What's On

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Repetitive Landscapes

16 October - 13 November 2021

The paintings of Henrietta Young involve an acute observation of the environment where she lives, in particular the view from her garden, involving a field and maybe a horse or a dog, quietly contemplating.   But the mood of the works, in varying lights and atmospheres, changes with the expressive use of colour and paint, so that one senses things that have happened or are about to happen.  As The Week magazine described them in 2004, ‘The works convey a contemplative, elegiac quality that lingers in the mind long after the paintings are out of sight.’
At the beginning of the pandemic I didn’t feel like doing anything particularly creative, preferring to observe and think about the new technicolour place we seemed to be living in – but soon felt compelled to begin this series of repetitive landscapes reflecting both the change in the new tempo of life as well as the faux 1950s Ladybird-coloured world I felt I was now inhabiting.
Henrietta trained at Winchester Art School and has lived and worked in Dorset since 1973.  She has been a prize winner in the John Player award and has exhibited regularly in the West Country and London.

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The Invisible Land

16 October - 13 November

Alexander Massouras (b.1981) is an artist and writer. His work is in UK and international collections including the Ashmolean, the British Museum, the Fitzwilliam, and the Metropolitan Museum of Art. He was a member of the research project 'Art School Educated' at Tate; a Leverhulme Fellow at the Ruskin School of Art, University of Oxford; and a Postdoctoral Fellow at the Paul Mellon Centre. Massouras’s work has taken a multitude of forms but is consistent in its visual exploration of time and narrative. 

The Invisible Land is a group of nine etchings that describe a retreat from a flood, a series which culminates in settlement of sorts. It draws its imagery from many places: there are backgrounds glimpsed in films, references to Breugel, a found dead bird, and a nod to Wittgenstein's discussion of the Rabbit-Duck illusion. The series is one of three in the artist's book Above and Below, a cycle of thirty etchings on the theme of journeying and escape.

The Divers etchings express a formal interest in the combination of line (the pools and diving platforms) with tone (the diver). They play on the symbolism of the fall and on the stillness of the image: the divers never meet the pools, a separation which finds visual form in the distance the etchings keep between line and tone.