The gallery is now open to the public again after long refurbishment work over the winter and spring. There is a new internal layout of the display boards creating four ‘rooms’. The large painting, Captives of the Cosmic Web, has been rehung on the north wall and the first of the ceiling panels (the Mythic Dreamer of the Gobekli Tepe – read more) has been put up.
The new exhibitions are a family affair. The art by Bernard Barnes (Fragments of Devon), Reyna Rushton, Sasha Barnes and Alyosha Barnes is all on display and for sale. There will also be an area inviting your participation in considering the refugee crisis.
The catalogue to accompany the exhibition of Fragments of Devon paintings and drawings by Bernard Barnes is now available to buy from Amazon.
The catalogue contains 24 works, completed in 2017, with descriptions connected with each one. The works are also displayed on his website. The book is full colour (matt), 8.5″ square, 64 pages.
We do not have a date yet for the reopening of the gallery and consequently this exhibition. Work is progressing well. It is hoped that the gallery will be open by June, but it may be earlier. There will be notification on the website as soon as we have any firm dates.
We’ve recently rediscovered a video from 2014 of an interview with Bernard Barnes where he talks about his life as an artist, the large painting on the north wall, ‘Captives of the Cosmic Web’. He and Harald Gassner also talk about their hopes for the gallery to become a Centre for the Creative Mind. The interview and the video were made by Larissa Siegrist.
A selection of the paintings by Bernard Barnes from his new Fragments of Devon collection have been photographed at high resolution and are available as prints from a third party service, Redbubble.com. The prints are produced by this services and shipped to you direct with a percentage commission to the artist. Prints are available as posters, art prints (on high quality paper), framed art prints (with various frame options), canvases – all of which have various size options. The gallery is not responsible for any issues about the production or delivery.
Bernard is preparing a book about this collection, and more information about each painting and drawing can be found on his newly designed website. Details of exhibition dates will be announced in due course.
Check the Redbubble site for definitive prices. All prices need to add delivery. There are also offers from time to time. An indication of the range of prices is given below:
Small (300mm x 400mm) £12.47 to Extra Large (600mm x 800mm) £37.92
Framed Art Prints
Small (square 203mm x 203mm; rectangle 203mm x 256mm) £64.07 to Large (square 407mm x 407mm; rectangle 407mm x 511mm) £108.89 Framed prints have a choice of 2 frame styles, 4 frame colours and 3 mount colours, which may affect prices.
Canvas Prints (unframed)
Small (square 203mm x 203mm rectangle 203mm x 256mm) £48.00 to Extra Large (square 508mm x508mm; rectangle 508mm x 639mm) £108.00
Small option only (rectangle 418mm x 525mm) £10.31 to (square 418mm x 418mm) £11.79
As the gallery is closed for the winter Bernard has had a couple of trips to Devon and from photos and sketches he made while down there, he is now working on a series of Devon paintings. Here are a few previews:
For the 3rd year, the gallery organised a carnival with giant puppets, live music, poetry, art and bubbles. The weather wasn’t on our side this year on Saturday 23rd July. Below are photographs taken by Bernard Young and edited by Karen Cropper. To see them larger, click on one.
Bernard and Reyna will be working in the gallery as their studio space during October and things will be moving around in preparation for further renovations of the building that will be taking place November to May, during which time the gallery will be closed to the public.
Bernard, Reyna and Aly have been emersing themselves in the issues around refugees over the last few months leading to the creation of new art works.
Bernard says “The idea is to create a wall combining the paintings. Ideally, in the appropriate setting, where the wall could be extended. The origins of this terrible conflict can be examined, and the consequences explored. On the other side of the barbed-wire wall will be the scrafeto wall.”
“It was originally designed to be a component in an exhibition concerning refugees. Visitors would be asked to leave an image, a comment, an object that will refer to this extraordinary human phenomena. We are thinking of building this as a winter space in the gallery, before it closes for the winter renovations.”
The left panel in the above image is still being painted by Aly Barnes. It is based on an extraordinary image of people gathering in Aleppo in a ruined street.
Please call in to see progress on this work. And if you have any options of places that these pieces can be displayed over the winter, please let Bernard know.
We were fortunate to have the pleasure of Jon George sharing his expertise and castprinting technique in the workshop at the gallery 24-28 September. All the places were taken up and everyone enjoyed themselves and worked hard.
This post has photos from the workshop. I’ve included at the end a list of all of the equipment and materials needed for this process. It isn’t a full explanation of the process, but just intended as a reminder for if we run the course again or any people who attended. And the photos are roughly in the order of the process except for the prints that I have included next to their glass painting or cast block for comparison purposes. Clicking on any image will enlarge it and allow you to scroll through the set as a slideshow.
Some of the items needed laid out at the start of day one
Jon explaining what the technique can produce in his own work
Demonstrating the first step of preparing gesso and painting on to glass
A hive of creative activity in the gallery
Glass painted with image by Bill Swan
Printed image by Bill Swann
Plaster cast blocks just after pouring
Washing off the plaster cast to remove clay and gesso
Inking up the roller
Laying on the paper
Rolling the paper on to the inked block
Peeling off the paper to reveal the image
Glass painted with gesso by Ann Hickebottom
Inked plaster block by Ann Hickebottom
Print by Ann Hickebottom
‘Baranyini’, hand-castprint 50×56 cm (20.5″x23″) copyright Jon George
For this printing process you need:
Ingredients for gesso – chalk and a water soluble binder
A small water bottle with suitable lid for allowing small drops of water
A piece of glass to paint your image on, bigger than the image you want to make
A smaller piece of glass or tile to mix the gesso on
Another piece of glass to roll out your ink on at the printing stage
4 pieces of wood the same thickness, bigger than the image you wish to make
Palette knife (knives) to mix your gesso
Paint brushes to paint your image with gesso
A handful of clay to seal the wood on to your glass as a frame to then pour plaster into
A bucket to mix the plaster in
2 cups – one to measure the dry plaster the other to measure water – preferrably with handles
A wet area for washing off plaster from any buckets and cups and washing the gesso of the plaster cast
White spirit or turps (to clean off the oil based ink)
Rollers for the ink and for pressing the paper on to the cast block
Lots of cloths and newspaper for cleaning up
Jon George is working on a book about his work, life and the castprinting process. We hope that he will be able to return to the gallery next year and run some more workshops on this technique and also painting with egg tempera. If you are interested in any of these things, please contact us (if you are not already on the mailing list for updates) or check back on this website regularly.
We have the exciting opportunity to learn from Jon George about his Castprinting technique in a workshop running over four afternoons (24th-28th September not including Sunday) at the gallery. The workshop will be along the lines of the workshops he runs regularly from his London studio.
The Castprinting Technique
Castprinting is a new block printing method, which Jon developed when wanting to ‘reinvent woodcut with brushes.’ In most relief printing methods the image is carved in the block. However, in the Castprint block it is derived from painting – not cutting.
The three basic stages of Castprinting are:
Making artwork on a plate of glass.
From the artwork a plaster block is cast.
Print impressions are then taken from the block.
In our case the timetable is 2-5pm each day, as follows:
Saturday 24th and Monday 26th Sept will be making the artwork on the plate of glass.
Tuesday 27th Sept artwork to plaster block.
Wednesday 28th Sept print impressions from the block.
Character of Castprinting
Castprinting is a successful form of printing. People of all kinds love its simplicity and find working with gesso as a painting medium appealing. While the final results in the print faithfully render the brushwork in surprising and unusual ways. Castprints share those qualities expected of block printing, such as solid deposits of ink and colour that one wants to touch.
It has a tonal quality
Due to a subtlety of relief depth in the Castprint block, a wide variety of ink deposit creates the equivalent of tonal variation in the final print. This is new to relief printing.
Mirror imaging is solved
A typical relief print produces a mirror image, as it has but two phases A-B. But the three phases of Castprint: painting, casting and printing make it an A-B-A process and so the print emerges right-handed.
It is a viable printing method
The hard plaster of the printing blocks, make them capable of producing any number of prints.
The workshop will be fun and can be experimental
Castprinting courses are always interesting and challenging and different groups have brought new approaches leading to innovations. An example of this was with some art students in Morocco who insisted on using toothbrushes to flick the gesso to get a textural half tone effect. Jon said it probably would not work – but it did and their work was lovely.
Workshop fees, materials and equipment.
The cost of the full course is £60 plus £5 for materials which will be provided. It would be best to try to come to all 4 sessions to have the chance to see and try out all steps in the process and produce your own art work with the technique. But if you are only able to come to one the cost is £15 for each plus materials used. Please wear appropriate clothing for getting messy.
Here is a video about the technique, of a workshop at Jon’s London studio. This workshop will be taking place at St John’s Hall Gallery Barmouth, which is a different set up.