STABLES STUDIOS Group Show
25th July – 3rd September
The comparative isolation of the studios in Hastings Country Park, Fairlight has been offset by Walking Talking & Drawing workshops, which bring groups of people together throughout the year providing a fresh connection to the ancient fishing & farming communities nearby.
The pieces of work in the gallery at Graze represent one futher step on a journey with clay, from my 1st show in New York in 1987 as a displaced Londoner by way of the US and Greece. My introduction to clay came during my B.Ed. at Goldsmiths, London. I began employing raku and low fire techniques while teaching at Buffalo State University and my MA at Wolverhampton.
I have lived and worked in Hastings since 1988.
“Sarah’s practice involves the tracking of the way we construct and reconstruct different stories in memory. First she creates a record of an event through collage…(which) provides a comparatively fluid visual language which serves to break the particular physicality of the remembered structures.
This delicacy of touch in her work, particularly expressed in her very free lines, bring the process of abstraction to a fresh particularity: ‘Lines of washing and none of them are mine. The deceptive simplicity of the shapes of buildings gives a moving, elemental quality to the work.’”
Simone Witney Features Editor Hastings Independent Press
My work, while primarily abstract, is heavily influenced by the local landscape and seascape. You will also see influences from my travels in UK and Greece.
“Denise Franklin’s recent work has moved into a less figurative and more elemental way of recording experience.
There’s an element of surprise, of slight dislocation, of not being able quite to hold onto one’s perceptions. There is also a purity about this simplicity of presentation which reflects a sense of honouring both the original experience and the process of construction of the imagery.”
Co-director, Walking, Talking & Drawing
a programme of guided & dynamic drawing courses in the landscape
Tutor, West Dean College
Co-founder, First Sight Gallery Hastings
Elected member of Rye Society of Artists.
I make drawings as finished work, not just as preparation for something else. I find the process of drawing direct, spontaneous, fluid. The act itself is way of thinking. I aim for that elusive equilibrium between the mark and the iconography.
“The intensity of Anny’s work is informed by her deep connection to and concern for the natural world. Also by considered intellectual concepts which stimulate questions about our relationship with nature. The drawings have a way of pulling us into a place of magical narrative by her use of a lyrical, subtle palette and the sheer violence of the calligraphic style of abstraction. It’s the violence of life and energy.
She is very drawn to the wilder landscape of southern France. Winter fragments of vines still clinging to their wires: a rich metaphor for different kinds of language – verbal, visual, auditory, physical: the shapes have a theatrical vitality reminiscent of the language of dance, of birds in flight, or of musical notation. ‘Learning French’ drawings.”
My response to the landscape is an emotional one and one that I do not confine to either paint or drawing materials. I often work outside and my initial response needs to be recorded with an immediacy, both gestural and dynamic.
“Sally turns her works in progress to the wall in the evening and does not approach them immediately when she enters her studio of a morning. Grappling at a symbolic level with the huge uncertainties of life expressed in the forces of the landscapes which assert themselves in our lives without warning. Caution there is, but no flinching. The work comes from a deeply contemplative space, though not one of serenity.
Spending time this last year in close proximity to mountains, Sally has developed a profound awareness of their peculiar, unpredictable vitality. A looming, impenetrable, rocky mass can be rendered invisible by a diaphanous mist, and reappear with shocking rapidity: the way the implications of a fateful event force their way into our resisting consciousness. The energy and unseen forces that are implied have become subject matter. She negotiates a tension between energy, craft and fear by a constant invention of mark-making which arrests our attention and moves us in ways we hardly dare express.”