Over 300 items by members of the Association of Woodturners of Great Britain. Artistry and craftsmanship come together in wonderful items exploiting the varied qualities of wood. From the traditional to contemporary, a diverse show also incorporating colour,carving, texture and a mix of other mediums. Exhibition includes 118 items from the Ray Key collaboration project.
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We are delighted that the Association of Woodturners of Great Britain are staging this exhibition of turned wood with nature very much in mind. It offers a wonderful opportunity to see a host of techniques exploited to bring out the beauty in wood – art from the tree. The exhibition includes a large number of pieces, of varying scales, and is made up of three different sections.
The first is ‘The Ray Key collaboration’. This came about after many part turned pieces were found in the workshop of Ray Key BEM after he died in September 2018. Ray was the founder and president of the AWGB. The part turned pieces were sent out to turners from five continents for them to finish in their own style. 118 pieces were returned revealing a vast array of different techniques and styles representing a unique collection of work. These will all be exhibited at Nature in Art and at a later date auctioned, partly in aid of the AWGB.
Ray was a very influential turner who revelled in the beauty of wood. He said, ‘My work embraces minimalism; my quest is to produce objects of beauty and elegant simplicity. I am a great believer of the object as a whole; not a disjointed assemblage of different ones. ‘Keep it simple stupid’, ‘let the wood speak for itself’ and ‘if in doubt leave it out’ are my design bywords’. One of his great delights too was his sense that in his time this ancient craft is now accepted as an ‘art form’.’
A preview of the Ray Key Collaboration pieces can be seen on the AWGB website: www.awgb.co.uk/ray-key-collaboration
The second grouping is ‘The Masters’ which showcases the work of Ray Key (the first person ever to be awarded the title), Reg Hawthorne and Stuart Mortimer. All three were awarded the title of ‘Master Turner’ by the Worshipful Company of Turners. (The Turners’ Company is one of the oldest Livery Companies in the City of London. Its origins go back to early medieval times: the first reference to a London turner dates back to 1189.) Many of these Master pieces will be available for purchase at the exhibition.
The third section are by AWGB members and are a selection of the best pieces chosen from their international seminar which took place last October along with some additional pieces from local turners. Many of these pieces will also be available for purchase at the exhibition.
For the first week of the exhibition (2nd – 7th July) we will also have a lathe and demonstrations taking place in the studio.
The AWGB is a national charity which aims to promote woodturning to ensure the craft continues and to advance education in woodturning. It currently has over 3000 members, including makers abroad, and has 50 local UK branches, including in Gloucestershire. Phil Irons, who has a spectacular large vessel in the Nature in Art collection, was elected President of AWGB earlier this year.
Discover nature’s pattern book in this course inspired by the shapes, colours and textures of natural objects. Take inspiration from Nature in Art’s extensive collection of shells, feathers, seeds, bark, leaves, and pebbles. We will begin by experimenting with creating textures and marks with acrylics, before creating original images inspired by your chosen object(s). Learn about mark-making, brushwork, paint application, design and composition. This course is suitable for those new to acrylics as well as those with more experience. For pattern enthusiasts it’s a must!
This 2-day course will cover basic bird anatomy, sketching methods and techniques, the use and handling of watercolour and composing a picture.
For the more ambitious, there will be the opportunity to have a go at sketching birds in flight, which is more of a challenge.
This course is aimed at a range of ability levels, with Trevor on hand to demonstrate particular techniques and to help you develop and improve your skills.
A fantastic opportunity to meet a variety of magnificent birds of prey, from owls and hawks to falcons and eagles. The friendly team at Walks with Hawks have an inexhaustible enthusiasm and knowledge of birds of prey and will be on hand to tell you all about them!
You’ll also have a chance to join in with some fun creative activities.
Tickets: £2 per person (excluding museum galleries but including artist in residence and craft activities)
No need to book, just turn up to have some fun!
You will learn about the various mosaic materials and techniques of cutting and setting. You will make a 25cmsq panel on board on the first (or only) day.
You will make a 30cmsq mosaic slab for the garden on a concrete paver. The tutor will assist you to make sure you have a simple bold design to mosaic. The tutor has templates available to use if need be. You will mosaic the design in reverse during the day and, if complete in time, the tutor will assist you to set the design in cement adhesive on the paver. The tutor has run this workshop numerous times and everyone always leaves with a completed paver. However, if a student has not finished the mosaic in time they can take away a paver and adhesive to fix at home. Grouting will be demonstrated but you will need to complete this at home – grout and full instructions included. Please note the concrete pavers are not suitable to be transported home on a bicycle!
An exhibition of original cartoons and paintings by the renowned Norman Thelwell (1923 – 2004).
Norman Thelwell is one of the most popular cartoonists to have worked in Britain since the Second World War. Although best known for his images of girls and their fat ponies, his work is far more wide ranging than many realise. The countryside and environment were passions that informed his work throughout his life and his cartoons were a powerful way for him to comment on issues of the day.
This exhibition of original artwork has generously been lent by the family archive and, although it includes a few of his renowned horse and pony pictures, it also embraces serious paintings completed purely for pleasure, and drawn and painted cartoons with relevance to nature, the countryside and environment and the human impact upon them. Together they reveal not just his skill as an artist, but also his mastery of sharp social comment and his awareness of then current and future threats. He used satire to convey serious messages about the need to preserve the natural world; many of these still have poignancy today.
Many of his 34 books centre upon country life and country pursuits, and their light-hearted images are founded upon a thorough knowledge of their topics. (He was a keen angler, for example.) Many of the original works on show in this exhibition featured in these books including The Effluent Society (1971).
Born in Birkenhead, Cheshire on 3 May 1923, Thelwell showed a talent for drawing very early in life and found drawing and painting much easier than other subjects – ‘with drawing, the answer was always there in front of you – you only had to look’, he said.
During the Second World War he served with the second battalion of the East Yorkshire Regiment, and was soon transferred to the intelligence section because of his ability to draw. Later he was posted to India with the Royal Electrical and Mechanical Engineers, subsequently becoming Art Editor and sole artist for a new army magazine. He even designed new uniforms for the Indian army.
After the war, Thelwell studied at Liverpool City School of Art (1947-50) and lectured on design and illustration at Wolverhampton College of Art (1950-56). He sold his first drawing to Punch in 1950, beginning a 25-year relationship that resulted in more than 1,500 cartoons, of which 60 were used as front covers. He also worked as a cartoonist for the News Chronicle, the Sunday Dispatch and the Sunday Express and began to produce his own comic books.
For the last quarter of a century of his life he lived in the Test Valley at Timsbury, near Romsey, gradually restoring a farm house and landscaping the grounds.
We see objects because of light and in order to create realistic images of plants we need to fully understand light and observe how it reacts with our subjects to describe their shapes. In this two day workshop Ann will show you how to interpret light and shade and to accurately capture these contrasting tonal values to create a true sense of three-dimensional form and volume in your work.
Ann will demonstrate ways of creating realistic highlights and sheen and help you choose convincing shade colours to create depth in shadows so that your work will come to life on the page.
You will be able to put all this into practice on a more finished piece with full support from Ann.
In today’s world of digital photographic manipulation, the idea of altering images is the norm. This exhibition features work by members of the Bromoil Circle using a process that involves changing images yet using a technique that originated from the Oil Process, which was patented in 1855. Later in 1907, C. Wellbourne Piper worked out a formula for the Bromoil process, which is still practiced today.
The method briefly, is that the silver contained in gelatine in a bromide print is bleached away and at the same time, the gelatine is hardened according to the amount of silver it contained. It is then fixed, washed and dried, after which it is re soaked to condition the gelatine and then all surplus water is removed.
A greasy ink, such as lithographic ink, is then applied by brush and is accepted where the gelatine has hardened (the shadow areas) but is rejected where the gelatine has swollen (the highlights). Thus the original image in the bromide print is built up so that the silver image is now an ink image and far more permanent.
By judicious application of ink, the bromoil worker has fine control over the final image. The bromoil process was much favoured by pictorial workers of yesteryears and is now once more gaining in popularity.
The Bromoil Circle Postal Club was formed by the late A.C Weller in 1931, who became a Fellow of the Royal Photographic Society in 1934. Later the club was renamed The Bromoil Circle of Great Britain. It was established during a period known as the ‘Pictorial Photography Period’ when the pigment printing process had become very popular amongst photographers. The club was formed with 18 members, the same number as it has today. Initially the club existed as a postal club, as many groups did in those days. Today the Circle still adopts the same method of circulating prints etc, but meetings for members and interested parties are also held in an effort to keep this fascinating technique alive and appreciated.
During the early 20th century the Bromoil Process was a very popular process with an array of materials to use, a far cry from todays situation, as very few papers are now manufactured, suitable for the process.
In fact up to the late sixties the Bromoil Process remained very popular, but then with changes within photographic practices and the demise of suitable materials, the number of practitioners fell. During the 1990s, due to serious efforts from Circle members, bromoiling began to arise from the brink of extinction and is still flourishing today amongst this small group.
Workshops and exhibitions are held throughout Great Britain and publications on the process have been produced.
The Circle has an important archive collection running into several hundred outstanding images from some of the best bromoilists from Great Britain. An archive of the images of Sam Weller is held in The Victoria and Albert Museum in London, as part of the Royal Photographic Societies Collection.
SEE DEMONSTRATIONS OF BROMOILING Aug 9th, 11th, 15th, 17th, 18th, 22nd, 24th and 25th. (One in the morning and one in the afternoon).
Images: © Josef Jindřich Šechtl
“Whosoever pulls this sword from the stone is the rightful King of England”
Wizards, Magic Swords, Knights in Shining Armour, and the Throne of England. There are fights to be fought, Knights to be knighted, and quests to be… quested. See for yourself exactly how Arthur became the most renowned King of England in this madcap, hilarious retelling of the legendary English story of The Sword in the Stone.
Following their phenomenal response from last year’s The Three Musketeers, IKP are back with another unique, tongue-in-cheek adaptation of a classic story. Excellent fun for all ages – with slapstick, physical humour, fast-paced multi-rolling, and a smattering of playful innuendo for the grown-ups, IKP’s The Sword in the Stone is an unmissable Outdoor Theatre treat this Summer.
Picnics welcome. There is no seating provided, so please bring something to sit on. This production is designed to be performed in the open-air and will continue in all safe weathers.
Grounds open 7pm. Play starts 8pm
The Course will focus on botanical painting, giving the learner the opportunity to work in either watercolour or gouache. The course will be taught by Simon Williams SBA.
Gouache and watercolour are both water soluble mediums and can produce stunning paintings. Gouache is an opaque form of watercolour and is not an inferior medium to watercolour. For much of the time it is used for illustration, book design and publishing for its fantastic reproduction and vibrant colour. Throughout the course you will be guided in colour mixing, botanical accuracy, brush techniques to render fine detail and the most important skills to gaining 3 dimensional forms to botanical studies.
This course is open to people that have some drawing/painting experience, improvers and advanced levels to a precise rather than loose style of painting. Please visit the tutor’s website to see samples for the style of painting.