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painters Tubes magazine issue #12
painters TUBES magazine new issue 52 pages of great art, excellent articles and essays.
£7.00 per issue including post and packing (UK mainland) Order one or more
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..featured articles include : COLIN TAYLOR – the brilliant full essay on his experiences and thoughts of landscape in Chile (South America) – DEAN ENTWISTLE – his excellent article on the paintings of ELAINE PREECE STANLEY. A Superb piece on abstractions in painting by DAVID TYCHO. Our Editor (DENIS TAYLOR) will be contributing an extensive exhibition preview and exclusive photographs of RICHARD FITTON’s working on his new exhibition of paintings at the Whittaker Art Museum – “after 7 years and later” – opening on the 11th May… plus the full inside story of an important but rejected VAN GOGH painting written by ANDRÉ CHAHIL + another hard-hitting critic about art by SPIKE and much more – ARTISTS like our Facebook page and join the painters TUBES artists group and be the first to read new issues on-line.
Photograph below: Contemporary Artist, Denis Taylor in front of the installation at Crossley Gallery, Dean Clough, Halifax, UK
The exhibition “defining the elemental is an exhibition of painting in the UK. The ten artists participating are showing authentic work that covers contemporary landscape, portraits and new abstract painting. The extensive venue is the Crossley Gallery which is within the extremely large Dean Clough business and culture complex in Halifax, West Yorkshire ( for directions and information- please click here) The exhibition is currently on and is running through to 12th January 2019.
Many of the artists as renown throughout the North of England and beyond for their progressive, dynamic, semi-realist and abstract new work, such as, Denis Taylor, Ian Norris(see TUBES issue #1) and Jeanette Barnes along with major project painters such as Shaun Smyth (Mersey Gateway Bridge project- see TUBES issue #8) and original impasto styled (inspired by Kossoff/Auerbach) portraiture work created by Richard Fitton (see TUBES issue #7)
The full Catalogue with examples of all the ten artists work, comments on their work and poetry that accompanies the paintings (written for the exhibition by David Traves) features in the exhibition is available here: Defining the Elemental catalogue
Tubes artists contributor, Laurence Cause Parsley, reviews a new exhibition of the work of Alun Williams. London – on show until 10th November.
Tucked away in a quiet street of Islington, The Handel Street Projects run by its passionate owner, Fedja Klikovac, presents until the 10th of November the first Alun Williams‘ solo show in London for thirty years. Alun Williams was born in Manchester in 1961, and lives and works in America. He is involved in the experimental projects undertaken by Parker’s Box, Brooklyn and supports the activities of Triangle in New York, Marseille and La Vigie in Nîmes, France.
The visitor is presented with a variety of artworks, ranging from vintage-framed drawings in graphite and ink in the hall way, small scale resin sculptures covered with blue or gold paint on the mantelpiece, more sketches and drawings in the main room next to larger paintings. They all have a common point: a sinuous, irregular-surfaced abstract shape. In fact this abstract shape is the signature of Alun Williams: passionate about History and historical characters, he sets on a search to discover an accidental ‘trace’ close by a landmark linked to the character he is interested in.From there the artists embarks on a pictorial narrative.
“No Paine No Gain”… refers to Thomas Paine (Thetford 1737- NY 109) the British philosopher… “who was a pioneer of democracy and equality having an enormous influence on both the American and French revolutions. He was also a pioneer of innovation in spreading information-very much a precursor of recent politicians realising the potential of social media. In Paine’s case his famed political texts such as Common sense, Rights of Man, and American crisis were published as ‘cheap’ pamphlets in print runs up of up to 500 000, a circulation volume previously unheard of in the 18th century.”
Alun Williams visited Lewes where Paine lived for a while and on the doorstep of his house found a splash of blue paint. The shape is more than a seducing form under a glass globe as seen on the mantelpiece: in a surrealist way, Williams decided that the splash will be the symbol representing Thomas Paine thus opening a very interesting dialogue between past and present and, in the case of Artist’s Impression: Golden Thomas Paine statue at the ICA Philadelphia, even future! The painting depicts a night view of the ICA in Philadelphia, the first town Paine visited when he went to America. Williams makes the viewer stand outside the building and look through the bay window inside the hall, where a somehow incongruous large stone pedestal is set with the gold sinuous shape at the top. It is a very powerful statement, painting of a memorial monument which does not exist, the symbolic historical presence of Paine in an existing building questioning the meaning of democracy and equality in today’s and tomorrow’s America and thereby in today’s and tomorrow’s world.
It is worth mentioning that the artist has used the same process with Edgar Allan Poe or Jules Verne and more obscure characters, all gathered in a book, LEST, Manuella Eds, 2011.
Alun Williams – “No Paine No Gain.” at: Handel Street Projects, 22/09 – 10/11. Wednesday to Friday 12pm-6pm, Saturday 10am-1pm and by appointment.