The psychology of a landscape

Somerset Coast by Andrew Hardwick

Somerset Coast by Andrew Hardwick

Growing up deep in the north Somerset countryside played a role in shaping Andrew Hardwick as an artist.

In case you were wondering (I had to ask), saltings are grass land that are on tidal land, and are regularly flooded by sea water. Imagine that, a place occupied both by sea and land. My inner poet is in raptures.

These are among views that capture Andrew’s attention and inspire much of his art.

“I have a studio out at the farm and that enables me to collect all the things that are left over from farming,” he says, listing: “Decorating paints, PVA, plastics and pigments – soot and soils. I glue and cement it all together on canvas bound with wire.”

Valley and Wind by Andrew Hardwick

Valley and Wind by Andrew Hardwick

Becoming an artist was a process that gradually consumed Andrew Hardwick over a number of years. “It took quite a long time,” he comments. “The enthusiasm and fascination slowly built up, and before I knew it, it had taken over my life!”

Art classes and a part time foundation course contributed to his enduring desire to create. “I think when you go to art college they expect a level of seriousness and professionalism that cements it, that make you click and identify fully as an artist,” he says. “I’m now totally committed.”

In truth, it was seeded in his psyche from his earliest days.

The artworks themselves just come, Andrew says, “from doing lots of walks. They’re not immediate representations, not something I’ve seen and am recording in a straightforward way. Rather, they’re memories of a landscape, with lots of accidents in play in making the final artwork.”

The moods of his surroundings intrigue Andrew endlessly. “I’m interested in the psychological implications of a place, as I remember it,” he explains. “I do occasional works based on actual places – a recent exhibition was all based on Bodmin Moor, for example – but these aren’t pictures of specific views, rather the feeling of the view.”

Moor, White Sky, Sheep by Andrew Hardwick

Moor, White Sky, Sheep by Andrew Hardwick

Andrew enjoys the challenges of his work. “It’s all very personal and because of that it’s fascinating to do,” he says. “My passion for the landscape is a big part of it, but also the way I perceive it as mirroring my own state of mind. Finding ways to explore that is key to what I do – answering the questions in myself.”

He’s keen to dispel the myth that dark works are proof of a dark personality. “I work mainly around the estuary and Dartmoor so people might presume I’m a bleak person, but the opposite is actually true. I see my work as reflecting the power of nature and wilderness and the power of being alive. It’s wonderful being out in the rain with the wind blowing. It can be frightening, but it can also be spiritual – elemental.”

He adds: ‘I see a lot of joy in my work – it\s a celebration of life and living things.”

Andrew will be exhibiting at the RWA’s 165th Annual Open Exhibition from 1 October until December 3rd 2017. He will also be showing his work at the Totterdown Front Room Art Trail on 18th and 19th November 2017.

Are you an artist or do you know an artist who would like to be showcased on SkyLightRain.com? Get in touch at judy(at)socketcreative.com.

Open eyes and minds

Maenads Series by Tim Shaw pic cr Jack Offord

The RWA 164th open exhibition is currently on at the galleries on Queen’s Road, Bristol, populated by strange creatures, wondrous landscapes and portraits with soulfully intriguing expressions.

The open exhibition is always a highlight, showcasing a wonderful breadth and variety of artistic talent. Narratives whisper and wriggles on every page, canvas board and plinth.

The Maenads Series by invited sculptor Tim Shaw (shown at the top of this post) exudes a wonderfully satisfying sense of joy as they cavort, drum and wave their arms in the air, filling more space than their few inches in height would have you expect.

Fuelling Up by Jason Lanes photo cr Jack Offord

Fuelling Up by Jason Lanes

Other works prompt laughter and smiles, such as Simon Tozer’s Mermaid screen print and Fuelling Up by Jason Lanes. Jean Crosse’s A Bowl of Eyes is exactly what its title suggests – a ceramic bowl with eyes on stalks, which led us to remembering old teddies with cataracts and myopia or a single off-centre orb offering the impression of a sly wink.

Tabula Rasa (Elsie 1914) by Ruth Wallace photo cr Jack Offord

Tabula Rasa (Elsie 1914) by Ruth Wallace

Quieter, meditative artworks take their place on the edges. Self-portrait as Icarus by Richard Twose depicts the artist conducting a flock of pigeons on strings, as though they are marionettes or kites, while the Tabula Rasa (Elsie 1914) by Ruth Wallace gazes steadily back at the viewers, unfazed. Grey Rouge by Rhiannon Davies, is a miniature portrait in watercolour and gouache, well worth crouching down to see.

Yurim Gough with her Heart Chakra -> Ego bowl at RWA annual open exhibition 2016 photo cr Jack Offord

Yurim Gough with her Heart Chakra -> Ego bowl at the exhibition launch

Heart Chakra -> Ego by Yurim Gough looks to me like a new take on her elegant life studies on clay, with a serene face imposed over the model’s own and a perimeter of dreaming figures kneeling at the bowl’s rippled edge.

In a trio of paintings by Karen Bowers (Flood and Willow, Sue’s Field, Late Autumn, Late Afternoon and The Natural History Museum’s Wildlife Garden), autumn mists catch in trees and halt us with their atmospheric beauty. These are artworks that present a moment in which to pause, exhale and renew your strength – how fitting for this time of year.

Quite simply, this is an exhibition where humour, contemplation, landscape and memory are offered up in an exceptionally wide-ranging array of works. Escape there for an hour or two, and you’ll inevitably emerge refreshed and inspired.

The 164th RWA Annual Open Exhibition is on until 27th November 2016. Find details.

All photography in this post is by Jack Offord, provided courtesy the RWA.