In last week’s post I looked at two artists’ retrospectives which featured as part of the Ipswich Art Society’s 143rd Open Exhibition. This week I thought I’d post a few photographs of other works on display that caught my attention.
As this exhibition was an open show there were pictures and sculptures by both members of the Ipswich Art Society and also works from members of the general public. In my opinion the outstanding work of the whole event was this garden sculpture, ‘Curled Figure’ by Kate Reynolds.
Across the exhibition there were a variety of media and techniques on display from the two dimensional, wall art category including paintings, drawings, prints and enamels to textured relief work to full sculpture. As far as media was concerned along with traditional oil, watercolour and acrylic paintings there were works created and expressed in pastel, gouache, pencil, ink, graphite, charcoal, conté, wood, cloth, stoneware ceramic, bronze, copper, steel, wire and even ink with gold leaf.
There were pictures for every taste with strongly coloured abstract paintings,
a handful of textile pieces
and even a social commentary textile installation.
However, my favourite of the ‘paintings’ in the show was an atypical expression of the English countryside, ‘This Green and Pleasant Land’ by Dave King working in a traditional, Japanese style with more than a hint of ukiyo-e about it.
For the last four weeks Ipswich Art Society’s 143rd OPEN Exhibition has been on at Ipswich Art Gallery. The exhibition showcases the visual artworks of a variety of creative folk who live in and around Ipswich.
The Ipswich Art Society has been in existence since 1874 with a membership that has included Alfred Munnings, F.G.Cotman, Harry Becker, E.R.Smythe, Tom Smythe, Edward Packard, John Duvall, Colin Moss, Anna Airy and Leonard Squirrell.
The 143rd Open exhibition showed a selection of works created by members of the public as well as Members and Friends of the Society. The Society has a tradition of encouraging artists from all walks of life to join and be involved in the making and appreciation of art.
The Society also has a convention of including a Special Feature Exhibition to run alongside the Open submissions and this year it was a retrospective for two well-known Suffolk artists, Claire Lambert and Judith Foster.
Suffolk-born Claire Lambert works in ceramics, lino cut, etching, mono prints, painting and drawing. She worked between 1957 and 1975 as a member of Atelier de Ceramique de Dour in Belgium. She was taught by Roger Somerville at the Academy des Beaux Arts de Waterfall-boitsfort, Brussels, and subsequently studied printmaking with Ken Roberts and Judith Lock at Suffolk College.
She has taken part in joint exhibitions in Belgium, France, Italy, Poland and Canada and many UK exhibitions including the Broughton Gallery in Kirkcudbright, Peckover House Wisbech, Norwich Castle and Gallery 44 in Aldeburgh.
Claire’s work is represented in a number of collections including the Musee de Verviers and the Michael and Valerie Chase Collection and further collections in Australia, New Zealand and Belgium.
Sadly, I only managed to get one decent photograph of her work as the combination of a small gallery room and large, darkly coloured monoprints or linocuts behind reflective glass did not make for good photos.
However, I did have more luck photographing the work of the second artist of this retrospective, Judith Foster.
Judith Foster was born in London and went to school in Bath. In 1955 she came to study at Ipswich Art School and in 1959 entered the painting school of the Royal College of Art. She then travelled through Europe on an Abbey Minor Scholarship before returning to Suffolk.
She taught foundation studies and adult education drawing and painting at the High Street Art School from 1963 until its closure, and subsequently at Suffolk College until 2000.
Judith’s professional life has included many solo and group exhibitions, starting with the Ipswich Art Club in 1958 and including the Young Contemporaries , the Royal Academy, the Edinburgh Festival Fringe, Northampton Museum and Art Gallery, Cleveland Bridge Gallery in Bath, Lady Lodge Art Centre in Peterborough and many galleries across East Anglia.
Her work is in private and public collections in the UK, USA and Europe.
I have to comment that I really appreciated her work and, in particular, her still life paintings ‘Cherries’ and ‘Pear Diptych’. I find her loose, free brushwork with smaller, discrete areas of focus very appealing.
It’s always good to see a few still life paintings in an open show and I noticed this delightful little gem, ‘Pears in Conference’ by Hilary Bartholomew, a current member of the Ipswich Art Society. I think you can probably see that the artist is a fan of the French Master, Chardin.
In January I posted a few comments about the ‘Creating Constable‘ Exhibition currently on at Christchurch Mansion, Ipswich. Along with many works by Constable himself and his Suffolk contemporaries, there are also sketches and paintings from artists influential and important to Constable during his formative years. However, something I did not mention in that post were the few 21st-century works by Suffolk artists currently working in Constable’s county such as this engaging work by local artist, Hayley Field.
Hayley Field has been painting the colours, light and landscape that can be see from her studio window by the River Deben since 2017. Below in her own words she describes her work and the process of painting colour maps.
I began making ‘colour maps’ nearly three years ago when I was working in residence in Mary Potter’s house and studio in Aldeburgh, as a response to the surrounding landscape. Once back in my own studio I began to make them of the view from the window, across the river Deben to Suffon Hoo. I gradually developed their format to become an analysis in one sitting of the colours I observed, making a vertical journey – river to sky or sky to river – including the water, mud, islands, river bank, land, trees and sky. I enjoy the complexity of understanding and describing the colours and the intense, deep focus it requires.
The pencil notes record the pigments I have mixed to make the colours, and the date. What started as documentation has become an ongoing, cumulative piece of work. I have exhibited it three times to date – each time in a different way – gridded, a section of the whole, and in a line. During lockdown I have been making colour maps from a room in my home, with a view to the river Deben, through trees and across fields.
Hayley Field, article for an exhibition at The Cut, Halesworth, Suffolk.
When you take in ‘Across the river in the trees, 2021’, as a whole you can see that it is a visual diary, a year in colours.
The subtle changes across the watercolour map impressively detail the changes of hue resulting from the varying quality and type of light associated with different weather and the different seasons.
Very much on a personal level as colour is central to my work, I find this visual record makes a fascinating piece. And, the delicate yet precise changes painted, for example, 18th June above and 26th September below, beautifully capture the essence and difference of an English summer’s day to a Suffolk day in autumn.
Last week, we took a brief tour of Maldon in Essex, but I failed to mention the specific reason for my visit which was to see ‘The Maldon Embroidery’ on permanent display at the Maeldune Heritage Centre.
The Maldon Embroidery was initially called ‘The Millennium Embroidery’ as it was commissioned to celebrate 1,000 years of Maldon’s history.
It was unveiled over 30 years ago in 1991 to mark the millennial anniversary of the Battle Of Maldon in 991. The whole work is 42 feet long and 26 inches wide and is formed of seven panels. It was designed by the famous photographer, artist and textile designer, Humphrey Spender (1910-2005) who lived locally in the village of Ulting four miles from Maldon.
This textile work falls within the tradition of a ‘Bayeux tapestry’, and like the Bayeux original it isn’t actually a tapestry (woven), but is embroidered (hand stitched).
Furthermore, Humphrey Spender felt the term tapestry was associated with something “faded and dun-coloured”. And, as we can see this intricately detailed, colourfully vivid work is anything but faded.
The content of the embroidery is partly chronological and partly thematic. The significant Battle of 991 is near the left end and we then walk along its length and across time with depictions of noteworthy local events and well-known landmarks.
Unsurprisingly, as the embroidery was made to mark 1,000 years since the Battle of Maldon, warfare is one of themes. The war panel flows from left to right in a transition from ancient to modern warfare.
When we reach the end we have travelled through time to 1991. The final panel shows vignettes of Maldon’s twentieth-century highlights such as the 1980s construction of new roads and roundabouts around the town.
Working together with Humphrey Spender, Mrs Lee Cash and Andrew Fawcett, a further 85 embroiderers took three years to create this work of art.
May I just at this point apologise for the multiple reflections in the photographs and the lack of pictures of full panels. It is a physically long piece of work and naturally it is protected behind glass, but sadly opposite large windows. I am not sure if the glass is of a special quality, but the display room is brightly lit with damaging daylight.
Discussing his love of bright colours, Humphrey Spender, who lived in a Richard Rogers steel and glass residence for over three decades, once commented on the fading of domestic textiles in his home saying they’d faded substantially in just 15 years. Well, the Maldon Embroidery is already 30 years old and so far it is still very colourful, let’s hope it stays that way.
It’s the end of January. There is much to be hopeful about, perhaps we are at the beginning of the end of the pandemic. However, here in East Anglia it is still an on/off cold and grey affair as far as the weather is concerned and so I’ve been hunting around for colour and found these photos of a summer trip down memory lane.
A while ago I was in Essex visiting the village where I grew up and afterwards I drove to the town where I went to school, Maldon. It was strange to be a tourist in a place I had known well as a school pupil. I hadn’t been back since I walked out of the school gates and caught the bus home over 40 years ago. Let’s just say my school days were not the best days of my life.
Anyway, back to the town. Naturally, there’s been many changes in the intervening years since my ‘I’m never going back’ exit. Maldon is a strange mix of a once local rural population (reducing in number) combined with an influx of London overspill (even these days), hosting a small yet noticeable boating and sailing clique (resident and visiting) whilst at the same time tolerating a few quirky, slightly alternative folk. Thinking about it I suppose it didn’t feel that dissimilar to when I was at school, even then, those of us travelling in from the villages further afield, were considered outsiders.
Today, the High Street has changed and not changed. Some of the old buildings I remember are still standing. That’s the churches and the Moot Hall. There are three church structures with medieval traces, All Saints, with a triangular tower, Old St Peter’s, now Thomas Plume’s Library and the Maeldune Heritage Centre and just down Church St, St Mary the Virgin, also known as the Fisherman’s Church.
So, the obviously old and worthy buildings have survived however, the cinema has gone. The Art Deco ‘Embassy’ cinema designed by David E. Nye was built in 1936 and then demolished in 1985. One wonders why it couldn’t have been repurposed or partially conserved as the old redundant St Peter’s Church tower was saved when Thomas Plume built his Library around 1700.
Instead on the site now is a retirement housing complex called Embassy Court. I understand with an ageing population more purpose-built housing is required, but I think losing the cinema building is a pity. Embassy Court is functional, clean and tidy looking, but as a structure it’s not in the same class as ‘The Embassy’ was in its heyday.
Embassy Court is not the only newish redbrick building in the locality there is Maldon’s first Town Hall. This is another less than engaging building situated just off the High Street. Built in the last century opening in 1998 at the cost of £642,000 it has the expected council offices, community rooms and hall, but, architecturally speaking does not exhibit the confidence and flare of a successful town. The architect, local Terry Wynn, said at the time of the building’s opening “We were very concerned that when it was finished it didn’t look like a brand new building, we wanted it to fit in straight away”. Well, he was certainly right on that point, it fits in completely and is unremarkable to such an extent I failed to notice it at all. If you’re interested to see what I missed, you can take a mini tour here with See Around Britain – Maldon Town Hall.
Finally, there is one other old building still standing I remember only too well. It is the Blue Boar Hotel just off the top of the High Street on Silver Street. It has been a Grade II listed building since 1951 and according to Historic England the oldest part of hotel dates from the late 14th century. When I was at school, in the late 20th century, the hotel’s small bar tucked around the back was a favourite haunt for sixth formers.
However, it is the view from just outside the Blue Boar across to the White House on Silver Street that is significant to me. It hasn’t changed that much since I spent five hours painting it for my A Level Art exam. That year the theme for submissions was ‘Seen on a Quiet Street’. This was long before the days of mobile phones or even digital cameras and so there’s no record of my finished picture. However, I do remember during the course of the day several people stopping to look, chat and watch my progress. It was early May and the pink blossom on the cherry tree was only just past its prime. Concluding my memory lane tour on Silver Street felt apt.
During those recent festive in-between days the weather here in Suffolk, like much of the UK, was grey and wet.
In fact it rained and rained and all eyes checked various weather apps to catch a time when rain was not forecasted. We looked at maps and wind directions and tried to estimate when rain would finally clear the east coast.
We usually go up the coast to Orford, Aldeburgh or even Southwold, but there was only a short afternoon window with no rain and enough remaining daylight to make a visit to the beach worthwhile.
With time an issue the 20 minute route to the beach at Felixstowe became our destination by default.
We were lucky the rain stopped as we arrived. There was some gorgeous light and gentle, shimmering reflections off the wet pavements.
And, I loved it.
I only wished I’d taken my camera.
Fortunately today’s phones make forgetting your camera less of an issue than in ‘the olden days’ as the youngsters like to say.
It might still have been too soggy to sit awhile and appreciate the view, but
the walk back along the prom into the shimmering sunset was delightful.
As I write this the jury is still out on whether the Omicron variant is making people more or less sick. However, there’s already been confirmation that this new variant is more transmissible than our old enemy Delta, sigh. With all the gloom I thought it was time for a glass-half-full blog post.
Okay, it’s winter, there’s already been a couple of nasty storms and the days are short, but, oh my, when the sky is not overcast the winter light is gorgeous as the sun rises and sets.
Add a few clouds, and there’s mystery and drama. Who can resist a slightly eerie stroll through the Old Cemetery as the sun sets whilst absolutely making sure you reach the grand, iron gates to exit before lock up.
And, when was the last time you walked down a bog-standard, terraced street transformed by a pink, mackerel sky into the dramatic backdrop for a post-apocalyptic sci-fi film.
Of course, not all winter weather is stormy. There are those surprisingly still days and, with the sunsetting as early as 3.45 in the afternoon, there’s plenty of opportunities to capture some inspirational sunset photos.
It may only have lasted for a mere five minutes or so, but the rich, fiery orange of the setting sun reflected off the low clouds was most dramatic and in a way uplifting too.
The full palette of golden yellows and hot oranges that makes for an autumnal scene has arrived late this year as we can see in this series of photographs from Sunday, 14th November.
As my sister and I walked around Christchurch Park in Ipswich we noticed the varied selection of deciduous trees were at different stages of their end of season show.
Some trees had already lost all their leaves,
some were at the height of their high autumn colour
and some trees still had leaves of green.
All things considered it has been a reasonable, if not a vintage year for colour here in East Anglia.
We are now in mid-November and in this sheltered park not that far from the town centre there’s only been two or three frosts. And, as the experts suggest, it is frosts and cool nights that are two contributing ingredients for good leaf colour.
Needless to say, in an urban park like Christchurch Park, there’s a diverse range of specimen and non-native trees, but as we wandered away from the more formal area of Ipswich’s War Memorial, the planting became more natural, with a wilder feel. You could even believe you were in the heart of the Suffolk countryside and not sandwiched between the town centre and the busy ring road.
I know, I know it’s only the beginning of November, but Halloween is behind us and the world of retail is already in full swing decking out the bricks and mortar High Street stores and the online shops with their Christmas offerings.
It is awkward for me as I haven’t been a November Christmas shopper since I lived abroad and had to organise Christmas gifts to meet the International posting dates. Mentioning Christmas this early never feels quite right to me.
Of course, as we all know, the Christmas television adverts and magazine spreads for this year were probably shot back in August. How ghastly is that? But even for me I have to make banners for my shop to remind people that we are arriving at the gift-giving season (as if everybody doesn’t already know).
And, for practical reasons I have to set out postal dates and details and let my customers know the last ordering day to ensure a Christmas delivery.
Last year, before the vaccine programme commenced, I mostly sold masks for Christmas gifts. It is hard to tell whether people will still buy them this year as our country’s leaders are not keen to advocate their use. You may have noticed that many, many people at COP26 on Monday were wearing masks, however our Prime Minister even when sitting next David Attenborough (95 years old), didn’t think it was necessary for him.
And what’s more on that very same day, Monday, 1 November 21, the UK recorded 40,077 new Covid cases. The PM may think it’s all over, but the figures are giving a more worrying picture.
This coming weekend sees the beginning of the COP26 in Glasgow. And, as many of you may already have been reading there’s an ongoing debate about the role of nuclear power in the energy mix in order for the UK to meet any future commitments on CO2 emission targets. Apparently, an announcement regarding the proposed ‘Sizewell C’ is likely in the near future and in the press yesterday’s FT front page led with an article about new funding models for nuclear plants.
Sadly, instead of a sincere, focussed debate on whether nuclear power is the way forward or not, the Government has instead managed to make Chinese investment in nuclear projects the bone of contention.
Earlier this year my daughter, her boyfriend and I visited Sizewell to film the power stations and surrounding area for his project about family and loss.
I know visiting the site of a now decommissioned magnox power station and the newer Sizewell ‘B’ pressurised water reactor may seem a strange place for making such a film, but the backdrop of the power stations appears in photos showing three generations of our family. And, as some of you may know my mother’s ashes were dispersed on the Suffolk breeze at Sizewell a decade ago.
It was a long day and we were mostly lucky with the weather. There were plenty of warning signs around the site about no access, danger and trespassers etc, but there was no indication that we couldn’t film or photograph.
However, a 4×4 police vehicle did slowly cruise by along the sandy track to check us out. They were part of the Civil Nuclear Constabulary, a special UK armed police force formed in 2005 numbering about 1500 police. Their remit is the protection of nuclear industry installations from the threat of terrorism. As they crawled past we all felt rather uncomfortable. My childhood family holidays here were so quiet and the beach so often virtually empty we could never have imagined an armed police patrol would one day become a routine occurrence.
As the day progressed we discussed the notion of loss in a wider context and in particular considered loss of habitats due to human activity. This was a natural response to the two large power stations and the current proposal for a third new one, Sizewell ‘C’. The area for Sizewell ‘C’ will be slightly less than the combined sites of both Sizewell ‘A’ and ‘B’ together and bring disruption and destruction close to its immediate neighbour, the nature reserve RSPB Minsmere.
The Sizewell Estate shares a border with this very special area of Suffolk. As well as being famous for a wide-range of visiting birds, RSPB Minsmere also includes four national conservation priorities: reedbeds, lowland wet grassland, shingle vegetation and lowland heath. On our filming day we walked along to Minsmere passing the final fenced off part of the Sizewell Estate where the new power station might be built. The boundary limit now displays the latest planning application stapled to a fence post.
I can’t begin to imagine the impact on the local environment of such a massive construction project that will last nine to twelve years and employ perhaps as many as 25,000 people.
In actual fact the site for the new proposed Sizewell ‘C’ has long been fenced off and when ‘B’ was completed in 1995 many saplings were planted in this section. However, we were surprised at the neglected condition of the area. The trees were not thriving in the very dry conditions and had been left to fend for themselves against deer attack with tree guards strewn across the undergrowth.
It occurred to me that since 2009, EDF the operator of the site has had little interest in preserving the wooded area as they believe it will all disappear under the tonnes of concrete for the new power station.
There are many environmental concerns regarding the building of another nuclear power station here at Sizewell even before the more general ‘nuclear power good or bad’ question is considered. For example there’s the serious issue of coastal erosion, a point raised by Suffolk Wildlife Trust when giving their response to the proposed nuclear power station.
The local coastline is incredibly dynamic and it is hard to predict future levels of erosion and deposition. However, a new power station located further forward than Sizewell A and B, is likely to increase erosion north and south. This will impact on Minsmere frontage and the sluice, which is needed to control water levels at RSPB Minsmere and across Sizewell Belts SSSI. There appears to be limited clarity on how future management will adapt and indeed, how this will be paid for if Sizewell C does cause increased erosion.
Proposed Sizewell C Nuclear Power Station – Extract from Summary of our Concerns‘, Suffolk Wildlife Trust
As we walked back from Minsmere the police 4×4 drove slowly passed again adding to our already despondent mood as we discussed the broader environmental ramifications of the seemingly relentless climb of CO2 levels.
In the end we concluded that we should not be adding more deep-rooted problems for future generations, specifically dealing with the long-term storage of radioactive nuclear waste. All in all we decided that we are not in favour of building Sizewell ‘C’.
Like many youngsters of their generation my daughter and her boyfriend have mixed feelings about the Climate Crisis. On good days they are optimistic for more technical advancements in the production and storage of clean energy. And, at the same time they are willing world leaders to embrace a degrowth economy moving to a sustainable way of living. On a bad day they mourn the loss of a shiny, promising future. That would be the kind of future that I and the rest of my family had once carelessly believed we had and assumed that future generations would have too.
As many of you know I have been painting silk for years and mostly selling painted silk scarves, but that was until Covid.
When the pandemic arrived and with it, eventually, the wearing of masks in crowded spaces and on public transport and during a lockdown or not, there was an explosion of homemade masks of every shape and colour. And, as some of you know, I started painting and making silk versions. All that was until the arrival of working vaccines and the gradual reduction of mask wearing.
Now, anybody who knows me in real life knows that I view sewing, by hand or machine, as a means to an end. Getting my old sewing machine out to make masks was an interesting experience for me. In the end sewing and making joined painting as part of my everyday work.
All this prattle brings me to the point that for some bizarre reason at the beginning of this year I decided to embark on a large painting and machine embroidered piece of work. Yes, I did just write ‘at the beginning of this year’, because this has turned out to be a very long drawn out endeavour. And, I am now at the stage where I have picked it up and started and stopped so many times I am wondering whether it will ever get finished. The working day routine of sewing masks pretty much ceased back around last Easter and in between periods of scarf painting, this long, involved project began to take more and more time. Now, as we move into autumn my patience for machine embroidery on this scale is seriously running out of steam.
Anyway I thought I’d share my progress so far and I will blog about it again if it ever gets finished.