4 September - 2 October 2021
The Sea and Sky meet each other at the horizon yet the horizon is always out of reach: as we move towards it, it continually backs away from us. The Sea and Sky bounce off one another reflecting each other’s light and darkness, and yet sometimes they merge, to become almost one in a sublime fourth dimension, hovering or disappearing on the horizon. Both are endowed with endless ever-changing moods: there can be anger and danger as well as peace and calm and this is tied to our own human emotions and how we look upon the world.
4 September - 2 October 2021
For a few years the suburban area in which I live in the Northeast of England on the North Sea coast had provided a fertile ground for me, a meeting of suburban order, lives lived tidily, peacefully and busily pushing against the wilder forces of weather, animals and elements. Although humans did not appear in this work, the images were resonant with their presence. Lockdown has revealed to me, more than ever, how the ticking over of these lives against a background of something less certain was at the heart of this work.
Both this feeling of being stuck for material and the pulse of lockdown life are behind the series of ten etchings called A Soap Opera. The series depicts the same house over an ambiguous time period, repeated over and over with minute changes in colour, light and little details. The prints were made in my garden shed studio between December 2020 and March 2021, a period that we came to know as Lockdown 2 and are loosely based on a house that I can just see from my window that hijacked my attention as I sat on the sofa watching the news during the bewildering evenings of the first Lockdown.
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.
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.