The second CoWCP 2019 exhibition in Redhouse, featuring six Wales based artists:
CoWCP exhibitions are also being held at other locations, including Cyfarthfa Castle.
Free entry but the exhibition space is occasionally used for other events, so to avoid disappointment, please call 01685 384111 or message us on social media to confirm the show is accessible.
Jacqueline Alkema (www.jacquelinealkema.co.uk)
Born Jacqueline Louise Maria Alkema in 1948 in the Netherlands.
B.A (hon) Fine Art Cardiff College of Art and Design 1988.
Living and working in Cardiff. Trustee of the Women’s Arts Association of Wales.
Her familiarity with Flemish and Dutch painting is clear in much of her work. The work is often dark and intimate, whether the figures are staring straight at you, or lost in their own dance, they are demanding a one to one relationship with you. They want to communicate across the gap that keeps us all isolated, unknown. The female figure with at times awkward poses is a predominant feature in her work. Her paintings develop through experimentation and intuition but with an awareness and control of the media used. Themes of sexuality, domesticity and childhood memories are recurring themes in her work.
Keith Bayliss (keithbayliss.webs.com)
Keith Bayliss is an artist born in Swansea in 1954. He worked for many years in a psychiatric hospital, teaching, Community Arts Officer for the City of Swansea and since 1991, a free-lance artist and artist in education. Throughout this time he has continued to make art.
His work is figurative and expressive. He works in a variety of mediums, pencil and ink on paper, oil on canvas, relief printing and in the last few years small mixed media constructions. His painting is on a large scale, with figures almost life size. They inhabit a simple setting, the curve of a hill, a moon. They are single or in pairs, sometimes interacting, sometimes moving in opposite directions. His most recent work consists of half life size figurative constructions in tissue.
Jo Headington (www.instagram.com/joheadington)
Moving 26 times in her life has had an impact on the recording and documenting of Joanne’s artistic journey. After several years’ hiatus, Joanne found her way back to painting through the study of poetry. The similarities between poetry and painting are well documented and for her, the process of writing poetry, particularly the Haiku, helped Joanne think more abstractly about form, imagery and meaning in art.
Her first abstract marks in 2009 were lines drawn freehand on luxurious, handmade paper. They were attempts to examine the limitations of the line and observe the medium deteriorate with use, whether it was ink on a brush, a charcoal stick or a graphite pencil worn down to the stub… She continues to explore the gestural mark in her work. The tools of writing, drawing and painting are used throughout her work to respond to her surroundings.
The work has a peripheral and abstracted reference to landscape and interior spaces, but the process is improvisational and intuitive. She is more prolific during the lighter and warmer months, becoming more reflective during the shorter, darker months where she reads more and fills her sketchbooks and notebooks with ideas about the development of her work. Joanne also enjoys the unpredictable and immediate process of producing smaller scale, monochromatic prints, which helps her to retain that sense of immediacy and surprise when working on the larger paintings.
Angela Kingston (www.angelahoppekingston.com)
Angela, born Angela Hoppe in Mumbles, South Wales.
She studied painting at the Bath Academy of Art, Corsham 1955-1958, where she was awarded a BAA Travelling Scholarship. Initially teaching in Essex, and living briefly in Kent, she and her husband moved to Llantwit Major, South Wales where they settled and raised their five children.
She is a member of The Welsh Group and The Royal Watercolour Society of Wales (Chair 1991-2000)
Painting and drawing for 60 years, her work has progressed through many research stages with a passion for detailed sketch book observation.
Using various media, intuitively discarding and selecting spatial constructive marks, line over line, collage over line – always looking through.
Her work in this exhibition shows recent developments of increasingly abstracted elements inspired by her reaction and emotion to plants and the essence of place.
Elfyn Lewis (www.elfynlewis.com)
Elfyn Lewis RCA work is always technically daring, as he experiments with techniques to achieve the effects he needs to communicate his ideas. This constant enquiry and pushing at the limits, gives the work a rare excitement and energy.
But it is not mere technical exercise. Though mostly abstract, the works hint at glimpses and memories of landscape, and they are full of atmospherics: there are shadows and light, wind and rain and electricity are everywhere. But there are internal, psychological atmospherics too: often within the same image the mood darkens, or clears. Contradictory emotions coexist; the present overlays but cannot obliterate past memories.
Elfyn was born and grew up in Porthmadog. He now lives and works in Cardiff. Over the course of his 25 year career he has won numerous awards and prizes for his paintings including the Gold Medal for Fine Art in the National Eisteddfod in 2009, and the prestigious Welsh Artist of the Year award in 2010. He has also recently been elected to the Royal Cambrian Academy, Conwy.
Jason Williams (www.kooywoodgallery.com)
Jason was born and brought up in south Wales. He currently lives in Merthyr Tydfil where he is a lecturer in Art and Design at The College.
He studied Fine Art at Cardiff School of Art and Design graduating with a BA( Hons) in 1997. His work has been exhibited widely and more recently he had an exhibition at the Redhouse.
Jason explains that for him “the process of painting is… an exploration into the aesthetic experience and the communicative qualities of painting, that language that exists beyond the illustrative and representative. Although, running parallel to this view is a compulsion to draw. I use drawing as a key into the process of painting”.
As each image evolves he “attempts to enter into the unique language of painting to find a resonance with the human condition”. He uses intuition and prefers ideas to manifest aesthetically as he responds to stimuli around him. In recent work he has been drawn toward thoughts and images that relate to the tensions of modern living, yet it is “important that these notions appear ambiguous in the work to allow for personal interpretation”.