Exhibition catalogue 27th October 2018 to 12th January 2019Dean Clough, Crossley Gallery, Halifax, HX3 5AX, United Kingdom.

“defining the elemental” “defining the elemental” is a ground breaking exhibition from an award winning collective of contemporary artists based both in the UK and internationally who are at once divergent in style, subject and medium while at the same time united by their artistic intent. This commonality can be seen to underline the work throughout the exhibition, as each artist seeks to define their experience of light and mass through a visual language of paint, marks and gestures that explores not just an aesthetic vision but also the artist’s emotional connection to their subject. This shared artistic ideology in part stems from the inspiration of expressionists and British masters such as David Bomberg, Leon Kossoff and Frank Auerbach.  However, they are equally inspired by one another as fellow contemporary artists and ultimately each seeks to follow the path of their individual artistic journey.The careers of this loose collective of artists has been followed and critiqued by the likes of The Guardian and the international art magazine Painters Tubes and several among them belong to the prestigious Manchester Academy of Fine Arts.  However, this is the first time they have all exhibited work together as a singlecollective. This assembly of contemporary visual artists have chosen to exhibit their work at Dean Clough, a setting that forcefully evokes the history of the North and North-West England. The decision to underpin and further bring together the work not just using descriptiveprose, but also by commissioning a series of poems to interpret each artist’s contribution demonstrates the aspirations and quality of this group. Throughout “defining the elemental” it is clear that while the collective wishes to celebrate tradition, they also wish to set their own artistic precedent. Above all, what the artists and their work have in common is the combination of a practical understanding of their medium with an emotional insight into their own individual subject matter.  This allows for a visceral layered approach to interpreting their visual subjects.  They also connect on a fundamental level through both the abstract and the representational. introduction written by David Traves  

Shaun Smyth

Shaun Smyth’s paintings are characterised by gestural brushstrokes and thespontaneity of the marks made on the canvas.  One of its most remarkablefeatures is the rapidity with which he expertly captures the ever-changingskies and reflections upon water. This quick, lively sense of movement is wellbalanced with representational documentation of changing environments.Indeed, one of Smyth’s key aims with his body of work ‘Constructing theMersey Gateway’ was to historically document the changes and impact on thelandscape brought about by the construction of the Mersey Gateway Bridge. As with all of Smyth’s work, light played an integral role here; its fleetingnature not only influencing the self-evident speed with which oil is applied tocanvas, but also creating the variety of tone and mood that characterises animpressive body of work.Smyth’s work has been exhibited across the Liverpool and Cheshire area. Hehas been featured with reference to his work in local newspapers, nationaland international magazines, whilst wining prizes for his work includingwinning the first prize at the Halton Art Open multiple times.  A well-travelledartist Shaun has captured landscapes in a myriad of countries including Italy,Morocco, Croatia and Tunisia, yet inevitably his work brings him back to hisroots. With both his past and present firmly grounded in the North West, histruly inspiring work is characterised by an unwavering sense of self and pridein his hard-working Northern background.above: one of the many drawings from the ‘Mersey Gateway Bridge’ project

Industrial Upheavalby David Traves  Towers raised by cranes,Breaking the skyline,The promise of industrial upheaval.Painted across the wide expanse,The sky seems to be aware of what’s tocome,For it wears an uneasy expression.The river knows too,Running not blue but slate grey,They know what’s to comeBecause he knows.above the poem that accompanies Shaun Smyth’s artwork

Richard Fitton note: explaining the finished scale of the paintings from the studies on the easelWhether in oil or charcoal Richard Fitton’s portraits express the personality of hissubjects and exhibit an emotional maturity in his art work. A precocious talent, Richard is the youngest artist to be accepted into the prestigiousManchester Academy of Fine Arts, in all of its one hundred and fifty year history.  Fittonis a brilliant expressionist who never the less seeks to bring his own personality andcontemporary style to an alreadyimpressive body of work. At time cubist sensibilities reveal themselves in the solid angular line of his oilpaintings; while quick, lively charcoal sketches of female figures, allow Richard’s ownvisual voice to express itself clearly.

“Amy”by Richard Fitton 175mm x 125mm Pastel and charcoal

FramedBy David TravesTextured and layered,Sitting for his gaze,Dressed in vulnerable greens,And passionate reds. Silent and composed,With much to be said,Exposed in Oil,Framed and Feminine.above: the poem that accompanies Richard Fitton’s artwork

Jeanette Barnes

The kinetic energy in Jeanette Barnes’ sketches is undeniable.  Visual movement within a static medium. As an artist she brings urban environments alive, with human figures who seem to flicker by, like people in a time-lapse photograph. The cranes and busy structures that she scores across the skies within her work, make them as full of urban life as the foreground.  In Barnes’ pictures vibrant metropolises such as New York and Tokyo lose none of their furious dynamism. Meanwhile the personality of smaller (but still bustling) urban environments like Manchester’s St Peter’s square are captured with an acute depth of understanding. Both in the comprehension of her subject matter and the skillsets that goes into their composition, across a range of mediums, we see the Barnes’ artistic pedigree.  A fine art BA, Post-graduate in painting (Royal Academy Schools) and an MA in printmaking (Royal College of Art), all add to her artistic foundations. Whilst being included in prestigious group exhibitions, going on to win prizes, such as in the Royal Academy Summer Exhibition, and interviews by the likes of the ‘Guardian’ all speak of what she has gone on to accomplish. However, in the end her art work stands alone, testament to a prodigious talent.above drawing: “Rebuilding Ground Zero” 1500mm x 2140mm. Compressed Charcoal.

Fleeting FiguresBy David Traves The foundations are deftly laid,In lines of black charcoal,Human figures flicker by. Men and women,Unaware they exist in a static universe,They continually create movement. They go about their day,Making use of a fictitious depth,Just like you and I.above the poem that accompanies Jeanette Barnes artwork

Denis Taylor´photo: the beginnings of the painting “initium aquam” (Life began in Water) Began 2016 & completed 2018.

Abstract ArtBy David Traves Savagely he bypasses the layers,First his skin,Then past unrefined flesh,To his own blueprint. Blood red on his palette Fast multiplying cells,Applied almost lovingly to canvas,The visceral,His abstract artabove poem to accompany the painting “cellular abstraction” by Denis Taylor

Denis has a colour palette that is as bold as his subjects, his canvases are awash with startlinglycolour. His style as a painter eludes being characterised as one school or another and is insteaddistinctly original not influenced by the work of past masters or his peers, Denis allows hisvisual intelligence to guide his work practice.The artist is a much exhibited and commissioned and he is also a writer, one who promotesa unique 21st century approach to painting. Denis celebrates the traditions and achievementsof past artistic masters whilst supporting contemporary artists aspiring to reachnew heights of self-expression.Denis writes about art and artists for high street Gallery catalogues, International Art MarketMagazines and painters Tubes magazine. In 2006 he conceived, wrote and produced videos forBBC North West about the future development of Art.Over the last few years Denis has delivered openings exhibition speeches and art events atmuseum and public institutions in the North West of England. painting above: “cellular abstraction” (one of three) 1200mm x 1200mm Oil on Masonite board.

Ian Norris

Ian’s work is initiated by careful studies from which he then interprets into almost abstract paintings, yet retains the visible traces of reality. The surface is layered and textured by an application of paint, known as ‘impasto’ (the process or technique of laying on paint or pigment thickly so that it stands out from a surface). This creates visceral textures on the surface of the finished work.  The artist prefers landscapes, seascapes and, more recently interiors, with which Ian’s artistic authenticity and mastery of medium can be appreciated. Ian’s large bank of work has featured in numerous celebrated exhibitions. He holds a 1st class fine art degree and he is a member of the Manchester Academy of Fine Arts. The artists compositional and emotional connections to his subject matter contribute greatly to a body of work that is quite subtle, but still powerful and truly unique.painting above “Memories of Ainsdale Sands’ 12850mm x 1220mm oil on board

Tangible EdgesBy David TravesA haze of colours that are not abstract,But the literal obscured by tears,Or perhaps by time,A gauzy memory,Now it’s a reflection,On fast flowing water,But there’s something solid,Tangible edges to your dream.above poem that accompanies the paintings of Ian Norris

Stephen Stringer

Through his eyesBy David Traves Under an open sky,Capturing the light,Hues of green, yellow and blue.Dappled through the trees.  A landscape unfoldsAs he makes it his own,Painting his own perception,Looking through his eyes.above poem that accompanies the paintings of Stephen Stringer

Stephen Stringer’s carefully chosen colour palette and his ability to applypaint to canvas with artistic intelligence (making each brush stroke count)creates landscapes that are at times reminiscent of Monet and the othergreat impressionists.Yet at the same time Stringer realises much of the emotional depthof the neo-expressionists.  Stringer has been honing his skills and refining his visual voice as an artistfor almost three decades.  A member of the Saddleworth Art Group, hecreates beautiful landscapes and striking cityscapes in Oil while workingout of his studio in Woodend Mill, Mossley. As well as exhibiting with the Saddleworth Art group, Stringer isrepresented by Colourfield Gallery.   above painting: “take it to the bridge”. 406mm x 3014mm. Oil on canvas

Richard Clare

Richard Clare’s paintings do not simply capture landscapes, they celebrate them! Often we see his colour palette as little short of a symphony of contrasting reds and bluesboldly accenting not just the sky, but the landscape itself.  Meanwhile the movement inthe skies above speaks of the speed and dexterity of his work, allowing him to reflect theever-changing hue of sunset and sunrise.  That movement is not lost in the landscapeand you can almost feel the wind sweeping across the hilltops. One might be tempted to define Richard’s work as expressionism, grounded inlandscapes that are both recognisable and relatable. But here expressionist landscapessit under an impressionist sky and the abstract chaos of expression is frequentlypunctuated by solidity; such as the fence posts that provide both perspectiveand depth to the painting.  Whether he is working out of his studio on the edge of the Pennines, or his medievalTuscan hilltop location, Richard is working from memory.  Painting from memoryRichard is not just able to replicate the light, shapes and colours he observes, but torender faithfully his own emotional connection to the landscape that is his subject.  above painting: “Dark Peat” imagined series of work. Acylics on canvas.

A step backBy David Traves  A chaos of colours caught my eye,A bold palette washed its way across thecanvas,I picked out unfamiliar blood red andelectric blues.  Then I took a step back,And I knew my way across that landscape,Picking my path from one fence post to thenext.  Under that ever-changing sky I walkedagain,Just a boy and many years had passed,But one step back was enough!above poem that accompanies the paintings of Richard Clare

Nicki Heenan

Human HandsBy David Traves Traveling along a road,That bisects the aspect,Into bold blocks of colour,Creating an asymmetrical order.  Human handsTracing the landscape,Drawn long ago,Guiding you in with oils,Framing the horizonAll plannedAnd unbalanced.above poem that accompanies the paintings of Nicki Heenan

Nicki Heenan uses a range of media including: oil, cold wax, acrylic and watercolour, toexpress her own unique insight into the natural world.  The surface texture of paintingsfascinates Heenan. As does the overall effect humans have had on the landscape,reconstructing what is perceived to be the natural environment.The skillset that goes into her composition and her scientific understanding of the naturalenvironment (she holds an Msc in Microbiology from Auckland University) allowHeenan to create art that speaks of a genuine understanding of her subject.        As well as creating and exhibiting her own exciting body of work, Heenan invests herpassion and skill base into helping others realise their creative goals through a seriesof workshops she runs. These Master classes are hosted internationally, the locationsincluding Wales, Ireland and Switzerland. painting above: “Bally Castle Lane at Twilight”. Oil on canvas

Barry De More

“They were sellable things, but I would look at them and say I’m not getting anywhere with them, there is none of me in there”.  Barry De More, (upon his pre-expressionist artwork)Barry De More’s work has a startling variety both of medium and style, painting, sculptingand sketching across genres.  However, it is in expressionism that he finds his creative home.Much of De More’s work is dark and brooding and this includes his oil paintings.De More spent years primarily working indoors concentrating on shades.The evidence of this is clear in the subtlety of his dark tonal colour palette, which isexpressive of an emotional connection with his subject matter.Initially a self-taught figurative painter and draughtsman De More is now a celebrated artist,whose accomplishments include having a painting in the Royal Collection after he was invitedby Calderdale College of Art to present Prince Andrew with a painting from his FoundrySeries, 2003. Among his other accomplishments is the publication of his monograph ‘From the Academiesto the Rising Sun: The Influence of Japanese Art on the Later Work of Degas and Van Gogh.’which he wrote as the dissertation for his art degree.  above painting: “Cavendish Street, Keithley” 825mm x 674mm. Oil on board.

Ceaselessly SearchingBy David Traves Working alone and indoors, Surrounded by his creations,He ceaselessly searches, In every tonal face,In every brooding landscape, Along the lines of roof tops,Watching men and women at work, Trying to find a simple-truth,In their subtle shades. above poem that accompanies the paintings of Barry De More

Miranda Richmond

Primary ColoursBy David TravesHer eyes rest on a familiar cityscape,Her brush renders it faithfully,With primary colours washing away,Inexpressive grey. And the same blood orange,That accents the sky,Sets the urban landscape ablaze,Cooled by a blue green haze.   above poem that accompanies the paintings of Miranda Richmond

Miranda Richmond captures an essential aspect of life in both her landscapes andportrait work. In doing so she employs a range of media, from oils to watercoloursand gouaches. Richmond’s range of media is reflected in the variety of her subjects, tacklingseascapes, industrial landscapes, groups of figures and individual portraits to namejust a few. This freedom of expression extends to Richmond’s style which is deeplypersonal and totally unaffected, displaying among other things an original colourpalette with at times some startling contrasts.Richmond graduated from Bristol University in 1980 and her work has now beenconsistently exhibited for over three and half decades. She has used her art to support and enrich the lives of others, working with elderlypeople in care homes, refugee groups and giving landscape classes on location.  above painting: “Beinn Eigh” 560mm x 750mm Oil on board.

David Traves writer and art critic

the writer David Traves’ is a writer and art critic whose work has appeared in a variety of publications, both in print and online.  Traves is currently a regular contributor to the international art magazine PaintersTubes and has also been featured in art publications such as Art in Liverpool and theOpen eye gallery blog.  His writing first supported an exhibition, as accompaniment to Shaun Smyth’s Crossings - Constructing the Mersey Gateway show.  His ability to interpret and critique contemporary visual art is enhanced by being himself a prize winning photographer. As well as non-fiction Traves writes bothpoetry and short stories and has published an illustrated children’s book for Kindle. In order to properly interpret the work of each artist contributing to “defining the elemental” with his words, Traves had to immerse himself in their art spending hours looking at each individual image and researching the artistic careers of the collective.  Traves’ work speaks of the range of his experiences and his own deep passion for art.

Once the largest carpet mill in the world, Dean Clough is now nationally renownedas a business and arts centre. During the 1980s it played a key part in establishing thestrategy of using the arts to prime economic regeneration. Today the half-mile sitehouses over 150 companies that employ over 4,000 people.Amongst these companies are key regional arts organisations such as the NorthernBroadsides Theatre company, IOU and ACDC – the arts charity that manages DeanClough’s own arts activities. These have included international jazz events, literaryfestivals, theatre and comedy events, a host of community events… and, of course, aregular visual arts programme.Over the last 35 years Dean Clough’s art galleries have demonstrably sustained oneof the busiest contemporary art programmes in the country – with never less than 25shows a year. Its six galleries include one of the largest single room exhibition spacesin the north of England (i.e. The Crossley Gallery) while it has on occasions given overits theatre and even whole mills to large installations.The arts programme has always been eclectic, ranging from liaisons with nationalprofile artists and organisations such as the Tate Gallery, to regional FE and HEinstitutions, schools and community groups.There are some 25 studios on site which are offered on a subsidised basis to a no-less eclectic collection of artists who span the gamut from painters to sculptors, fromphotographers to animators, and from writers to violin bow makers.In recent years the range of facilities at Dean Clough has expanded well beyond itsestablished arts reputation and now includes a 52-room hotel, 24-hour gym, a JackWills Designer Outlet and several restaurants & bars. The restoration of Halifax’sGeorgian Piece Hall in 2017 has further boosted the complex’s appeal as one ofYorkshire’s key destination points.

Vic Allen Executive Director “There is a gently merciless scene in Dag Solstad’s novel ‘Professor Andersen’s Night’ where he depicts a group of successful arts academics and practitioners for what they are: bureaucrats in jeans. ‘They continued to be against authority, deep inside they were in opposition, even though they were now, in fact, pillars of society who carried out the State’s orders…’“And while it’s easy (but not necessarily wrong) to pillory bureaucrats I’d suggest that, of late, most’successful artists’ have exhibited precisely Solstad’s innocuous combination of internal hostility to thenorms of society while accepting its material rewards.“I don’t want to cant. As the Executive Director of a new charity with an educational remit, I feelprofoundly that I should have achieved more in the last 18 months. I am, though, glad that we’re still able(and we must thank Dean Clough Ltd. for this) to assist and provide a platform for artists who don’t merelytake the state shilling; who avoid both the lure of empty spectacle and of gratuitously bland communityprojects.“At a time of over-simplification in the media and in politics I’m for artists who resist commercialformulas; who experience creative failure more than success, who – above all else – illustrate that the worldis irresistibly complex.“When Shaun proposed this exhibition I knew at once that we should take it. Firstly because it includedseveral artists we’d long been anxious to engage with; secondly because it substantially involved crossingthe Pennines (there is nothing – or should I say ‘nowt’ – more tiresome than regional chauvinism), andthirdly because its participants have all demonstrated their integrity in a climate of comparative neglect.“I’m not (nor am I ever) convinced by the over-arching title. I don’t – nor should you – feel that I have to‘like’ every artist here. But they all face complexity head-on and that’s to be admired and - damn right! -celebrated. My thanks go to everyone involved.” Vic Allen ACDC (The arts Charity) Fletchers Mill, Dean Clough Halifax HX3 5AX telephone: 0142 383500 email: [email protected] The Arts Charity (ACDC) is a Foundation CIO: Charity no. 1170751

“defining the Elemental”the artists Shaun SmythRichard Fitton Jeanette BarnesDenis Taylor Ian NorrisStephen Stringer Richard ClareNicki Heenan Barry De MoreMianda Richmond David Traves Dean Clough, Crossley Gallery27th October to 12th January 2019

the participating artists would like to thank to the following for bringing this exhibition to fruition. “defining the elemental.” catalogue designed, produced and artwork by Studio 5 Sweden. Digitally published on the painters Tubes magazine VR platform. painterstubes.com Printed catalogues processed and produced by Studio 5 Publishing Partnership UK. [email protected] Printed in the UK by Mixam Printers. mixam.co.uk Venue and installation of exhibition by the team at Dean Clough ACDC (The Arts Charity), Crossley Gallery Venue, acdc-arts-deanclough.org.uk

“defining the elemental” Dean Clough.Crossley Gallery, ACDC, Fletchers Mill, Halifax HX3 5AX [email protected]