Bruton Art Society : 69th Annual Exhibition

Pithers yard Castle Cary

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South Cadbury church

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Horsington

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Iona Rocky shore

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Rolling surf, west coast

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Firle beacon.

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Croft on the loch

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Richmond Bridge

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Man with two fish

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Mist on the river Stour

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A bend in the river

By kim pragnell

Oil on linen

h: 75 w: 60 d: 3 (cms).

Chalk streams and rivers are fast flowing and often (hopefully) clear. River weed collects readily and follows the flow of the water. I like to think this painting captures the very English nature of our chalk streams, on a hot summers day.

£450.00

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A bend in the river

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Where Sheep Safely Graze

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Help!

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What Do I Do Now?

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Duo

By michael tugby

Alabaster and Soapstone on Wood

h: 28 w: 24 d: 18 (cms).

Exploring the concepts of gender and ethnicity as well as providing an indicator of proximity within relationships. The two pieces can be close together or further apart depending upon the emotional landscape prevailing.

£450

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Duo

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Pre-emergence

By mark corfield

Watercolour on Polypropylene.

h: 45 w: 55 d: 2 (cms).

Mark Corfield, painter, printmaker, is at the moment specializing in abstract watercolour, inspired by the countryside and the natural world where he lives and works.

Using the innovative technique of watercolour on recyclable polypropylene paper, his practice is now based on the exploration of the inherently natural chemical and physical characteristics of watercolour pigments and water. Mark’s examination of this produces edges, and texture made by the fluid movement of the medium during the long drying process. Using plastic paper allows the water and pigment, unhampered by the paper, to reveal their own characteristic and physical behaviour.

The collaboration between Mark and these elements, create transcendent ethereal works that are connected to the earth and the natural world. Allowing the individual to explore their own imagination. Everyone will have a completely different experience. The pigments, paper and water being the fundamental elements that are the bridge between him and interpretation of nature.

Mark Corfield’s works only really starts to reveal their mysteries when one is prepared to give more than a passing

glance. He allows the viewer to find and enter different worlds and scenes awakening and releasing their imagination and take from it some feelings or emotion. Similar to one’s response to a piece of music.

www.corfieldart.com

£320.00

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Pre-emergence

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Looking at One's Reflection 2

By gabrielle bill

Oil on Canvas

h: 76 w: 76 d: 4 (cms).

This is one of two canvases that make up a single image. It is about looking at one's reflection in a beautiful world. The paintings should be shown together and idealy sold as a pair at a reduced total price of £850 for the two.

£550

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Looking at One's Reflection 2

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Looking at One's Reflection 3

By gabrielle bill

Oil on Canvas

h: 76 w: 76 d: 4 (cms).

This is one of two canvases that make up a single image. It is about looking at one's reflection in a beautiful world. The paintings should be shown together and idealy sold as a pair at a reduced total price of £850 for the two.

£550

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Looking at One's Reflection 3

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Isle of Mull

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Glastonbury Tor

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St Ives

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Vines in Provence

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Boat sheds

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Port en Bessin

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Blackmore Vale Sunrise

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Quarry Rocks

By mary barnes

Oil

h: 29 w: 36 d: 6 (cms).

Intrigued by the disparity between the golden rocks and the dark, bruise purple of the single stone behind, I built up the layers of this studio piece over several sessions but kept the clouds fairly loose. The blue sky and mature greens emphasize the heat of a perfect summer's day.

It is a work of many contrasts and has a theatrical, illusory quality although the place itself is entirely real.

£300

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Quarry Rocks

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Between Dinder and Croscombe

By mary barnes

Oil

h: 32 w: 40 d: 6 (cms).

This piece started life as a plein air study on a blustery day in early September and depicts the corner of a field. The scene is anchored by a large tree and looks beyond to a patchwork of fields, silvery greens and the horizon.

Painted contre-jour (against the light), the effect of the wind lifting the undersides of the leaves and the scudding clouds were created by loose, directional brushwork.

The feeling is one of trying to hold on to summer.

£250

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Between Dinder and Croscombe

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Polzeath at low tide

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Protect out Countryside

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Autumn Harvest

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Through The Woods

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Tin Shack

By mary barnes

Oil

h: 28 w: 34 d: 6 (cms).

The bones of this impressionistic piece were painted en plein-air.

The shaggy romanticism of an old tin building surrounded by grass and wildflowers on a bright spring day was the pull with this one - the main focus being the contrast between the cool blue-greens and the warmth of the rust and stone.

£230

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Tin Shack

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Towards the heavens

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Looking Through to the Stone Conservatory

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The Wicker Sreen

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Red Aga and Red Stripes

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Pink Vase and Portland View

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And Then We Ate It!

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To Go With Crumpets!

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Ready For Spring.

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Early Morning Gallops

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Three Pears

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Red Onions

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Fading light

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Through the Reeds

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Three Irises

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Drama Moorland 1

By lynn brookes

Acrylic Paint & Ink on Board and framed in white

h: 34 w: 34 d: 3 (cms).

Acrylic paint, inks and mixed media on board. Fully sealed and UV protected.

My inspirations for the group of paintings that this one is part of, comes from living close to Dartmoor, and the surrounding dramatic landscapes.

I love to create texture and depth in my work, so there is always something to see when viewed from a distance and up close.

£290.00

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Drama Moorland 1

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Drama Moorland 2

By lynn brookes

Acrylic Paint, Ink and Collage on Board and framed in white

h: 34 w: 34 d: 3 (cms).

Acrylic paint, inks and mixed media on board. Fully sealed and UV protected.

My inspirations for the group of paintings that this one is part of, comes from living close to Dartmoor, and the surrounding dramatic landscapes.

I love to create texture and depth in my work, so there is always something to see when viewed from a distance and up close.

£290.00

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Drama Moorland 2

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Leaf

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Bearded man

By michael tugby

Serpentine on Wood

h: 47 w: 20 d: 19 (cms).

A bearded man stares out from within the stone, a stance as timeless as the stone itself.

£500

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Bearded man

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HEDGEROW HEAVEN

By moira ladd

ACRYLIC

h: 83 w: 83 d: 4 (cms).

this large statement piece of work depicts my fascination for weeds as well as flowers such as Bindweed, and how mother nature has the ability to reclaim inanimate objects.

£1300

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HEDGEROW HEAVEN

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AUTUMN CARNIVAL

By moira ladd

ACRYLIC

h: 83 w: 83 d: 4 (cms).

A depiction of blackberry boughs, where even though the fruit has gone there are still a wide range of colours which appear during the autumn. Mother nature reclaiming her way, climbing over inanimate objects.

£1300

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AUTUMN CARNIVAL

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GARLIC GLOW

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TUBAFLORES

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Yarlington Lane, Spring

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Three Cones

By mary barnes

Oil

h: 39 w: 34 d: 6 (cms).

This studio piece depicts a roadside pine tree on a glorious autumn day flanked by three traffic cones guarding an entrance. The building beside it was my primary school, so I suppose you could say this painting is about part of my childhood.

Nature walks along the old S & D railway track (just seen behind the pine tree) were part of the school year and helped to encourage my love of the natural world so this scene has a special significance for me, even though I pass it almost every day.

£320

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Three Cones

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Arcimbulldo

By mark pender

Oil

h: 73 w: 60 d: 4 (cms).

Traditional oil painting in the style of Arcimboldo, famed for his C16th vegetable portraits for royalty in Vienna and Prague, but featuring a bull, this work being part of a series of "classical" works begun during lockdown which incorporated Daisy the cow and similar.

£525

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Arcimbulldo

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Hey Diddle Dinsky

By mark pender

Mixed media (acrylic and ink)

h: 65 w: 49 d: 2 (cms).

A playful sketch experimenting with pen and acrylic paint, incorporating the nursery rhyme of "Hey diddle diddle, the cat and the fiddle..." into geometric patterns inspired by Kandinsky. Framed in a light black wood frame.

£95

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Hey Diddle Dinsky

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Foxgloves

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Cadbury

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Oaks in Winter

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Railway Hut

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Through the Window

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Yarlington Verge, Spring

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Janie

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Laurence

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Reflection

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Social Interactions - Identity (Fashion Dispute)

By jane eaton Mrs

0il on Wood Panel

h: 30 w: 41 d: 4 (cms).

Social Interactions A body of work which developed during Covid lockdown which coincided with my recovering from a Takotsubu (heart event). Unable to go to my studio and instructed to rest I used the opportunity to sketch and work up images on my ipad. Using a layering of imagery a body of work began to emerge and I became very conscience and connected to how the process revealed and reflected on human social encounters.

When I was well these mult layered sketches were worked up into paintings using oil on wood panel. Small in scale they capture those moments and exchanges between two people; presented in a somewhat light hearted manner and include some famous Artist couples.

Creating an identity - somewhat topical at the moment. This is a nod towards the exterior and how we represent our personalities by what we wear.

£130

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Social Interactions - Identity (Fashion Dispute)

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Social Interactions - Marina and Ulay

By jane eaton Mrs

0il on Wood Panel

h: 30 w: 41 d: 4 (cms).

Marina Abromovich and Ulay, the extraordinary performance artists are depicted here. A background representing symbols of their countries of birth. Theirs was a tumultuous relationship which ended in separation and where Marina went onto to receive world recognition for her work as an individual. Always there remains memories of their extreme physical performance connections. An ultimate reconnection and reconciliation was also made by them before Ulay died.

£130

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Social Interactions - Marina and Ulay

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Five Irises

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One Iris

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Spoilt

By gary cook RI

Ink, watercolour and charcoal

h: 29 w: 39 d: 3 (cms).

These are the words written around the edges of the painting:
"BP intends investing £3bn in renewables by 2025. Over the same time period it will spend £53bn on fossil fuel exploration and production. Oil and gas contribute 19,000,000,000 tonnes of carbon dioxide to the planet each year. BP's revenue in 2019 was £208bn. It aims to increase oil and gas production by 20% over the next ten years, yet intends reaching net zero emissions by 2050. The world's oil companies invest 1% of their budgets in clean energy. They're knowingly burning us alive."

If the oilmen in suits were physically setting fire to our forests there would be uproar and strenuous efforts made to stop them. But they are doing it more indirectly and subtly so that we hardly notice that it's happening. But it really is. Our woodlands are burning up and so are we. The shocking thing about the oil industry's actions is that it has known for years what the outcome of burning fossil fuels would be on the planet. Sadly, profits trump that knowledge.

£695

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Spoilt

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Misty ash

By gary cook RI

Ink, watercolour and charcoal

h: 87 w: 69 d: 3 (cms).

A beautiful drooping ash in the lane. There are 1,058 different species of bats to mammals, lichen to fungi dependent in some way on ash. Dieback disease has now covered the whole country and we are predicted to slowly lose most of these lovely trees.

£1950

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Misty ash

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Last light

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summer meadow

By mary quinton edwards

mixed media

h: 40 w: 40 d: 3 (cms).

this painting is made up of several different processes, printing,painting,drawing.

the colours represent the colors of a summer meadow although it is totally abstract.

£150

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summer meadow

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Bonsall Derbyshire

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The Oche Trail, Rousillon 1

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Old Turnpike Yarlington

By allan howles

Pen and ink

h: 35 w: 44 d: 1 (cms).

Once a main route to the coast above the village of Yarlington where I live. King George III passed this way on his way to Sherborne when Yarlington House was being built. He is reported to have exclaimed "who would want to build a house on this blasted heath"! Today the fine brick house, home to Count and Countess de Salis, is set in parkland with fine gardens and is often used for wedding parties.

£165

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Old Turnpike Yarlington

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Middle Farm Yarlington

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Sutton Montis from Cadbury Castle

By allan howles

Pen and ink

h: 35 w: 44 d: 1 (cms).

Drawn in May this view is looking south from the top of the former Iron Age settlement above South Cadbury, looking down on the village of Sutton Montis and across part of Blackmore Vale.

£195

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Sutton Montis from Cadbury Castle

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With the Seabirds Trevellas

By Pat Wood

Oil on board

h: 65 w: 76 d: 3 (cms).

I find a grassy spot beneath the coastal path and where the cliff plummets 100 metres into the swirling surf. Green Island, favoured by shags, stands separated. Into the distance the September light catches Pen a Gader. The Seabirds wheel around the inlet below as I sketch, once again, for this painting.

£980

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With the Seabirds Trevellas

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Bow Bridge

By kate cochrane

Acrylic ink

h: 65 w: 49 d: 4 (cms).

The narrow bridge in Bruton is one of only 16 single span packhorse bridges left in the country. The name Bow Bridge aptly describes the shape, although the name is no longer in use. It is now a footbridge over the River Brue only not used by horses. I liked the colour of the stone heightened by the late afternoon sun and enjoyed the application of layers of translucent inks.

£510

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Bow Bridge

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Crossing the Yeo

By kate cochrane

Acrylic ink

h: 36 w: 43 d: 4 (cms).

A well-documented 17^th Century packhorse bridge on a drovers’ road between the parishes of Ilchester and Long Sutton in Somerset. It is only 4’ wide with a span of 54 feet. It replaces an earlier 13^th Century bridge and was the unloading point for goods destined for Ilchester. There was also a warehouse at the site until 1805. Now it is still used for horses along a well-trodden bridleway.

£440

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Crossing the Yeo

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Blackstone at Kimmeridge Bay

By kate cochrane

Oil

h: 44 w: 54 d: 2 (cms).

Kimmeridge Bay is home to endangered black faced furrow bees living in crumbly shale cliffs. I was inspired by the bees, seaweed and coastal plants. Flat rocks appear at low tide, and occasional fires from the oil shale break out on the headland. The painting was done using brush & palette knife on a black ground.

£450

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Blackstone at Kimmeridge Bay

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Skysong

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Monks' Path

By kate cochrane

Acrylic

h: 54 w: 69 d: 1 (cms).

Monks' Path is part of a walk round mediaeval fishponds constructed by Carthusian monks based at Witham Friary in Somerset. There must have been a great deal of back-breaking work to dig out the two ponds, construct the channels to divert the water supply, and then manage the fish stocks once completed. The trees are more recent and provide welcome shade for visitors and fishermen on hot days. I wanted to portray the blood and toil through the use of saturated colour as well as the dappled shade under the trees. As I could walk there from our house it was a regular walk with the children and dogs whatever the weather.

£450

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Monks' Path

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White Lady

By Pat Wood

Oil on board

h: 61 w: 51 d: 3 (cms).

"It wasn't long before I turned a corner to be met by a torrent. The water curled at the sides as it forced its way through the narrow opening at the head of the waterfall forming an elegant ribbon of white. Ceaselessly falling into a rock, which was eroded into a soft curve as the flow swept in and out again, and into the pool below.

I sat on a rock to sketch before crossing the river to another vantage point."

(excerpt from a journal)

£745

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White Lady

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Lilium 'Arabian Knight'

By pauleen trim HS SBA Fellow

Watercolour

h: 63 w: 47 d: 2 (cms).

A painting of a beautiful orange and red lilium illustrating all its interesting features, the patterned flowers and buds together with the textural overlapping scales of the bulb and the tiny lily bug lunching on it's leaves.

£300

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Lilium 'Arabian Knight'

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Summer Splendour

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Hyacinth and Tulip Seed Heads

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Petunia - Night Sky

By pauleen trim HS SBA Fellow

Watercolour

h: 38 w: 26 d: 2 (cms).

I saw this beautiful Petunia in the garden centre and its name Night Sky describes it so well,with its dark purple background and white 'night sky' patterning, I couldnt resist it, it was calling out to be taken home and painted.

£160

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Petunia - Night Sky

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Casa Olea

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Hopeful Harvest

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Summer Skies, Mother Ivey's Bay, North Cornwall

By philippa hicks

Oil

h: 50 w: 76 d: 4 (cms).

A painting depicting the beauty of skies in the summer over the North Coast of Cornwall. The Shapes were drawn with the assistance of a photograph taken by me but the colours were seen and matched whilst at the site. A beautiful gem of a place where sky and sea have amazing shapes and colours.

£295

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Summer Skies, Mother Ivey's Bay, North Cornwall

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The Burn, Downstream

By philippa hicks

oil

h: 51 w: 76 d: 4 (cms).

This painting was partly from a photograph I took whilst on holiday in Angus, Scotland at Easter this year. We had past through Edzell and drove over Gannochy Bridge where the North Esk flowed. The Burn runs along the "Blue Door" River Walk which is an Educational Charitable Trust in memory of James Russell killed in action in 1944. I have accentuated the colours to show the time of year and hightlighted the trees which sadly were devestated due to the terrible storms earlier in the year. A powerful burn which huge energy.

£295

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The Burn, Downstream

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Still Life With White Flowers

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Still Life With Blue Jug

By imogen bittner

Fabric (printed/painted)

h: 88 w: 82 d: 2 (cms).

This still life explores a distorted view and uses colour to create rhythms that unite the individual elements.It is composed of fabrics, some printed and some overpainted.

£850

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Still Life With Blue Jug

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Breton Window

By imogen bittner

Fabric- printed /painted

h: 111 w: 86 d: 6 (cms).

The background fabric depicting a net curtain is a print made from an earlier oil painting. The other fabrics are applied by stitching to build up the individual elements some of which are enhanced by dye and oil pastels.

£1000

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Breton Window

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Rowan

By cathy ensor

Egg Tempera

h: 40 w: 44 d: 2 (cms).

Egg Tempera is an ancient medium made with pure pigments and fresh egg yolk painted on a wooden panel primed with gesso and glue, the build up of thin layers of paint create the traditional glowing colours.

£5000

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Rowan

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Evie Rose

By cathy ensor

Egg Tempera

h: 50 w: 45 d: 2 (cms).

A portrait of Evie Rose, painted in egg tempera, an ancient medium made with pure pigments and fresh egg yolk on a substrate of wooden board coated with traditional gesso made of whiting and glue. The multiple layers of super thin paint create the traditional glowing colours of Renaissance Florentine painting and can last in original condition for many centuries.

£5000

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Evie Rose

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