From infancy Chris has involved herself in image making, training first at Lowestoft Art School and then, during an Education degree at UEA, where she took up printmaking.
She paints mostly in acrylics with drawing in various media and prints from lino blocks on her 1826 Albion press. She uses the reduction method of lino-cutting which requires the whole edition to be completed at each stage.
Chris’s work has been sold throughout East Anglia, in the London Mall Galleries and travelled to Europe, America and Canada. She has won prizes in the Eastern Open exhibition, participated in the Print Fair in Norwich and London and sold work in the great Art For Cure exhibitions in Suffolk and the biennial Norwich Castle Open exhibitions. She regularly has work in Mandells Gallery in Elm Hill Norwich.
Chris belongs to two artists' groups: Artworks, a group of thirty artists from across all of East Anglia, and Breckland Artists.
I try to produce interesting but personal interpretations using the qualities of my media.
I sometimes feel that art is thought to be easy. It is not!
07833411856
cgambleworx@gmail.com
I am a linocut artist living a working in the Breckland area of Norfolk. My prints are mostly inspired by the landscapes of East Anglia and other places I have visited. Many of my prints feature local wildlife, especially on the local fens.
I particularly enjoy creating multi-coloured prints, using the reduction process, my favourite technique. The lino is gradually cut away as each layer is printed and the image emerges. As the block is essentially destroyed during the process, a reduction print can never be reprinted. For more information, please visit my website.
Gill Thornton – Printed. Nature. (gill-thornton.co.uk)
Educated at the City of Norwich School and Norwich School of Art, Roger was trained as a Lithographic Artist at Jarrolds. In 1996 he retired from a career in printing and publishing to concentrate on painting and music. His paintings are shown in a number of East Anglian galleries and he regularly exhibited at the six-county Eastern Open, winning first prize in 2013. His work has also been shown at London's Mall Galleries. One of the founder-members of Breckland Artists, he is also a member of the influential Artworks group.
“I work solely in acrylics these days, I find the medium sympathetic to my way of working; quick-drying and ideal for flat areas. My choice of subject matter has over the years gone through several changes; currently I draw inspiration from aspects of the Breckland landscape, deconstructing and reconstructing, looking for new ways to interpret the images. Painting is a constant source of discovery.”
07855297618
artygambles@btinternet.
Sonia Dobbs-Orr was born in Norfolk. She gained a BTEC Diploma from Great Yarmouth College of Art & Design and subsequently, a BA Hons degree in Fine Art specialising in sculpture from Bretton Hall College, Leeds University. She continues to work in a variety of mediums from her studio in Castle Acre.
With Breckland Artists sculpture will be her main focus. Sonia mainly works in bronze resin concentrating on the female form.
Her main influences are Degas, Rodin and Matisse.
During this last year, we have all had to adapt & accept a different way of doing things.
Zoom life drawing has become an exciting new fixture for me, & I have had the pleasure of meeting artists & models from all over the world!
Hosted by Life Drawing with Cheryl M.R.S.S , sessions often follow a theme e.g. Michelangelo, Raphael & Botticelli inspired poses. We have had an anatomy specialist Royal Academy model, a model from Portugal posing with her dog & a duo from Barcelona enacting the story of Pierrot & Columbine.
Here is a small selection of 5,10 or 20 minute sketches mostly in charcoal & pastel.
07901645325
soniajorr@btinternet.com
Penny Lindop creates loose expressive semi abstract paintings in both watercolour and mixed media inspired by her local valley fen landscape, flowers and natural forms.
The small elements in nature, the flowing grasses, the tiny wild flowers on their delicate stems, the stones, pebbles, lost feathers and fallen twigs draw her in, and it is these that inform much of her work. It was the small details that were important to her as an archaeologist years ago, and now it’s the snippets of memories and detail that pull her in.
Based on the Norfolk/Suffolk border, with the beautiful and inspiring valley fens on her doorstep, this is a landscape she has come to love. It’s a landscape that inspires her painting.
Before working as an artist, she ran her own greeting card company, Penny Lindop Designs, for 25 years, attending many shows and events, supplying retail outlets across the UK and internationally. She sold the business in 2019, and has been painting since then.
Before her business, she was an archaeologist, working on many sites here and overseas, and spent some years doing research in the British Museum. All this, and more, feeds into her art practice.
Although my inspirations are wide ranging, from medieval and Native American sources to the natural world, much of my recent work had already been focussed on landscape before this rather strange last year.
My Garden Gate quilt was begun over two years ago. It is labour intensive (tens of thousands of individual hand stitches) and I have often left it to produce
other work. However, it is now nearing completion and I feel it reflects the spirit of the last year - seeing things through a grid, gate, window - an unattainable outside.
My other work from this last year reflects that theme - seeing the outside or the inside; either looking out through a window or inside through a window. What still life scenes might you see looking in through a window, but knowing you cannot enter. The colours of these inside scenes are a nod to the vibrant works of Matisse and I have made designs for several more.
I work mainly in cotton, either commercial, or dyed by myself, but sometimes I include silk and recently have used shirting and tweeds. I add texture and a sense of movement by embellishing with free machine embroidery, but sometimes by hand as well. The Garden Gate quilt is hand quilted using silk thread.
I have acquired a rich cultural experience through my training as a museum curator and subsequent time spent at the London College of Fashion and studying for my MA in Textile Culture.
My interest are broad, ranging from Medieval and Native American inspiration to the relationship between women and textiles.
Recently I have been exploring landscape - a theme to which I periodically return - ranging in dimension from miniature to wall hanging.
The small hanging shown here depicting a jay is the first in what I hope will be a series of birds.
I use my own hand dyed as well as commercial fabrics and stitch mainly by machine (including free machine embroidery) although I sometimes embellish by hand. My preferred fabrics are cotton, but I sometimes add silk and linen to these.
Email:Jillarnold@gmail.com
I have worked with textiles all my life. I love their huge variety of textures and patterns and the infinite possibilities of constructing with them. For many years I worked as a dressmaker and gradually developed an interest in patchwork and quilting. This has become refined into my work in stitched textile wall hangings.
My work is informed by the world around me and aspects of the sea and landscape are an abiding source of inspiration. I am interested in exploring the tensions and conflicts that occur in many situations and finding my own way to respond to them. I enjoy developing a variety of surface treatments to interpret my ideas and use thread as line to accent and augment surfaces. I love working with colour and am influenced by the work of Henri Matisse and David Hockney and the diversity of Gerhard Richter. The textile work of Pauline Burbage and Jo Budd are also influences.
I use both hand and machine techniques both to piece work and to work into the surface. Working mostly in silks and sometimes in cotton I often dye and paint my own fabrics to create the exact colours and effects that I require.
www.jillsharpe.co.uk
jillsharpetextiles@gmail.com
Having been taking pictures for some while now I have realised that really I’m an “on impulse” photographer. I don’t spend lots of time setting up to take a certain view, or a studio shot, I will just see something I like and take it. Therefore my camera is conveying what grabs me at the time, such as a group of people, the way I will see a building, or how the light at a certain time shows through the trees or falls onto a car, a person etc.
I have had my work published in several magazines, by BBC East and have been involved in joint and single exhibitions of my work.
To date I have published two books
! - About the rethatching of a medieval church from inspection to completion.
2 - A black and white book showing the difference (if any) between London and New York.
Please find Alan at www.alanporterphotography.co.uk
A while ago, within the space of a few weeks I found myself in both London and New York. Despite there being an entire ocean between the US and the UK, NYC and London are very similar. Large, diverse, multicultural, metropolitan centers (or centres!), you will meet people of every background. And you can find pretty much anything that interests you in both of them too. I’ve made many trips to America, and on this occasion, found myself staying in Brooklyn, New York for 5 days in July. The weather was good, so I walked everywhere (with the exception of taking just 2 subway rides). I tried to look at the area not as a tourist but as a local, soaking up the energy and optimism of the place and the people. London is different - I was born and raised there. But, with the camera lens between us, I always find new perspectives on life set against a backdrop of Palladian terraces, Jacobean chimneys, and the Brutalist architecture of the “City” and the “South Bank”. Reviewing my images afterwards, I was intrigued by both the differences and the similarities between these two cities with a shared language. The following pages are my photographic view from my two fascinating urban expeditions.
‘Over the past couple of months, I have been working on two large scale portraits. The first of a friend who takes part in the re-enactment of the 1940s and, in my portrait, a Naval officer in full uniform. I painted this as a companion portrait to my Victorian piece ‘The Lady Naturalist’ by using the same scale and the same curtains as a backdrop as if they had both been sitting in my imaginary photography portrait studio. The fact that both sitters are from completely different eras gives the game away that they are modern-day people. In this second portrait, titled ‘The Lieutenant Commander’ I also wanted to incorporate the sitters’ love for Japanese culture and added the print behind him. I also liked the unusual composition with the cat curled in his arms as well as sneaking in a Heron so that the two portraits are further linked together.
The most recent portrait came from being contacted by a family friend who asked whether I would like to paint her in her Steampunk outfit. Well, yes, definitely! I jumped at the chance. I did not know much about Steampunk but have had a crash course and I loved the pose, the addition of the guns and found myself happily getting lost in adding the details. It was really nice to paint a full-length portrait, which I haven’t done for some time and I had initially planned a background but finally decided that it was better to leave this so that the focus is solely on the figure.
Lyn works mainly in oils but also use acrylics and lithography. Lyn is happy to accept commissions.
www.lynaylward.co.uk
07986187348
My paintings are visual explorations encompassing colour, composition and collaged materials. I often produce three to five abstract works simultaneously in a series. Working thematically, concepts are woven through the body of my work influenced by my interest in the mundane: vase shapes, hand rails, roof lines, steps, railings, clutter of sheds. I am drawn to the inter-relationship of lines, shapes, patterns, positive and negative space.
Making a painting is a delicate balance of selection and discernment, a disciplined, informed call and respond approach. Questions arise during my process-led practice of mark-making, layering, editing and stripping back necessitating risk and chance. Lengthy conversations arise between the emerging surface of the painting and my intuition and experience. In terms of visual language my artistic pathway lies somewhere within the parameters of value contrast, design, perspective and composition.
www.rachelfurze.co.uk
Instagram @rachelfurze.artist
