The Museum in the Park, Stroud, 2022

This is the second group exhibition of artists that have been involved with Brancaster since its inception in 2013. The Chronicles, in this time, have featured artists who have offered up their studio practice for scrutiny and wider discussion. The ensuing discussions have evolved from transcripts to films, and the work, having gone through the baptism of critical fire, has developed in, at times, quite unforeseen ways. There is no house style, no unifying approach, just a desire in each artist to push their work on, on their own terms, at their own pace, in their own way. If there is a commonality, it is the desire to make work with ambition and to see what abstract can be to each artist. 

The work in this exhibition is primarily two-dimensional (due to the logistics and particular operating procedures of the museum).  It is a shame we cannot see any sculpture on this occasion. The work on show is diverse, eclectic and demands our attention. In an age when the ambition in art is often to produce things that lurch towards a form of entertainment or crass titillation, the works here do no such thing. Rather, there is a desire in each artist to root us to the spot and ask questions of our engagement with their work. The rewards in such an engagement are greater. For one thing the passive act of regarding becomes a more active form of looking – seeing how decisions are made, over time, in the unfolding new reality of a form of art which we can call “abstract”. Yet, no artist here is fully comfortable with such an assertion; they are all much more cagey in their ambition, unsettled even, full of curious doubt and trying to be ever alert to the next discovery. No great claims are made, no worlds turn on a thought. It’s quiet, steady and probing. Everyone is in it for the long haul. 

The work will posted on the site and comments are welcome: this is what the DNA of the Chronicles is all about. We thank Noela for all her hard work in curating the exhibition and we thank the Museum in the Park for giving us the space for the duration of the show.

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A quick tour of the exhibition…

Works exhibited:

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John Bunker

“Sentimental Education” 2021: acrylic, ink, collaged canvas, coloured papers on canvas on MDF board, 30.5 x 70cm
”Take me in the night to the house I never knew.” 2021: acrylic, ink, collaged canvas,  coloured papers on denim on MDF board, 30.5 x 70cm.

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Robin Greenwood

“P.3746” 2021-22: oil and collaged canvas on canvas, 147x137cm

“P.3119” 2020: oil and collaged canvas on canvas, 107x67cm

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Sarah Greenwood

“unfinished pieced quilt top” 2017-18: 65x45cm

“hand-pieced quilt” 2022: 85x60cm

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Alexandra Harley

“For Korapiloa” 2021: acrylic on paper, 42 x 30cm

“Blue Hari”  2021: acrylic on paper, 42 x 30cm

“For Bob” 2021: acrylic on paper, 42 x 30cm

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Harry Hay

“Untitled” 2019: oil on canvas, 90 x 90 cm.

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Noela James Bewry

“Pimento” 2022: acrylic on canvas 113 x 70cm

“Nightshade” 2022: acrylic on canvas 113 x 70cm

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Patrick Jones

“Sidmouth” 2022: acrylic on canvas   152 x 213cm

“Picking up Sticks” 2022:   acrylic on canvas  61 x 91cm

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Nick Moore

“Cryptic” 2017:  acrylic-and-mixed-media-on-canvas, 122x122cm

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Fred Pollock

“Cynon”  2022: acrylic on canvas 156 x 122cm

“Chiron”  2011: acrylic on canvas 58 x 58cm

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John Pollard

“Phainesthai” 2017:  acrylic on canvas, 120x150cm

“ End of Times” 2021: acrylic on canvas 80 x 80cm

”Zaffa” 2021: acrylic on canvas 80 x 80cm

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Hilde Skilton

“Algal Blooms” 2022: oil on linen 100 x 120cm

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Anne Smart

“Happenstance Landings” 2022: oil on canvas 122 x 244cm

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Steven Walker

“Untitled”, 2021: acrylic on panel, 108x144cm

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Richard Ward

“Diptych” 2020: oil on canvas, 30 x 20cm (x2)

“Performance 1”  2020: oil on canvas, 30 x 20cm

“Performance 1”  2020: oil on canvas, 30 x 20cm

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Emyr Williams

“Time’s Purpose” 2022: acrylic on canvas, 127cm x 81cm

“C12” 2022: charcoal on paper, 84 x 57.5cm

”C25″ 2022: charcoal on paper, 84 x 57.5cm

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2 comments
  1. Mark Skilton said:

    Having just come home from the opening, I am struck by the variety of different approaches toward dealing with a non representational environment in two dimensions. Furthermore it is apparent that all of the work can be characterised by the amount of thought and consideration that has gone into every piece, regardless of wether you may like or dislike a particular approach you cannot ignore the sheer effort that has gone in. It is an effort of intelligence rather than energy, a teasing apart of obscurity and chance , to start to build an abstract structure within the void.

    Liked by 1 person

  2. Hilde said:

    I have had many thoughts after seeing this show, however one lasting impression is how physicality is interpreted in different ways, from the strong gestural physicality of Alex and Richard, to the subtle physicality of Patrick, where the canvas starts coming alive as a result. And then we have my painting hanging next to Emyr’s, with its uncompromising directness compared to my more nuanced layering. And then there is Noela’s where the layering is so beautifully interwoven. The physicality in Robins painting is bound up in the process of moving paint around as physical stuff, and then torn off again in patches. The physicality in Fred’s painting is in each individual decision made and put down physically building the painting to become thought built. By contrast Steven’s painting gives the impression of complete abandon of control, only to be regained at the end. Anne’s painting has literal physicality in the texture, however the processes by which it is arrived at is unfathomable.John Bunker,s collages are a very physical construction which are completely absorbed into the intense visual physicality of the final image. Finally, I greatly enjoyed seeing again the work by Sarah, Nick, Harry and John Pollard.

    Liked by 1 person

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