Our Spring Exhibition is a selection of vibrant and colourful new paintings from Caroline Appleyard, Juliet Fryer, Giuliana Lazzerini and John Thornton.
Caroline Appleyard has exhibited with Chantry House Gallery for many years. Caroline’s naive and fun paintings have always been a favourite in the gallery. Three years ago she was lucky enough to be diving off a beach in Egypt, where she was joined by two dolphins. Caroline swam with the dolphins for two hours, an experience she describes as amazing. This event inspired her to begin painting in a new style, under the name of “Scapa Joe”. With this new collection of paintings and subject matter she wants to increase awareness of climate change, extinction and other environmental issues.
Juliet Fryer is a contemporary artist inspired by Yorkshire, where she grew up. Working instinctively and often from memory, she allows her subject matter to dictate its own direction and character and aims to communicate an emotion and mood in her painting in a unique way. Starting with an on site sketch or record, often taken whilst walking or visiting a new area, Juliet works up her painting in her studio which allows for experimentation, often leading to “happy accidents” in the process. She concentrates on maintaining movement and fluidity in her brushstrokes using her medium in an expressive way and this is shown in her recent body of work reflecting her lifelong love of Fountains Abbey and Studley Royal water garden.
Giuliana Lazzerini was born in Seravezza near Pietrasanta in Tuscany. Between 1962 and 1968 she was a student at the Istituto D’Arte Stagio Stagi in Pietrasanta, gaining a Master of Arts Diploma. This was followed by a further four years studying painting at the Accademia di Belle Arti di Carrara. Giuliana moved to the U.K. in 1973 and to Yorkshire in 1987 where she now lives. The Tuscan landscape and childhood memories still bear a strong influence upon the artist’s current work. In an earlier statement she describes her first encounters with art in Italy as a child in her father’s mosaic studio. She refers to the “translucency of the mosaic fragment” and her “fascination with the vibrancy of colour” from the juxtapositioning of the pieces. These early perceptions, several years on, provide a language and a vocabulary for her pictures in terms of colour, surface, scale of which she uses in the construction of her tapestry-like, interlocking, angular-surfaced village landscapes.
John Thornton used to work wood for a living, which involved carving rocking horses, and repairing and making oak furniture. John constantly had an opportunity to create, and so painting seemed a natural progression for him. He is drawn to the textures, shapes and colours of the surrounding landscapes, fields and hedgerows along the coast, rivers and streams. Painting in mixed media he often uses acrylic, watercolour, gouache and ink within the same painting, allowing the materials to run and bleed into each other, with the addition of collage, materials collected whilst walking or beach combing, to create the added texture. He uses photos that have been taken, although never copied exactly, but used as a reference, particularly, to observe the effects of light on water with regard to his landscapes. John says that painting is not only a pleasure but a challenge to create a piece that reflects and encapsulates the essence of a subject. If people can sense and appreciate these aspects of his work he feels he has, in part, achieved his intentions.
Jim Wright. Jim’s work is an emotional response to his experiences in the more remote areas of the moors, mountains and coastline of Britain. He returns again and again to specific places, immersing himself in the landscape; to witness the local weather conditions and the changing colours, understand the lie of the land and build a sense of place.