Rowley Gallery Blog
We just received a call for entries for Jerwood Open Forest, an opportunity for artists to submit proposals that explore the potential of forests as sites for art. The closing date is 28 May. More details from Jerwood Open Forest.
Samuel Beckett rehearsing Endgame and ‘having an idea’ with the San Quentin Drama Workshop at Riverside Studios in Hammersmith in 1980. I worked there intermittently in those days, even had a small exhibition of my paintings there, and the house photographer Chris Harris, knowing how much I loved Beckett, gave me a print of this photograph for my birthday. Continue reading “Beckett At Sixty”
I was looking at Greg Becker’s Pinterest page, The Wild Allotment, a lovely collection of green-fingered imagery and a great escape from our endless winter. It got me thinking about visits to other, slightly more manicured gardens, but most importantly gardens filled with sunshine. Indulge me while I recall warmer days. This is Le Prieuré d’Orsan where we stayed for one memorable night in 2006. Continue reading “Five French Gardens”
All this talk of winter trees and William Morris and I realise it’s time I went back to Epping Forest. It seems different every time I visit but today is something special, I’ve never seen it so thick with snow. It’s another world, silent and monochrome like an old movie. Continue reading “Epping Snow”
The Hedge Warbler or Dunnock
Printed from the boxwood block engraved by Thomas Bewick for his
History of British Birds, 1797
Continue reading “Bewick’s Nature Print”
Here is an extract from a prose work in progress about family life in summer on Powdermills Farm in the 1960s and 1970s. My father, then head of art at Bournemouth and Poole College of Art, had hired a cottage there, in the middle of the moor, from the Duchy for £70 a year. No electricity, no running water, a ghost in the second bedroom, and sheep in the paddock at shearing season. It was a wild experience. Wistman’s Wood, primordial remains of the original Dartmoor landscape before its Bronze Age settlement, is a few miles walk from Powdermills, and remains one of the most atmospheric and haunting spots on the whole moor. The paintings were made on a return visit in 2009, and there are two of my father’s sketchbook drawings from the late 1960s. The poem comes from First Music, a sequence about Dartmoor, childhood and memory, in the 2011 collection The Rapture (Salt Books). Continue reading “From Powdermills To Wistman’s Wood”
In his recent autumn statement, the chancellor George Osborne, as far as I know, did not make any reference to either falling leaves, early frosts, golden hues or mists and mellow fruitfulness and not that I am an admirer of Mr Osborne, I will never the less try to follow his lead and not dwell on its well know visual attributes. Because lets face it, as seasons go, autumn is a bit of a cliché and for any artist who doesn’t aspire to see their work adorning biscuit tins or tacky calendars it is definitely one to be avoided. This was (I convinced myself) my opinion when a couple of years ago I received a private commission to paint a picture depicting autumn and for a long time I pretended that autumn’s corny overtones were the reason I could never seem to start the picture. Continue reading “Autumn Statement”
Last Sunday I went back to St Pancras Old Church for the first time since April (A Walk From King’s Cross) to see how the Hardy Tree was getting on. It is not a particularly grand tree, nor is it ancient but it is probably London’s most significant ash tree. With all the hysteria in the press I wondered if I would find signs here of ash dieback. Is this tree able to withstand the coming plague or is it doomed and this site to become a memorial to fraxinus excelsior? Continue reading “Hardy Ash?”
