Wednesday, 23 June 2010

Stone & Tankard

The Tree Tower by Nick Tankard

Three Apples by Paul Stone

I wanted to give you taste of a couple of the artists exhibiting in September. This is always the exciting bit, seeing the artwork, when the pulse quickens and the expectation rises.

Paul Stone, who is based in Sheffield, has described his work thus: "Once considered undignified for serious artistic endeavour, still life has a rich history, its repertoire altering as the genre has evolved. Recently I came across the word Rhopography, and old-fashioned term for still life paintings, meaning the study of trivial objects and small wares. I can appreciate this in reference to my work, particularly reflecting the alterations in art, on the meanings of objects within the last century.

Originally my work had a very traditional, almost simplistic approach to the process of creating artworks. As the paintings (and thereby my practice as whole) have developed and matured, my previous research in History Of Art has over time organically breathed a fresh perspective into the artworks.

At the core of my paintings is the search for a precision of focus on the formal properties of mundane objects that have an everyday, unremarkable presence in our lives. As the majority of the inanimate objects are gathered from local charity shops, they also record a previous unknown transience moment when they are suddenly cast out for whatever reason. This results in a familiar and nostalgic content, and for me a more intimate relationship with their representation." (Courtesy of gallerytop)

Nick Tankard "is a local lad, born and raised at Carr Lane, Windhill. His bedroom window overlooked the Aire valley, and he lived with a view of Salts Mill throughout his childhood. Education was at Nab Wood Grammar, and then on to a graphic design course at Bradford. He was drawn towards illustrating children’s books, and did a Higher National qualification at Middlesborough and then a Degree at Wolverhampton.

He is strongly influenced by Northern industrial towns and their architecture, which he draws in what he describes as his own particular “wonky” style, using his own brand of fantasy and humour." (Courtesy Roger Clarke and

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