-25T14:24:00.000-07:002012-09-25T14:24:39.668-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj1GmjpZT5wojF2dr9MDsnAqO_Zs2LYPdNZAXYkJcq-1d9n7ks1yiGQlgXtKIezGTwfIrrV1yLqo7ByuO_Wbx91nBXAYhytBlHybrTHASk614ai55dUZz0VVfRzdWFcI8_In28eGl1/s1600/3,+Adrian+(A1).JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj1GmjpZT5wojF2dr9MDsnAqO_Zs2LYPdNZAXYkJcq-1d9n7ks1yiGQlgXtKIezGTwfIrrV1yLqo7ByuO_Wbx91nBXAYhytBlHybrTHASk614ai55dUZz0VVfRzdWFcI8_In28eGl1/s640/3,+Adrian+(A1).JPG" width="444" /></a></div>
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<span style="font-size: large;">Frank Gambino</span></div>
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<span style="font-size: xx-small;">Previous posted 20 August</span></div>
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<span style="font-size: xx-small;"><span style="font-size: small;">Admittedly Frank has given the model, Adrian, a smudged head here, but below is a piece about his portraits, which include the one of Lydia posted on 20th August.</span></span></div>
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<span style="font-size: xx-small;"><span style="font-size: small;">"Traditionally at the centre of the art academy was the life room. Drawing the figure from life was an essential skill that all were trained to master. It is the expectation of the man in the street that an artist can capture a likeness – make a drawing of them or their loved one. Life class drawing is much more than this. It demands honest looking, and the result might not be attractive. Frank Gambino continues to work from life with the basics of drawing, a stick of charcoal and a sheet of paper. As he states: “My work is a record of the time I spend drawing the people who are in my pictures.” It is not just a finished result that we consider, but also the event of making a drawing. Gambino has described his drawings as ‘big ugly heads’, not very flattering to the sitters but this label gives heft to the drawings as worked events."</span></span></div>
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<span style="font-size: xx-small;"><i><span style="font-size: small;">From Stephen Clarke's introduction to the forthcoming Corsham Re-formed Show. Clarke is an artist, writer, and lecturer based in the northwest of England. </span></i></span></div>
Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-78422129044005016272012-09-24T13:56:00.000-07:002012-09-24T13:57:26.564-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnq1rkxDz6QqqhV5epwt7Eh47RrZB1NrnuaYKHdf5HgawJotaDfTgUMvA2KNn0Mz-ZSPjYcd3zCKA5H8xb1TkxNPeA6GKFAC3hLXl2jC1mIs0of5MPVxwkw_z7Uv6cXThyBXW0bGDb/s1600/jackson+pollock4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnq1rkxDz6QqqhV5epwt7Eh47RrZB1NrnuaYKHdf5HgawJotaDfTgUMvA2KNn0Mz-ZSPjYcd3zCKA5H8xb1TkxNPeA6GKFAC3hLXl2jC1mIs0of5MPVxwkw_z7Uv6cXThyBXW0bGDb/s640/jackson+pollock4.jpg" width="448" /></a></div>
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<span style="font-size: large;">Claire Palmer</span></div>
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<span id="yui_3_2_0_1_1342115422977387" style="color: black; font-size: medium;">Graphics </span></div>
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<span id="yui_3_2_0_1_1342115422977387" style="color: black; font-size: medium;">1981-84</span></div>
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<span id="yui_3_2_0_1_1342115422977387" style="color: black; font-size: medium;"><span style="font-size: xx-small;">Previous post 12 July 2012 </span></span></div>
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<span id="yui_3_2_0_1_1342115422977387" style="color: black; font-size: medium;"><span style="font-size: xx-small;"><span style="font-size: small;"><span id="yui_3_2_0_1_1342115422977387" style="color: black;">T<span id="yui_3_2_0_1_13485126676115115" style="color: black; font-family: arial;">his
time of year always really reminds me of being a youth arriving in the
magical world of Corsham - just so amazing and atmospheric. Here's my latest piece, extolling the love of paint, in a graphic
form. </span></span></span></span></span></div>
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<span id="yui_3_2_0_1_1342115422977387" style="color: black; font-size: medium;"></span><span id="yui_3_2_0_1_1342115422977387" style="color: black; font-size: medium;"></span><span id="yui_3_2_0_1_1342115422977387" style="color: black; font-size: medium;"> </span></div>
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<img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCod575iCapYgaJAxPYqv-DQIs-0oNTeb_ln_N38RWu1EgbmU2UvypiB6zEiVHI_y4sjX5KeBO31Tr7HTHGMsUQp5rVp7Ymk5u37jWks7RHpvu46USMMtA8Vlaof5jP3qKmlSB4MQi/s640/poetry+5.jpg" width="640" />Thanks for sending these through Claire. It's nice to see Morrissey included in your poets, as I remember seeing him and The Smiths at Chippenham's Goldiggers in 85. I still cherish the programme.<span style="font-size: small;"><span id="yui_3_2_0_1_1342115422977387" style="color: black;"><span id="yui_3_2_0_1_13485126676115115" style="color: black; font-family: arial;"></span></span></span></div>
Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-77355891340434369652012-09-23T03:29:00.002-07:002012-09-23T03:33:52.339-07:00<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Jon Woolfenden</span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Painting</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">1984-87</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxV3G9vOvoisU6UWSWmRGsFSx3XCtv272-iYD0iLU5gZttEyBwO0pLFggNNmYIPAkiIKV6ObimMAy3a_Cgc8p_d3QYRoB0TkCcmnlBHDnDRheuR8hwUG6moL_zy8NGLF6WdsjTB7VJ/s1600/A.+Disco+Inferno+part+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="567" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxV3G9vOvoisU6UWSWmRGsFSx3XCtv272-iYD0iLU5gZttEyBwO0pLFggNNmYIPAkiIKV6ObimMAy3a_Cgc8p_d3QYRoB0TkCcmnlBHDnDRheuR8hwUG6moL_zy8NGLF6WdsjTB7VJ/s640/A.+Disco+Inferno+part+1.jpg" width="640" /></a></div>
<span style="font-family: "Trebuchet MS",sans-serif;"></span><i><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Disco Inferno Part 1</span></span></i><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><i><span style="font-size: x-small;">2012 Oil on canvas 180x165 </span></i></span><br />
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<br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">It was early doors in the Swordfish and already like kicking out time. <br /><br />Wilson was late as ever, so I sat quietly and killed time with some text conversations. <br />“I’m having a pint in the land of the Uglies” I told Sandra. She said she was sat at her desk, bored, doing her nails. <br />“What colour?” I asked. <br />“Disco Pink” came the answer.<br /><br /><i>Folks were screaming – out of control. </i><br /><br />Wilson arrived, eager to go down to the harbour to take some photos, I finished my pint. <br /><br />There was this mad scarlet sky silhouetting the beamers. The Gantry’s of the ice making factory appeared to hover in a swirling mass of fire;<br /><br /><i>The heat was on, rising to the top. </i><br /><br />The electric lights above the line of work stores quivered and cast warm hues onto piles of gear strewn around the quay. <br /><br /><i>Satisfaction came in a chain reaction.</i><br /><br />Back in the Swordy, and there’s one tune I have to find on this juke box…..<br /><br /><i>I couldn’t get enough so I had to self destruct</i></span><br /><br /><br /><br />Part 1.</span><br />
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<a href="http://www.hopecovegallery.com/gallery_124258.html" target="_blank"><span style="font-size: small;">http://www.hopecovegallery.com/gallery_124258.html</span></a>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-42337832812835606432012-09-14T00:50:00.002-07:002012-09-14T00:50:54.272-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQIOMg1mVpPWzH_m9khyQ-u-1KcyAjtc9wYxZHSJ281tTqY9nqbY9Uyg3aJy51icKBzQTeH-qw3Zhjc29XMbowyRONTcaGpe7MSl21oAOBCP7Hlwx-4nyZ3khd7G9AA1JzSFyDYKm_/s1600/cranefly+rorschach.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="443" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQIOMg1mVpPWzH_m9khyQ-u-1KcyAjtc9wYxZHSJ281tTqY9nqbY9Uyg3aJy51icKBzQTeH-qw3Zhjc29XMbowyRONTcaGpe7MSl21oAOBCP7Hlwx-4nyZ3khd7G9AA1JzSFyDYKm_/s640/cranefly+rorschach.jpg" width="640" /></a></div>
<span style="font-size: x-large;"><span style="font-family: "Trebuchet MS",sans-serif;">Simon Ward</span></span><br />
<span style="font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">1984-87</span></span><br />
<span style="font-size: xx-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Previous post 15 August</span></span><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Crane flyTipulidae<br /><br />First flying sounds of shaking paper,<br />then gangly Tsars flapping flickbooks,<br />my fumbling hand catches<br />the dog eared fling crows feet.<br />I had one fine leg pencil line,<br />my hair nets the restless left<br />softly landing prayers on my neck<br />with paddling wings<br />whilst tremoring legs on walls<br />search for old stories lost in the corners<br />until ceilings knock them back<br />like fine rattling chopsticks<br />balancing wings<br />with piano playing legs<br />they teeter around shadows<br />stupored by the bumping boredom<br />dabbing the bed of uncertain reason,<br />their silhouette line<br />caught in the spiders web. </span></span>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-62981954659932838052012-09-03T14:46:00.000-07:002012-09-03T14:55:15.616-07:00<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4dEOCV7-jfD0midiXGedASvWKdTZEDyBcLJf9Vyjpkz3Gxzn_s-Z5mDis8_qWMkqKjuSUcvzRAOr9BRuk5RJtlLZhZ2iT_sbv_-tYjUDZoHjKJG647Ku7k7HHjhYshjs-hnARmFs3/s1600/telecdiagramf_big.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4dEOCV7-jfD0midiXGedASvWKdTZEDyBcLJf9Vyjpkz3Gxzn_s-Z5mDis8_qWMkqKjuSUcvzRAOr9BRuk5RJtlLZhZ2iT_sbv_-tYjUDZoHjKJG647Ku7k7HHjhYshjs-hnARmFs3/s640/telecdiagramf_big.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihFJKKSgiGmeMGsjVjQQkkW7lJtLgmMRbYwMmjFaKS8vR6V-AKL_Xj7XpvMUBy9YJKczaJtB9MmCPFeAUpVW1hFxTW7V7WGduR76NtnLxVBqkJCiGuk7b7HKJ_niW9qb7N5I3Jt3IZ/s1600/08009822_MatthewAndrews.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihFJKKSgiGmeMGsjVjQQkkW7lJtLgmMRbYwMmjFaKS8vR6V-AKL_Xj7XpvMUBy9YJKczaJtB9MmCPFeAUpVW1hFxTW7V7WGduR76NtnLxVBqkJCiGuk7b7HKJ_niW9qb7N5I3Jt3IZ/s640/08009822_MatthewAndrews.jpg" width="640" /></a></div>
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<span style="font-size: x-small;">©Matthew Andrews </span></h2>
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<span style="font-size: x-large;">Paul St George</span><br /><span style="font-size: large;">1976-79 </span></h2>
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<i><span style="font-size: small; font-weight: normal;">When I first set up this blog, someone called Paul St George contacted me, this is his story... </span></i></h2>
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Some years ago an artist by the name of Paul St George happened upon a
packet of dusty papers in a trunk in his grandmother’s attic. On
further inspection he discovered that they had been the property of his
great-grandfather, an eccentric Victorian engineer, Alexander Stanhope
St George.</div>
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Paul began to read through the papers and discovered a veritable
treasure trove: diaries, diagrams, correspondence, scribbled
calculations, and even one or two photographs. At first, Paul felt a
detached interest in this first hand account of social and cultural
history. But as he read on, he became more and more absorbed, until,
with a sudden thrill, he realised that these papers could have a greater
significance than was at first apparent.</div>
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The notebooks were full of intricate drawings and passages of
writing describing a strange machine. This device looked like an
enormous telescope with a strange bee-hive shaped cowl at one end
containing a complex configuration of mirrors and lenses. Alexander
seemed to be suggesting that this invention, which he called a
Telectroscope, would act as a visual amplifier, allowing people to see
through a tunnel of immense length… a tunnel, the drawings implied,
stretching from one side of the world to the other.</div>
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<a href="http://www.devices-of-wonder.com/">www.devices-of-wonder.com</a></div>
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Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-8936398584021284862012-09-03T14:20:00.000-07:002012-09-03T14:20:14.264-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMwR21rhF7gpx-rKFlw7DUrsq0yFehdDh5cRMasAtok7SN8JrABifi9SyU0LAU_Y3JZ4TAtsGcFaIny4JuyOZIXjpSuyy8azAZhW3L_mB2nFfapOXRhPD_v2VkzPL2Q8M5DQcu4HS7/s1600/Chris+Reynolds.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMwR21rhF7gpx-rKFlw7DUrsq0yFehdDh5cRMasAtok7SN8JrABifi9SyU0LAU_Y3JZ4TAtsGcFaIny4JuyOZIXjpSuyy8azAZhW3L_mB2nFfapOXRhPD_v2VkzPL2Q8M5DQcu4HS7/s1600/Chris+Reynolds.jpg" /></a></div>
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<span style="font-size: x-large;"><span class="commentBody" data-jsid="text">Chris Reynolds (originally Pershouse)</span></span></div>
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<span style="font-size: large;"><span class="commentBody" data-jsid="text">Sculpture</span></span></div>
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<span style="font-size: large;"><span class="commentBody" data-jsid="text">1983-1986</span></span></div>
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<span>The physical process of drawing & mark making is an integral
part of my work, each piece is based upon memory, impressions and chance
occurrences.</span><span class="commentBody" data-jsid="text"> </span></div>
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<a href="http://www.blogger.com/goog_527767720"><span class="commentBody" data-jsid="text"><br /></span></a></div>
<span class="commentBody" data-jsid="text"><a href="http://www.chrisreynolds-art.com/"><span style="font-family: "Trebuchet MS",sans-serif;">www.chrisreynolds-art.com</span></a></span>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-77874847371991669922012-09-03T14:03:00.000-07:002012-09-03T14:03:21.799-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjlBQNAHZwmyLqUAlDIVTzoc5RhrkCGy6lPhMe48dlVvLuNSCrmbDbZAESybhwAGkI6UchhKXlXV5YjLAEcGcU4nz9bASii9IQaJPA-3MsTQddaZbMAdo0vGtWeaF8YhdhLxW7QBpF/s1600/PTuckerwmg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjlBQNAHZwmyLqUAlDIVTzoc5RhrkCGy6lPhMe48dlVvLuNSCrmbDbZAESybhwAGkI6UchhKXlXV5YjLAEcGcU4nz9bASii9IQaJPA-3MsTQddaZbMAdo0vGtWeaF8YhdhLxW7QBpF/s1600/PTuckerwmg.jpg" /></a></div>
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<span style="font-size: x-large;">Paul Tucker</span></div>
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<span class="yiv2073985314Apple-style-span" style="font-size: small;">Image
from a series of photographs taken during the major refurbishment of
the William Morris Gallery in Walthamstow: another chapter in the life
of this historic building. The Gallery invited Paul to document the
transition between November 2011 and May 2012. The resulting images show
the interior of the building in a process of change, revealing layers
of its past as well as the creation of a new layer for the future. What
emerges from the vacant, off duty, spaces is the inpouring of light and a
sense of scale. The pictures capture fleeting moments and elements that
will fade from view as the finishing touches are added to the house
before it returns to public life as a gallery and museum.</span></div>
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<span class="yiv2073985314Apple-style-span" style="font-family: Helvetica; font-size: small;"><a href="http://www.paultucker.co.uk/">www.paultucker.co.uk</a> </span><span style="font-family: "Trebuchet MS",sans-serif;"> </span><br />
<br />Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-59520110555190058892012-09-03T13:56:00.001-07:002012-09-03T13:56:57.539-07:00<div style="font-family: "Trebuchet MS",sans-serif;">
<span style="font-size: x-large;">Richard Crooks</span></div>
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Sculpture</h3>
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1984-87</h3>
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<span style="font-size: x-small;">Original post 16 July 2012</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Richard has just returned from 6 weeks in Nepal where he has been artist in residence at the Kathmandu Contemporary Arts Centre (KCAC), Patan. </span><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">He even got a write up in The Himalayan Times!</span></span><br />
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<a href="http://epaper.thehimalayantimes.com/PUBLICATIONS/THT/THT/2012/09/02/ArticleHtmls/VALLEY-INSPIRATIONS-02092012009040.shtml?Mode=1"><span style="font-family: "Trebuchet MS",sans-serif;"></span></a><a href="http://epaper.thehimalayantimes.com/PUBLICATIONS/THT/THT/2012/09/02/ArticleHtmls/VALLEY-INSPIRATIONS-02092012009040.shtml?Mode=1" target="_blank">http://epaper.thehimalayantimes.com/PUBLICATIONS/THT/THT/2012/09/02/ArticleHtmls/VALLEY-INSPIRATIONS-02092012009040.shtml?Mode=1</a>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-43148597960840609152012-08-20T13:14:00.000-07:002012-08-20T13:14:50.380-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiZtelW6nyIiXmJi3zUt944UxJW_nI6cWtuOiPgL_lVTby_JLYNTrA0iYdzFg61CwXBB2AtjQsxohyphenhyphen33tOcBec5ce5meAvl_jUBVVaQM8H6IMyeR1BSxgs3q_L-QmTZhvIlY96pu8D/s1600/35.+Lydia.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiZtelW6nyIiXmJi3zUt944UxJW_nI6cWtuOiPgL_lVTby_JLYNTrA0iYdzFg61CwXBB2AtjQsxohyphenhyphen33tOcBec5ce5meAvl_jUBVVaQM8H6IMyeR1BSxgs3q_L-QmTZhvIlY96pu8D/s1600/35.+Lydia.jpg" /></a></div>
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<span style="font-size: x-large;">Frank Gambino</span></div>
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1984-87</h3>
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<span style="font-size: xx-small;">Previous posted 16 June</span></div>
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This drawing is one of the pieces I'm planning to show in the Bath Re-formed show in October. Charcoal on paper, A1 in size,
and the face belongs to Lydia.</div>
Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-27287084201577367862012-08-15T15:09:00.000-07:002012-08-15T15:09:30.891-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5jiV-9_w7at-8gyKIWuZRY489LwhOll8EL186gC5ZD9T7PbSRLa78XIQnHO6BqhKYuTaW6RgLw6i_gvKlxph32NKSghbR9nUNlVm7qNdxxpQeUQS47GDFlzxZfYbYtcH2jD7AOzE2/s1600/porthmear+cove.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5jiV-9_w7at-8gyKIWuZRY489LwhOll8EL186gC5ZD9T7PbSRLa78XIQnHO6BqhKYuTaW6RgLw6i_gvKlxph32NKSghbR9nUNlVm7qNdxxpQeUQS47GDFlzxZfYbYtcH2jD7AOzE2/s1600/porthmear+cove.jpg" /></a></div>
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<span style="font-size: x-large;">Simon Ward</span></div>
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1984-87</h3>
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<span style="font-size: xx-small;">Previous post 19 June</span></div>
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Just back from Backpacking the South West Coast Path with my 3 stone
pack containing everything you need for a home and maybe an easier
option than having a house, just walk forever?<br />I tried to experiment
with "taking a line for a walk", which was not so easy to fit in with 5-9
hours walking a day! I still have a bit of time to play with
this idea - to take one line (pencil does not leave the paper) just like
I am taking myself along one line (the path).</div>
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<br /><br />My shoe slips and a
line develops, I notice it is not straight, not where I am going, is
almost on the ground, around me and against my train of thought. I watch
the line, my train of thought, a random scribble, indistinct, blurred,
out of control.</div>
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<br />I spent the afternoon trying to tame the line, make
decisions, almost let it follow a path, become organised. My line
rebels. A scribble breaks free from description, from expression,
deviates from reality, becomes more real- becomes just the line,
accepting it's beauty, accepting its fate - its burning desire to make
its own path. The dialogue a reflection of a dream, my path becoming a
dream path, my own personal lay-line.</div>
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<br />Quick line, zigzag, pastoral
wandering. Space falters between as the line travels across my life
dawning on me that it becomes a cleft, ripping apart the surface of my
dreams, separating right and left, before and after, truth and theory,
spontaneity and procrastination.</div>
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<br />Though utterly flat, the line has
more dimensions than reality allows, it envelops me, drawing me into
its fistula - the crack widening in my imagination, drawing me in like a
black hole. Knowing I cannot escape the line I am relaxed trying to be
aware only of the lines ability to be me, to be all of me. I have no
blinkered vision of around the line - nothing else is blank but it is
openly drawn with all the lines energy.</div>
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<br />There is only one line! A
sudden realisation - how had I not noticed this before? - there is only
one line! I stare bewildered and the lines proportions flex and
contract, like it is breathing. Maybe my eyeballs are flexing and
contracting, maybe I am just emotionally trapped.</div>
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<br />The line is music
and flashes and almost burns the paper as it rips across. It fights with
the white for a kind of harmony, a balance before full rejection in
favour of disturbance - counterpoint - scrawl.<br />The line has left me
behind and I am running to try and keep pace. The line is bursting from
the suppression I had locked it in, desperate to escape from my control,
my management. I feel a mixture of brevity, relief and fear of letting
go. My ideas feel like they are tethered to the line and are being
pulled out with it like a winkle, or potatoes pulled up with the roots
of the plant. I grab the line with my softest pencil and try to coax it
back onto the tip. It fights with the edge, some graphite crunches, my
hand feels kicked and pulled as I grasp the lines taught front edge,
feel the rawness of its newly crunched tip.</div>
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<br />No harmony, no marriage,
just desperation, despair, disappointment created from the rub. should I
bend back the lines will? Give up my need to be in control? Manage the
line?</div>
<br />Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-68235053364171803502012-08-14T13:19:00.000-07:002012-08-14T13:19:19.798-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5nepOzRAeeD30RFx0WdX52RCc1RsSflfNJeHwrxFELAuDhng7nktqo-t5DratI0Lcgmnlvx68zEctDF1CwwtD5dUOi6ugqB1GSlCiy3Mm70nxZFEx-ZdqfYgeq_H-WdXwEhzCHk13/s1600/August+Art+and+Wanstead+006+lr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="543" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5nepOzRAeeD30RFx0WdX52RCc1RsSflfNJeHwrxFELAuDhng7nktqo-t5DratI0Lcgmnlvx68zEctDF1CwwtD5dUOi6ugqB1GSlCiy3Mm70nxZFEx-ZdqfYgeq_H-WdXwEhzCHk13/s640/August+Art+and+Wanstead+006+lr.jpg" width="640" /></a></div>
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<span style="font-size: x-large;">Mark Mainwood</span></div>
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<span style="font-size: small;">After
a very active period making pictures after Art College, I have over
the last 20 years taken a conscious break in order to bring up a
family and to pursue my work as an Occupational Therapist in a busy
neurological unit. However my artistic interests have remained
constant with me and this show is an opportunity to revisit and
develop some of the themes. I continue to live and work in East
London. </span></div>
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<span style="font-size: small;">My
work since Art College has predominantly used organic sources
(insects, skin, microbiological structures, and more recently cacti)
as the thematic starting point in what are predominantly abstract
paintings. These forms are often transposed into more geometric
structures which both encompass and occupy them. </span></div>
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<span style="font-size: small;">In
my current work the ‘Cactus Dream’ series I have been using
acrylic and water based oil paints on canvas. The work involves a
peripheral colour ground which engulfs and contains an abstract
central image (the dream). The works have evolved as a series from
an original ochre/gold base colour; like ‘dreams’ the titles only
bare a subliminal link, if any with the appearance of the final
composition. I use the titles as a way of generating additional
interest and emotion, but prefer to leave any interpretation to the
viewer. My primary aim is to produce images which are interesting in
terms of their abstract qualities but which also have visual
presence, where there is both harmony and disquiet.</span></div>
Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-1748839201406736052012-07-24T12:59:00.000-07:002012-07-24T12:59:21.825-07:00<div style="font-family: "Trebuchet MS",sans-serif;">
<span style="font-size: x-large;">Iain Cotton</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">I have started a blog as a dynamic record of my practice. Mostly
pictures of lettering, carving and sculpture. Images from the workshop
and stuff that inspires me. Find it at </span><a href="http://www.blogger.com/goog_1865704713" rel="nofollow" style="font-family: "Trebuchet MS",sans-serif;" target="_blank">http://iaincotton.wordpress.com</a><span style="font-family: "Trebuchet MS",sans-serif;"> </span>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0tag:blogger.com,1999:blog-4372445672093251386.post-28848375399692034312012-07-16T13:47:00.000-07:002012-07-16T13:47:57.984-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_1JhYjtxjzIpYD4mdnqmRtfGqWhKaMoxf27mh0vKoDQPoBkuHTMq6LX6hjVY7l50IHEAOi_WvU7p9KqkYgqOKkz2muOJQaBkRP5iHczCIYYWxNcTAHf2-9GzIRTsj537FFDjpr6ad/s1600/RichardCrooks.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_1JhYjtxjzIpYD4mdnqmRtfGqWhKaMoxf27mh0vKoDQPoBkuHTMq6LX6hjVY7l50IHEAOi_WvU7p9KqkYgqOKkz2muOJQaBkRP5iHczCIYYWxNcTAHf2-9GzIRTsj537FFDjpr6ad/s640/RichardCrooks.jpg" width="452" /></a></div>
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<span style="font-size: x-large;">Richard Crooks</span></div>
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<span style="font-size: x-small;">Richard Crooks's ceramic sculpture featured on the cover of publicity
material for the BATH SOCIETY OF ARTISTS annual exhibition 2011.<br /><br /><a href="http://richardcrooksart.co.uk/">richardcrooksart.co.uk</a></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">Richard
Crooks, Guy Thomas and Iain Cotton, all from the same year studying sculpture at Bath, are now members of the Bath Society of
Artists. Guy is the current Chairman of the society.</span></span><br style="font-family: "Trebuchet MS",sans-serif;" /><span style="font-family: "Trebuchet MS",sans-serif;">
</span>Bath Re-Formedhttp://www.blogger.com/profile/01780936213730877065noreply@blogger.com0