We have had great fun in taking down the winter exhibition in our domestic gallery (see previous posts) and replacing it with a summer exhibition. Our theme this time is simply ‘light’, in touch as well as colour, so gone are all my familiar images in clunky style and colour all-over and in come – many of my works of this last year!
As I have chronicled, I have consciously tried to change to a more ‘wispy’ content and abstract style and that is reflected in this exhibition. I think all of the paintings have already appeared at some stage in various posts but just for the record here clockwise around the principal rooms are snaps of the main content:
A rare Boniface of a flock of sheep
Around one corner are a Michael Carlo, a recent Fowler (‘Cold landscape’) and a Michael Horn, one of his landscape series based on an abandoned railway line near his studio:
Next to the Horn are two Fowlers, the larger after ‘A visit to Happisburgh beach’ with the Horns last August, the second of my consciously fragmented but basically still figurative abstracts. The smaller uses the same structure as the cold landscape in the previous image and is a development of the ‘Happisburgh’ style painted earlier this year:
Alongside it is a small Fowler study inspired by a bend in the Butley River, next to the most elaborate of the 2017 ‘Happisburgh’ style paintings, ‘ Images in Landscape’. Round the corner is a real gem, a recent Boniface of the head of ‘Patrick’, he of the wonderful horns and bullying disposition now resident on Orford Ness (see recent post).
The noble ‘Patrick’ head is fitting company for my two ovine Becker studies from one of his sketchbooks:
Opposite them is an oddball animalistic Fowler inspired by Sami images seen in Arctic Finland with, below, the innocent artist sketched by a cunning Horn as we worked together ‘midst the rural delights of the Norfolk countryside. All, as you can see, is sweetness and light in Finland and East Anglia: