Supporting the Arts

A message to you.

I want to thank everybody who has taken part in STA up until this very moment.

As explained in the post, life has other commitments and it’s becoming difficult to balance everything at once.

The website will still remain, and so will the page.

Who knows, I might be back sooner than anticipated.

Have a wonderful new years.

Thank you so much for everyone’s support and love during my takeover. I hope you enjoyed my posts and work. I want to end this with some more of my graphite drawings. My First post has some background and theory about the decisions I make in my practice. In order, the drawings are titled ‘Reverence For My Cell’, ‘Wilt’ and ‘The Parts We Play To Convince Others’ If you like my work, please consider giving me a follow over

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To discuss my inspirations, when creating art in my studio, I am always using sound to keep me in a flow state. I listen to a lot of music, my favourites right now are Gregory Alan Isakov, The White Buffalo, Caamp and Wardruna. I also listen to many podcasts and true crime documentaries. I find inspiration in most things. Certain lyrics, film, and media. I have so much art I could share that I find inspiring, I have selected some artwork I have resonated with recently. The artists are tagged if you wish to follow them.

The runner up will be taking over this week for three days. Keep your eyes peeled!

This is Andrew next to an older painting”MirrorClade” (2021) in a Leeds Gallery.

“My studio practice consists of using traditional academic oil painting methods with respect but also subverting and playing with them. Prioritising the harmony of the composition and colour with the associated themes and message of the painting. I try to be adventurous in my methods and constantly look to improve my process from the conceptual and developmental stages of each painting, through to the ex*****on and final polished piece. I'm very interested in the materiality of paint through my application to the surface and its fluidity, experimenting with various textures, layers and glazes as appropriate to achieve the maximum effects. My technique requires strong under drawing, the use of glazes, scumbles and altering fluidity through thick and thin layers as appropriate to the object I am painting. I'm well aware of historic painting techniques and see my own method as an appropriation of academic painting mixed with various other influences in brushwork and colour from both contemporary and historic painters. “

“Echo Chamber” 2022

This painting is on display at The Open Gallery in Halifax currently as part of there Landscape exhibition.

Andrew creates underdrawings for his paintings.

Underdrawing is a technique used for many decades. Notoriously since the 15th century, mainly by painters such as, Jan van Ryck.

The intricate detail Andrew includes within his drawings are then further realised with layers of vibrant oil paint.

“The Ceremony”

“point 4 of a painting I've done for an independent film to be shot in Bradford called 'The Ceremony'”

Zoom in for hidden details.

Winner will be taking over Supporting the Arts Instagram page from the 10th - 16th of October.

You don’t want to miss this!

“Up in the Air” Mari Honma 2021
Mixed media, 61 x 30.5 x 2 cm

'Up in the air' is a mixed media artwork created in 2021, reflecting our current situation. Although our society may have progressed enough to appear systematised or organised, it is often affected by its surroundings and has numerous uncertainties.
Like our changeable circumstances and its balance consisting of fragile factors, this work expresses the slight instability that we confront in our daily lives.
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“Blue Pool, Treyarnon” Sharon Bruster, 2022
Acrylic paint, ink and plaster on board, 45 x 45 cm

One of an ongoing series of abstracted works inspired by the ever changing and endlessly fascinating rockpools on my favourite beaches.
To purchase this painting, please direct message Sharon for more details.

www.sharonbrusterart.co.uk

“Moment; Extended” Niki Gandy, 2021
Graphite-glazed photography on aluminium, 40 x 40 cm

An ongoing series of works exploring the limitations of memory and nostalgia in revisiting a single moment of nondescript domesticity.
These pieces are left unfixed to enable the image to continue to shift and distort over time

www.nikigandy.co.uk

“Pink moon gonna get you all” Lila Chatfield, 2022
Textiles (cotton, silk, wool, clay, rabbit fur, unknown synthetic fibres, copper wire), 112 x 101 cm

I make colourful, hand-sewn wall hangings that are expressive and narrative in style, with a contemporary folk aesthetic. Much of my inspiration comes from the intersection between my inner imagination and experiences of the outer world, creating work that is rich in emotions and meaning, embracing the joy of the unexpected and the imperfect. I often reflect on world political events in my work. I made ‘Pink moon’ following a blissful camping trip to a very special rewilded estate in the south of England. All the while, Putin was embarking on a shocking war and threatening nuclear warfare. The two juxtaposed feelings were extremely confusing. Here I was considering what role artists can play in the crisis - as observers, how can we still make art? Are we still allowed to have joyful experiences when others are living a nightmare? How can we reconcile feelings of powerlessness? The quilt features a hidden atomic mushroom and an evil eye amulet made from rabbit fur gathered at the estate.

“On the Edge of a Dream” Phil McCumskey, 2022
Acrylic and mixed media on canvas, 1 x 1 m

An abstract work that captures fragments of dreams we try to recall...


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https://www.philipmccumskey.com

“gamma #112” Paul Blenkhorn, 2020
Acrylic on canvas, 11” x 24”
This is an abstract expressionist painting. I do not wish to comment further as I do not wish to place a particular interpretation in the mind of the viewer.


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https://www.sensoryarthouse.com

“Hostage to Domesticity”, Jane Gibson 2021
Photomontage, embroidery thread and dolls house chairs, 10 x 5 cm

Why are almost all the “great” artists, the old masters, literally men? Because they have someone else taking care of their domestic arrangements! With domestic chores and childcare inevitably falling to women, simply having the time to create, let alone master an artform, is a luxury rather than a job. Tied to the role of mother, wife, carer, I and many like me struggle to be heard above the noise of daily life.

“The Vessels of Life” Anum Farooq, 2022
Oil on canvas, 70 x 50cm

Inspired by the blood vessels; arteries carry blood away from your heart, and veins carry blood back toward your heart. The capillaries are the smallest blood vessels that connect arteries and veins.
In the process delivering oxygen and removing waste products, a transport system within us.
Similarly, as the process of cleansing, purifying, delivering oxygen and nutrients occurs physically within us.
Like so, spiritually and with mindfulness we also require delivery within our hearts and minds of ethical values, and cleansing of all those waste products, inertia, procrastination, judgement and so on. That pollute our minds and soul.
This also connects us to the earth as being part of wider ecosystem where we get rid of pollution and nourish the plants and wildlife that our planet requires to thrive. Similarly with the oceans too, perhaps we as humans can become the blood vessels of the environment.
Blood vessels contain constant movement, like us we are constantly moving and struggling within ourselves, as well as the planet to be cleansed and nourished. This is the meaning behind this painting titled 'The Vessels of Life'


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“Red/Green Horizon” Sue Lynn, 2021
Oil paint, 50 x 50 cm

Painted in traditional artists oils, with the addition of iridescent pearl oil paint on stretched canvas. This piece does not require a frame as the support has a deep profile painted in a complimentary colour.
As in all my paintings this work is influenced by memory the driving force within my art practice, I am not seeking literal translations as in a film still for instance within the work, rather I attempt an intangibility from a particular memory.
Multiple layers of paint are hidden beneath its richly textured surface, giving the work its atmospheric quality, as I endeavour to re-visit on canvas a place, mood, or moment in time.

“Detours”, Peter Finch, 2022
Mixed media, 55 X 55 cm

An abstract creation on cradled board inspired by my current theme of unexplored vistas, journeys and pathways. The work is many layered and includes areas where the paint from my palette had been peeled off and used as collage.

“Thinking Things Through” Lynne Chapman, 2020
Acrylic on canvas, 60 x 60 x 30 cm

This piece is part of a series of paintings I made during lockdown, exploring my personal experience of that year. Although I lost my income, I was already used to a regime of being in the house almost all the time, which proved a great asset in keeping my mental health on track. The isolation and lack of distraction also provided me with a uniquely focussed period of painting. This made me think a lot about the nature of contentment and personal fulfilment.

www.lynnechapmanartwork.co.uk

“Colours of the Life There Once Was” Letizia Kutscher, 2022
Oil on wood, 40 x 53 cm

This painting is a section of the pelvis and hip bone region exploring a contemporary idea of the 'Memento Mori' rendered in vivacious colours. I am shifting the emphasis of ‘Memento Mori to one celebrating life from the vantage point of death, representing life both before and after death. It explores feelings of life and celebration to over-power the eeriness and sadness of death. I use vibrant colours to emphasise this idea of the celebration of the life motored by these bones rather than the sadness that follows death.
A skeleton is an appropriate representation as it is the last part to remain of a human being once they pass. It is also the core structural frame of the body that allows us to move and live, yet it is so unappreciated as we never see it. Although of course the tragedy and sadness of death are inevitable, I still want to celebrate the years one lives and emphasise the value of life. Intertwining death and celebration opens a conversation of how life is treated and respected after death.
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www.letiziakutscher.com

“Summer Love” Lorraine Thorpe 2022
Acrylic Painting, 60 cm Square

Original acrylic painting on paper set into a solid wood frame. A colourful abstract painting inspired by my love of nature walks with my dog . Experiencing the textures and colours we come across.

“Sending All My Love (Linear)”, Jenette Coldrick Morrell, 2022

Acrylic and Ink, 21cm x 29.7cm.

I was exploring the work of “Linear” an American freestyle music trio which incorporated linear progression with a rhythm beat.
The outcome was a fluid line composition, tending towards the figurative, which is often a feature in my work.
(Linear progressions prolong harmonies through elaboration, or filling-in with dissonant notes, of a leap between two consonant notes from different voices in a chord.)

www.jenettecoldrick.com
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“Plastic Milk Bottle Birds”, Beth Barlow, 2021
Plastic milk bottle, rescued wire and wood, 50 x 30 cm

This project looked at plastic waste and its effect on wildlife. Part of the work was to create an aesthetic which expressed this, but I also used single use rescued plastic found in my local environment. This has an added practical implication; it takes potentially dangerous waste from an environment and turns it from single use into an artifact which will be appreciated multiple times. This brings up questions about plastic like; is it just its single use which is the problem or is it plastic in general?

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“Skinny” Victoria Vimbet, 2022
Inkjet on canvas 90 x 120 x 2 cm

How loneliness looks like