Work from the Ceramic Collection inspired by natural forms. The exhibition includes artists such as Alan & Ruth Barrett Danes, Richard Slee, Geoffey Swindell, Mary White, Mollie Winterburn and others.
School of Art PhD student Anastasia Wildig and recent postgraduate Eleanor West are taking part in the current ‘MA 7 Other Postgraduates 2018’ exhibition at the Atkinson Gallery. Maybe you spotted that Anastasia’s painting was also chosen for the exhibition poster!
Images of the private view on the 19th February 2018 (photos curtesy of Eleanor West):
(Click on the images to enlarge them.)
If you would like to see more of Anastasia’s and Eleanor’s works, have a look at the following websites:
Please click here for more information about the exhibition.
‘To hell with nature!’ – A Reappraisal of Charles Tunnicliffe Prints
Painter-printmaker Charles Tunnicliffe (1901–1979) grew up on a farm near Macclesfield in Cheshire. A scholarship enabled him to study at the Royal College of Art in London. Soon after his studies, Tunnicliffe gained a reputation as an etcher of farming subjects. Today, he is widely regarded as Britain’s foremost twentieth-century wildlife artist.
Towards the end of a career spanning six decades, Tunnicliffe was awarded the Gold Medal of the Royal Society for the Protection of Birds. In an interview published in the Society’s magazine, Tunnicliffe stated:
‘I have shocked quite a lot of people by saying ‘To hell with nature!’ Nature is made to be used, not to be dictator, as far as the dyed-in-the-wool artist is concerned.’
Tunnicliffe’s exclamation expresses the frustration of an artist whose pictures are often judged on the strength of their fidelity to nature. Instead, Tunnicliffe’s prints show us nature transformed by culture and outdone by art. They demonstrate their maker’s knowledge of art history, his love of design, and the need to tell his own story.
Printmaking earned Tunnicliffe his Royal Academy of Arts membership in 1954. By then, he rarely produced fine art prints. For decades, Tunnicliffe’s work in various media appeared in magazines, on calendars and biscuit tins.
The stock market crash of 1929 had made it necessary for Tunnicliffe to rethink his career. Turning from etching to wood engraving, he became a prolific illustrator. His first project was Tarka the Otter.
Anglesey was no retreat for Tunnicliffe. Working on commission, he created colourful paintings he described as ‘decorations for modern rooms.’ He also continued to turn out mass-reproduced designs that promoted anything from pesticides to the Midland Bank.
Since the mid-1930s, Tunnicliffe’s work has been appreciated mainly second-hand. Until last year, when Robert Meyrick and I put together a catalogue raisonné of his etchings and wood engravings, Tunnicliffe never had a printmaking exhibition at the Royal Academy.
For some of his early prints, no contemporary impressions are known to exist. The plates were proofed by School of Art printmaker Andrew Baldwin.
Tunnicliffe’s career does not fit into the narrative of Modernism. It is a product of modernity. In his work, at least, he never said ‘to hell’ with culture. Pragmatic yet passionate, he made images to make a living.
Harry Heuser, exhibition curator
Curatorial team: Phil Garratt, Neil Holland, Robert Meyrick, Karen Westendorf
Terry Bell Hughes
Gallery talk and demonstration
Thursday 11th January 2018 2.00–4.30 pm
Meet in the Ceramics Gallery, Aberystwyth Arts Centre, 2.00pm
Followed by the demonstration in the Ceramic Studio. FREE
For more information about the artist and the exhibition click here.
For more information, please click here