The exhibition is as diverse as you would expect from 18 artists, with various nationalities, abilities and experience – and no theme. However, the only common thread I could actually walk away with, is the fact that there seems to be a lot of work in the mid to small size range. You know like the size you can easily pop in a corridor or on a narrow wall. There are also a few brazen larger paintings and some quite exquisite sculptures too.
Fred Shively exhibition photographer
Fred’s photos from the opening night
Artists with their art!
Here are Fred’s photos of some of the artists with their art on the opening night:
My interpretation of some of the artworks
I’m going to explain to you a little about the pieces that stuck in my mind. Here are some of my photos of the art to illustrate:
I really like the casualness of the figures in Judy McConway’s landscapes. They speak of everyday easy encounters, walking along the dusty tracks of the Alpujarra’s. They are contemporary and honest paintings – very much of their time. She has captured that slightly awkward feeling when coming across strangers, when one presumes to be alone. These paintings could be me walking by – either being observed or observing others in a familiar rural environment.
Let me set a scene of nature and an artist both tastefully in tune with one another – Yinca, while sat amongst the olive trees, set in a stunning rural landscape, carves these beauties by hand. With each carefully selected section of seasoned olive wood and with a kind hearted consideration to the grain, he releases a creature or form for us to experience – a dolphin, a lady and a oblong bowl with a wet stone. Each sculpture is then given more life and value with a detail of several delicate veins of pure gold inlay.
Anxela Meilan’s art appears on the publicity for this show. Her playful figures are made up of collage, charcoal and paint. Anxela seems to express a complete freedom and joy with her ease of use of her chosen art materials. As far as I can tell, she is working with no reference material, with only her own imagination and experiences to hand. To me, she seems experienced in the art of reflecting her interesting and interested soul, through her well honed creative process. Her artworks are compelling and keep me gazing to see more in them.
Klaus Schumacher is one of the organisers of the show. His artwork is completely uncontrived. He grinned as he told me, “At the end of an art class, I took my leftover oil paint and applied it onto given up canvases (boards) of my class mates.” So he painted these in the moment – smearing, applying and painting quickly. Another of his paintings actually looks like he dared to simply clean the excess paint off his brush and present it to us as a sparse bit of blue on white – a flippant yet deliberately carefree design. I love this approach to art – fast and thoughtless – letting the painting just be whatever it wants. I think, although Klaus’ art initially is not about making us (the viewer) feel good, I think in the end it is for us, because he’s exhibiting his example of non attachment and non preciousness, something that I could do with learning a little bit more about myself!
Maxine Friday’s art can be profound sometimes. We have had discussions about us not wanting someone else’s portrait on our own walls at home and then she goes and blows that idea out the window by painting portraits that stand up as paintings in their own right. This painting of a woman looks like she’s one of my old mates, satisfied after a good night out. The lipstick smudged and what’s left of her party outfit keeping her warm – the whole painting is a success.
One of the most riveting pieces in the show for me, is Nick Fudge’s large sepia oil painting of a female nude taking a selfie of her own backside. Nick requests (for various reasons) that his artwork not appear online, so you will have to use your imagination while you read my description. She looks at us through a Picasso style painted mask, as if we, the viewer, are her reflection in a mirror. I love the way Nick echoes the evolution of art history into paintings of his own making. This is an intimate scene of a naked lady, turning back to face us, as if we are not there. She is holding her phone-camera up, to see the back of her unremarkable body on the phone screen. She has folds of flesh on her side, her left boob is plainly rendered in profile. The brush marks are loose and the brown paint thin as it drips down her buttocks. Much of the surface area of the painting is left bare. The whole painting is expressively and expertly executed on primed, stretched cloth.
You can read about my 4 contributions to this show on my own missplunkett.tv website. There you can read the stories behind each piece and I’ll show you a few more of my photos from the opening night.
Photos of the artists work
Here are some more of my photos of the artists work, which can be seen in the exhibition:
If you are interested in any of the art you see here or if you’d like to commission any of the artists, please contact me and I will forward your message.
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This blog was written and composed by Emma Plunkett – ANA chair.