Abstract artists Gareth, Rod and Hamish have come together for a unique group exhibition that focuses on their individual circular artwork and the expression each one conveys. This exhibition also introduces one of Turner Barnes Gallery’s newest artists, Hamish Macaulay and his abstract pieces.
Hamish Macaulay is a printmaker and painter whose work consistently features landscapes, seascapes or horizons. Combining printmaking, mixed media and digital manipulation, Hamish layers traditional and modern techniques to create fresh perspectives.
Having grown up in New Zealand, coastal and mountain themes have been predominant in his work. Now living in London, Hamish is influenced by how man-made structures interact with the landscape. His work features the contrast between the strong, angular lines of architectural forms (usually brutalist or modernist structures) interacting with the fluid, organic backdrop of nature.
This “nature vs structure’ theme has been prevalent in his work over the last 2 years. Hamish’s unique mixed media paintings continue to explore our interaction with the land, inviting viewers to question our place in the world, and the temporary marks we leave on the landscape.
Recently, Hamish has also been exploring the world of upcycling which is mixed media artwork on found materials. This on-going series represents his concern with the increasing amount of waste we produce, and the lack of consideration for the impact it has on our environment. Hamish’s aim is to make art with abandoned or discarded materials as their canvas, thus giving them a second, and hopefully longer life.
Hamish’s creative process involves developing one or more of his ideas in which he has previously scrawled down on paper, as well as a number of techniques which are then incorporated during the early stages. As the project develops the concept evolves but doesn’t stray too far from Hamish’s original idea. However, he mentioned that the process often gives birth to a number of other unexpected ideas, which makes his creative process even more exciting.
Rod approaches his art with the intention of creating work that is about exploring and recording an act of creation, a time of being fully present in the moment and captures this through the ink being held by the fibres of the paper. Allowing the work to exist without judgement, fear of attachment. Rod believes the intention and energy within his work is shared with the viewer. Enabling them to receive the chance to pause in front of the work, connect with the breath and observe.
‘There is a whole lot of ugly in the world at the moment and we are busy living through this. Art has the opportunity to be the pause, the beauty, to bring joy or to calm the soul’ – Rod McIntosh.
Abstract expressionists inspire Rod and his work as well as post war both in the west of the US and UK and also the Far East China and Japan. Not to mention he particularly enjoys work by many of the artists within the Gutai movement. Rod feels he also has a close connection with tattooists and early man cave painters as well as the tradition of church frescos. Wherever pigment is mixed with a basic binder and is held within a surface; skin, rock or plaster.
Process is central within the painting practice of Rod McIntosh. His mark making has a fluidity and honesty that reveals itself through a muted pallet of monotones. This lends the work a striking and minimal appearance, which coalesces with the quiet sensitivity to his materials, time invested and action.
Through rehearsal, the mark-making is an embodiment of a gestural flow with the breath that is privately performed.
For McIntosh the provenances and particular characteristics of each material are of great importance. Following closely traditional eastern recipes for archival inks and pastes he works upon delicate Chinese papers that absorb every fluid movement as he accepts the brevity of a final committed stroke.
Presence and concentration is key to his practice in cultivating a meditative quality. Examining his temporal gestures, alongside ideas of mindfulness, permanence, attachment and acceptance.
Gareth’s most recent collection is based on atmospheric depictions of imagined landscapes. Inspiration is drawn from his coastal environment and his childhood memories of Northern England. Not to mention his influence from great landscape painters of the 18th and 19th Century.
Gareth’s work has evolved from initially working with photography to produce limited edition prints to now working with acrylics and oils to produce original art works.
Gareth Hayward uses directional brushstrokes to depict form and movement to not provide an exact depiction. He believes the viewer should complete the landscape, to see something that is familiar to themselves.
Gareth’s creative process begins with a lot of research first. He experiments and works through ideas in quick paintings, sketchbook form and photography. This way he can see what works and allows him to focus. Gareth uses digital layouts to layer textures and photographs, again this provides a quick response to his ideas and allows Gareth to disregard ideas that don’t work. He then uses CAD in his design work so these skills can easily be transferred to the research process. Gareth stated that if a painting is not working as planned he just let’s it evolve, learning to trust in this process.
The ‘Expression In Circles’ exhibition will be up in our Shenfield gallery from 21st March until the 18th April. Be sure to visit or contact us with any further questions or enquiries.