Peaks by Alison Tyldesley / Paul Evans / John Bainbridge / Rebecca Buck
13 October – 17 November
Opening 7:30pm Friday 12 October
Poetry reading - Sat 10 November, 1pm
Jenny Donnison & Paul Carnell
Three poets, Jenny Donnison, Paul Tyldesley & Paul Carnell were recently commissioned to create poems in response to the work of Alison Tyldesley for a recent publication, Glancing Light. These poems will be displayed with the relevant paintings during the exhibition. The poetry readings are FREE and there is no need to book.
Cupola Gallery brings together 4 artists who deal with landscapes. The exhibition will feature 3 painters and 1 sculpture. The 3 painter’s distinct styles embody a meteorological exploration of the landscape shifting moods and seasons fluidly from painting to painting. The painter’s fluid approach is complemented by Rebecca Bucks almost geological sculptures, the predominantly black and white ceramics embodying the land itself.
Paul Evans takes inspiration from the modernist canon of Abstract Expressionism and Art Informel. Paul work explores aspects of our physical and emotional relationship with nature something that he consider to be ‘a complex response to a complex field of interactions’.
Alison Tyldesley’s work aims at capturing movement, intense light and atmosphere – particularly glowing horizons, wild skies, receding hills and textured foregrounds. Her paintings are not always depictions of a particular scene, although she cannot help her work referencing the peak district she immerses herself in.
John Bainbridge practice is strongly rooted in the Northern Pennines. The rich colour and texture of the land is enhanced by the Pennines' unique quality of light and the atmospherics of seasonal wind and weather. The paintings try to reflect the close contact he has had with the land through fell running in all conditions, day and night!
Rebecca Buck’s sculptures deal with the landscape on a geological and spiritual level. Fascinated by climate change Rebecca’s ceramics are a combination of roughhewn textures and polished smooth surfaces, as if the clay had been less formed by hand but from the erosion and weathering of the elements.