Coastal Elements 1 - 29 August 2015Ian Rawnsley & Tony Scrivener sculpture by Mary Kaun-English

Contents

Ian Rawnsley ........................... 4 - 14

Tony Scrivener ........................... 16 - 25

Mary Kaun-English ........................... 26 - 31

Ian Rawnsley and Tony Scrivener are two artists connected by their fascination and desire to interpret the coastal landscape of their respective environments, in the south-west of England and the East coast of Scotland. With two very different approaches, there is a great variety in this exhibition. Rawnsley’s painting captures the power of the sea and the play of light and textures on waves and wet sand whilst Scrivener builds a representation of the coastal landscape through his own language of bold forms and lines. In this exhibition we also see wonderful still life compositions by Tony Scrivener which, like his landscape painting, are pared down to the subject’s essential characteristics.

Mary Kaun-English’s sculptures are created both in response to the British landscape and actually borne of the coast: Her sculptures are ‘smoke-fired’ in pits dug on the beaches of Cornwall. The intense colours and patterns found in her work are not created through glazes, but naturally created by adding natural materials to the ‘kiln’ such as copper, seaweed, banana skins and pine cones.

Coastal Elements 1 - 29 August 2015

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Ian RawnsleyLiving on the Ayrshire coast on the West coast of Scotland, Ian Rawnsley is a painter exploring seascape and landscape in both abstract and representational forms. Working predominately in oil he is looking to capture the energy and the drama of the coast and the open sea.

Ian looks to explore the emotional pull of colour and texture to bring the sea alive. He endeavours to produce, and express a deep inner celtic identity through his creative work in all its forms. He will always seek to capture an essence, a feeling, a memory that can both be shared, but also a deeply personal experience.

Ian Rawnsley’s work has been exhibited across the United Kingdom and is held in private collection in Europe, North America and Australia.

Prices range from £350 - £1,500

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Easterly Heavy Seasoil on canvas61 x 61cm

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The Estuary Fell Silentoil on board35 x 20cm

Solitude, Mersehead Beachoil on board48 x 22cm

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The Estuary Fell Silentoil on board35 x 20cm

Solitude, Mersehead Beachoil on board48 x 22cm

Atlantic Waveoil on board68 x 61cm

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Redpoint Beachoil on board23 x 23cm

I Can See the Seaoil on board23 x 23cm

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The Days End Brought Stormsoil on board68 x 61cm

Redpoint Beachoil on board23 x 23cm

I Can See the Seaoil on board23 x 23cm

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Ayr Bayoil on board23 x 23cm

Whiting Bayoil on board23 x 23cm 10

Ayr Bayoil on board23 x 23cm

Whiting Bayoil on board23 x 23cm

April Stormsoil on board61 x 61cm 11

Towards the Gloamingoil on board23 x 23cm

Storm and Spindriftoil on board38 x 38cm 12

Towards the Gloamingoil on board23 x 23cm

Storm and Spindriftoil on board38 x 38cm

All Returns to the Seaoil on board38 x 38cm

Gales Southwesterlyoil on board38 x 38cm 13

Evening Storm Makes Shoreoil on board68 x 61cm

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Tony ScrivenerBorn in London in 1944, Tony Scrivener moved to Dorset in 1970 and studied Art at Bournemouth and Poole College of Art, and gained a first-class BA (Hons) degree from the Open University. He has painted professionally since 1992, and his paintings have been exhibited extensively throughout the UK, including regular selection for the Royal Academy Summer Show.

Tony finds the experience of painting landscapes informs the way he approaches still life painting and in this exhibition it is rewarding and interesting to see how these two different subjects relate to each other, through his characteristic mark-making and colour palette.

Prices range from £650 - £4,000

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Flowers in Zig Zag Vaseoil on canvas40 x 46cm

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Two Bowlsoil on canvas23 x 26cm

Cacti Potsmixed media on paper19 x 29cm

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Two Bowlsoil on canvas23 x 26cm

Cacti Potsmixed media on paper19 x 29cm

Hayle Estuary No Ioil on canvas115 x 115cm

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Opposing Farm Buildingsmixed media on paper on canvas20 x 56.5cm

Dipping Field of Goldmixed media on paper18 x 40cm 20

White Spacemixed media on paper on canvas18 x 55.5cm

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Hayle Estuary No IIoil on canvas115 x 115cm

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Hayle Estuary No IIIoil on canvas130x 130cm

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Flowers in Yellow Vaseoil on canvas26 x 23cm

Bottle with Three Figsoil on canvas28 x 23cm

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Flowers in Yellow Vaseoil on canvas26 x 23cm

Bottle with Three Figsoil on canvas28 x 23cm

Blue Table with Three Fishoil on canvas130x 130cm

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Mary Kaun-EnglishMary Kaun-English is a contempory ceramic artist currently living in Britain. She was born and raised in Southern California where her passion for nature started as a young girl. Living in the then undeveloped San Rafael foothills, she was allowed to explore this desert landscape, being conscious of the natural spirit and materials around her, paralleling the movements of the native American Indians; her biological forefathers.

Mary moved to Britain in 1988 and now works from her garden studio, situated adjacent to woodlands in Surrey, creating hard-built sculptures made from clay. These pieces are smoke fired, exposing the porous clay to the smoke given off by the natural organic materials used to fuel the fire. The results are organic sculptures embellished with an account of the smokes ephemeral passage across the clay. By reason of this, each one of the sculptures is unique. Her recent work centres on an opening in the form; this fundamental part of the work allows air and light into the solid form of the structure.

Her work is currently held in private collections throughout the UK, Scotland, California, Boston, New York, Toronto, India, Shanghai and Australia.

Prices range from £55 - £350

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Dignity26 x 21 x 9cm

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Phase26 x 21 x 9cm

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Integrity21 x 24 x 9cm

Praise22 x 19 x 9cm

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Phase26 x 21 x 9cm

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Smoke-Firing TechniqueMary Kaun-English’s clay pieces have not been glazed. They are fired by the ancient method of smoke firing. The pieces are handmade using clay and initially fired in an electric kiln, at 950°C. This dries the work and makes it stronger; however leaving it porous.

The work is then placed in a large pit in the ground on top of a bed of sawdust. Organic material such as pine cones, seaweed, orange peel, banana skins etc. are placed around and on top of the work. A bonfire is built on top of this. At this time the pit is covered with corrugated sheet metal and left to burn for up to 24 hours. Once the pots are cool enough to handle they are removed from the pit, cleaned and polished. The marks on the pieces are made from the smoke penetrating the porous clay. Due to the intensity of the smoke firing process, these marks can take form as unevenness and fissures in the sculptures surface; thus add-ing an additional textural dimension to the work.

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