'The London Deal'
The London Deal
Linden Hall Studio at The Building Centre
14 February – 25 May 2018
at 26 Store Street, Fitzrovia, London WC1E 7BT
Harold Chapman – Daisy Cook – Eileen Cooper RA – John Copnall – John Corley - John Hoyland – Tess Jaray RA – Stephen Lewis – Jeff Lowe – Mali Morris RA – Tony Nandi - Arthur Neal – Humphrey Ocean RA – Robert Persey – Geoff Rigden – Paul Tonkin
“When The Building Centre kindly invited us to curate an exhibition, we were thrilled to have such an exciting opportunity.
The London Deal brings together a group of contemporary artists to create a unique show that compliments the space perfectly.”
– Myles Corley, Gallery Director, Linden Hall Studio.
“I am delighted to welcome Linden Hall Studio as the first professional art gallery to exhibit at The Building Centre. Contemporary art has always been a personal passion of mine and Linden Hall Studio has created its own special place in the art world in a very short time. Fitzrovia and Bloomsbury have always been synonymous with art and architecture and Linden Hall Studio is therefore an excellent addition to this creative area.”
– Colin Tweedy, Chief Executive, The Building Centre.
Established in 2014, the ethos of the gallery was always to bring the very best of contemporary British Art to the English coast. With over the 31 exhibitions, and a multitude of visitors ; the gallery is delighted and extremely proud to be able to continue achieving and expanding upon this original aim.
The gallery’s location is important to its charm. Just over an hour on the fast train from central London whilst at the same time, being a mere stones throw from the English Channel. One cannot pass through this little patch of England, it is a location, a destination one most decide to head toward.
Yet the draw of this special patch of shoreline has always been able to seduce creatives toward it. Turner twinkled at the seascape, Wilde, walked the promenade, Fleming gripped his pen, Coward grabbed a glass. Different timezones, different periods, different modes of self expression. Yet still they came. It seemed that the environment that Deal oozes, could offer something that nowhere else quite could. At Linden Hall Studio, it means very much to us that we are able to continue this cultural legacy – by bringing the very best of contemporary art, to this creative area of the world.
Music :
Linden Hall Studio - 'Britain Runs on Rail'
Linden Hall Studio is delighted to be working alongside the ‘Britain runs on rail’ campaign.
The high speed service is integral to the galleries aim of bringing the very best of contemporary art to Linden Hall Studio. The HS1 also provides a brilliant way for creatives, collectors and cultural enthusiasts to discover what is happening here on the south east coast!
Extra carriages to the @se_railway lines will enable an extra 40,000 visitors and secure 9.2billion pounds of investment to the local area.
'Down From London'
'Down From London' - The London Group at Linden Hall Studio.
In this short film, co-curator of our February exhibition - Martin Heron discusses his installation, the show, and knowing when to stop.
Down From London runs at the gallery until February 25th.
“A vital strand of artistic diversity and free-thinking in an art-world increasingly dominated by market forces and curatorial conformity.”
Nicholas Usherwood, Features Editor, Galleries Magazine.
The London Group was set up in 1913 by thirty two artists including Robert Bevan, Henri Gaudier Brzeska, Jacob Epstein, Duncan Grant, Annie Hudson, Wyndham Lewis, Lucien Pissarro, Ethel Sands and Walter Sickert, with the aim of creating a powerful artist-run group to act as a counter-balance to institutions such as the Royal Academy. The founding group created a unique structure for an organisation, that has gone on to successfully nurture the careers of many of Britain’s best-known artists.
The London Group is a thriving democratic artists’ collective practicing in all disciplines, from painting and sculpture to moving image, digital and performance, with a full annual events programme in London and beyond.
The Group’s written constitution requires it “to advance public awareness of contemporary visual art by holding exhibitions annually.” Operating in the interstices between existing art institutions, the Group’s focus today is on self-generated exhibitions. Curated and managed by its artist members, these events aim to offer a serious and alternative perspective to contemporary visual arts in Britain.
'SCAPE' - Angela Eames
As part of our Linden Hall Studio - ‘in conversation’ series.
Gallery Director Myles Corley sits down with Angela Eames prior to her upcoming show ‘SCAPE’.
SCAPE
An exhibition of drawings by ANGELA EAMES
5 – 26 August 2018
Artist Talk: Saturday 18th August, 2-4pm
Angela Eames will read four short stories contextualising the work.
My practice explores the intermediate territory between the real and the virtual, between awareness and ignorance, between material and ethereal. This territory emerges from the realms of physical matter and the electronic: places wherein we operate with an assumed confidence that we are totally aware of our placement and our surroundings, when perhaps the opposite is the case. We watch our TV, mobile, laptop and pad screens and believe what we are seeing. We inhabit a world where fantasy not only meets reality but becomes it. Central to the work is an interest in the material and virtual spaces we view and inhabit as spectator or participant and the placement of ourselves and objects within those spaces. When I work within virtual space my experience is that I am entering a parallel spatial environment to that of the drawing studio. My response to objects and space is equivalent but different. Gravity is missing!
The experience and knowledge derived from previous drawing practice in the material world informs my thinking and working procedures. Decisions regarding what to do and what to do next are governed primarily by my experience as a drawer. My projections or conjectures with regard to the intangible stem from an awareness of the tangible and those of the invisible from an awareness of the visible and vice versa. I visually think through drawing. Drawing accommodates the coupling of intuitive and accidental with rational and strategic behaviours, both approaches being intrinsic to innovation. How else might I recognise potentials beyond my individual and patently limited experience? Drawing for me, might be summed up as what if? I am interested in rethinking the position of the viewer and the viewed. What if I could see differently? I am on the outside looking in, I can imagine the unseen but within the virtual environment I can see from the inside – out. I can move around, by means of a virtual camera, within a virtual space. The virtual camera becomes my eye. I can use the computer to do something, which it can do and I cannot, which I can propose and it can provide, which I cannot see – until I can.
The planets as tangible artefacts offer a view into a virtual void wherein the presence of familiar but in some way tainted spherical objects suggest that we take a second look. Though seemingly recognisable the planets assume an alternative persona teetering between the material and the ethereal. Their nibbled-away polygonal skins, reflect time’s passage and point to unwarranted human interference. Computer generated imagery is often stereotyped as being a rather banal and predictable visual re-incarnation of aspects of the actual world. When working within three dimensional computing space I want to exploit the actuality of the virtual. Why hide and disguise polygonal underpinning? Why not utilise it? I might then be able to find the accidental and the unexpected?
My works explore the ambivalent nature of our experience of reality. In their entirety the selected works for this exhibition comment on time past in relation to time present in order that there may be a time future. They reference natural form and order and our accountability as makers or manipulators within the world. They reflect upon the need for global attention to principles of balance reminding us that whilst we embrace new technology, we should also be mindful of the balance of nature.
LHS on Good Morning Britain
After visiting our current exhibition - ‘The Sound of Cutlery’ , Richard Arnold took one of the pieces from the show back to the ITV studio for inspection by Piers Morgan and the other morning presenters!
‘Piers Morgan’ a new drawing by Jim Moir, was shown and discussed on Good Morning Britain this week. Delighted that the GMB team enjoyed their visit to Linden Hall Studio and Deal - glad that our exhibition made such a good impression!
This work has now been returned to the gallery where it will continue as part of our current show, until Sunday, November 25th
The Sound Of Cutlery
An exhibition of recent paintings and prints
Jim Moir and Steven Thomas
At Linden Hall Studio
Copyright - ITV Good Morning Britain
A better railway is better for businesses - Linden Hall Studio
Myles Chorley, Linden Hall Studio, explains how his business benefits from improvements on the railway and why he backs the rail industry's plan to change, improve and secure prosperity for south east London and Kent.
'Transformations' - Gary Wragg
TRANSFORMATIONS
Sculptures by ROBIN GREENWOOD and Paintings by GARY WRAGG
Curated by Sam Cornish
5 – 27 May 2018
at Linden Hall Studio
In this short film, Gary Wragg is in conversation with Gallery Director Myles Corley, at the end of the first day of hanging 'Transformations'.
Both Robin Greenwood and Gary Wragg see abstract art in terms of freedom. Beginning with freedom for the artist, this is ultimately and most importantly a freedom for the viewer. Both artists offer us a freedom to explore, to imaginatively engage with – and be moved by – structures discovered in the process of creation. Both artists envision space as manifold, articulating it with structures which are multi-dimensional, full of diversity. They encourage an active viewer. They want to keep us on our toes.
Complexity is approached in different ways, guided by their very different temperaments and their understanding of the different demands of their medium. Rooted in gestural abstraction, Wragg’s images often seem to shift, with moments of precision emerging from a general disorientating melee. He wants his images to contain an exciting and risky instability and a slowly developing order: his ideal is ‘stillness within movement; movement within stillness.’ Greenwood’s constructions are also improvised, but more securely and patiently realised, with the definite connection of one piece of steel to the next. His sculptures hold together tightly and unfold slowly, moving through space in a way which demands that the viewer also keeps on the move. Together Greenwood’s sculptures and Wragg’s paintings offer parallel conceptions of a world in a state of flux.
Since 2017 Greenwood has been making steel sculptures that hang suspended from the ceiling. We plan to show three of these at Linden Hall. One of the main effects of the suspension is to bring the sculptures into the space of paintings – which are themselves lifted off the floor and hung on the surrounding walls. Seeing how these new sculptures interact with Wragg’s paintings is what I am most looking forward to in Transformations.
Sam Cornish, March 2018
Gary Wragg - Biography
1946 Born High Wycombe
1962-66 High Wycombe School of Art
1966-69 Camberwell School of Art
1968 Rotary Travelling Prize to Florence and Rome
1968 Lord Carron Prize
1969 Six Young Artists - Greenwich Theatre Gallery 1969
1969-71 Slade School of Fine Art
1971-74 Visited Jack Tworkov in New York
1972 Boise Travelling Scholarship to USA and Mexico
1973 Starts practising Tai Chi
1985 Visited Willem de Kooning in East Hampton, NY
1989 Founds Wu’s Tai Chi Chuan Academy, Bethnal Green, London
1998-2003 Visiting Artist, Montmiral School of Painting, France
2005 Artist in Residence, Vindrac-Alayrac, France
Teaching and Lecturing
1971-96 Visiting Lecturer at Chelsea School of Art, Slade School of Fine Art, Bath Academy of Art, Newcastle University and Manchester School of Art
1971-88 Portsmouth Polytechnic
1972-93 Camberwell School of Art
1975-97 St. Martin’s School of Art
1994-95 Slade School of Fine Art
1995-96 Tate Education: de Kooning, Cézanne, Pollock
1999 Classic Cézanne, Art Gallery of New South Wales, Australia,
Masterclass Drawing Week
2001 Cézanne Lecture at Newcastle University
2004 Drawing Marathon at New York Studio School
2004-08 Drawathon 12 at Vyner Street studio
2009 Drawathon 13 Marles Stud Studio, Epping
2011-14 Drawathon 14, 15, 16. At Marles Stud Studio Epping.
2013,14,15,16 & 17 Seawhites School of Art
Solo Exhibitions
1976 & 1979 Acme Gallery, London
1978 Newcastle Polytechnic Gallery
1979 Peterloo Gallery, Manchester
1982, 1984 & 1986 Nicola Jacobs Gallery, London
1983 Herbert Art Gallery, Coventry
1984 Castlefield Gallery, Manchester
1989 Jean Wainwright, Chiswick, London
Studio Show, Hackney, London
1989-94 Studio Shows, Parsifal Road, West Hampstead, London
1990 Goldsmiths Gallery, London
1991 Gallery 10, Grosvenor Street, London
1996 Works on Paper, Gallery M, Flowers East, London
1997 Flowers East, London
1999 King St Gallery, Sydney
2000 The Quiet Paintings, Flowers East, London
2003 Flowers Central, London
Studio Show, Vyner Street, London
2006 Burgh House, Hampstead, London
2008 Flowers East, London
Mason’s Yard Gallery, London
2010 Early Works 1968-69, Alan Wheatley Art, London
2012 Spontaneity of Movements, Alan Wheatley Art, London
2014 Constant Within The Change, Clifford Chance, London
Constant Within The Change, Alan Wheatley Art, London
2017 Still Soaring at 70, Paisnel Gallery, St James, London
Jennifer Durrant RA - 'in conversation'
Made in Europe
Jennifer Durrant RA | Paintings
David Evison | Sculptures
2 – 30 September 2018
at Linden Hall Studio
In this short film, Jennifer Durrant RA is ‘in conversation’ with Gallery Director - Myles Corley.
Jennifer Durrant RA has had an incredible life and career immersed in the arts.
From humble beginnings, Jennifer began her career at Brighton College of Art. Moving on to the Slade , studying under Frank Auerbach and Howard Hodgkin, before travelling to New York to spend time with Clement Greenberg, the greatest contemporary arts writer of the 21st century.
Returning to the UK in the late 1970’s, Jennifer's career than accelerated, winning painting awards, exhibiting within the Royal Academy, Kasmin Gallery, Stockwell Depot, with group and solo shows at the Serpentine.
After being invited to become a permanent member of the collections of the Tate Gallery, The British Council, Arts Council of GB, The Government Art Collection , Jennifer was finally elevated to becoming a Royal Academician in 1994.
Soon after this accolade, Jennifer moved to Italy, where she has lived a quiet, reserved life ever since.
The current exhibition at Linden Hall Studio , MADE IN EUROPE , is her first major show since then. With Jennifer agreeing, for the first time in her career to also shoot an ‘in conversation’ short film.
Within the interview she discusses her career highlights, low points, the struggle of painting resolution and her thoughts now, looking back on the career of one of britain’s most highly regarded painters.
Chords and Dissonances - Internal Landscape
An image describes in the best possible way the dimly discerned nature of the spirit, a sign does not define or explain, it points beyond itself to a meaning that is darkly defined, yet still beyond our grasp, and cannot be adequately expressed in the familiar words of our language. Carl Jung, Man and His Symbols.
As I write, I see before me the sharp cerise colours of various shrubs, the pinky purple hibiscus, the vermilion red trumpet-flowers, startling, (red is a colour I seldom use - a hot orange, maybe) then fields, freshly cut, now with wavy strips of pale ochre/gold and soft greens in between. A band of sage coloured olive trees, and the lake, the colours of which are ever changing with the weather. Metallic greys, silvered blues, greens and aquamarine, ochres, even a muddied orange, and beyond, the hazy purplish blue grey of the mountains.
In my studio, I have a poster with a Fra Angelico angel holding a woven crown adorned with a garland of roses, ghirlanda = garland. I like the italian word. But my lengthy series of paintings with this title, does not derive from any depiction or conscious reference to flowers or objects in the natural world. Whilst I am hugely stimulated by such, my work usually begins with tiny diagrammatic linear pencil notes, and scattered about in the studio are small pieces of paper containing lists of colours which have caught my attention. In my series ghirlanda, the vertical stacks of irregularly cut/shaped circles (wonky o,s as I initially called them) first painted through stencils, rather remind me of issues within my own body, schiena/colonna = column. Imbalance, weight, density, tension, movement, rhythm, stillness.
I do not much like to discuss my work. For, apart from interests, thought, procedure/method, what is there to say? Something unknown is wrought into being a previously invisible presence.
In 1978, in a bookshop in New York, I found a book of the work and writings of american artist Arthur Dove, 1880-1946. I felt an immediate connection. Before american abstract- expressionism, Dove had used the word abstraction to refer to forms that do not relate to the objective external world. He used the word extraction to refer to the process of distilling spirit or essence from the visual world in Europe in 1910. Kandinsky too, was formulating his theory of non-objective art, concerned with the psychic effect of colour and also of sound. Now one hundred years ago. Such riches.
Jennifer Durrant, July 2018
'Surroundings'
'Surroundings'
Paintings and Prints
4 March - 1 April 2018
Tuesday - Saturday / 10am till 4pm
Sunday / 11am - 2pm
Catherine Farr
Catherine Farr studied painting at Wimbledon School of Art followed by a post grad at Goldsmiths College, London. Since leaving college she has worked as an artist and teacher in the UK and Europe.
Her work is a personal response to her surroundings and reflects what is happening in her life through colour, light, and texture.
Her work is held in public and private collections including Tate Britain and the British Library.
Emily Smith Polyblank
Emily Smith Polyblank grew up on a small-holding with her artist parents: Tony Smith and Linda Clarke. They were always surrounded by animals which is the subject of Emily's woodcuts. She has a deep understanding of animals' physique which translates into her work.
Emily studied at Farnham Art School.
Linda Clarke
Linda Clarke studied at Medway College of Art aged 16, where she met and married Tony Smith. During the holidays she went hop picking (even with her 1st baby in a pram) and was intrigued by the hop cultivation process. Drawings made from these surroundings have influenced her up to the present day.
Linda loves abstract painting and has strived to create this but the subject matter brings her back to being a figurative painter.
Tony Smith
Tony Smith studied painting at Medway School of Art followed by the Royal Academy. His work is of the surrounding landscape from where he lived, mainly Kent. His paintings earned him admiration and respect from his contemporaries and he was on his way to a successful career when it all ended with his untimely death in 1988 aged 48.
'Working in the Abstract'
'Working in the Abstract' runs at Linden Hall Studio November 6th - 27th 2016.
Carol and John are a generation apart but they have the same aim: to create painted works that exist independently in the world we inhabit.
Carol comes from the painted tradition of David Bomberg and his student Dennis Creffield. John looks to the work from St.Ives and Paul Feiler. Each has experienced an art school training in the atmosphere of postwar painting and each wants to carry it further, extending the possibilities of oil paint on canvas.
Paul Delaroche complained in 1839 that painting was dead after the invention of the Daguerrotype. Ever since Cezanne flattened the picture plane, paving the way for Picasso and Braque to reorganise the observed world, painters have been freed from the restraints of representation and have scattered in every direction in search of new motifs and ways of seeing.
We live in a world now where painting, if not a marginal activity, is one which sits comfortably in the middle class experience of life, the cutting edge long since missed and no longer sought. To succeed and be noticed it often seems that art must be sensational, disturbing or brash. Artists banging these particular drums have, perhaps, made a generation deaf to that which is quiet, thoughtful and considered. Carol and John, in their work, have found themselves occupying that quiet ground, drawing and painting from the perceived world and then working and reworking until the final images emerge. Many of the works here have their starting points in drawings from cathedrals, landscape, flowing water or life drawing. Such works are sometimes enough just as they are, but locked in their production are shapes, colours and layers that can be reinvented. The use of paint, especially oil paint and the love of its qualities, enable John and Carol to build images that have surface, depth, texture and transparency. There are references to the real world but those references are subsumed into the construction of another world. Each canvas is a window on to that world.
October 2016
'The Dynamics of Colour'
Linden Hall Studio speaks with Jill Neff, about her brother John Copnall and her father Edward Bainbrige Copnall.
Paintings & Sculpture
Sunday 6 August – Sunday 3 September 2017
JOHN COPNALL 1928 – 2007
John’s paintings slowly evolved throughout his career. It was not until he returned to London in 1968 after ‘painting ‘in isolation’ as he put it, in Andalucia for about twelve years, that he first saw the new work that was coming out of America. Intoxicated by painters such as Morris Louis, he used acrylic for the first time, pouring vibrant colours directly onto large sheets of cotton duck. By the early 1980’s he eventually re-discovered the paintbrush and, still using Acrylic as a medium, created several series of different variations in form to which he gave names such as ‘Radiences’,’ Pentacles’ ‘Orbits.’
The paintings shown here are all from this post 1968 period.
‘John Copnall is a painter of great integrity. He is also a painter who has much to offer in terms of sheer visual delight’ – Edward Lucie Smith
EDWARD BAINBRIDGE COPNALL 1903-1973
Bainbridge Copnall was an architectural sculptor whose work on buildings such as the Adelphi and the RIBA, can still be seen in London and throughout England. He started his career as a portrait painter and was, as a young lad, apprenticed to his Uncle Frank Copnall, a well-known Liverpudlian artist. The woodcarvings on show are selected from a collection held by his daughter, Jill Neff. They were made towards the end of his life while he was living near Littlebourne in Kent during the 60’s and early 70’s.
The work in this exhibition is selected from Copnall’s later colourfield paintings, mostly in acrylic on cotton duck dating from the 1970’s. Having lived and painted in artistic isolation in Andalusia for over two decades, he had returned to London to be overwhelmed by the colour, energy and dimension of the work then showing in the London galleries.
The son of painter and sculptor Edward Bainbridge Copnall, he was educated at the Royal Academy Schools, and was latterly a member of the London Group.
A few of his father’s wood carvings, executed while he was living in Littlebourne, will be shown with the paintings.
'From Silence'
9th September - 1st October 2017 Printmaker Dawn Cole and painter Jackie Russell share a fascination with personal memory and photographic archives. Their work embodies the associated truth and deception inherent in both.
Dawn Cole
British artist Dawn Cole is an award winning printmaker who uses archives to explore themes of recollection, memory and memorial. Since 2007 she has been researching and responding to the diary and photographs of her Great Aunt Clarice Spratling, a First World War Voluntary Aid Detachment (VAD) Nurse.
Dawn’s work develops from extensive research and has a strong narrative thread. She uses printmaking as a means to explore layers of time, history and meaning. Dawn sees the processes she uses as an integral part of the work, researching techniques and materials that are significant to the ideas behind the final work.
In 2011 she won the V&A Prize at the International Print Awards and is currently Artist in Residence at Canterbury Cathedral. She has work in public collections at the V&A Permanent Print Collection and Scarborough Museum Print Archive.
Jackie Russell
It all starts with colour, then form. Jackie Russell’s work is abstract but based on intense observation as she maps the landscape and interiors she loves: the fields around her Kent home and the secret corners and nooks of house and studio. Quiet, peaceful places on the surface, that come to fizzing life with the multiple sensations and perspective involved in minutely noticing and exploring those spaces.
In these new paintings, Jackie has been experimenting with strong, bold colours -colours that take us on a journey from pastoral gardens in spring to the heat of summer and the intense, sensory memories of wandering through hot landscapes -from the summer long border of Great Dixter to the souks of Marrakesh.
'Transformations' - Robin Greenwood
TRANSFORMATIONS
Sculptures by ROBIN GREENWOOD and Paintings by GARY WRAGG
Curated by Sam Cornish
5 – 27 May 2018
at Linden Hall Studio
In this short film, Robin Greenwood is in conversation with Gallery Director Myles Corley, at his Studio in London.
Both Robin Greenwood and Gary Wragg see abstract art in terms of freedom. Beginning with freedom for the artist, this is ultimately and most importantly a freedom for the viewer. Both artists offer us a freedom to explore, to imaginatively engage with – and be moved by – structures discovered in the process of creation. Both artists envision space as manifold, articulating it with structures which are multi-dimensional, full of diversity. They encourage an active viewer. They want to keep us on our toes.
Complexity is approached in different ways, guided by their very different temperaments and their understanding of the different demands of their medium. Rooted in gestural abstraction, Wragg’s images often seem to shift, with moments of precision emerging from a general disorientating melee. He wants his images to contain an exciting and risky instability and a slowly developing order: his ideal is ‘stillness within movement; movement within stillness.’ Greenwood’s constructions are also improvised, but more securely and patiently realised, with the definite connection of one piece of steel to the next. His sculptures hold together tightly and unfold slowly, moving through space in a way which demands that the viewer also keeps on the move. Together Greenwood’s sculptures and Wragg’s paintings offer parallel conceptions of a world in a state of flux.
Since 2017 Greenwood has been making steel sculptures that hang suspended from the ceiling. We plan to show three of these at Linden Hall. One of the main effects of the suspension is to bring the sculptures into the space of paintings – which are themselves lifted off the floor and hung on the surrounding walls. Seeing how these new sculptures interact with Wragg’s paintings is what I am most looking forward to in Transformations.
Sam Cornish, March 2018
Robin Greenwood – a brief C.V.
Born 1950 in Manchester.
Studied and later taught at both Wimbledon and St. Martin’s Schools of Art
For most of the time since 1968 living and working in London.
Working as an abstract sculptor since 1968; occasional painter and writer.
First solo show of sculpture at the P. M. J. Self Gallery, Covent Garden, in 1975.
Major Arts Council Award winner in 1978, selected by Bryan Robertson.
Showed constructed wood sculpture in subsequent Arts Council Exhibition at the Serpentine Gallery in 1979.
First showed steel sculpture in the Stockwell Depot Show of 1979.
Showed forged steel sculpture in Sculpture From The Body at the Tate in 1984,
and in New Sculpture From Britain at the Conde Duce, Madrid in 1988.
First solo show of paintings at the Consort Gallery, London, 1993.
Has shown both sculpture and painting in the Royal Academy Summer Exhibitions.
Showed sculpture in The Social Bases of Abstraction at Updown Gallery, Ramsgate, October 2014.
Showing and participating in annual Brancaster Chronicles discussions since 2013.
Co-founder/director/curator of Poussin Gallery, London, (poussin-gallery.com), 2005-12.
Co-founder/director of abstractcritical (abstractcritical.com), 2011-14
Co-founder/director of Brancaster Chronicles (branchron.com), 2013-ongoing
Founder/editor of Abcrit (abcrit.org), 2014-ongoing
Easier fares consultation
We want to make rail fares regulation fairer and simpler for our customers. Together, the rail industry is launching the #easierfares public consultation.
22 Selected Artists from the New English Art Club
Selected Artists from the New English Art Club
Sunday 2 – Sunday 30 April
Harold Chapman - 'Not Only The Beat Hotel'
Within this 'in conversation' short film, photographer Harold Chapman sits down with Linden Hall Studio Gallery Director, Myles Corley.
They discuss Paris in the 50's, Les Halles, London in the 60's, and the Beat Hotel. As well as the quiet beginnings of one of Britains most highly regarded street photographers, now in his 91st year.
Harold Chapman was born in Deal in 1927. As a child, his father introduced him to the magic of photography.
Harold was self-taught and started his career photographing jazz in Soho. A chance meeting with John Deakin, the Vogue photographer, changed his life. He went to Paris and started walking the streets and became a street photographer and was soon working for The New York Times. In 1957 he moved into the Beat Hotel- then a hotel with no name- on the Left Bank and lived there untill it closed in 1963.
Harold freelanced covering fashion shows for American newspapers including the Cleveland Plain Dealer, the San Francisco Chronicle and the Chicago Tribune. He illustrated books for Flammarion, Thames & Hudson, Dent, The New York Times, and freelanced for medical magazines such as Medical World News of New York.
Harold did picture research for a series of social history books in the 1970s, including Victorian Life in Photographs, Yesterday, and The Home Front with Arthur Marwick, who was Professor of History at the Open University.
In 1973, Harold helped to found Connaissance du Pays d’Oc, a regional magazine in the South of France. By chance in the flea market in Montpellier, he met a young publisher who went on to publish The Beat Hotel in 1984. This book became a collector’s item and a second hand copy was sold in Sotheby’s, New York for $2,250 in 1999.
Returning to Deal in 1993, Harold photographed World War Two remains in the area around Deal.
In 1997 the Institut Francais d’Afrique du Sud and the British Council joined together to produce a reconstruction of the Beat Hotel in an abandoned factory in Johannesburg. Harold’s photographs travelled from there to Cape Town where the entire exhibition was bought by The OMC Gallery for Contemporary Art in Duesseldorf, which began a new chapter about Paris and the Beats and another book, called Beats a Paris.
In 2003, OMC Gallery lent Arts Lab creator, Jim Haynes, an exhibition of Beat Hotel photographs. Jim had Sunday dinners, cooked by volunteers, for artists, writers and poets in his studio in Paris.
In 2010 Proud Chelsea showed photos from the Beat Hotel in a major exhibition organised by the picture library, TopFoto.
A film called The Beat Hotel directed by Alan Govenar of Documentary Arts was released in 2012.
A new chapter of travelling exhibitions, retrospectives on the Beats and their literary and artistic movement, means that Harold’s work has for several years been shown in New York, Karlsruhe, Metz and Paris, including at the Centre Pompidou in 2016.
Harold is still working at the age of 90, currently on Les Halles market in Paris from his extensive archive.
Booker Prize-winning British novelist, Ian McEwan says:
If Chapman were merely a chronicler in a great documentary tradition, his achievement would be impressive enough. His lustrous landscapes of the Herault valley in the Languedoc, his priceless record of the Beat Hotel, his omnivorous, year-on-year transcription of daily life and its little undercurrents, would ensure his reputation as a photographer of the first rank. But it was constructive paranoia that made him an artist.”
Jim Moir - 'in conversation'
Jim Moir ‘in conversation’ , with Linden Hall Studio Gallery Director, Myles Corley
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The Sound of Cutlery
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Steve Thomas
Jim Moir
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at Linden Hall Studio
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November 4th - November 25th 2018
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Jim Moir
Jim Moir has been making paintings, drawings and prints since the early 1980’s. This practice has continued alongside acting and comedy for which he is better known, although to him they are all forms of artistic expression. His approach is refreshingly impulsive and his work often incorporates elements that are unsettling or bizarre. The Source might be from his imagination or an experience from life. The anarchic foundation for much of his comedy had created comparisons with radical art movements such as Dada, a reflexive response to the First World War. Rather than produce political art or protest, the Dadaists sought to disrupt or reject the established order with anarchic strategies that where often nonsensical. Absurd, irrational or satirical, as is to expose the folly of the war and a corrupted world order. Charlie Chaplin captured this spirit brilliantly in his film Modern Times of 1928 exposing the crushing effects of industrialised production on the human spirit. Moir is a compulsive artist, recording his thoughts and observations with abandon. The imagined and experienced worlds are chronicled in a prolific outpouring of ideas and thoughts beyond everyday life.
David Evison - 'in conversation'
In the latest ‘in conversation’ short film, Gallery Director, Myles Corley sits down with sculptor David Evison.
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David Evison is an artist and former professor at the German art academy, Universität der Künste Berlin. The core of his teaching, as well as his own artistic work, is to strengthen the classical sculpting skills. Modern experimenting installations rest upon an over 2000 year old inheritance of classical comprehension of sculpture. To be able to expand and challenge the media it is, according to Evison, necessary to be familiar the history and master the classical expressions.
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David Evison is interested in the boundaries of the materials and medium and let these be his inspiration. In his willful sculptures where metal is his favoured material, Evison shows static and aesthetic precision. The diffuse and twisted shapes reach out in the space and seem to move or to be alive. It can be challenging for the beholder to approach Evison’s abstract sculpture. But behind the experimenting shapes lie a solid classical education and an awareness of the essence of the sculpture. For Evison the boarders are not a limitation. They become an artistic liberation.
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David Evison (b. 1944) is a sculptor who studied at St. Martin’s, London, in the 60’s. Though Evison’s parents were Brits, they were missionaries, so the future sculptor was born in China and has many times returned there. In recent years, even maintaining a studio in Beijing to which he commuted from his home in Berlin. Evison was taught in several places all over the world, including the UK, the US, and Australia.
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Exhibiting at Linden Hall Studio in September 2018, his sculptures were shown alongside the paintings of Jennifer Durrant RA
Spring Music Concert
Linden Hall's Orchestra, Sinfonia, Choir and Musea perform in our theater.
'Transformations' - Sam Cornish
TRANSFORMATIONS
Sculptures by ROBIN GREENWOOD and Paintings by GARY WRAGG
Curated by Sam Cornish
5 – 27 May 2018
at Linden Hall Studio
In this short film, Sam Cornish is in conversation with Gallery Director Myles Corley, at the end of the first day of curating 'Transformations'.
Both Robin Greenwood and Gary Wragg see abstract art in terms of freedom. Beginning with freedom for the artist, this is ultimately and most importantly a freedom for the viewer. Both artists offer us a freedom to explore, to imaginatively engage with – and be moved by – structures discovered in the process of creation. Both artists envision space as manifold, articulating it with structures which are multi-dimensional, full of diversity. They encourage an active viewer. They want to keep us on our toes.
Complexity is approached in different ways, guided by their very different temperaments and their understanding of the different demands of their medium. Rooted in gestural abstraction, Wragg’s images often seem to shift, with moments of precision emerging from a general disorientating melee. He wants his images to contain an exciting and risky instability and a slowly developing order: his ideal is ‘stillness within movement; movement within stillness.’ Greenwood’s constructions are also improvised, but more securely and patiently realised, with the definite connection of one piece of steel to the next. His sculptures hold together tightly and unfold slowly, moving through space in a way which demands that the viewer also keeps on the move. Together Greenwood’s sculptures and Wragg’s paintings offer parallel conceptions of a world in a state of flux.
Since 2017 Greenwood has been making steel sculptures that hang suspended from the ceiling. We plan to show three of these at Linden Hall. One of the main effects of the suspension is to bring the sculptures into the space of paintings – which are themselves lifted off the floor and hung on the surrounding walls. Seeing how these new sculptures interact with Wragg’s paintings is what I am most looking forward to in Transformations.
Sam Cornish, March 2018