“I begin each new piece with a plan based on the form of the coastal rocks, then
other elements sneak in, like a Cornish hedge, harbour wall, turning tide or shapes of
seaweed. Creating textures with plaster is one of my favourite things and I like to layer
paint and later sand it down to reveal surprising patterns. Natural muscovite crystals
reflect the light, adding a magical quality and like a mystery unravelling before my eyes
the process takes me to unimagined places. I feel a vibrant aliveness as each painting
reveals itself, giving me a sense of playfulness and freedom.”
The iconic art scene of St Ives has led me to follow in the sandy footsteps of many other who are inspired by its stunning landscape, vibrant harbour, quaint cottages and the forever ethereal light. My work brings together my love for the luminous colour of summer harbour scenes, contrasted with the depths of high tide.
‘I am endlessly fascinated by those things unseen in our landscape which are nevertheless ‘felt’ and by the duality of the historical geology of a landscape, for example a high moor having once been beneath a sea. The secret life of the wild animals that live amongst us and the way that man has shaped the land through his tracks, farming and industry also play their part in my work. Each painting captures a moment in time, the land and the sea are never still, the currents continue to run beneath the stillest waters, and deep deep below the most tranquil landscape water runs through the centuries to the sea.’
Adrienne Peverall is a Cornwall-based artist and printmaker whose work is inspired by her love of nature and the animals roaming freely on the moorland where she lives.
Since the early 1990s Adrienne has produced many monoprints etchings and paintings; the almost abstract monoprints portray rich intuitive colour relationships whilst the etchings contain combinations of strong draughtmanship and tonal contrasts. There is also nearly always an element of humour present in her wildlife observations.
The Porthmeor Print Workshop across the road from the Mariners Gallery became a regular working studio for Adrienne and many other artist-printmakers, some of whom exhibit at the Mariners Gallery and Penwith Gallery.
This long association with the art scene in St Ives coincides with Adrienne’s membership of the St Ives Society, as a member of the committee and as a Director and Hon. Secretary.
‘I am deeply moved by Impressionism, fascinated by movement, brush marks and how colours dance when placed next to each other on canvas. Anything is possible on the canvas, and that is why I paint. When we delve deep into the notion and romance of gardens, we can find it all’
Annie Ovenden’s name is carved into the history of English 20th and 21st century painting thanks to her membership of the hugely influential and much loved Brotherhood of Ruralists.
Using oil on board and sometimes incorporating a collage and mixed media element into her practice, the surface of Tracey’s work is often one of the first most luring aspects, luxurious, glassy and extremely tactile, it becomes impossible not to want to touch each piece.
She loves finding those not so obvious Cornish spots, alleyways lined with dustbins, mid century apartment blocks and colourful shopfronts.
I live and work in St Ives, Cornwall, UK and am a long-time member of Art Space Gallery Co-op, on the Wharf; St Ives Society of Artists, St Ives Arts Club and an associate member of Penwith Society of Arts.
With ‘home as a studio’ lit by a north and west facing window, my working method is that of a building up of transparent and opaque layers. Paintings are inspired by a particular place/weather condition or start with one colour on a blank canvas.
The beaches of St Ives at low tide, St Ives Bay and the north Cornish coast are an endless, inexhaustible source of creativity.
“West Penwith is a magical land surrounded by ever-changing seas; walking every day across ancient landscapes, trackways and footpaths is the inspiration for my work. I use different materials, some found and some recycled, and various mediums including collage.”
Howard Milton tells the tale of his first life drawing lesson at Hammersmith College of Art, under the influential eye of Ruskin Spear. Spotting Milton shyly peering at the model from the back of room, he led him gently to the front, whispering “you can’t draw what you can’t see”. Those first lessons taught him to find the tone, focus and geometry of whatever was in front of him.