Monday, 17 June 2013

Tina Francis 03/06/13-16/06/13

Tina Francis Review

By Catherine Evans 

Tina Francis gives us permission to gaze into a new world. The detail of her paintings sometimes resembles photographs, which resonate from the walls. They are awake and urgent to tell us a story. The urgency plays out an enticing narrative, of mother caring for their children. The ever-watchful child in  Precious Cargo’ gazes out at the world, with the hint of a frown deepening his brow. The child may have seen more hardship, at this young age, than we see in a lifetime. There is an undeniable strength to Francis’ women, seen particularly well in ‘A Lady Waits’.Her face seems to ask: ‘Where are they’? She is relatable in her expectant stance and we have all been there, waiting for something that may never come.

The stillness of the landscapes contrasts beautifully with the defiant faces of the women. The beach landscape and ‘The Dolphini’ take place under a glowing moon. The white and blue hues creates a sense of serenity. One can imagine oneself dipping their toes into the cool sea. ‘The Dolphini’ is a mystical painting, with two dolphins jumping into the air, quite literally erupting out of the midnight blue water. Here, the movement punctuates the stillness. It encourages a concentration and contemplation of nature; such is the vivid nature of Francis’ works.
Animals are prevalent in Francis’ work, their wildness giving us a glimpse of true Africa. The painting entitled ‘Rage’ stand out. The cloud of dust, that the elephant kicks- brings the whole piece to life. If you gaze long enough, the elephant may walk out of the wall and into the room. Francis’ work suggests that we can experience these animals that are ordinarily too wild to approach. It is this charming place of approachable wildness which absorbs us into Francis’ paintings.  


Saturday, 15 June 2013


you dont mind do you he said touching my skirt, over familiar.
my chest hurts as if theres a blackbird there trying to get out.
A and E for 3 hours, lose the will to live. Terrier puppy all wiry, a cuddle of curls. Lukes run off to the pub to do the rugby. 3 frames from Sharon, one a birthday present. love Sarah.

Saturday, 8 June 2013

Jess Leigh Roberts Exhibition Reviews

Jess Leigh Roberts

     Exhibition Reviews           

Image By Jess Roberts

“White Space Deleted”         

 Contemporary artist Jessica Leigh offers a dynamic and captivating experience in her latest exhibition “White Space Deleted”. The bold use of colour, texture and layering is something that immediately takes you into the narrative of each piece whilst also offering a gentle playful use of light. From a multi canvas dissection to an outright visual assault Jessica is not afraid to let the paint dictate the direction of each piece which allows for a refreshing collaborative experience.

            Each painting offers an injection of vibrant colours that are delivered to each canvas with a surgical like precision. Gentle spattering and carved paint feature strongly in this collection bringing an almost multimedia dynamic. Playful titles do add a sense of the care free but this is only lightly dusted over the striking and bold statements each piece of work conveys.

            With so many pieces sold in this exhibit it's clear to see that Jessica's art is striking a chord with collectors and fellow artists. Jessica even took the time to let her collectors meet her and watch her paint as she set up an easel for a live painting show in the gallery itself. For those with a passion for the abstract and contemporary Jessica Leigh is not only one to keep an eye on but one also definitely worth investing in.

Ryan James

When you walk in you feel you are floating between several worlds. Shimmering surfaces that reflect or swallow light. spiritual and spatial undercurrents made up of dots splurges, fractured lines which give rise to a feeling of flying. Colours drip and flow, adults and children bend and peer.
                                                                                                                        By Sarah Evans


                                                                                          Images by Ryan James