Talk by Adam Green Thursday 23 February, 6–7pmAdam Green, Masks of Paracus Tickets from gallery desk: £10Acrylic on canvas, 2011 Concessions and Patrons: £5 Angels: free Membership information: see back cover Image above: Adam Green
Adam GreenThe Baines Surrey Artist of the Year Solo Show Winner 2010Pavilion RoomAdam Green’s paintings have This exhibition is inspired by Green’sconstant presence of ornamental, recent trip to Peru and the textileshypnotic patterns draw on his love of of the Paracas and Nazca culturesMexican and African iconography. from around 700BCE. The vibrancyHe takes reference from vintage and intricacy of their animal designscommercial images, pulling together and symbols have influenced thediverse elements to achieve a artist’s palette. The paintings havequirky, yet dynamic composition. been made using a series of layersHumour flows throughout his work, to recreate the feeling of a piecegiving the underlying complexity of woven material. Using repetitivea more approachable edge. lines, circles and motifs, theGreen’s influences, motifs and use of paintings create the illusion of thepattern offer fascinating appeal, but depth of fabric, yet retain the sensehe is primarily driven by the physical of a painting.process of putting paint to canvas.It is from this point that everything Green has exhibited widely,else flows, and reveals the incredible including major spaces such as thetenacity in his application of paint. Royal Academy. The Surrey Artist of the Year is an annual competition established in 2009 by the New Ashgate Gallery and Surrey Artists’ Open Studios in 2009 to increase the profile of the county’s best artists and makers. The exhibition is supported by the Baines Charitable Trust.
Syann van Niftrik andNick Barberton:Marriage of Wood and JewelleryFoyerSyann van Niftrik has a strong sense Nick Barberton began turningof structure and a delight in the wooden bowls in 1988 when heprocess of working with metal: she is was given some large pieces ofinterested in the inherent possibilities Honduras mahogany. He wantedof the material. Forging is at the some light relief from the furniturecentre of her practice and her work he was making, but felt that thisis distinguished by a deceptive obedient wood was so dull that itsimplicity. As she says: “I keep my demanded the application ofmethods simple to allow elements of some texture.my subconscious and the responseof others to have life”.Syann van Niffrik has a strong voiceas a designer maker. For over 30years, she has worked with the someof the best galleries worldwide. Nowshe is internationally renowned andenjoys exploring her creativity andshares a passion for the beauty oflife and contemporary design withher husband Nick Barberton. Syann van Niffrik, Leaf Fall Bracelet 2, Sterling silver
Barberton loves the immediacy ofthe lathe, and discovered that hecould generate a bowl from a lumpof fruit tree wood. During his trip toChelsea Crafts Fair he noticed thatseveral potters were making flatpots. The idea appealed becausework made in this way lent itselfto narrow city mantelpieces andwindowsills. As few such locationsare able to accommodate awooden platter 60cm in diameter,he developed long, carved woodenbowls in which the rhythms of the Nick Barbertonchisel interplay with the light and thereflection and grain of the wood.These carved patterns now have a Parish Church, and has work inlife of their own, migrating to walls. Winchester Cathedral, Manchester Art Gallery, Sculpture at Goodwood,Nick Barberton has worked as a Artsway, and in several churchesdraftsman, a designer, a despatch around the south of England. Heworker, a teacher, a technician, an is on the Crafts Council’s selectedoccupational therapist and a yacht makers list and is a wood advisor forcarpenter, but always as a maker. the gallery collection at the CraftsHe refitted the vestry of Ringwood Study Centre, Farnham.
Spring ContemporaryCrafts3 February – 28 April 2012Craft Gallery and Jewellery RoomCollect the best of the UK’s emerging and established talentCeramics Printed textilesDaniel Boyle; George Ormerod; Melanie MayhoJacqueline Leighton Boyce; JohnMasterson; Kerry Hastings; Lucy AccessoriesBurley; Maria de Haan; Matt Horne; Kay MorganAdam Marsh; Paul Jackson; Richard SculptureMiller; Sherry Richmond. Jill WalkerJewellery Mixed media on canvasHannah Bedford; Lauren Davies; Rachel GrantHannah Louise Lamb; Helen Shere;Jo Lavelle; Sadie Chesterman-Bailey; Textile cushionsVanessa Pease; Machi de Waard; Lisa-Marie GibbsLi-Chu Wu. Felt jewellery Bev Harris Knitted scarves Alison DupernexMachi de Waard
Makers inFocusin FebruaryCurated by Alison WoodleyAdam Marsh looks at the functionof classic forms and recreates themin a contemporary format. Ourfamiliarity with, and the accessibility Matt Horneof objects such as plates and cups,means that playing with different Matt Horne uses crystalline glazingcontexts – whether as a single vessel that is time consuming andor a collection – can change how expensive to produce. There cantheir function is perceived. Hand- be many failures, but also stunningthrown, they are all slightly different effects. Matt’s work is hand thrownwith individual quirks and subtleties, in porcelain: one of the most difficultwhich means that when grouped clays to throw. Crystalline glaze isas an installation they form different mixed using a variety of ingredients,lines and shadows, creating different some measured in minute amounts.points of interest according to It is applied thickly, up to 4mm, toindividual perception. encourage the glaze to run. The object is then placed on a pedestal and stood in a dish, to catch the Sale in the Balcony run-off during the firing. The kiln Room Gallery: reaches the maximum temperature, up to 1300°C, but is then cooled All works in this gallery are discounted by up to 30%. Angels to a specific holding temperature are eligible for additional in which crystals form in the glaze. discounts, so why not join today? The amount of time held at this temperature contributes to the size of the crystals, which occur randomly, making each pot unique.
The New Ashgate Gallery is aneducational charity that promotescontemporary visual arts and craftsto as wide a public as possible,through a programme of changingexhibitions, projects with artists,makers, and projects of supportand development delivered by the We are situated on the edge oftrust with local, regional, national Waggon Yard, just off Downing Street.and international partnerships and By roadeducational events. Farnham is 11 miles south-west ofNew Ashgate Gallery Guildford, Surrey, and is clearlyWaggon Yard, Farnham, signposted from the A3, A31, M3Surrey, GU9 7PS and A287. There is a pay and display car park in the front of the Gallery.email@example.com The adjacent car park has four01252 713208 dedicated disabled parking spaces. By railAngels and Patrons The Farnham Station is served byFriendship Scheme London Waterloo. The Gallery is a five-minute walk from the station.A Patron receives: invitations to By bus & coachpreviews of new exhibitions and Buses run from Farnham tocomplimentary drinks with artists surrounding towns and villages,and staff; priority invitations to generally every hour. For enquiriesspecial events and sales. contact Traveline on 0871 2002233 or visit traveline.infoIn addition, an Angel receives: 10% Opening hoursdiscount on purchases, excluding Tuesday–Saturday 10am–5pm.books, magazines and cards. Free admission andAngels and Patrons may also vote in groups are welcomeRising Stars, an annual competition All exhibition rooms are accessibleto find the most promising up-and- to wheelchair users. Guide dogs are welcome.coming artist with a top prize of anexhibition in the gallery. You canbecome a Patron for just £25 a year www.newashgate.org.ukor an Angel for £60 per year. www.twitter.com/newashgate www.facebook.com/newashgateRegistered Charitable Trust No. 274326 Design: www.janeglennie.co.uk