Jane Kelly: Britain’s most controversial artist?

Opening Night Private View on Friday 25th September 6.30 - 9.30. Public Exhibition 26th September - 18th October

Please call the gallery for opening times (01303 223005 0r 07759 33 77 499)

Jane Kelly’s retrospective at Cristus Gallery starts on Friday 25th September, 2009 with a Private Viewing from 6.30pm to 9.30pm. The exhibition covers Jane’s work from 2004 to the present and includes three stunning new paintings on spiritual themes.

We will also be showing Jane’s two most recent paintings which were specially produced for the HG Wells Festival. In typical Jane Kelly style, the interpretation of Wells and his life is far from conventional to say the least, and she forces us to question the boundaries of private lives and public art in the context of both “The Invisible Man” and “The War of the Worlds”.

Please email us for an invitation to the Private View.

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HG Wells Festival - Griffin’s Escape by Dee Taylor

To mark the upcoming HG Wells Festival, Dee Taylor has created “Griffin’s Escape”. According to Dee, it is an image that refers to a take on two of Wells’ creations - The War of the Worlds and The Invisible Man.

“…A chaotic scenario of the inexorable, destructive march of the tripodic extra-terrestrials, and a single clue that Griffin, the Invisible Man, has been present. His abandoned sun-glasses lay broken, reflecting his fleeing figure”.

Cristus Gallery will be exhibiting Wells related pieces by Dee Taylor, Neil Jones, Jane Kelly and Parallax from 4th - 20th September.

See more Dee Taylor paintings…

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A special weekend for lovers of contemporary art

Bank Holiday Weekend Specials at Cristus

To mark the final weekend of the summer exhibition Cristus are discounting prices by 20% this weekend (does not include ceramics) so that we can make way for our exciting new season of exhibitions.

In addition, we have some very special offers which are open only to our Newsletter readers. To take advantage, sign up for our newsletter here and we will send you a coupon code. Then drop into the Gallery on Friday, Saturday, Sunday or Monday (28th - 31st August 2009) and simply tell us your coupon code to qualify for these offers…

1.Buy any painting, ceramics, prints or photographs with a retail value of £400 or more and choose from one of two free gifts

• EITHER a) any unframed print currently on display in the gallery, including signed limited editions!
• OR b) Two packs of high quality art reproduction greeting cards (5 cards to a pack). Normally the two packs would retail at £30.

PLUS

2. Receive a massive 20% discount on future opening night Private View purchases (as a Newsletter subscriber you will automatically be invited to all future Private Views)

PLUS

3. Collectors Special: we would like to keep our artist’s work together in single collections as far as possible. We want to encourage this with the following offer: buy two works by a single artist and receive a third at a 50% discount - this weekend only! This offer applies to the lowest priced work of the three pieces. Paintings, photographs and prints only - does not apply to ceramics.

More importantly… here is a selection of some of the beautiful art available this weekend…

 

Plus lots more art by many more artists… we look forward to seeing you at the weekend - have a great Bank Holiday.
Tel: 01303 223005
Mob: 0759 33 77 499

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Dee Taylor to exhibit at Cristus / HG Wells Festival

Dee Taylor will exhibit a new painting to mark the HG Wells Festival at Cristus Gallery, starting on Friday 4th September 2009. Dee’s painting will be joined by specially commissioned works by Jane Kelly and Neil Jones. Dee is pictured here with two of his recent works which feature vast dystopic landscapes of the near future.

See more Dee Taylor paintings…

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Jane Kelly - Britain’s most controversial artist?

Britains Most Controversial Artist?
Jane Kelly - 2004 -2009: A Retrospective
Hosted by Cristus Gallery
Friday 25th September 2009 - 18th October 2009

In 2004 Jane Kelly painted a picture of Myra Hindley. The painting lost Jane her job and caused her to embark on a search for truth and authenticity in art which continues until this day. Jane confronts us with murderers, dictators, religious figures, celebrities. She asks us to consider these people as human beings, not monsters or saints. And yet her controversial subject matter maintains and extends the great traditions of European painting.

“In a controversy, the instant we feel anger, we have already ceased striving for truth and have begun striving for ourselves”
Abraham J. Heschel, Philosopher, 1907-1972

For an Invitation to the opening night Private View sign up for our newsletter.

See more Jane Kelly Paintings

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Walking the Bristol AAF with Neil Jones

‘Twice round,’ said Neil. ‘First you must get immediate impressions of what you like, then you can return to have a closer look.’ This we did, while chatting about all things art and exhibiting at Cristus.

We’ve known about Neil for some time, emailed but never met, and marvelled at the impossible realism of his creations.

Like the whole of Bristol, the AAF is impressive on the day. The building in which it functions is a Great Western delight, gothic and massive, with the expected rubbish hanging pipework and overspilling guttering. Somehow, there is comfort in seeing this abuse of our heritage, a reminder of good old British Rail. Neil, a man of gentle nature and refinement, agrees.

Art fairs are the way forward, they say - a way of connecting the seller of art with the buyer. No need for galleries with their limited choice and intimidating ways. Certainly, the format seems to suit everyone. The galleries know that anyone willing to pay £6 to park and £5 to enter is likely to be bristling with art money. No time-wasters here. While the collector no doubt enjoys the sight of gallerists smiling nervously, fiddling with keyboards and constantly rotating their stock. The occasional outgoing brown-paper parcel is evidence that business is being done.

Neil is kinder than me about the quality of the art. On our second circuit, it all starts to become a picture show, but Neil calms me and gets me to look at the positives, not least the amount of meticulous oils on offer. Painting in oils has returned and replaced the splodgy acrylics and conceptual piles of the last decades. If this is a reaction, then I’m broadly in favour of it. Like the old masters, these artists are declaring ‘I can paint feet and hands in oils. Can you?’ But much of the purpose of art is lost if nothing is being expressed, apart from technical excellence.

This is why Neil’s work is so exciting. His painting of ‘Alfred’ is a display of his mastery, while the expression of the sitter’s character prevents a superficial viewing. Similarly, his sculptures have to be touched; and they are so real, it’s like they’ve just died in your hands.

See Neil’s specially commissioned pieces at the forthcoming Cristus Gallery H. G. Wells Festival Exhibition, which forms part of the H G Wells centenary event. Preparations are also well advanced for a Neil Jones solo show in the autumn.

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Summer Exhibition 2009

50 yards from the Sea: Contemporary Art Summer Exhibition To Launch in Sandgate, Kent

The Cristus Gallery summer exhibition of contemporary art will open to the public from Thursday June 4th 2009. Deborah O’Grady, the show’s curator emphasised the feelgood, optimistic nature of the artworks.

“The thinking behind the summer exhibition is very straightforward” said O’Grady. “It’s about the quality of summer light, the freshness of summer breezes, the hope and energy that a great summer can represent. It celebrates a certain lightness of being, and breaking free from whichever new global crisis we are in the middle of when people come to visit the gallery!”

Cristus Gallery, situated just 50 yards from the seaside promenade in Sandgate, is the ideal place for a Summer Exhibition.

“The quality of the light here in Sandgate is remarkable” said Dan McCarthy, one of the exhibiting artists. “On a clear day you can see France across the channel, the light sparkles on the water, and the sea is a Caribbean turquoise. On a stormy day, the sky and English Channel seem to threaten to burst the sea defences. I spend a lot of my time trying to capture these mood changes, and the ancient, troublesome relationship that man has with the sea in this place”.

We wanted artists who can match their seriousness of purpose with beautiful, colourful works that are optimistic and full of light. Featured artworks include paintings by Sarah Stokes, Jessica Stride and Tracey-anne Pryke; Ceramics by Shaun Hall; digital art by Dan McCarthy.

Summer exhibition opening times are now: Fri & Sat 11 - 7.30, plus the first Sunday of every month. These will be extended during the peak season and will be announced here.

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Jessica Stride on why colour is her inspiration

As far back as I can remember, I’ve had a love of colour and when I paint, this is always my first inspiration. The images are unplanned but evolve through balance and instinct and using colours that lift my spirit with their beauty. This series of paintings was influenced by my frequent visits to Devon and reflects the vibrant blues of the coastal area. My process is one of making continual decisions, some conscious, some intuitive which affect the final outcome. I aim to produce imagery that is ambiguous, with many layers, that reveals itself slowly and gradually to the viewer.
[Jessica Stride, May 2009]

See Jessica’s striking abstract and figurative paintings, including ‘Headland’ featured above, at the Cristus Gallery Summer Exhibition, from June 4th 2009.

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The Alloway paintings - Loving the art of the near past

Not so long ago, artists lived at the margins. From shabby studios, they produced work that was difficult and abrasive - even brutal. They shunned popularity. For to be popular, one had to conform; and to conform, one had to submit to the general will.

Questions about the nature and purpose of art seldom arose, because art was what they did, come what may. While pandering to the tastes of the mass consumer was unthinkable.

The Alloway paintings, acquired and lovingly restored by Cristus, ‘Nude with Cat’ (1969) and ‘Nude Circle’ (1971), are outstanding examples of this oppositional art. Knocked up on hardboard and skinny laths - themselves an expression of the artist’s condition - they have endured the pangs and scorn of time. Indeed, it is hard to imagine that they have ever been cared for, or displayed with pride. Yet, with the gentle easing of a spirit rag, four decades of filth make way for truths. We are struck by the artist’s thoughts, his fears, his time, his rebellion, and his unquestionable skill; but we also sense that the paintings are as vital as the moment of their conception, and that they are imbued with an integrity that is beyond question.

While other art arrives and is checked for dinks, like any other merchandise, the Alloways interfuse with the viewer. Even during restoration, they were taken from the workroom, hung on walls and examined, discussed and re-examined by us Cristusians.

In these, and in the one other painting we have seen, Alloway describes an urban, modern or near-futuristic vision. Spectral figures appear, writhing in a ring of despair in ‘Circle’, while encased in specimen jars in ‘Cat’. The nude is most present on the crimson sofa, but she too is obscured by the cat and her lower limbs are fading into pools of liquid light. Outside the glare radiates into the spaces and the figures await their fate. The resignation, alienation and loss of faith runs parallel to the themes of absurdist drama. These were the concerns of the artists of the time, and that’s why Alloway painted them. He is part of a rich tradition of British post-war avant-garde artists who have hitherto been much-undervalued. But who is this Dennis Alloway, whom, we are told, attended the Royal Academy School then disappeared from view? Please let us know.

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Power and intensity - ‘Fire’ by Tracey-anne Pryke

Joining our list of new artists for the Cristus Summer Exhibition is Hythe-based Tracey-Anne Pryke. Though she paints mainly figurative works, this abstract departure is an example of her extensive range. It is not a painting to be avoided. There is a physical presence here, as if the surface of the painting itself has been set ablaze. Chromatic oils burn and shimmer over the blackness. The sense of immediacy reminds me of Willem de Kooning and the ‘Action painters’ of the 1950s and 60s, as though the painter has just stepped back from the canvas, bespattered and breathless - and the painting continues to burn. It is a great contrast to Tracey-Anne’s meticulous portraits and seascapes, though all possess the same rich pallette and expressionistic verve. See them for yourself, online and at the gallery from June 4th.
* Tracey-Anne has just agreed to demonstrate her skills by painting at the gallery. Date to be confirmed.

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