artist

Following shoals to Birmingham

After last week’s post on local events in Bristol, this week I went to the Library of Birmingham for GRAIN’s ‘The State of Photography’ Symposium. In marked contrast to last week, this event was, for me, a dip into the larger sphere of photography in this country and abroad – specifically photography as fine art. …

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Seeing red with Paul Cummins

Image: A Paul Cummins’ poppy hits the dirt in Bristol. Photograph by Sheona Beaumont. It’s 2015. We’re thinking about the New Year. But this is my stake in the ground for the old year, for memory, for something inscribed in the winter ground of dirt and decay. Arriving in the post a couple of days …

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Saying Christmas louder than words

I’ve spent a lot of time over the last month analysing the iconographic language of photographs by Julia Margaret Cameron. Her photographs of Mary are undoubtedly tied to the realism of a posed, dressed up model who is trying to look like a biblical Mary. But the question I keep coming back to is how …

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Seeing ‘The Heart of Things’

Prompted by Trinity College’s Quiet Day, on Wednesday I visited an exhibition of Paul Hobbs’ work in St John’s Northgate, Gloucester (The Heart of Things is on until 21st November). Together, the exhibition and the pilgrimage afforded a stretching of perception into something more contemplative, even passive – which is actually a significant part of …

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The lenticular, the RA and me

My second excursion from maternity leave finds me celebrating inclusion in this year’s Summer Exhibition at the Royal Academy. I submitted my two lenticulars from Elemental in 2012. Genesis didn’t make the final cut, though May saw me carrying both pieces up to London on the train. The New Passage was created from 12 photographs …

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When I met Verity

Image: Damien Hirst’s Verity, 2012 (stainless steel and bronze), at Ifracombe. Photograph by Sheona Beaumont. I’ve seen quite a few Hirst pieces in my young art journey: at the landmark Sensation exhibition at the Royal Academy in 1997, and up to recent appearances in Gloucester Cathedral and Bath Abbey – see Artsy about him. I’m …

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Ron Mueck’s biblical overtones

Purpose and contrivance lurks behind all that realism… The key piece here, shown high up on the wall, features a man in dark glasses floating on a lilo. He’s wearing blue bermudas and his skin is shiny with suntan oil. Like the giant couple upstairs, he seems to be on holiday, and ought to be …

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Bath Abbey’s Odyssey into art

On until 6th May, Bath Abbey is hosting 7 works by contemporary artists under the heading ‘Odyssey: A Long Journey in Which Many Things Happen’. 7 pieces, on paper, doesn’t quite seem to add up to an odyssey, but surprisingly, such is their thoughtful placement in and interconnection with the abbey’s spaces that it feels …

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The Annunciation’s inspiration

My Christmas card for 2012 features words from a poem by Rainer Maria Rilke and some details of Fra Angelico’s famous fresco – a confluence of ideas from the same titles, but disparate elements coming to the fore. Rilke’s poem, Annunciation, of 1899, is a beautiful, bewitching expression of the angel’s point of view. It …

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