thegallery@theendofthelane: examples of Paul's work

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Sunday, 21 October 2012

examples of Paul's work

Much of his work uses wax, and coloured inks, which never dry, are sealed behind and between the layers. (so don't put these pieces above a roaring fire or leave it over a hot stove...) Paul finds that it is this "living" quality that is so exciting for him- as the ink never truly dries, there is always the possibility of change, of the art developing.

In the same way, as he makes the pieces, he doesn't know exactly how the various media will react with each other as he lays down the layers- often he will come back the next morning to find an exciting new effect has taken place.

Even the moon pieces are built up with wax and plaster and other "everyday" media. In previous work he has used matchsticks, old bin liners and so on, to great effect.

If you'd like to commission a piece or would like to know more about Paul's work, please do contact us on 07868 028246 or e-mail thegalleryattheendofthelane@gmail.com

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Looking for a gallery with a difference?

If you're an artist, and looking for somewhere to exhibit, why not contact us? We are looking for up and coming artists who need a lucky break! It's good on your CV, it's lots of fun, and you get to eat cake! Not bad...... The horsebox is ideal for story telling, an installation, as well as more conventional art forms and we're happy to help you put shelves up if you wish (as long as you put the gallery back to it's original afterwards..)

We look forward to hearing from you soon, or welcoming you to one of this year's exhibitions.

Alison Kirby: About Making Paths

About Making Paths

This residency will look at the people's ways: the paths in the wood. I foresee that this will include an investigation into old records and maps, land use records, parish records. I want to know some history, but also to identify, if I can, individuals crossing the land and using paths to get to work, for church, for family, to play or to court. I want to know how the paths are referred to, if at all. I want to explore classifications, notice anything that differs from today, that jars. How far back I go is a tantalising question: even geological time is relevant, as the shapes of the land and the nature of its earths, stones and rock provide resources- building stone, roof stone, limestone - and dictate the shape, stability and course of paths to them. People carve the paths that the land form allows.

I want to look at the way people make 'ways', and what the routes and paths in the wood mean now, and have meant. Where did they come from? do they link? How did those we have today survive? What called them into being, kept them alive, relevant, useful or necessary? Did they have names? Reputations? Myths and stories about them? Once I have a feel for this, I will respond.

I anticipate making maps, potentially making small installations and drawing individuals. My theoretical paradigm is phenomenological, my active research based in grounded theory made by collecting data using a form of cultural anthropology.

Will I make way-stations, memorialise individuals or specific track histories? Will I make a new use for the network of paths? Will I add a new pursuit or hobby to the walking-for-pastime that may be all the motivation there is to use the paths nowadays? Collect this, build that, provide postboxes and stamps?

Old paths come from old ways of using the land, old rights and accustomed use. Those that have made it onto official records and maps as bridle ways and footpaths have (usually) survived over considerable periods of time. They will have served a number of purposes at any one time, and over time different usages will have come into being. Or have not, and foot traffic will have ceased.

Can paths die?

Linda Davies- artist in Residence

Residency at The Gallery at the End of the Lane, Dursley. 13 July – 19 July 2015

‘Shelter’

Linda Davies, who is completing an MA in Fine Art at present, writes about her residency:

This title has been inspired by the horsebox itself. Fragile and slowly decaying, it does nonetheless provide some shelter from the elements for the creativity that goes on inside it.

I would like to use the horsebox to respond to the idea of shelter, and what it can mean to people in the wider context. I intend to make a cast of the horsebox, and turn it upside down to suggest the shape of a boat. I will make this from simple materials, newspaper and wallpaper paste. The cast will be very fragile, and may in fact disintegrate as it is being made, depending on the weather. This fragility and uncertainty will be part of the response to the idea of shelter.

Event

A picnic will take place on 19th July at lunchtime. Please bring some food and drink if you want to attend!

thegallery@theendofthelane

Welcome!

Sunday, 21 October 2012

examples of Paul's work

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