While Hannah and I were on a gallery high, we headed over to see Susan Eyre’s work in a group show in Walton this morning. The artwork was on display at the Riverhouse barn, which not only brought us fantastic art, but great food and drink too.

This is an image from their website, but when we went today, it was full of visitors. I had a really good homemade pie with coffee, then sank into a comfy sofas to talk some more about art..


It was a bit of a drive from South London, but so worth it.

I will begin with Susan Eyre’s work.

IMG_8973 close up of work



Reactive and sublimation print, polyester cut and heat fused onto cotton

‘Binformation’ considers what new geology might be formed from the cocktail of ingredients disposed of in our landfill sites.

Screen Shot 2013-05-30 at 17.28.26 Screen Shot 2013-05-30 at 17.28.32 Image and text below are taken from Susan’s website.

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Collected Thoughts

75 x 80 x 10 cm (approx)

Screen print on board, sublimation print on textiles, mixed media

This work draws on ideas of preservation and references the Victorian enthusiasm for creating romantic tableaux of the natural world held in glass domes. A contemporary plastic food packaging tray replaces the glass dome distorting the view of an apparently idyllic scene caught against a grey urban backdrop as in a moment’s hazy daydream.


There were these two amazing prints onto wood by Julie Hoyle.



‘Catching the wave’ by Stephanie Wright

stoneware clay with copper glazeIMG_8992

Richenda Court

Black Water Kings – etchingIMG_8976 The detail, range of tones and textures of this etching was breath taking. Really beautiful piece.

IMG_8977 IMG_8982

Another really great show, with even more artists I have not mentioned in this post. I am really pleased to have made it out of London to see it all.




Last night, I went to the opening of the Photo and Print exhibition at Charlie Dutton’s Gallery. Hannah Williamson had an artwork on display, which was also at our Dulwich Open House exhibition. You can see her work in a previous post below.

Hannah’s artwork as it looked in the Dulwich Open House against my lovely wood chip walls.


 47 artists were shortlisted  by:

John Stezaker

Julia Muggenburg

Gallerist(Belmacz, Mayfair)& Collector

Charlie Dutton & Kate Saffin

LInk to Charlie Dutton’s Gallery in London

There was so much exciting work to see in this small gallery space. Every possible nook and cranny had been made use of. I have added links and images from a small selection of artists.

I thought I would begin with Fran’s incredible lino print entitled ‘little lost boy’. I was hoping to catch her at the end of the night,  just to say something like wow, or perhaps something more intellectual but she had left before I had the chance.


I have never seen a more detailed lino print, which she had handled almost like a painting, as the lines seemed really fluid. There were so many layers with subtle shifts in alignment to reveal more colours underneath.  Lino printing had a really interesting embossed texture and so really the work must be seen in person to do it justice. Truly stunning piece of work.

Next, was an unusual artwork by Harry Meadows, described as a digital print on silk with mixed media. I loved the surface texture of this piece; its glossy sheen and highly saturated colours. The framing was unusual, half stretched over a circular frame, like an embroidery hoop, with jutting out red strips and then half of the image  was out of this frame hanging in folds below. I need to find out more about what it all means! The piece was entitled ‘Medallion’.


There was a beautiful photo by Serrah Russell called ‘Forest Fire’.


Whilst checking out her website, I saw this image called ‘Must retain the shadow’. Her website has many collaged images and photographs, whereby techniques such as folding and omitting parts of the image, or combining several different images into a new landscape or scenario are explored.


Simon Hall had a really interesting piece called Eis I, described as a CKMY silkscreen print.


I found more of his artwork here.

And have added a couple of images to show you without the dodgy photograph angle.
Image 1 Svinafellsjokull III Untitled-1_6

Another gorgeous piece, was this one, by Simon Leahy- Clark, called Ship II described as newspaper on board.  IMG_8952

A couple of images below, pulled from his website.

13.-gwyther-irwin-ii_595 5.-ruin_595IMG_8951 IMG_8950

This little white cube photograph really inspired my boyfriend. It was created by Peter Ainsworth, entitled ‘Plinth Cover’.  Again, I need to find out more about this artist.


Mimei Thompson exhibited the pink and blue image above, framed against a silver background, and called ‘Parterre de l’Orangerie, Versaille.’ Whilst looking up the meaning of her title, I found this image of  the gardens at Versaille in France and saw the link.


Mimei was in the year above at the RCA, so I have known about her work for some years. Her work in this show, was very different to what I expected. Below are a few images from her website. I adore Mimei’s work.

cave-painting-interior-2-1363369048 untitled_cave_painting_2-1345461493 passing-by-1363361352

It was also great to see Bella Easton, who is up to all sorts of exciting things, such as this:

LUBOMIROV-EASTON IS an ALISN Project Space in Deptford, South London, headed by ALISN organisers, curators and artists Iavor Lubomirov and Bella Easton.

LUBOMIROV-EASTON SHOWS emerging artists, invited individually or in pairs, to develop ambitious new projects resulting in significant solo, or collaborative exhibitions. Our programming of mostly solo and two-person shows is supplemented with curated shows by artist-curators, national and international exchanges, lectures, films, performances, and events.

LUBOMIROV-EASTON EXTENDS its outreach to a larger number of emerging artists, by concurrently evolving a collection of edition works – called LED – comprising of prints, books, sculptures and multiples in other mediums. LED is by invitation. However, submissions of edition work are considered. Please email your images to

LUBOMIROV-EASTON INVITES proposals from artists who wish to develop a major new project or present a curated show. Click here for information about submitting a proposal. All organisations, including artist-led spaces or projects are invited to approach us with ideas for exchange or collaboration.

This is the next show!

Bella’s work in Charlie Dutton Gallery was a hand coloured copper plate etching.


Finally, I have included work by Julian Wakeling, who I had the pleasure in chatting too at the opening.  He always takes his camera with him, to record reflections through windows and mirrors of people in streets and buildings. I could have picked any of his photos from his flickr stream, as all of them are exquisite and beautiful and intriguing to look at. He had one photograph in the exhibition called ‘curtain’.


A few more of Julian’s work below.Screen Shot 2013-05-30 at 16.49.27 Screen Shot 2013-05-30 at 16.49.08 Screen Shot 2013-05-30 at 16.49.56 Screen Shot 2013-05-30 at 16.50.13

Well this is just a small taste of the delights to be found at Charlie Dutton Gallery.


Headed over to see this exhibition at the Jewish Museum. There was a range of artworks by Kitaj, but my favourite piece was this.

“If, not, not”



I found this review from The Independent by Michael Glover, FRIDAY 20 JANUARY 2012. I really enjoyed reading it and so added it to my blog. See below..


This painting, made by an American painter who spent much of his life in London, wrestling with the nature of his European influences (Cézanne, Degas, Kafka, for example), and striving to reconcile those influences with his own conflicted Jewish-American identity, is both lovely and unlovely, a seductive visual object and one that is replete with much troubling and morally uncertain subject matter. At first glance, it looks almost paradisal – look at that palm tree against the flush of an orange sky. But in its details, it is often dystopian – is that orange not a fumy and soon-to-be-choking rage of smoke or flame, rather than the untroubled colour of the rising or setting sun?

The unpleasing, unbreachable, inescapable blankness of the gatehouse at Auschwitz (top left) seems to preside over its atmosphere. From there, our eye tumbles pell-mell downhill, passing by a pool of still (stagnant?) water, a floating bust of Matisse, young men who look slumped (sick unto death), a likeness of a bespectacled T S Eliot cradled by a young woman who owes at least some of her visual identity to Gauguin, and much else from painting or poetry that we feel that we half-recognize. One figure seems to be reclining, while another (the one whose upper half is cut off by the bottom edge of the painting) may be dead. What is the difference between the posture of a man who reclines from that of one who is dead? Troublingly similar could be one answer. They are all bits and pieces, disjecta membra, like Eliot’s “Waste Land” itself, fragments shored against our ruin.


As our eye moves across and around, we seem to be experiencing landscape in its making and unmaking (yes, this is certainly not a settled, unbudgeable, dependable terrain). In part at least, it seems to consist of a half-remembered evocation of Giorgione’s La Tempesta, but it is a topsy-turvy kind of ground that seems to buck and to lurch, to come and to go even as we look at it, writhing and heaving and turning like a sick man on his bed. We could also call it a patchwork of landscapes, layered over or butting up against one another like torn fragments of cloth. It also feels like a weightless landscape, ever shifting, a cloth being shaken out in the wind.


As often with Kitaj, the colours are shrill, brilliant, seductive, but they are also eerie. Is there not a whiff of napalm or Agent Orange in the air? After all, this painting was made as the Vietnam War was drawing to a close. The entire endeavour, which is a kind of wild assemblage of disparate parts, seems to be akin to a rough-and-ready visual summary of so much that has been written and said about the predicament of man in the West in 20th century: that as a result of that century’s terrible collective calamities (the destructive power of global warfare, for example, the moral blight of Adolf Hitler), a psychic fissuring seemed to take place. For writers and artists, those antennae of the race as Ezra Pound once wrote, things fell apart. There was no centralising God any more, no dependable belief system, to hold it all together. “The centre cannot hold/ Mere anarchy is loosed upon the world” as the great W B Yeats declaimed in a great poem published in 1921. The human centre did not hold in that century. And it certainly did not hold for art. New irrationalisms, new wildnesses took a grip on artists as never before – think of Dada or of Surrealism, for example. Only the extreme would do to express the extremities of the baleful human condition.


Although Ron Kitaj would not have described himself as a Surrealist, this painting, made in 1975-6, seems to be completely and utterly post-Surrealist in its atmosphere. There is a relentless dream-wash of imagery here, from side to side and top to bottom, which itself resembles the movement of water… Nothing feels rules-governed across the length and the breadth of this picture plane. Nothing, we feel, has come into being as a result of particular decisions or calculations made by the conscious mind. There are two forces at work here, in contention with each other, the conscious and the subconscious mind, and the subconscious mind has the upper hand. Everything is welling up from the depths. The end of the making process must have been more an act of abandonment than one of completion. The quest could not go any the further. For what though? For a way of using paint in order to give some kind of coherence to a vision which consists of floating, disparate fragments – rather in the way that T S Eliot’s “The Waste Land” consisted of floating, disparate fragments forever seeking coherence of a particularly fragmentary kind.



R B Kitaj was born Ronald Brooks in Cleveland, Ohio, in 1932. He died in 2007. His paintings are often a complicated tissue of visual and literary references from many periods. The issue of his Jewish identity took on increasing importance to him as he aged.






Today, I went to see an exhibition by Uwe and Gert Tobias at the Whitechapel Gallery in Aldgate East. The work consisted of type writter drawings, collage and wood block prints as well as clay sculptures. I have added lots of images found from various sources online and not just from the Whitechapel exhibition.ImageImageImageImageImageImageImageImageImageImageImageImageImageImage

End of the festival- Dulwich Open House.

Today was the last day of the festival. I thought I would write a post, to thank all the visitors that made it to my home. We had lots of great feedback from people and have now a rather large mailing list to compile. It was great to sell work to our neighbours and friends. We met lots of local artists too, as well as visits  from Winchester, Sevenoaks and Grantham to name but a few far away places. My parents have now become art collectors, buying one of Hannah Williamson’s pieces. (which makes a change from having just mine on their wall).

Another great moment, was when my art teacher from my school days of 15 years ago, popped in and reminded me how I used to draw when I was 12. She also came to see my final show at the RCA a few years back. It was amazing to see her again.

Hannah has been shortlisted for the Charlie Dutton Print and Photo exhibition happening next week on the 29th May. Please come down and see her work.

hannah williamson

hannah williamson

LInk to Charlie Dutton Website.

I may be having a show in the autumn, so watch this space for more details. Hannah and myself are also looking to compile a group exhibition in the near future, with a few other artists.

All that is left to do now, is get the pollyfiller out and mend the holes in the wall, deliver the sold artworks to their new owners and perhaps start thinking about next year.