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Articles

Louise Richardson and Andrew Campbell: Tales of Suspense
Winter 2009/2010 issue
The piece is mesmerising. A dress hangs suspended from a pole and is, for all intents and purposes, made of fur. Step up and study it more closely, and with some difficulty the optical illusion shifts to reveal that the fur is not fur at all, but thousands of nails painstakingly pushed through a length of muslin to settle into a pattern of copper swirls and waves. How can 14,000 garden shed variety nails look so richly tactile? And why, once the illusion has been revealed, does the artwork continue to be alluring and, yes, even beautiful?...
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Tolly Nason: Evolution
Winter 2009/2010 issue
For Cambridge glass artist Tolly Nason, bird beaks are wondrous things. A regular visitor to natural history museums, she seeks out shapes and themes to incorporate into her art and she often finds herself drawn to creatures of scientific interest. In 2007 she produced a set of life-size glass dodo beaks; in 2008 she created a limited edition set of Great Auk beaks; again, created life size and perfectly to scale...
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Tom de Freston: All The World's A Stage
Winter 2009/2010 issue
As stressed students hurry among the centenary walls of Christ’s College in Cambridge and the bell of the old chapel announces Evensong, a half-metre-long painting awaits completion by the hands of a young artist in his studio. Tom de Freston, the holder of the 08/09 Levy Plumb Visual Arts Residency, grasps a tin of bright pink acrylic and spreads the diluted paint onto the canvas, staining figures throughout his work in a way that is reminiscent of Jackson Pollock’s dynamic gestures...
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Lisa Temple-Cox: Mind The Gap
Winter 2009/2010 issue
Take one pristine, store-bought garden shed and erect it, not in your garden, but on an oblong of carpeting within the four walls of a gallery space. Then take as many discarded, banged up, wooden doors as you can find, usually from people’s skips, and use them to build another shed around your new structure. What do you have? Either an extremely impractical shed for your garden tools, or, more probably, a Lisa Temple-Cox installation....
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Jeremy Andrews: Heads Up
Winter 2009/2010 issue
For years Jeremy Andrews has had a studio at Wysing arts in Bourn, south-west of Cambridge. There he produces portraits which at first glance appear photo-realistic, but which, he says, delves deeper than any photograph would. ‘I don’t regard my pictures as photo-realism, although I do of course go for a realistic representation. I try to achieve a quality more representative of the person as a character.’ The attention to detail, the colouring and the texture of flesh and hair are, in many ways, highly realistic, but there is a heightened sense of the person in them that is usually absent from photographs...
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Justin Partyka: All In A Day's Work
Winter 2009/2010 issue
Eight years ago Justin Partyka began to chronicle East Anglia’s hidden agrarian world with a camera and – unusually – no flash. Some 14,000 photos later, he has distilled his impressions of that harsh, and yet much-loved, lifestyle into just 57 large, moving, images collectively known as The East Anglians....
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In The Frame: Halesworth
Winter 2009/2010 issue
Will Teather, artist and lecturer, explores some of his favourite artworks during a recent visit to Halesworth...
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Collectors East: Philip and Jeannie Millward, On The Silk Route
Winter 2009/2010 issue
When Philip and Jeannie Millward bought The Old Skating Rink in the centre of Norwich, they were looking for a location which would function not only as a retail outlet for their furnishings business, but as a place in which they could share some of their 2000-strong collection of art from South Asia and neighbouring countries with the public....
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Anita Klein & Nigel Swift: Precious Moments
October/November 2009 issue
In Nige Takes Advantage a husband cuddles his wife and fondly slides his hand into her bra while she tries to set the table for breakfast. Porn? Heavens no. It is one of Anita Klein’s witty paintings in which she celebrates those instances in her life she treasures the most...
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Tessa Newcomb: Free-range
October/November 2009 issue
For Suffolk painter Tessa Newcomb, Suffolk’s beaches, fields, allotments, people and animals are a constant source of ordinary - and yet wonderful - incidents in which she can revel...
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Beka Smith: Looks Under The Skin
October/November 2009 issue
Meet Beka Smith. ‘I’m known for being quite extrovert,’ says the portrait artist as she greets the morning wearing a stripy dress in shades of cyan, green and pink, and a pair of ‘retro’ boots with flowers on. Beka is clearly not shy and neither, it seems, are the people who posed for her latest portraits....
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Glynn Thomas: Around the World in 80 Ways
October/November 2009 issue
For printmaker Glynn Thomas, the world is a wondrous thing. It can be squeezed, stretched and poked until every building, boat and seagull is happily positioned – usually with a bit of a wobble – in their rightful place within the four edges of an etching plate...
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John Kiki: Family Man
October/November 2009 issue
In a warehouse in the centre of Great Yarmouth’s historic dockyards, John Kiki paints fastidiously; he has a new exhibition lined up and, with it, he has discovered his second wind...
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Caring For Your Art Pt 2
October/November 2009 issue
In this concluding part of its two-part series, Green Pebble continues to look at how to care for your most prized works of art – with a special emphasis on oil paintings and photographs...
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In The Frame: Ipswich
October/November 2009 issue
Will Teather, artist and lecturer, explores some of his favourite artworks during a recent visit to Ipswich ...
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Guy Taplin: Bird's-Eye View
August/September 2009 issue
Just recently, artist Guy Taplin was mistaken for a tramp. He was in the Essex town of Colchester when a homeless person greeted him in the street as if he was one of their own. It must be something about him, Guy chuckles as he recalls the incident. His wild head of grey hair? The way he dresses in jeans and old sweaters, often covered in wood shavings and paint? Or the fact that he somehow has recycling in his very being? It doesn’t matter, it’s happened before and Guy is relaxed about it. In his view homeless people, society’s vagabonds, represent a gritty, real side to life with which he identifies. ‘A person can have a dialogue with [the dispossessed] that they can’t have with anyone else,’ he says enthusiastically, although it’s anyone’s guess how the conversation would have progressed had the tramp discovered that Guy Taplin’s wooden bird sculptures – made from bits of discarded, weathered flotsam – recently fetched as much as £22,000 a piece...
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Brigitte Anne Hague: Colour Dance
August/September 2009 issue
It’s a spring morning and Brigitte Anne Hague’s studio on the outskirts of Norwich in Norfolk is in full swing. Once a garage, today it houses two silkscreen printing tables, a UV light box and several drying racks; all bought second-hand through classified advertisements and off the internet. The smaller of the tables is stacked high with scrap paper and prep work; the larger table – an impressive 1.4 by 2.25m – is proving too small for Brigitte’s needs and she calls on her husband Stuart to help. Together they carry a 1.4 by 3.5m stretched canvas into the house where Brigitte sets to work on it on an extra-large kitchen table. Without the silkscreen printing table’s frame and mechanical arm to help keep everything in place, Brigitte is forced to improvise. Once more she enlists Stuart’s help, affectionately referring to him as her ‘techie’. He holds the silkscreen steady while Brigitte applies the ink with her 1-metre squeegee...
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Photo-ID: So, Who Are You?
August/September 2009 issue
Clear your mind and think: ‘Identity’. Do you find yourself immediately remembering back to the intimate moments of growing up; to when, as a child, you were surrounded by friends and family, enjoying jam sandwiches and playing conkers?...
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Deanna Tyson: Fabric of Life
August/September 2009 issue
The idea of ‘politically motivated design’ may sound like an artist’s ploy to be taken seriously, but for Deanna Tyson it is a passionate response to a deeply held sense of the unjust. ‘My first kimono was made when I read an article about a park in Japan where people had for years eaten lunch, drunk coffee and relaxed. When developers came to develop the park they discovered that it had been the site of a concentration camp in the Second World War.’...
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Kate Reynolds: In Profile
August/September 2009 issue
Artist Kate Reynolds grew up surrounded by art. Her father, sculptor Bernard Reynolds, was a founding member of the Norwich 20 Group and taught at what is now Suffolk New College in Ipswich; her mother, Gwynneth, painted figuratively and later went on to co-author the book Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School of Painting and Drawing. ‘There was always clay downstairs when my sisters and I were growing up,’ remembers Kate. ‘Dad spent a lot of his time in the basement of a Georgian house, which had a big workshop space, and I remember he was always coming upstairs with his sculptor’s smock on. When we needed something to play with my dad would go down into the workshop and dig out some clay with his trowel.’...
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Made in China
August/September 2009 issue
In the heart of Beijing, away from the modern shopping streets and high-rise office buildings, sprawls a world unlike any other. Crammed with alleyways, warehouses and small factories, the Chao Yang district of China’s capital city offers a cornucopia of handmade wares; some genuine art and antiques; some created from new; and most simply the everyday household items that have been lived with, discarded, recycled and revitalized. Here, visiting these small family-run warehouses, Louise Jones and Seema Bennett - the co-founders of Mao & Me - spent several years nurturing their growing fascination with Chinese household items by rummaging through piles of dusty discards stored in these warehouses, spying a possible treasure, and asking the warehouse owner to repair it, clean it up and polish it. The result: a remarkably attractive item of furniture or decoration...
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Caring for Your Art Pt 1: Acrylics and Paper
August/September 2009 issue
When we think of potential threats to the works of art in our homes and offices, we often think of the big four: fire, smoke, water and theft. We insure against these in our contents insurance policies and protect against them by installing security and smoke alarms. But as conservation specialists will advise us, our works are vulnerable to many other, more ordinary, threats: atmospheric conditions, air quality, dust, sunlight, transportation and the inevitable degradation of the very materials used to create the pieces. In this series on how to protect your art collection, Green Pebble explores the latest advice on the preservation and protection of oils, plastics and acrylics, prints and photographs against the everyday influences that could rob our collection not only of its value, but of its beauty...
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In The Frame: Norwich's CAN09 Festival
August/September 2009 issue
Being a Norwich resident myself, I am pleased to say that the city’s contemporary art scene seems to be blossoming. A number of exciting venues have sprung up in recent years to support the work of innovative artists from the Eastern region, such as Norwich Outpost Gallery and Art 18/21 (the latter kindly hosted my debut exhibition in the city last Autumn.) These and other venues provide a steady stream of events for art lovers and, even as I write, the Norwich Art Collective, Other Other Other, is hosting the region’s first Live Art Festival, Live East. By the time you read this, though, Contemporary Art Norwich will be upon us, a citywide celebration of international contemporary visual art. CAN09 promises to deliver a wide range of innovative and thought-provoking visual art forms rarely seen in the UK outside of central London. Below are a few exhibitions and events to scribble in your diary...
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Ana Maria Pacheco: Talking Heads
June 2009 issue
It’s not often that an ordinary person comes across a cabinet full of pale, disembodied heads, each gazing impassively at a large gold-plated Pecten Maximus, or giant scallop. It’s not often, either, that Ana Maria Pacheco incorporates text into her sculptures. But given that this sculptor, who was born in Brazil in 1943 and has lived in England since 1973, is constantly searching for ways to stop the viewer in their tracks - to encourage them to consider issues that are both specific to Latin America and yet universal in nature - both the heads and text have become integral to the intention of her latest sculpture, Memória Roubada II, which will be on show at this year’s Salthouse 09 exhibition...
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Maggi Hambling: Queen of the Waves
June 2009 issue
Much has been written about one of Suffolk’s favourite and often-controversial daughters: about her occasional fedoras and feather boas, thick black mascara and that hallmark cigarette; about her private life, lovers, crotchety moods and raspy laugh; and the furore over some of her artworks, most notably the vandalism to the cigarette of her Oscar Wilde bronze and to her Aldeburgh sculpture, Scallop...
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Robert Priseman : Head Space
June 2009 issue
Enter a room, any room, and what does a person know about its history? Do they sense the drama that has unfolded there in the past or is the room neutral, reflecting only what we choose to project onto it? What if someone has died there, committed suicide, or been executed? Is there a way of judging the event just from observing the space? For Robert Priseman, these are some of the questions he seeks to address with his large, eerily still oil paintings of ‘spaces’...
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Serena Hall : On The Bright Side
June 2009 issue
Visit any of East Anglia’s coastal galleries and there will be no shortage of paintings, sculptures and craft arts inspired by the sea, beach huts, waves, holidaymakers, deck chairs and seagulls. But of all the artists representing this region, there is one in particular who has taken these much-loved themes and injected them with such a bold array of colour that they virtually punch out of the canvas...
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In The Frame: Colchester
June 2009 issue
Reviews of works by Mick Smee, Elizabeth Morris and Emma Cameron.
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Laurence Edwards: Giants of the Creek
April 2009 issue
If a documentary were to be made of sculptor Laurence Edwards at work, the score underpinning the footage would be a rousing philharmonic masterpiece complete with spine-tingling choir and great shuddering drum rolls. For, right now, everything in Laurence Edwards’ bronzen world is epic. And it’s only going to get larger....
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Margaret Mellis: Free Spirit
April 2009 issue
It is 1939. A young Margaret Mellis has been hoisted up the side of a power station chimney in a small rope cradle. Below her, three of Britain’s most promising modernist artists belay her as she paints camouflage onto the brick. It is, in Margaret’s own words, a ‘windy and shouty’ day in Cornwall, and she will return home with burnt knees, but Europe is at war and the group of friends – all founding members of what will later be the St Ives Group – are anxious to contribute to the war effort....
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Pam Schomberg : Reinvents Herself
April 2009 issue
After fifteen years of running an art gallery in the city of Colchester, potter Pam Schomberg locked up shop two and a half years ago to relocate to a bright, airy studio two miles out of town. The challenge: to reintroduce her work to the art market....
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Is Now The Right Time to Buy Art?
April 2009 issue
Art as a financial investment – a money-making proposition, in other words – is a sensitive subject. Often it conjures up the worst case scenario: a beautiful work of art which never leaves its packaging and is passed between owners purely for profit. This scenario is anathema to most art lovers and yet few of us can deny that there is an inherent pleasure in knowing that a work of art we bought for a small sum is now worth more; not necessarily because we want to sell it, but because it confirms that our judgment was right: the artist was talented, the piece was meritorious. Who, other than the most hardened cynic, would not enjoy the warm glow this engenders?....
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In The Frame: Cambridge
By Will Teather
April 2009 issue
When I visited Cambridge recently I found a beautiful city, rich in cultural heritage and packed with galleries. Well-known landmarks include The Fitzwilliam Museum and Kettle’s Yard but there were also many smaller galleries scattered throughout the city, each with their own distinctive flavour. I found many artworks that stood out for their individuality and beautiful execution. Below are three artists that I felt had reinterpreted their personal experiences into images with wide-appeal: Mychael Barrett, Anna Pugh and Sarah Cawkwell...
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Sargy Mann: Blind Faith
Winter 2008 issue
When artist Sargy Mann went blind almost four years ago, he didn’t succumb to rage or self-pity. Instead, he turned to the memories and skills he had developed during his years of gradually declining eyesight, and with these tools launched a new phase of his career....
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Danielle Spelman: Casting Her Magic
Winter 2008 issue
A long, thin, starkly-lit garage on the outskirts of Lowestoft in Suffolk may seem an unlikely place to stumble across fresh new art. Yet, precisely such a space has given rise to a collection of innovative slip cast ceramics sufficiently exciting to catch the eye of international design company, Paul Smith....
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Smokin' Gunn!
Winter 2008 issue
Photographs rarely do justice to abstract paintings and this is particularly true of Susan Gunn’s giant highly-polished gessos. In print they can fail to excite; in life they cannot help but impress with their sheer size and their evocative topography redolent of the mysteries that lie just below the surface of a parched earth or, by contrast, in the pool of a highly reflective surface....
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Paul Harris: Inside and Out
Autumn 2008 issue
‘A rope has never been made, that can bind thought.’
Thus asserts a proverb that could have been written for Paul Harris, a Norfolk painter who has battled unforgiving odds to become a professional artist...
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London Calling
Autumn 2008 issue
With London responsible for a significant proportion of the world’s multi-billion pound art market, Britain’s capital city is now truly a Mecca for aspiring artists. But as those artists mature, many move away to continue their work elsewhere. Ruby Ormerod reports on Nigel Casseldine, Rosemary Carruthers and Paul Robinson; all East Anglian artists who have successfully forged, and maintained, ties with galleries in the city...
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Jewels of India
Autumn 2008 issue
Artists throughout the centuries have been inspired by the colour, contrasts and sensations that India offers in abundance. A wealth of sensory experience and spiritual intensity awaits the visitor, although many Indians still live very simply or in dire poverty. This autumn, three East Anglian artists, Valerie Armstrong, Jennifer Hall and Annie Owen, will share their individual experiences of travelling in India through their work. They have elected to use Kala Yatra, their exhibition during London’s Asian Art Week, to celebrate what they saw and felt during their travels through the subcontinent, and in the process they hope to raise money for Indian children’s charity ‘ASHA For Education’...
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Painting Techniques: Chalk Pastel Portraits
Autumn 2008 issue
Starting a pastel portrait
A portrait begins with an informal sitting with the subject, where I like to develop a rapport and learn something of the person's interests. This helps me to try and bring something of their character to the image, and identify any consistent features in their appearance which will make them easily identifiable. The sitting will also involve making some preparatory sketches, or taking a series of photographs to develop the work at home...
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Art Alfresco: Christopher Le Brun and the Bergh Apton Sculpture Trail
Summer 2008 issue
Across East Anglia, artists are gearing up to lay on some of the most outstanding art exhibitions in the country. Art lovers can enjoy not only the counties’ Open Studios but also events such as the Bergh Apton Sculpture Trail, Salthouse 08, and the Harleston and Waveney Art Trail...
More about Christopher Le Brun
More about Bergh Apton Sculpture Trail
More about Salthouse
More about Harleston and Waveney Art Trail

Behind the Scenes - Landscape Painters Jane Lewis, Rachel Lockwood,
Roo Sangster-Bullers and Simon Carter
Summer 2008 issue
When Chris Dobrolowski created Landscape Escape No 2 as part of London’s 2005 Young Masters exhibition, this Suffolk artist clearly had something he was itching to say. His exhibit – a fully functioning flame-throwing tank made from lawn mower parts covered with reproduction Constable paintings – engendered numerous interpretations, one of which was that mankind should reflect more deeply on the way it treats its cultural and artistic heritage and by extension, the landscape...
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The Truly Surreal World of Rinat Baibekov
Summer 2008 issue
It’s like a Harry Potter story – zoom in on an ordinary English street, pull up to an ordinary English red brick house, slip through the open doorway, and suddenly you’re in a most extra-ordinary living room, sipping tea with an artist of aristocratic blood whilst around you countless surrealistic paintings glow with a mesmerizing effervescence...
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Julia Cake: Stunning Sculptures
Spring 2008 issue
With her stone sculpture, Performance, now on display in the foyer of the newly-refurbished Norwich Theatre Royal in Norfolk, Monaco-born sculptress Julia Cake has taken the first step in launching her career in the UK. Her Norfolk home is surrounded by blocks of stone waiting to be transformed into the tactile forms for which she is known overseas, and clouds of dust can be seen billowing from her studios from early morning to late evening. What is less apparent when meeting this soft-spoken woman, is the gritty determination that preceded her arrival on English shores.
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James Maberly: Cry Freedom
Spring 2008 issue
Tuesday, May 27, 1986 was a day that would change artist James Maberly forever.
One moment he was the manager of Botswana United Transport, a company which ran
a fleet of trucks between Zimbabwe and Botswana, the next he was being accused of harbouring weapons of war.
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Graham Chaplin: Into The Dragon's Den
Spring 2008 issue
Step into Stowmarket’s Ironoak Forge and hold your breath, for there, surrounded by some of the most ancient tools still used by modern man, you will probably be greeted by a giant apparition or two. A partially completed elf balancing on a cart wheel, perhaps? Or an enormous and impressively muscular other-worldly creature. Or, for something a little different, an abstract sculpture finessed from fine lines of steel, wire, copper and iron.
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Douglas Farthing: A Soldier's Tale
Spring 2008 issue
When Suffolk artist Douglas Farthing retired in June 2007 after 23 years in the armed forces’ parachute regiment, he had a war diary of images he was able to develop into a rapidly expanding collection of oil, watercolour, and pen and ink paintings. Today, these paintings hang in a small, new gallery at the Henstead Art & Craft Centre at Henstead, near Southwold in Suffolk. They cover Douglas’ years in Iraq, Afghanistan and the Balkans; he is working backwards through his tours of duty.
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Robin Welch: Raw Power
Winter 2007 issue
The writer first came to know Robin Welch as an organic vegetable gardener, a man who loves to work with the earth; then as a walker, a man who walks out over the undulating Suffolk landscapes contemplating the moods of the approaching weather. Finally he came to know of him as a potter, a man who once upon a time had produced many utilitarian pieces for the home and table but who now sculpts and paints clay....
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Mary Gundry: Paintings From The Heart
Winter 2007 issue
If there is one contemporary Suffolk artist whose star appears to have risen as fast as the town she paints, that artist is Mary Gundry. A figurative water colourist, Mary Gundry’s now-familiar idyllic images of children playing on Southwold beach and crabbing in the shallows of neighbouring Walberswick can be found on cards, calendars and mugs throughout the region. What is less known outside Southwold is that her family portraits are on countless East Anglian living room walls, commissioned by parents eager to capture their offspring’s childhood...
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Will Teather: Artist-in-Residence Back from Aberdeen
Winter 2007 issue
When Norwich artist Will Teather travelled north to Scotland to take up his artist-in-residency position at the Aberdeen Art Centre, he expected it to be cold and wet. It was. Although, in fairness, the sun did come out for his arrival. He also expected the experience to help him develop his art, which it also did, but most of all he hoped it would provide him with some publicity. And this it most certainly did, beyond expectation. The Aberdeen Art Centre publicity machine was so effective, in fact, that at one stage the keywords ‘Will Teather’ were said to have been at the top of the most searched words on a local website...
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Bruer Tidman: Mastering Emotions
Autumn 2007 issue
The instant appeal of Brüer Tidman’s work is his wonderful use of colour. There is no doubt he is a very accomplished colourist and often on a grand scale, as at the Salthouse 07 exhibition where his golden canvas of 8 feet by 16 feet dominated the entrants’ view....
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Katherine Hamilton: Off the Mayan Trail
Autumn 2007 issue
Guatemala: A nation notorious for its drug crimes, corruption, lack of human rights, and murders. Hardly the usual destination for a genteel woman armed only with a sketch book, paints and a fistful of U.S. dollars. And yet it was to this South American country that Suffolk artist Katherine Hamilton set out in 2005, dressed ‘like an old scarecrow’ in order to look as ‘revolting’ and uninteresting as possible, determined to pass through Guatemala City unnoticed so that her real journey, into the Western Highlands, could begin....
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Jude Lockie: Respecting the Fine Line (Japanese Woodblock)
Autumn 2007 issue
‘The foundation of all good woodblock printing rests upon the perfection of drawing and printing, of colour and line. These are truly essential, yet it is also true that the artist must see the end from the beginning.’....
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HJ Jackson: Linoprints
Autumn 2007 issue
H.J. Jackson, Senior Fellow of the Royal Society of Painter-Printmakers, first cut lino as part of a school art lesson, and in 1954 that little print of a galleon in full sail helped him to obtain a place at the Norwich Art School. He presented this print at the interview and the graphics tutor, Geoffrey Wales (himself a wood engraver), honed in on it, pronouncing, ‘You will do linocutting as a craft.’....
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Martin Mitchell: Mezzotints
Autumn 2007 issue
Fifty miles from Jude Lockie’s studio, Norwich-based artist Martin Miitchell focuses not on woodblock but on mezzotints to produce his prints. Mezzotints start their life as copper plates. A curved serrated tool, a rocker, is used to engrave thousands of tiny, evenly placed, dots into the plate; these will hold the ink and produce a deep velvet dark tone. ’....
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Exploring Colin Moss
Summer 2007 issue
Painter Colin Moss often appeared as the epitome of a well dressed and tidy Englishman and yet, if a movie were ever made about him, Hollywood would probably be tempted to dress him in a beard, boots and beret. Green Pebble explores the life of one of Ipswich’s most respected mid-20th Century artists....
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Bruer Tidman, John Kiki, Bridget Heriz, Emrys Parry & Katarzyna Coleman
'Location Location Location'
Spring 2007 issue
In January 2007, five artists gathered at the King’s Head for a few drinks and three helpings of chips to discuss the influence of their town, Great Yarmouth, on their work.....
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Thomas Gainsborough, John Constable & Frost
'A Gainsborough in Every Hedge and Hollow Tree'
Spring 2007 issue
Two of Britain's greatest painters, John Constable and Thomas Gainsborough, were born within ten miles of eachother on the river Stour, but 50 years apart. Both were landscape painters deeply inspired by their native Suffolk countryside. And although they never met, theirs lives would be inexorably linked through the influence of local Ipswich artist, George Frost......
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