In Tom Hammick’s upcoming exhibition Island Life, images of Henry’s Cabin and the walled utopian garden of Sky Island glow under the same moon as his new woodcut prints inspired by Benjamin Britten’s Sea Interludes. His surreal landscapes evoke feelings of solitude alongside a deep interconnectivity where consciousness looms just over the dream horizon. Hammick’s images are often metaphors for the human condition; reflecting states of mind, transience, fragility and awe. Continue reading →
Rabley Contemporary is hosting a serene and tranquil show of drawing and ceramics by Nicholas Lees and Jeff Powell. The first few minutes spent with the finely crafted works provides the visitor with impressions of shifting light and ephemeral glimpses of forms, redolent of fleeting recollections. Take a little more time and each piece reveals itself as a complex engagement with materials exploiting the possibilities and boundaries of the hand-made. Lees has produced a series of porcelain vessels which defy concepts of solidity Continue reading →
The Precious Hours 2017, Collagraph and block print on paper, 92 x 71 cm, Edition of 25
The Precious Hours is an exhibition of new prints and works on paper by Katherine Jones, Rabley’s artist-in-residence 2016-17 and runs from 17 March – 28 April 2018 at Rabley Gallery, Wiltshire.
During her residency Katherine Jones travelled down to Rabley Home Farm from her home in London on a monthly basis. Katherine was able to witness the seasonal changes on the farm as well as more formal changes such as the sale of the dairy herd, which marked a fundamental shift for the farm. She has not attempted to document these changes straightforwardly, rather, the relative space and minimalism of the cultivated landscape in contrast to the squeeze of the urban environment; the differences in scale; the bittersweet nature of farming and our larger changing environment have been the catalyst to the new work. Continue reading →
Fred Gatley, ‘The Rabley Series’ Porcelain bowl with cast bronze base (Rabley inclusions)
For over thirty years Fred Gatley has been carefully incorporating found materials within his pieces, many of these introduced into the clay bodies themselves. Sands, silts, muds, brick fragments, stones and rusting iron have all been used, combined with drift woods and even waste copper scraps, all of these bringing to the work their own story and location.
In ‘The Rabley Series’ Fred has responded to the landscape and environment of Rabley Home Farm, a working arable farm set in the ancient Wiltshire downs. The landscape throws up echoes of its history including fragments from the Neolithic, Iron and Roman ages together with the everyday chips of a contemporary working farm. Continue reading →
Everyone Is A Moon is an exhibition of new work by artist and printmaker Amy-Jane Blackhall that takes the form of an immersive sculptural installation.
Blackhall’s work emerges from her fascination with the concept of interconnectedness, through the physical and spiritual act of making, particularly the repetitive nature of print.
Underlying structures are central to her imagery; derived from sacred places, she frequently references archetypal symbols, Oriental art and Eastern ideologies. Recurring themes in her work reflect on how the universality has a strong aesthetic appeal transcending space and time, language and culture.
A large lunar abacus takes centre stage. A familiar childhood object used for counting now holds hand blown glass moons positioned to mark the lunar phases of 2017. Casting it’s own shadow and reflection in the mirror moon it exists beyond it’s framework; as the audience orbit the space they can’t help but interact and engage.
Accompanied by a series of prints made from solar plates there is an emphasis on the comfort in the cadence and repetition of ongoing cycles that both anchor and elude us.
Coast explores two artists response to the changing British Coastline and surrounding wetlands.
Neil Bousfield’s Home and Place and Walcott woodcut series reflect on notions of temporality, loss, and fragility. The prints begin to map and record the impact of the process of coastal erosion, storms, sea surges and rising sea levels on Walcott as a place. The delicate marks and pallet used act to unravel a narrative that explores a changing landscape and community.
Nik Pollards Wallasea drawings explore the relationship between landscape and nature. In 2015/16 Pollard was invited by the RSPB to help record the Wallasea Island Wild Coast Project though drawing and painting on site. The RSPB reserve in Essex is an ambitious project in which ancient wetland landscape is being recreated using, amongst other things, 4.5 million tonnes of spoil from the London Crossrail. It is part of a plan to combat flooding, the effects of climate change and to replace lost natural habitat. Saltmarsh, mudflats, lagoons and pasture are being established through major earthworks – the biggest conservation and engineering project of its type in Europe.
The energetic drawings are the result of two visits made to the site and reflect Pollards fascination for the contrast between the site under construction and its development as flora and fauna beginning to take hold.