Art at The Red House

Art @ The Red House

An integral part of Atkins Law’s commitment to the community it serves, Art at the Red House is a rolling project which features in the lives of those who work for the practice and in the life of Exeter generally. We believe that art is not just for short festivals, but is a part of our every day lives. As a part of the refurbishment of our new offices, specially designed space for artworks integrated into the life of the building now features the works of our community’s artistic life. Lighting has been designed to complement the works of up to twelve artists every year working in all media. Our business visitors to the building can view the works during working hours, and special viewing evenings and open days at weekends for specific visitors in groups will be held routinely. We plan special events during festival periods including seminars by the artists and other events of interest to like-minded citizens of the area. We are open to suggestions, and view those with enormous value. Projects for the future include a community based annual sculpture competition where local artists can submit designs which will then interpret into finished work. That work will feature prominently on a specially designed and built lit plinth outside our front doors for a year. The winning sculptor will receive full attribution. This fusion of work and exhibition space has been organised in collaboration with Aune Head Arts and the Beaford Centre, and further details of current and upcoming exhibitions can be found on any of our websites. Enquiries please to: artattheredhouse@yahoo.com john@atkinslaw.co.uk or phone 01392 671657 About The South WestAcademy of Fine and Applied Arts..	ART @ THE RED HOUSE Art @ The Red House - Featured Artists Click on the Artists listed below for examples of their work as displayed at The Red House Hugh Miller Colin Pethick *Helen Snell* *Dave Bond* *Emily Clark* Lydia Corbett Tammy & Tracey Humphreys *Sally Gaden* *Jennie Wilkinson* *Judi Morton* Rosie Musgrave *Zoe Hyde* Deborah Treliving Lynn Walters Clare Fisher *Emma Fisher*

One of the paintings by HUGH MILLER now on display at The Red House An integral part of Atkins Law’s commitment to the community it serves, Art at the Red House is a rolling project which features in the lives of those who work for the practice and in the life of Exeter generally. We believe that art is not just for short festivals, but is a part of our every day lives.

As a part of the refurbishment of our new offices, specially designed space for artworks integrated into the life of the building now features the works of our community’s artistic life. Lighting has been designed to complement the works of up to twelve artists every year working in all media.

Our business visitors to the building can view the works during working hours, and special viewing evenings and open days at weekends for specific visitors in groups will be held routinely. We plan special events during festival periods including seminars by the artists and other events of interest to like-minded citizens of the area. We are open to suggestions, and view those with enormous value.

Projects for the future include a community based annual sculpture competition where local artists can submit designs which will then interpret into finished work. That work will feature prominently on a specially designed and built lit plinth outside our front doors for a year. The winning sculptor will receive full attribution.

This fusion of work and exhibition space has been organised in collaboration with Aune Head Arts and the Beaford Centre, and further details of current and upcoming exhibitions can be found on any of our websites.

Enquiries please to:

artattheredhouse@yahoo.com
john@atkinslaw.co.uk

or phone 01392 671657

About The South WestAcademy of Fine and Applied Arts..

ART @ THE RED HOUSE

Art @ The Red House - Featured Artists

Click on the Artists listed below for examples of their work as displayed at

The Red House

Hugh Miller

Colin Pethick

Helen Snell

Dave Bond

Emily Clark

Lydia Corbett

Tammy & Tracey Humphreys

Sally Gaden

Jennie Wilkinson

Judi Morton

Rosie Musgrave

Zoe Hyde

Deborah Treliving

Lynn Walters

Clare Fisher

Emma Fisher

HUGH MILLER

Hugh Miller A new exhibition of work by artist Hugh Miller opens with a private view at the Red House on Thursday 13 March 2008. Miller’s powerful and vivid paintings are inspired by the north-west landscapes of the ‘Romantic poets’, which included Devon-born Samuel Coleridge. This is Miller’s first solo exhibition in the south-west though he is already well-known and occupied working on private and corporate commissions.

Hugh Miller was born in Harrogate in 1971 where he was brought up in the North Yorkshire Moors. He moved to Blackpool where he studied life drawing at Blackpool and Fylde College then moved to London to do BA Hons. in fine art at Chelsea College of Art, graduating in 1987.

Since then he has been practicing as a self-employed artist in The Lake District and now back home to the North Yorkshire Moors at Glasshouses Mill near Harrogate.

Hugh is a landscape and a figure painter. He works in oil, water, pastel and graphite.

Art at The Red House - Featured Artist

Hugh Miller

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COLIN PETHICK

My practice is very much diachronically based, influences are drawn from classical forms of oil painting, merged with contemporary photography in the pursuit of constructed trompe-l’oeil, investigating the thin divide between simulacrum and artifice.

Taking traditional references from the “Baroque” in particular the use of “Chiaroscuro” light, which provides an added edgy tension to the subject matter, akin to “Film Noir” rendering the familiar a contest of interpretation via many levels of semantic discourse. The object then is to merge the historical with the contemporary by juxtaposing symbols of decadence and comfort against the utilitarian establishment, thus commenting on our own state of flux in the diversity of today’s social order, through the paradox of Beauty in the mundane, a timeless aesthetic.

The work more importantly to me though is also a refuge, a place to fall into when the physical pain of my condition becomes overwhelming. Everyday symbols like wallpaper, locks, hinges, shadows, and bric-brac all remind us of lost Sundays, time in convalescence when time itself seemingly stops. There is then a fascination of Vanitas, that earthly reminder that we are all here for but a short time.

Art at The Red House - Featured Artist

Colin Pethick

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HELEN SNELL

Devon based Helen Snell creates quirky and imaginative artworks, chiefly using print as her medium. For The Animals Went in Two by Two, she is using large format photocopies mounted onto card to create a giant pop-up garden filled with strange creatures, hybrids and clones.

Helen Snell combines the mass produced and the unique to humorous and ironical effect, full of suggestion and contradiction. She is interested in both the process of reproduction (printmaking, digital media, collage, photocopies) and by the theme of reproduction (with reference to biotechnology, genetics, sex and consumerism).

“Printed images and multiples enable a process of vulgarisation, undermining the obsession with originality, so that content becomes the primary concern. Repetition of imagery echoes our obsession with labels and brands as assurances of quality and also, paradoxically, echoes our fears provoked by images of cloning and other genetic interventions.

“I am especially interested in the idea of the imperfect edition. To subvert the idea of an edition is exciting and a good metaphor for the paradoxical relationship between group identity and individuality.”

The Animals Went in Two by Two, originally conceived for the Art Farm Project in Devon, draws on her ongoing interest in the ethical debate concerning biotechnology:

“In the increasingly secular West, the human body tends to be viewed as a rather poor piece of kit in need of constant upgrading. Animals and plants are seen as industrial material, useful for us to practice on. In this climate we are filled with feelings of fear, curiosity, and desire. The very nature of classification and identity is brought into question as a result of the creation of transgenic and hybridised animals and plants.”

Art at The Red House - Featured Artist

Helen Snell

Helen Snell

DAVE BOND

Dave Bond - Cornflakes Dave Bond is an artist based in Nottingham, UK. Upon graduation in 2001 he co-founded the studio group and exhibition space Graze. In 2002 he co-founded Reactor (www.reactorweb.com) an artist collective who to date have created or collaborated on over 30 events and projects in the UK and Europe. He has exhibited nationally and internationally as an individual artist and works freelance as designer and illustrator.

Dave Bond’s paintings are from his Random Art Generator series; an automated process that has been devised to create paintings by chance. From lists of 3000 different subjects one is chosen, this selection is duly painted and the process repeated indefinitely.

The R.A.G. lists were compiled using no external form of reference; every subject on the lists came from memory and therefore acts as an encyclopaedia of the artist’s mind. There was no editing of the lists, they are simply a record the first 3000 possible subjects that were thought of. Once an item is chosen, an image is acquired that is deemed to be a true representation of the selection and the painting is made from this image.

As the works accrue an embodiment of personal knowledge is formed. Taken individually the works are simple paintings of single subject matter; collectively they begin to build an image of the artist through his identification and experience of the outside world. An indiscriminate overview of the mind is collated through this accumulation of information, whether it is knowledge of history or cinema, people known or food eaten, each element contributes to the gestalt nature of the whole. The work begins to describe something of a person, creating a pattern from the random elements of their knowledge. Therefore the importance of the specifications under which the lists were compiled cannot be overstated. That every item came purely from the memory is mandatory because the paintings must collectively accumulate to build a bigger picture of the artist. Also that the lists were in no way edited, the removal of dull subject matter for instance, is equally important as this would again move away from a true overall representation.

Art at The Red House - Featured Artist