This section shows you galleries of our Artist's work. Feel free to contact us with regards to any enquiry, if you wish.
- Georgia Danvers
"To re-create the
Beauty of Nature is like asking time to stand still so the Human
Eye can enjoy its Glory".
I love the visual precision
and detailed work required to produce these botanical illustrations.
I like the fact that you "get what you see". The exquisite
detail excites me, and this is where Sue's work is so different
to mine. Sue sees the broad abstract view of natural form.
An extension of the Traditional
I have developed my botanical
work forward into a more personal and contemporary artform. The
spirals are created alongside the subject, and are therefore in
'tune' with them. Traditional botanical art is an absolute and
illustrative recording of plants, and I do not disagree with this
view. I am trying to emphasise the importance of personal responses
to the beauty of the traditional botanical illustration.
I am delighted with the
response from other artists, and it is wonderful to know that
my work can procure such different reactions. This is a fantastic
See closely the Beauty
of the Natural World.
"Extending the life,
through Art, of that which has passed".
My new series combines
a study of Natural History with living form. My skulls are an
example of this, where there is a living element alongside the
'forgotten', which is why I named it "Life after Death".
I have a fascination for illustrating 'passed life matter' and
am giving them new life through my painting.
In the 1970's my work
was focused on landscapes and family life in Ireland. My Oil portraits
began in Ireland, and I completed several commissions and exhibited
in the "All-Ireland Exhibition" in Limerick (1975).
After moving back to England in the 1980's the portraits I did
were predominately in pencil, and the Oil paintings became less
frequent. The drawings I did then were both intense and time consuming,
and they quite literally kept me sane during an immensely difficult
period of my life. They were my focus each and every day, as regular
as clockwork, and when I wasn't drawing I was feverishly writing
poems and short stories. In 1989, I allowed myself to look back
at landscapes again, and feel the challenge of nature. This was
where the Hartshill Hayes and Secret Place series of works began.
In 1990's my art evolved
from formal environmental artworks, traditional landscape/seascape
painting, and the pure joy of elemental shape, space and line.
The freedom to choose and use just about any medium or object
that seems right is chaotic, but the excitement lies in bringing
a natural order again. I'm deconstructing what's there, physically
stripping away materials, and finding the core element that had
grabbed my attention, and compelled me to respond in the first
place, with camera, pencil or pen. I look for strong movements
in an image
the odd angle
dramatic, like 'Sea Wall' (1995). I work with the essence of my
subject whilst trying not to lose touch with its common identity.
After a decade of full-time
work in teaching and special needs, I am still experimenting with
my artwork, as my 'butterfly' thinking drives me to try new methods
& materials constantly. I have enjoyed working on some of
my favourite themes, and boats and water still figure in my current
sketches using Pen & Ink. The watercolour "Sea Wall"
originated from sketches and photos I had created and used for
the large canvas of the "Sea Wall" which you can view
in the Mixed Media Gallery.
This is an interesting
and slightly puzzling venture for me. It literally started with
doodles, and grew into these deliberately organised pieces. I
began 'playing' with perception and have been influenced by images
of Islamic Art and Architecture which I love, and I am enjoying
the precision it is giving me. I have recently started making
organic images such as the "Onion" which has unexpectedly
and pleasingly felt unconstrained, although they still contain
some of the structure and discipline of my other Black & White