Crypt Gallery

From 15 to 24 May 'RETURN' by Marion Piper is brought to the Crypt Gallery. Marion Piper presents a sequence of paintings made over the past two years for her show RETURN at the Crypt Gallery. Geometric abstraction and colour interaction combine with her interest in early Italian Renaissance painting. She playfully explore rhythms, perspectives and spaces, both real and imaginary.  15th - 24th May Open daily 11:00 - 16:00 Closed on Sundays and Bank Holiday Monday. Free admission. Informal artist talk in the gallery on Saturday 24th May at 14:00, no booking required. RETURN is supported by NCAS Small Grants programme. Visit the NCAS website here.

From September 2 - 15, Pathways is displayed in the Crypt Gallery. Drawn together for Pathways, five visual artists and a poet show works arising from immersion in the landscape. Below are some information from the artists (and poet) with some additional information if you would like to find out more! Fliss Cary I make drawings, prints and artists books in response to the landscape and to particular elements of nature. I'm fascinated by the chaotic abundance of nature, by tangled stems and stalks, its transience and its constant renewal. I'm exploring these aspects through a variety of media alongside drawings with a wider view made while walking through the landscape. Find out more here - https://flisscary.com Jude Chaney My work is landscape based. I walk and see images I find appealing then photograph and work on a large scale image soon after as to capture the feeling. I love mixing colour and my work is bold and colourful with pattern. I've worked Plein air on smaller pieces but have felt the need recently to be in the landscape to create my larger ones too, so I'm starting to take the large canvas Plein air too. As I get older the landscape has become even more important to me, I walk daily. Find out more here - https://www.instagram.com/judechaneyartist Cherry Vernon My current work is inspired by the landscape of East Anglia – the broad view and the intimate details of real and sometimes imagined landscapes. In looking and contemplation, the imagery used in the work is varied and highly personal, reflecting the landscape, and hoping to engage viewers with a sense of time and place. My work, which is hung on walls, is predominantly on linen. I put a mixture of earth pigments and soy milk on to cloth in a variety of ways. I quilt by hand and machine. Find out more here - http://vernon-harcourt.com Kate Vogler My pots seek to capture the timelessness sensed when at one with nature: by water, amongst trees or on a mountain path. They are made from coils of clay with impressions of handmade lace, grasses or seaweed in the smooth burnished surface. The colours come from slips and oxides, smoke and pit firings. When touched, each vessel could be part of the landscape: weathered, eroded and raw; somehow inviting quiet introspection. Find out more here - https://www.katevogler.co.uk Beth Walsh My work is based on direct experience and sensory response, using lace as a conduit rather than an end in itself. Some pieces are inspired by text, music or local environment, others by artists of the past, but all are a personal interpretation of a source. Lace has always juxtaposed structure and line with space, exploiting its semi-transparency. My work examines and challenges traditional lacemaking through use of pattern, colour and scale, often combined with other media. I have recently begun spinning and dyeing various fibres to produce particular effects in the yarns I use for lacemaking. Find out more here - https://artlace.co.uk Jonathan Ward My poems are often written in response to place, walks, swims and encounters with the natural world such as bird sightings. I visit and revisit places and landscapes – local and further afield – at different times of day and in all weathers and seasons, taking time to pay attention to what is found there and to reflect. Finished poems, often capturing illuminating moments, arise from notes written outside, from memory or a combination of the two. "... Patience to stand at the entrance to a field watch the clouds move, the shifting light, ..." from Patience: Jonathan Ward