No. 143 for Ipswich Art Society – Part II

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.

‘Curled Figure’ Kate Reynolds. Stoneware ceramic.

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,

figurative works,

bucolic scenes,

‘After the Snow, Blythburgh’, Mary Gundry. Oil.

a handful of textile pieces

and even a social commentary textile installation.

‘Abolish Snobbery’, Hannah Aria. 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.

‘This Green and Pleasant Land’, Dave King. Acrylic and Ink. 2022

No. 143 for Ipswich Art Society – Part I

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.

Some of the work on display at Ipswich Art Gallery.

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.

‘Three Friends’ by Claire Lambert. Monoprint.£350

However, I did have more luck photographing the work of the second artist of this retrospective, Judith Foster.

‘Cherries’ by Judith Foster. Oil. £620

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.

‘Quinces’ by Judith Foster. Pencil. £285

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.

‘Pear Diptych’ by Judith Foster. Oil. £425

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.

‘Pears in Conference’ by Hilary Bartholomew. Oil. £225

Our Moon

Formed in a violent collision when Earth collided with another small planet, the Moon is our closest and most familiar cosmic neighbour. Last week I went to see ‘The Moon: Meet Our Nearest Neighbour’ a touring exhibition at Ipswich Art Gallery.

The Ancients Greeks made the link between the Moon and the tides here on Earth sometime during the 4th BC and then later the Roman Philosopher, Seneca writes in ‘De Providentia’ of the tides being controlled by the lunar sphere. And, when you enter this exhibition space a very, very large plastic version hangs from the double height ceiling. It is hard to get the scale from my photograph, but it does make you stop and consider how that small orb we are so used to seeing in the night sky could indeed influence the tides.

A very large plastic version of the Moon hangs above the exhibition showing the topography of the Moon. The Moon is one of the few places in the Solar System with no erosion, so its surface has remained unchanged for billions of years.

On display, apart from the modern plastic model, there are several maps and diagrams detailing the topography of the Moon including the oldest printed map made in 1707.

Original of one of the oldest printed maps of the Moon. Made in 1707. It shows two views of the nearside of the Moon with different namings. Despite being made with primitive telescopes over 300 years ago, these maps are surprisingly accurate.
This colourful picture is a map of lunar craters.

The Moon is Earth’s only natural satellite and, so far, the only off-world body visited and walked upon by man and included in the exhibition are two tiny pieces of actual Moon rock.

This is a sample of Moon rock. This white rock is called anorthosite and makes up much of the topography on the Moon. It is what the lunar mountains are made of, and what craters are blasted out of.
And the other Moon rock on display is this black rock. It is a sample of solidified lunar lava, called basalt. It erupted from a volcano on the Moon billions of years ago flowed downhill into a large crater or depression, and then solidified into rock.

Throughout recorded history and no doubt before, humans have gazed at the Moon and found inspiration for beliefs, assigning meaning and portents. Various peoples have used the moon for calendars, timekeeping and as a navigational aid and a selection of examples are on display in the exhibition.

Small pieces originals and facsimiles line the Upper Gallery.

I was fascinated by the Moon rock, but there were two other very interesting items in the exhibition. One was a facsimile of a 3,500 year old bronze disc from Germany showing the earliest-known depiction of the cosmos. The Nebra Sky Disc shows a clear representation of the Sun and Moon surrounded by stars.

Nebra Sky Disc (facsimile). Bronze disc from Germany approx 3,500 years old.

And, the other item that captivated me was a magnificent chart. As history records twelve astronauts have walked on the Moon with the first and most famous landing taking place on 20th July 1969. Below is a large wall chart of the GOSS-Mission Profile. I looked it up, GOSS means Ground Operations Support System. The schematic was an engaging and intriguing end to an an interesting exhibition.

There aren’t suddenly two moons. The chart is showing two journeys, the one from the Earth to the Moon and then the return trajectory back to Earth.
Chart dated 1 May 1967

Nature drawn and/or photographed – ‘Art Forms in Nature’ Exhibition

It is always a pleasure to visit a thoughtfully curated exhibition.

From top left clockwise: Koelpinia linearis (Compositae), Centaurea Kotschyana – Knapweed, Hamamelis japonica – Japanese witch-hazel, Echinops sphaerocephalus – Great globe thistle, Pale globe-thistle. Photogravures, 1932

And, this was particularly so when I went to see ‘Art Forms in Nature’ at the Ipswich Art Gallery. The exhibition was comprised of four collections of images showcasing nature. The main area had a display of 40 photogravures by Karl Blossfeldt, the main upper gallery showed botanical drawings by Guy William Eves, and two smaller side rooms were devoted to specialist classification imagery.

From the left: Euphorbia – Spurge, Centaurea Grecesina – Knapweed, Cotula turbinate – Water buttons, Buttonweeds. Photogravures, 1932

The photogravures of natural forms by Karl Blossfeldt are fascinating. They are a Hayward Gallery Touring exhibition. Each image is beautifully and elegantly framed and mounted, and with discrete labelling (white on black), the main wall of 16 had both a classic and contemporary appeal. It invited closer inspection of each single photogravure.

Phacelia congesta. Photogravure, 1932

It is hard to believe these enlarged close-ups capturing such detail are nearly 90 years old.

I was new to Blossfeldt’s work and am now a fan not least as I know I will be returning to his images for pattern and motif inspiration.

Erodium chrysanthum – Yellow storksbill. Photogravure, 1932

Whilst the downstairs gallery featured a German photographer’s work the upstairs space was filled with work by the local artist and botanical illustrator, Guy William Eves.

Now here is why I think this is a thoughtfully curated show – you walk up a staircase having just examined how the lens captures plant detail to come to a collection of detailed drawings showing how the eye and hand creates a record of botanical forms.

From the left: Iris, Lily Head, Magnolia. Pencil drawings

Botanical illustrations are about accurately recording the form of a plant, and yet at the same time a visual artist, such as Eves, offers us both the required accuracy and a personal interpretation. A myriad of choices are made as Eves develops each representation. His skilfully drawn studies suggest the presence of living material all created through line and shading.

Ferns. Pencil drawings

I think you can see (even in these photos) there is something added by a fine artist when you compare Eves work with the purely accurately rendered scientific drawings and watercolours such as these of flies and fungi.

Fungi – Leslie Green ( 1918-2007), a Suffolk fan of fungi. Watercolour.

And, furthermore, if we compare Eve’s drawings with Blossfeldt’s dramatic, intense photogravures, you might agree that the drawings certainly differ having a more vital and radiant quality.

Lily Head. Pencil drawing

One final point, of course, you are currently looking at all these natural forms several times removed. The artists/photographer have created these works, I have then photographed them (with varying amounts of light and reflections issues, I apologise for the less than optimal quality) and uploaded them to a computer and you are now viewing these images on a screen. Somehow this has deadened their presence. If you don’t get the opportunity to visit this exhibition, I hope you might spare a moment to take a much, much closer look at the next gift from Mother Nature as it crosses your path.

Ornithogalum umbellatum. Pencil drawing

Remembering the Joy of the Mechanical in the Digital Age.

Last week I went to visit the ‘Marvellous Machines’ exhibition currently showing at the Ipswich Art Gallery. It is a fascinating, stylish display of visually elegant and appealing mechanical artworks.

Baba Yaga from ‘Baba Yaga’s House’ by Keith Newstead.

And, what’s more you get to push small, red buttons to make the automata work in all their whirring and squeaky intricacy.

‘Goat and Bucket’ by Paul Spooner. Mechanical sculpture.

In these digital times it’s easy to take for granted all our speedy, convenient tech. We click and scroll without a second thought as to what is actually going on beneath the screen.

‘Sit up Anubis’ or ‘Sleeping Musculature’ by Paul Spooner. Mechanical sculpture.
Pendulum clocks from 1699.

It wasn’t always so and the ‘Marvellous Machines’ exhibition reminds us of all those bewitching clockwork and mechanical objects from the past. Some examples such as mechanical toys were purely for entertainment and some were functional equipment that was often beautiful too.

Hammond 2 Braille typewriter, 1884. Hammond’s company motto was ‘For all nations, for all tongues’. You can swap different parts around to type in 14 different languages.

Functional objects from the past on display in this exhibition included a braille typewriter, a rather attractive ‘shrimp’ sweet making machine

Shrimp sweet making machine. (Donald Storer and Richard Durrant used this machine to make shrimp-shaped sweets at ‘The Homemade Sweet and Rock Factory’ in Felixstowe between 1950 and 1988.)

and a scale model of the an early Otis lift.

Scale model of Waywood-Otis automatic lift, early 1900s. Waywood-Otis used models like this to show-off their technology to customers. Traction lifts use pulleys and counter weights to move up and down.

Of course, humans have used mechanisms to make moving toys for thousands of years.

Naturally, in an Art Gallery some of the works on display are examples of art. These delightful mechanical sculptures by Paul Spooner are exquisitely crafted, and are both beguiling and witty.

Barecats by Paul Spooner. Mechanical sculpture.

I particularly liked the manner in which the mechanics are also on display in this piece. It has become an expression of our contemporary culture to reveal inner workings. Here you can see the cogs and spindles are finely made and are assembled in a functional and satisfyingly ordered arrangement.

Spaghetti Eater by Paul Spooner. (notice the flowing taps too) Mechanical sculpture.

Another work by Peter Markey, Artist-Painter, resonated surprisingly strongly with me. It’s as if he has been spying on me!

Artist-Painter by Peter Markey. Mechanical sculpture.

‘Marvellous Machines’ featuring these quirky pieces from Cabaret Mechanical Theatre, continues at Ipswich Art Gallery until 3 November 2019. If you can’t get to Ipswich a list of upcoming events displaying some of these mechanical sculptures is available on the Cabaret Mechanical Theatre website. Finally, Cabaret Mechanical Theatre sell some of their work online offering one-offs, limited editions and even ‘build your own’ kits.

Artist-Painter by Peter Markey.
(Looks like I feel when faced with another weekend of decorating this old house!)