Artist’s Statement: Adam Aaronson

June 2010

 

I am often asked where the inspiration for my work comes from and I usually respond that the ideas are never in short supply; the hard part is reaching the point where it is possible to realise them! It has taken some time to build up to the large scale blown glass vessels of my current work. These forms are physically challenging to make and required lengthy experimentation to achieve the right level of control over the colouring process. Now I can work as freely in glass as I might on canvas and it is completely liberating, a bit like learning to ski and suddenly reaching the point where one can ski off-piste.

 

For some time my artworks have been moving away from functional forms and have been created to explore the potential of the glass object. In reassessing expectations of vase, cylinder and vessel, I have been developing shapes that act as a raw canvas for the surface imagery. The large scale and dramatic forms of these works are intended to have a primitive quality that preserves the fluidity inherent in the glass medium.

 

I am inspired by the ceaseless mutability of light on the landscape, the sky and on water. I am fascinated by horizons, the vanishing point where the land merges with the sky. Glass is the ideal medium to express this idea of continual change since its properties are inherently mutable, not only in its molten state but also in the way the play of light creates endless nuances in the finished piece.

 

Sunsets never cease to enthral me and are a rich source of inspiration. As I write, the sun is beginning to set over the Thames. The view from my window is of black water, shot through with myriad shades of grey, brown, and green, constantly shifting and shimmering with streaks of lemon, champagne and gold, interspersed with flashes of silver. Minutes later, the water is turning red and yellow, reflecting the bright colours of the industrial buildings on the far shore. Suddenly, under the overcast sky, hints of apricot and duck egg blue miraculously appear upstream as the sun makes a last effort to penetrate the clouds.

 

It is these fleeting moments that I try to capture in my work, which can be seen as a collage of memories. I prefer to work spontaneously, beginning with an outline in my mind’s eye, but this usually evolves as I am working. This evolutionary process is controlled and each piece informs the next.

 

The making process that I have developed, the “late colouring” technique, has parallels in enamelling, ceramic glazing, printing and painting. Everything happens with the glass on the iron between 500º and 1100º. My palette consists of powdered glass colours, which I lay out on a steel table. The full size hot glass vessel, which has been covered in silver leaf, is rolled over the powders, picking up the first of several layers of colour. Reheating melts the colours onto the surface, and I apply more colours directly onto the vessel, again reheating at each stage to build up tone and texture. When the colours are red-hot they are indistinguishable, so remembering which colour is where, and its intensity, is a bit like a composer writing music, knowing how chords will sound together.

 

I like the ambiguity of colour and contrast, the way in which, for example, a swathe of bright red in a landscape or sunset can be read as fire or flower by different viewers. In fact, even though I give each artwork a title that reflects my own perception and inspiration, observers may find themselves recalling moments in time within their own “imaginary landscapes”. Back to Top

Artist’s Statement: NIKA SHIROCORAD

Born 1979 in St. Petersburg into a family of well-known graphic artists and painters. From 2002 resided, studied and worked in England. Since 2007 is a resident of Sweden.

Formal Education

1985- 1993 Primary school at "Surikov" College of Fine Arts, Moscow. 1987- 1997 "Gnesin" Special Music School, Moscow

1997- 2001 "Surikov" National Academy of Fine Arts.

Faculty of graphics and modern design.

1998 Fine Art master classes at the "House of Artists", Union of

Russia’s Artists, Moscow.

2000 Art courses under "National Trust" program, Warsaw, Poland

2001 International Art courses, "House of Artists" Tbilisi, Georgia

2002 Art courses under "Munich Art Trust" program, Munich, Germany.

 

Prizes/Awards

1998 1st prize awarded for the best Art Project "East-West of the 20st Century". Batik collection (mixed techniques on silk).

2000 National Award for "The most original theatre decoration"

Warsaw, Poland.

Joint Exhibitions

1984 1st "International Art Exhibition for children",

Museum of Children’s Art, Moscow, Russia.

2000 "Summer Flowers". UNESCO/UN exhibitions in Moscow, Chisinau and New York.

2001-2003. Participation in "Long-Play Art Project", set of exhibitions, Warsaw, Poland.

Personal Exhibitions

1986 "Casa Presei" Art Exhibition of Yung talents, Chisinau, Moldova

1987 Russian Museum of Fine Art, "Dedication to H.C.Andersen"

1998 "My childhood dreams", Orhan Hall, Chisinau, Moldova.

1999 "Millennium. Good-bye 20st Century". Set of personal exhibitions in Warsaw, Gdansk, Krakow.

2001 "Music and Me", UNESCO/UN, US Embassy, Moscow.

2001 "Internal labyrinth" exhibition at National Friendship House. Warsaw, Poland.

2003 "Exhibition-Concert", National Philharmonic Hall, Berlin.

2005 Costume design and decoration, Musee de la Mode et de costum de la Ville d e Paris under direction of Pierre Cardin. 2006 "Portraits", Nikkey Hall, Tokyo, Japan.

Various works in oil, watercolor, graphics and ceramics represented at

"Museum of Exclusive Art", New York, USA

"House of Nations", Melbourne, Australia.

National Museum of Art, St. Petersburg, Russia

Also represented in private collections worldwide, including

Belorussia, China, Denmark, France, Germany, Holland, Israel, Japan, Moldova, Ukraine, Sweden, USA  

David Baumforth is an internationally respected painter. His paintings are for enjoyment. He paints the things and places he loves - the North Yorkshire coast, it's hinterland, and Andalucia - always striving to paint the truth. He believes that work must have intellect and be carried out with as much skill as possible, but in the end it is the viewer that must judge. He was born in York, and is self-taught. His work has been shown in many exhibitions and galleries in the UK and Europe. Baumforth supports the RNLI and The Camphill Village Trust, and a donation is made by him on each work sold

"Anyone who has an eye for art, the deep passionate colour of Turner, the pure loving observations of Constable must rejoice that our century has David Baumforth. This work is ‘The real thing’, wet with sea spray we can feel, fresh with gust of wind, always mysterious, always beautiful: art to be cherished”. - Sister Wendy Beckett, Art Historian and Broadcaster

"Baumforth makes no claims for his work. Like many honest artists of skill and belief he just gets down to it and paints the places he loves to the best of his ability knowing that, in the end, the work must speak for itself. Uncomplicated and deeply moving"

David Lee, Editor of the Jackdaw, Art Critic and Broadcaster

 

Illustrated: 'City Nocturne' series  (all SOLD)

'City Nocturne' River Ouse to the West. 8inches x 11inches £500  sold

'City Nocturne' Still of the Night, Guildhall and Pleasure Boats. 8ins x 11ins .£500 sold

City Nocturne' Jewels of the Night, Guildhall and Lendal Bridge. 8ins x 11ins £500  sold

'City Nocturne'. Under Lendal Bridge. 11inches x 8inches £500 sold

'City Nocturne' Bonfire Embers and Fireworks on the Banks of the River Foss 8ins x 11ins £500 sold

'City Nocturne' Moon and Stars above the Ouse. 8ins x 11ins £500 sold

The complete series of six paintings may be purchased together for £2500

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