Whilst completing his MA in Painting at Arts University Plymouth (formerly Plymouth College of Art) Tim won a Turing travel award. He is spending June in Ghent, meeting with Michaël Borremans at his studio, and firming up ties with Singulart in Paris. The painting “De Maagd” (The Virgin), featured was a gift from Borremans and is high up on the brutalist concrete bell tower next to church of St Nicholas’.
Follow the link Edge of Dark to watch the video on YouTube.
We are pleased to announce that Julia Giles has created a wonderful video documentation of Edge of Dark, an exhibition of paintings, drawings, sculptures and installations presented by the Newlyn Society of Artists and curated by artist Jesse Leroy Smith at Tremenheere Gallery, Penzance Oct 10th to Nov 1st 2020.
I remember in 2016 when we cheerfully echoed the phrase ‘May you live in interesting times’. It seems the world has become a smaller, darker and more turbulent place since then. Is there yet a place, a case to be made, for optimism?
Thankfully, artists think so. These short films seem to condense the beauty and the darkness of our new world, and urge us continually towards creative action. Pat Wilson Smith
A trip to France aged 8. On the ferry with my parents, I feel sick in my stomach and in my throat. I feel it rising like the waves tossing the ship around as we approach France. My father gives me red wine, he thinks it’s a good idea, he is laughing and seems happy, I take sips of the rough sharp juice to try to please him, but I don’t like it. I feel even sicker afterwards. My mother isn’t happy with my father but he doesn’t care, he thinks he knows best, laughs at my discomfort. Then in Rouen in the little hotel by the roundabout, the strange breakfast of milky brown coffee and almond croissants, just one each, I’m hungry and anxious.
We stand on the little balcony, high up; I look out over the roundabout, at the cars going around in circles. I feel as if my head is going around in circles too. We are called to the dining table. There is a large, starched white tablecloth over a beautiful shiny polished wood table. Marie-Helene, the lady who owns this flat, is very thin; her hair up in a tight pleat; she speaks a little English. Does she know my father has been sleeping with her daughter? I do not know this but I do know something is breaking.
We eat pale yellow tree hearts in oil with lemon juice. They are served in the middle, like islands, on large polished white plates with pink and gold edges. It is very strange food; I wonder how they could kill a tree just to get a little tiny heart out for a human to eat.
Then I remember Sologne, the big country house beside the forest, the big hunting lodge with animal heads and large wooden tables. Outside the ponds and the paths covered in millions of baby frogs all going in the same direction in the storm, when I emerge from the pond with my cut finger pouring with blood and my parents have gone away, I run crying into the lodge but my mother isn’t there…I find the old cook who is strict, stern, speaks no English, but she dresses my finger.
Then we go into the forest to look for the local delicacy, the yellow champignons. We have baskets, we walk amongst trees planted close, grey, brown, rustling with leaves and deer and goats with blue eyes. I find the mushrooms; we eat them for dinner, cooked slowly in butter. They smell of the forest floor. The next day I make friends with a baby goat. I love his smell. Part of me disappears.
Kate Walters 2020
Memories of Father or the Male in the White Dream by Kate Walters is currently on show at Tremenheere Gallery as part of Edge of Dark, and can be seen till November 1st, 2020.
Described as industrial melanism, during the Industrial Revolution when the iconic viaducts were built, the peppered moths (bison betularia) feeding on soot blackened lichen were eaten by predatory birds.
Meanwhile the all-dark individuals became more dominant in their population as they were camouflaged against the sooty lichen. Since the Clean Air Act of 1956, the population of all-dark biston betularia moths has all but disappeared whilst the peppered moth has seen a rise in population.
Deposition is a tondo, one of a series of work about the confined human figure that I began in November 2019.
At the time I was preoccupied with expressing my feelings about the challenges of ageing, which were overwhelming me.
We were unaware of the escalating Coronavirus epidemic in China.
As it later turned out, these paintings were strangely prescient, speaking of enforced constraint and the vulnerability of the human body.
Patricia Wilson Smith
Acrylic and oil on board
Currently on show at Edge of Dark till November 1st, 2020