2022 – concert diary

2022 Concert Series – Provided Covid-19 regulations permit – Seating may be limited so please book early.

== Winter break ==

Fri 18 & Sat 19 Feb 2022 : classical with Angela Brownridge (piano)
Fri 18 & Sat 19 Mar 2022 : jazz with Mike Denham (piano)
Fri 22 & Sat 23 Apr 2022 : classical with Giovanni Lonati (piano) travelling from Rome
Fri 20 & Sat 21 May 2022 : jazz with Philip Clouts (piano)
Fri 17 & Sat 18 June 2022 : classical with Katharine Lam (piano) coming down from the Birmingham Conservatoire, solo

== Summer break ==

Fri 16 & Sat 17 Sep 2022 : jazz David Gordon (piano)
Fri 21 & Sat 22 Oct 2022 : classical with Rosemary Tuck (piano) with exciting stuff we gather
Fri 18 & Sat 19 Nov 2022 : jazz with John Law (piano)
Fri 9 & Sat 10 Dec 2022 : classical with Duncan Honeybourne (piano) solo

===============

Special terms : due to Covid-19 will apply, approximately as follows, though we reserve the right to update them:

– Pre booking and prepayment only. All guests must give contact etc details.

– Seating will be allocated by us in advance. We will flex exact mix depending on demand and any constraints. Ask quickly if you have a larger party.

– We will give refunds if we need to cancel the concert for whatever reason. We will not refund if you need to cancel as that would disadvantage the musician(s), unless we can resell your seat.

– You must respect our Covid social distancing requirements, which will in turn comply with Government requirements. For the time being this means that no particular restrictions are anticipated unless Covid restrictions are reintroduced by Government.

– As usual drinks & nibbles will be served, but exactly how and where will depend on the weather.

– All concerts start playing at 8pm. Please arrive after 7:30pm.

– Tickets £15 each.

– To order tickets please email Tincleton Gallery or call Tincleton Gallery on 01305 848909

Autumn 2021 – concert diary

Autumn 2021 Concert Series – Provided Covid-19 regulations permit – Seating may be limited so please book early.

Fri 3 & Sat 4 Sep : Melissa Phelps (cello) & Caroline Palmer (piano)
Fri 17 & Sat 18 September : jazz with Philip Clouts (piano) & Ron Phelan (bass)
Fri 15 & Sat 16 October : classical with Ronan Magill (piano)
Fri 19 & Sat 20 November : John Law for jazz piano
Fri 10 & Sat 11 December : Duncan Honeybourne & Katharine Lam for a classical piano duo


Special terms : due to Covid-19 will apply, approximately as follows, though we reserve the right to update them:

– Pre booking and prepayment only. All guests must give contact etc details.

– Seating will be allocated by us in advance. We will flex exact mix depending on demand and any constraints. Ask quickly if you have a larger party.

– We will give refunds if we need to cancel the concert for whatever reason. We will not refund if you need to cancel as that would disadvantage the musician(s), unless we can resell your seat.

– You must respect our Covid social distancing requirements, which will in turn comply with Government requirements. For the time being this means that no particular restrictions are anticipated unless Covid restrictions are reintroduced by Government.

– As usual drinks & nibbles will be served, but exactly how and where will depend on the weather.

– All concerts start playing at 8pm. Please arrive after 7:30pm.

– Tickets £15 each.

– To order tickets please email Tincleton Gallery or call Tincleton Gallery on 01305 848909

Mary Gillett

My starting points are often found on Dartmoor and the north Cornwall coastline. My images are contemplations on how our surroundings can reflect our histories, moods and thoughts. I specialise in etching, a medium that has been developed by artists for its own intrinsic qualities and is now often used to produce single images as individual as paintings.

My etchings almost look as if they have been eroded by the elements themselves. The metal plates have been scored, furrowed, scraped, burnished, re-scored and re-furrowed until their history is symbolic of the very subject confronting me. This tactile immediacy is of the essence and combines with the use of light and dark to create images of intense atmosphere. I sometimes apply etching principles to the medium of collagraph so that I can work on a larger scale to reflect my love of painting which continues to influence everything I do.

As a member of the South West Academy, the Plymouth Society of Artists and the 21 Group of Artists, I exhibit widely at key venues in the west country. I have been selected on many occasions to show work at the Royal West of England Academy and the National Print Shows at the Bankside Gallery, London.

Born in 1953 I moved to Devon with my parents in 1956. I left home to study art in 1975 and by 1984 had achieved an honours degree in Fine Art at the University of the West of England, and a PGCE and postgraduate diploma in Printmaking at Brighton University before moving back to Devon in 1988.

I have over 25 years’ experience of teaching printmaking having founded Tamar Print Workshop in 1992. I offer courses exploring a range of techniques and the studio, set in a beautiful position on the edge of Dartmoor, has become a vibrant hub for numerous local artists and printmakers. I enjoy the continuous exchange of ideas generated from this atmosphere and see my teaching as integral to my overall practice.

David Risk Kennard

David Risk Kennard at work
David Risk Kennard at work

David Risk Kennard was born in England in 1953 and attended Marlborough College, where he flourished in the art school under the direction of Richard Shirley Smith, a wonderful wood engraver, artist and illustrator. Art history lectures were ‘fantastic’, he recalls. It was at Marlborough that he learned to draw and to indulge in refined imagery. From there, he went to Bower Ashton in Bristol, where drawing trees became his forte. He was, he says, somehow drawn to them and they to him.

David now lives in Dorset with his wife, Angelica. His home – the village of Powerstock – is well insulated from the outside world. Rolling hills fold in at every point, and sheep graze in the distance. David lives in a forest that he planted himself. Like Jean Giono’s Man Who Planted Trees, he has surrounded himself with his very own ‘friends’: tall walnut trees, Scots pines, hazels, a plum tree or two, cherries, a birch, a beech, a sycamore, an oak or three. His own piece of paradise.

David works in mythological time. There is a kind of magical realism such as is found in the novels of Giono: a heightened awareness of light and texture, as if the trees are speaking, as if the grain is yielding up its own inner landscape to his chisel. The figures grow of their own accord. The flanks of trees surround the walls of his studio. Pear, cherry, cedar, field maple, hawthorn. These landscapes have been scrumped.

 

 

Sarah Moore

Sarah Moore, sculptor

Stone is the material I have fallen in love with, however I enjoy using many other materials as well. There is something magical about hitting a piece of stone which is millions of years old with a hammer and chisel and finding the form you are looking for within it.

Sometimes the stone dictates what it wants to be and sometimes it is the other way round and it is me who dictates what I want from the stone.
All my work is carved by hand, I like to “feel my way” around the stone as I work.

The majority of my work is based on the human form, sometimes representational often abstract. I want to evoke a feeling of empathy or bonding with my sculpture, I want to convey emotions. My interest in the body stems from my early career as a radiographer, I am fascinated by the way shapes can blend seamlessly into one-another and sometimes end up with a form which is totally unexpected.

The tactile quality of a piece of work is important to me, I like my work to felt physically as well as emotionally.

I teach stone carving and wood carving as well as painting and mosaics. My passion lies with the materials themselves, how they relate and how an image can be coaxed out of them.

Please click on a thumbnail to launch a slide show of larger images

Colin Moore

Colin Moore was born on the Clyde Coast of Scotland in 1949. He studied architecture in Glasgow, and following an international career in architecture and design, has worked mainly as a painter and printmaker since 2004. He has lived in Spain, Venezuela and London and currently lives in Dorset, England.

His book,”Propaganda Prints, art in the service of social and political change”, was published by Bloomsbury in August of 2010.

 

 

Jazmin Velasco

Fox with Insomnia by Jazmin Velasco
Jazmin Velasco in studio

Jazmin is from Guadalajara, Mexico, where she studied graphic design and illustration. Years later she moved to Mexico City to study oil painting and printmaking. And years and years later she moved to London where she studied multimedia and where she established her work as an artist, printmaker, ceramist and continues to illustrate books. Currently Jazmin lives in the south of England.

She is a member of The Society of Wood Engravers, The West Country Potters Association and a teacher at the International Summer School Bild Werk-Frauenau, in charge of the wood engraving and letterpress workshop. Her prints have been selected twice for the National Print Exhibition and also twice for the Summer Exhibition in the Royal Academy of Arts. Her prints are in galleries around the UK.

She is inspired by the work of Jose Guadalupe Posada, the father of Mexican printmaking, and by Leopoldo Mendez who founded the Taller de la Grafica Popular, the celebrated organization which produced the posters and pamphlets that brought the Mexican Revolution to its illiterate masses, and created some of the finest graphic art of the 20th century.

But her real love is and always will be Saul Steinberg.

Ruth Ander

Slipway, Ruth Ander
Ruth Ander
Ruth Ander

I am an artist and printmaker living in the South West of England. Water, light and vapour are the three elements that inspire my work.

My technique is perfectly suited to expressing these inspirations-delicate, translucent drifts of colour on fine tissue paper and traditional hand-made Japanese paper. Painted prints or printed paintings- the results are multi-layered impressions.

The prints are made by rolling ink onto a piece of glass or plastic, then taking an impression by hand. In this way layers of colour and texture are built up. Some layers are so delicate they appear breathed onto the paper, the finished effect of texture and translucency being something between an old Italian fresco, an English landscape painting and a Japanese woodblock print.

 

Alison Wear

Alison Wear's ceramic pieces

I first studied ceramics and subsequently sculpture at Kingston Polytechnic then theatre design at Wimbledon School of Art. After a career in films and television I reinvented myself as a garden designer. Now I have returned to my first love and find inspiration in organic and zoomorphic forms, especially the work of the Amlash potters living 6,000 years ago in Iran.

All my ‘morph’ pieces are handmade. They are formed with care and then burnished to a soft sheen before being subjected to fire and intense heat. I do not use glazes as I prefer the smoke and fire to infuse the pieces, blending with the stoneware clay to create strange and interesting colours, and making each unique.

My approach is very low tech and much of my work is done in a wood with sticks and a dustbin or a homemade wood burning kiln.

Philippa Headley

Just Paddling, by Philippa Headley

Philippa Headley picture

Christies’ Graduate, Philippa Headley is a full time independent artist based in the UK driven by passion to produce expressionist oil paintings as a response to her surroundings.
Her inspiration is found in the natural forces of the ever changing landscape. The initial emotional response to this landscape is captured with sketches and drawings which are then worked from back in her studio.

From initial plein air tonal study to finished painting, the process allows creativity to intervene at each step – whether selecting the colour palette to reflect first light at sunrise or darkening storming skies through to finalising compositional adjustments and surface textures. She has a diploma from the Royal Society of Arts.

Collectors :- Her collectors react to the evocative and atmospheric qualities of her artworks, which are in collections throughout Europe, Australia and America.
Some typical comments :
“All our visitors have remarked on the dramatic quality of your paintings”,
“We are so pleased with our second purchase it looks perfect above the fireplace”,
“Beautiful original work with such a luminous quality”.
» Visit her website