Limited Edition Prints

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  • BALDWIN, Daniel

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    Dan Baldwin (1972-) creates a unique and immediately recognisable vision in his silkscreen prints. His work is at once both abstract and figurative, reflecting both reality and the world of imagination. Baldwin’s subject matter is the interior of his own mind, from rumination on love, memory or philosophical issues, to an airing of opinion on politics and/or current affairs. The work is multi-layered, both physically (Baldwin can use glazes, diamond dust,collage and 3D media on top of his silkscreen surface) and in terms of meaning.

    The motifs with which Dan Baldwin plays often reccur- skeletons, swallows, crucifixes, childrens’ story book illustrations, spiders, robins, trees, knives, flowers, cartoon figures- and are often contradictory, creating an uncomfortable  and sometimes sinister paradox. Each motif has a meaning (swallows generally signify innocence for example), although the meanings can vary slightly from print to print depending on the overall ethos of the piece. Symbolism is key to Baldwin’s oeuvre- both his own interpretation and the personal response of each viewer.  These symbols of death, life and love reflect Baldwin’s preoccupation with the ‘big questions’ of human existence.

    Born in Manchester, Dan Baldwin studied at Eastbourne College of Art and Design and then Kent Institiute of Art and Design. He lives and works in West Sussex. Baldwin’s work is collected and exhibited nationally and internationally.


  • BASHFORD, Johanna

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    Johanna Basford is an award-winning illustrator and designer, best known for her intricate, mostly black and white, hand drawn illustrations.

    Johanna Bashford graduated in 2005 from Duncan of Jordanstone College of Art and Design in Dundee with a degree in Printed Textiles and quickly set up her own design studio.

    Every piece Johanna Bashford creates starts life as a simple pencil sketch, evolving into a rambling pen and ink drawing usually spanning several sheets of paper. Her delicate hand inked designs intend to charm and delight, inviting the viewer to peer closer and discover the hidden intricacies.

    Johanna Bashford created the ‘Heartbreak’ motif especially for us and we have published it in three colourways and two size formats.

    The black and white designs are also available as a special ‘diamond dusted’ smaller editions.


  • BLAKE RA, Sir Peter

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    Godfather of British Pop Art Sir Peter Blake has been collaborating with CCA since 2003, producing spectacular original prints. His work crosses all generational divides, and inspires great respect from younger artists such as Damien Hirst, Gavin Turk, Pure Evil and Tracey Emin. Knighted in 2002, an honorary doctor of the Royal College of Art, and with his work represented in major collections throughout the world, Sir Peter Blake truly is a grandee of British Art.

    Sir Peter Blake’s work reflects his fascination with all streams of popular culture, and the beauty to be found in everyday objects and surroundings. Many of his works feature found printed materials such as photographs, comic strips or advertising texts, combined with bold geometric patterns and the use of primary colours. The works perfectly capture the effervescent and optimistic ethos of the sixties, but are also strikingly fresh and contemporary. There is also a strain of sentimentality and nostalgia running throughout his work, with particular focus towards childhood innocence and reminiscence, as can be seen clearly in his recent Alphabet series. Blake is renowned for his connection with the music industry, having produced iconic album covers for the Beatles, Paul Weller, The Who, and Oasis.

    Peter Blake was born in Dartford, Kent in 1932 and studied initially at Gravesend Technical College from 1949-51. After a period of national service in the Royal Air Force, Blake attended the Royal College of Art, graduating in 1956. Upon graduation he won the Leverhulme Research Award to study popular art, this allowed him to travel and study folk art in countries such as Belgium, France, Italy and Spain: his grand tour. It was around the period of his return to the UK that Blake’s style evolved from the classical naturalistic oil works of his early period to the collaged works containing images of movie stars, musicians and pin-up girls that we most readily associate him with (however, Blake as always retained the naturalistic strain of his work and has continued to work in oil on canvas throughout his career).

    During the 1960s and 70s Blake taught at various institutions such as St. Martins School of Art, Harrow School of Art, Walthamstow School of Art and the Royal College of Art. He also exhibited his work in many individual and group shows during this period, both domestically and internationally. In 1961 Blake won the John Moores Award for his work Self Portrait with Badges, and was also featured in Ken Russell’s BBC film on Pop Art ‘Pop Goes the Easel’, which first brought him to wide popular attention. In 1969 Sir Peter Blake left London to live in the West country where he was a founding member of the Brotherhood of Ruralists in 1975. He continued to live near Bristol until 1979 and during this period his work moved away from the glossy commercial pop art for which he is most celebrated and focussed on literary and rural subjects in oil.

    Sir Peter Blake moved back to Chiswick in 1979, upon his return to London his work reverted to the earlier popular culture references that had been his dominant inspiration before his rural period. He still resides and works in Chiswick, maintaining a prolific output of work. He was elected a member of the Royal Academy of Arts in 1981, and a CBE in 1983. There was a major retrospective of his work Now We Are 64, at the National Gallery in 1996, as well as at Tate Liverpool in 2007.  Sir Peter has designed fabrics for Stella McCartney, as well as the carpets in the new Supreme Court. In 2012 he has re-designed the BRIT award statuettes and produced a portrait of the the Queen commissioned by the Radio Times to celebrate the Diamond Jubilee (which appeared on its cover). He is currently working on a series of jacket designs for Penguin books, he has also been commissioned to paint a canvas of St. Martin for the Knights Chapel in St. Paul’s Cathedral- the first new artist to be included for several hundred years.


  • BLOW RA, Sandra

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    Sandra Blow RA (1925-2006) was one of the leading lights of the abstract art movement of the 1950s. Her works are often on a large scale and consist of abstract collages made up from cheap discarded materials such as sawdust, cut-out strips of old canvas, plaster and torn paper. The use of such materials is designed to create an expressive informality and promote a natural, organic feeling. Her works have a tactile as well as visual emphasis on surface, and her use of simple large geometric shapes lends a feeling of expansiveness and dynamism.

    Sandra Blow was born in London in 1925, the daughter of a Kent fruit farmer whose orchards supplied retailers in Covent Garden. She left school at 15 and in 1940 entered St Martin’s School of Art. Shortly after the Second World War, Blow studied at the Royal Academy Schools, but in 1947 ventured further afield and lived in Italy for a year, where she met Alberto Burri, who was a significant influence on her work for the rest of her career.click to read more about artist Sandra Blow

    Despite her youth, Sandra Blow was at the forefront of the abstract art movement in Britain during the 1950s. Following her first painting sale, to Roland Penrose (a founder of the Institute of Contemporary Arts), Blow’s career took off. Throughout the 1950s and early 1960s, she regularly exhibited with Gimpel Fils, the leading London gallery whose association with St Ives artists like Barbara Hepworth, Ben Nicholson and Peter Lanyon anticipated her move in 1957 to live for a year in a cottage at Zennor near St Ives. Blow was widely exhibited abroad throughout this time, establishing the international profile that her cosmopolitan outlook warranted. Participation in peripatetic displays of contemporary British art saw her work promulgated in Italy, Holland, Germany, the United States and later Australasia.

    In 1957, Sandra Blow featured in the first John Moores biannual exhibition in Liverpool and was included in the Young Artists Section at the Venice Biennale the following year. She won the International Guggenheim Award in 1960 and won second prize at the third John Moores exhibition at the Walker Art Gallery in 1961.

    In 1960, having returned to the capital, Sandra Blow acquired a large studio at Sydney Close in Kensington, where she worked for the next 24 years. In 1961 she started a 14-year stint teaching at the Royal College of Art. Although painters like Jennifer Durrant, Gillian Ayres and Joan Mitchell shared with Blow ambitious scale and expressive dynamism, she stands alone as the earliest and most original woman painter in Britain able to challenge the bar-room “macho” cult associated with free, informal abstract painting.

    In moving to St Ives during the mid-1990s, Sandra Blow came full circle, reinvigorating a Cornish art scene bereft of the glories she had sampled 35 years before. She exhibited locally but also fulfilled her obligations as a Royal Academician, participating in every Summer Exhibition at Burlington House, where she enjoyed a retrospective in 1994 at the newly built Sackler Galleries.


  • BRAYNE RWS, David

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    Foss Fine Art in association with Heartbreak Publishing has published a series of limited edition giclee prints.

    David Brayne RWS was born in 1954 and studied at Nottingham School of Art, Gloucestershire College of Art and Exeter University. He exhibits regularly at the Royal Academy Summer Exhibition and has been awarded many notable prizes. He was elected to the Royal Watercolour Society in 2001 and recently curated the Poet and The Painter exhibition at Bankside Gallery on London’s South Bank.

    There is a poetry of perception expressed in David Brayne’s work. His surfaces are chalky dry, reminiscent of early Renaissance frescoes, his colours, while subtly English invariably have a warm vibrant ochre singing out: creating a perfect harmonious palette. He often draws on the wide skies and expansive seas of his Fenland childhood and the hills and coasts of the West Country where he has lived for many years. Landscapes and interiors are both imagined and remembered, figures dissolve into light, land and sea appear blended together in a gentle linear exchange, a lyrical memory.

    David Brayne mixes his own paint from raw pigments, building up layers of luminous glazes, sometimes working into the surface with pastel and using touches of gold and silver leaf.


  • CORNISH, Charlotte

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    Charlotte Cornish studied print-making at both St. Martin’s School of Art and the Slade. A statement from the artist:

    “I have always found inspiration from places I have travelled to: most recently Venice, Ireland and the Suffolk coast. I often use photographs as an initial starting point for my compositions, but my paintings are not representations of places, but a mixture of elements from the seen world, and my own emotional responses and experience.

    I am fascinated by the qualities of paint, the unending possibilities of colour and colour relationships, and the potential this has to create connections and reactions. Acrylic paint is my preferred medium as this dries relatively quickly, allowing me to build up many layers of thinly poured paint, contrasting with directly applied, thicker marks. I wait until the paintings are dry before applying subsequent new marks. This allows me to remove or modify painted areas, without affecting the preceding layers. The paintings take about eight weeks to complete.

    Charlotte Cornish prints are all Limited Edition Original Prints. The screen prints and lithographs have been made from a series of my own hand painted stencils, one for each colour printed. The resulting image exists only in its printed form. There is no original from which the print has been copied. I have worked with several different print studios to produce the editions, including Coriander Studio.

    I regularly exhibit my paintings and prints, selling to both private and corporate customers. A large part of my practice is engaged with commissioned work, working with numerous art consultancies and galleries, producing work for commercial and domestic environments.”


  • FAINE, Brad

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    Brad Faine (1945-) was born and grew up in Brighton.  He studied Fine Art (Painting) at Leicester College of Art where he achieved a Dip Ad (Hons) under the tutelage of Harry Thubron, an early proponent of conceptual art, and subsequently completed a Post Graduate ATC course at Goldsmiths.  During his time at Leicester, Brad Faine developed the first truly playable 3d Chess set which was exhibited at the ‘Invention of Problems’ Exhibition at the ICA.  He also was responsible for the concept for ‘Inter-play’, one of the two British entries for the 1968 Paris Biennale.

    On leaving college in 1972, Brad Faine and his wife Jane founded Coriander Studio, which has grown into an internationally renowned maker and publisher of limited edition silkscreen and latterly digital prints, working with artists that range from Henri Chopin to Erte, Richard Hamilton to Peter Blake, Michael Craig-Martin to Damien Hirst.

    In addition to being the managing director of Coriander Studio Brad Faine has taught printmaking as a visiting lecturer at a number of art schools including St Martins College of Art and Design, Farnham School of Art, and at the Royal Academy of Art, where he had a one man show in the Coffee Bar Gallery. He has been involved in many collaborative demonstrations of printmaking, including a Granada Television film with Brendan Neiland and Patrick Hughes and a project with Bruce McLean at the Victoria and Albert Museum.  He has also been a guest speaker at a number of national and international printmaking symposia.

    Throughout Coriander’s 40 year history, Brad Faine has continued to work as a painter and printmaker in his own right. He has works in many private and public collections in the UK, the USA and the Middle East, and has had work included mixed shows in London, New York, Dubai and Tokyo.  Recent exhibitions include a one-man show at the Chelsea Arts club, a major joint print show with Peter Blake and Brendan Neiland at Leicester City Art Gallery, a one-man show at the London Sketch Club and another at 45 Park Lane – (the Cut), and a three month exhibition with Steve Thomas at Chelsea Future Space. His work has been seen in numerous mixed shows including the Pop Art exhibition at the Belgravia Gallery and the recent Mixed print show at the Railings Gallery.

    In 1984 Brad Faine was responsible for initiating the concept of ‘Visual Aid for Band Aid’ and, along with Peter Blake, Graham Bannister and Gordon House, was integral in the organization of 104 artists and the production of an edition of 500 prints, the proceeds of which went to the Band Aid Trust.

    In 1989 Brad Faine was invited to write the New Guide to Screen Printing, which was published by Hodder Headline, and has subsequently written a number of articles for books on artists such as Terry Frost, Brendan Neiland and Peter Blake.


  • FARLEY, Lucy

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    Lucy Farley (1982-) lives and works in London. She studied at Central St. Martins graduating in 2005, and has an MA in printmaking from the Royal College of Art (2009), she is currently completing a two-year Fellowship at the Royal Academy. Exhibitions in London have included the ‘Originals’ Printmaking show at the Mall Galleries in London, as well as The Summer Exhibition at the Royal Academy in 2008, 2009 and 2010.

    “Painting, drawing and printmaking are all part of my practice. I am interested in depicting places that I have a personal connection with or a history that inspires me. My work aims to build up a record of time, spirit of place and changing feelings which occur through travel, my existence in the city and a connection with nature and the landscape. ‘The fragments of memory, past sensations and experiences, that are associated with a particular urban or natural landscape, form the basis of my work.

    I am interested in the pictorial deconstruction and rearrangement of  landscape,  the figure and still life .Seen and felt experiences , combined with repeated drawing and documentation, allow me to present the subject within a new context  and explore the spirit of place, objects and the human condition in relation to this.

    Through this reorganisation on paper and canvas, we as viewers experience a shift in perceived realities and question our mental and physical state within our immediate surroundings.

    I am drawn to the tension and play between ‘real and illusory ‘space and spending time in a given place allows imagery to sift into a reference library of remembered forms, which is almost subconscious in it’s operations when I work on  prints , paintings and ceramics back in the studio.

    It is important I work in situ on Printmaking plates, paper and drafting film, directly from the landscape, figure or interior.  There is a speed and spontaneity I wish to capture in my original drawings which I can manipulate, but always keep in the finished works.

    Drawing is at the heart of everything I make. This in turn leads to working in an array of different mediums, which is key for me to progress and evolve. It allows a new abstract language to form, which then questions the construction of the next piece of work; ceramic reliefs as 3d objects for painting, distort initial representations of a subject, which in turn introduce a new approach to printmaking plates that feed back into the painting. It is a continuous experimental circle of thinking through making.

    I like to think of these various print, ceramic or drawing constructions as a ‘stage’, a defined area within which static, spatial relationships are set up.

    I have always been more interested in the drawings of sculptors and the conversion of a three dimensional image to a flat plane, and the struggle to convey the full experience of a multi dimensional world.

    For this reason, I have always been greatly influenced by the American Abstract Expressionists and the physicality with which they approached their work and their ‘physical embodiment’ in the paintings themselves.

    Scandinavian painters such as Munch, Asger Jorn And Per Kirkeby have inspired my obsession with the particular atmosphere and mystical feel associated with Nordic painting. Growing up with a Danish Mother, I have strong connections with Denmark and regularly return home to study art collections and shows.

    There is a romanticism, and love of landscape associated with Danish painters of the fifties that links to the  English neo romantics in post war Britain, such as Keith Vaughan, who has been a huge influence on my practice.

    The Melancholy and nostalgia of this particular period in British painting has always evoked a strong emotional response and and played an important role in my own work.

    I am interested in the pictorial deconstruction and rearrangement of landscape, the figure and still life. Seen and felt experiences, combined with repeated drawing and documentation, allow me to present the subject within a new context and explore the spirit of place, objects and the human condition in relation to this. Through this reorganisation on paper and canvas, we as viewers experience a shift in perceived realities and question our mental and physical state within our immediate surroundings.

    I am drawn to the tension and play between real and illusory space and spending time in a given place allows imagery to sift into a reference library of remembered forms, which is almost subconscious in it’s operations when I work on prints , paintings and ceramics back in the studio. It is important I work in situ on Printmaking plates, paper and drafting film, directly from the landscape , figure or interior.  There is a speed and spontaneity I wish to capture in my original drawings which I can manipulate, but always keep in the finished works.


  • FROST RA, Sir Terry

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    Sir Terry Frost RA (1915-2003) was a giant of British abstract Art. Born in Leamington Spa in 1915, Frost left school at the age of 14 and worked at Curry’s Cycle shop and then Armstrong Whitworth in Coventry until the outbreak of war. He served in countries as diverse as Palestine and Greece, before being captured in 1941. Frost remained a prisoner until the end of the war, an experience that changed his outlook on life and introduced him to the possibilities of art. In prison camp in Bavaria Frost began to paint and draw, encouraged by young artist and fellow prisoner Adrian Heath.

    ‘In prisoner-of-war camp I got tremendous spiritual experience, a more aware or heightened perception during starvation, and I honestly do not think that awakening has ever left me.’

    On his return to Britain Frost moved to St. Ives in Cornwall, to be amongst the burgeoning artistic community there. Excluding brief stints in other locations, St. Ives and its local environs was where Sir Terry Frost lived and worked for the rest of his life. His work reflects the inspiration he found in the Cornish light, glittering seas and watery reflections. He attended the St. Ives School of Art before spending 1947-50 commuting to London in order to attend the Camberwell School of Art. His early work was figurative; it was influence of Victor Pasmore at Camberwell combined with that of Ben Nicholson that led Frost to paint his first abstract painting on 1949.

    Sir Terry Frost worked as Barbara Hepworth’s assistant in 1951 and had his first solo exhibition at the Leicester Galleries in 1952. Frost taught at many institutions including the Bath Academy of Art (1952-4), Leeds University (who awarded him he was the Gregory Fellowship in 1954) and Reading University. In 1960 Frost had his first solo show in New York at the Barbara Schaefer Gallery, whilst there he met some of the leading American Abstract Expressionists, this experience encouraged him to start painting on a much larger scale. He was awarded the John Moore’s Prize in 1965, elected to the Royal Academy in 1992 and knighted in 1998. A retrospective of his work was held at the Royal Academy in 2000.

    Sir Terry Frost’s work reflects his gratitude and joie de vivre at having survived wartime incarceration; it is full of colour, light and the pleasure of existence ‘a sense of delight in front of nature’. Frost took his inspiration from nature; the sun, moon, water, boats and the female form are recurring motifs abstracted into sensuous circles and curves. These shapes are often coloured in dramatic blues, reds, oranges, yellows and blacks. Frost believed that the interplay of colour and shape could realise an event or image more successfully than imitation. He combined strict formal discipline with great expressive freedom and a natural sureness of touch.


  • GARDINER, Jeremy

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    Jeremy Gardiner is a graduate of Newcastle University and the Royal College of Art. He exhibits regularly with Paisnel Gallery in St James’s, London and the Belgrave Gallery in St Ives. His paintings have been exhibited in Europe, the USA, South America, Japan, Australia and China. Jeremy Gardiner has won numerous awards throughout his career including a Churchill Fellowship, a New York Foundation for the Arts Fellowship and a Harkness Fellowship. He lived in the United States for 14 years and taught at MIT’s Media Lab, Pratt Institute of Art and Design in New York and at Bennington College, Vermont. In the UK he has taught at the Royal College of Art and is currently Course Director for Postgraduate studies at Ravensbourne, London. Jeremy Gardiner’s paintings are represented in public and corporate collections including the Victoria and Albert Museum, the Government Art Collection, BNP Paribas, Pincent Masons and Ente Nazionale Idrocarburi. He has had recent exhibitions at Pallant House Gallery, UK and the Chelsea Art Museum in New York City.

    Jeremy Gardiner’s artistic excavation of the geology of landscape is shaped both by human activity and forces of nature. He interprets, through his painting and printmaking, a variety of landscapes that contain the marks and secrets of their own distant formation, giving them a unique, contemporary depth and beauty. His artistic exploration has taken him from the Jurassic Coast of Dorset to the rugged coast of Cornwall, the Oceanic islands of Brazil, the arid beauty of the island of Milos in Greece and more recently the Lake District and its numerous waterfalls.

    Jeremy Gardiner’s spatially probing and texturally explicit pictures creatively transform the lessons learnt from pioneering modern British landscape painters such as John Tunnard, Ben Nicholson, Peter Lanyon and the American artist Richard Diebenkorn.

    NEW SERIES

    The new series of vertical monoprints immediately suggest a downward slice through the landscape. But the notion of a single view is something I seek to dispel. Instead, I consider these prints to be like a musical score, composed of themes and variations; a series of fragmentary views pieced together. One section might be a view of the Dorset landscape seen on a coastal walk, another a cross-section of a fossil found in that location, whilst another element might be the contour patterns seen from the air captured by LiDAR, an optical remote sensing technology that can measure the change in elevation of the landscape using pulses from a laser. Like a page of musical notation, the passing of time is implicit within the structure.

    To achieve the intaglio surface of these prints I produce low relief elements to make the impressions, forming an area of texture by applying tile cement to thin Aeroply, which I expose to a high-powered butane torch to obtain the surface texture. Sometimes I laser cut a three-dimensional low relief wood block of a fossil to create the impression of a fossil within the print or photo etch a steel plate with raised contour lines.

    Publication: The Art of Jeremy Gardiner: Unfolding Landscape. Contributors: Wendy Baron, Ian Collins, Peter Davies, Simon Martin, Christiana Payne and William Varley. Published by Lund Humphries (Jan 2013), includes 125 colour and 25 b&w illustrations, 270 x 249mm, 160 pages in hardback. ISBN 978-1-84822-100-0.
    Price £35.00.

    Limited edition of 100, incorporating a new signed and numbered colour etching produced by the artist. ISBN 978-1-84822-101-7.
    Price £300.00


  • HAMILTON, Donald

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    Donald Hamilton sadly passed away in September 2009. He exhibited his highly acclaimed work in Paris New York Tokyo Zurich and many other cities around the world. The list of galleries that own or have exhibited his work is phenomenal. Donald Hamilton participated in many of the most significant exhibitions of British work including the Royal Academy’s 25 Years of British Painting, where he was also a Royal Academician and a trustee since 1995. Donald Hamilton’s predominant subject matter was landscape. Here he combined his Scottish decent and his affinity with French painting from his study there in the 1950’s. This is greatly reflected in his style and execution. He layered thick bright paint with a palette knife to produce an almost collage effect. The landscapes remain close to their origins whilst forming abstract almost dream-like fields of colour. Contrasting in style and highlighting Donald Hamilton’s diversity are his wonderful chalk and wash drawings of dancers. Each one captures individual character and emotion whilst revealing his intimate knowledge of dance. After much study and travel including tutoring at the Royal College of Art, contact with the post war Ecole de Paris, and a long relationship with the Royal Academy Donald lived with his wife by the river at Henley on Thames.


  • HOYLAND RA, John

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    John Hoyland RA‘s prints encapsulate the verve and poetry of his paintings. Hailed as the leading abstract artist of his generation, Hoyland’s work is poetic (every piece has meaningful and lyrical name) and pasionate.

    Born in 1934 in Sheffield, John Hoyland studied at the Sheffield School of Art (1951-56) and then the Royal Academy (1956-60) and went on to teach at the Slade and Royal Acdemy art Schools. Hoyland’s artistic development in the 1960s ran parallel with the Abstract Expressionists in America. Hoyland was interested in their work and ethos, moving to New York in 1964. In London he had had a series of one man shows in a variety of well known galleries including the Whitechapel and Waddington.

    John Hoyland’s prints like his canvases are rich in colour and bold in composition. Though they may appear spontaneous, much preparation and thought is given to the balance of colour and form. For every colour in the print a seperate stencil is created through which paint is pushed; gradually building up layers to complete the image- necessitating a great deal of forethought. The compositions generally focus on a central cell-like element; this gives the work a definitive structure and focus as well suggesting a biological/natural/stellar form.

    John Hoyland’s first solo show took place at the Marlborough New London Gallery in 1964. This was followed by a series of national and international solo exhibitions, including the Whitechapel Gallery, London. He showcased his work at the Waddington Galleries throughout the 1970s and 1980s; and a retrospective of his work was held at the Serpentine Gallery in 1979 and again in 1999 in the Sackler Galleries. Hoyland’s work has also been included in numerous international group exhibitions from 1964, when his work was selected for the New Generation exhibition at the Whitechapel Gallery, London. More recently he had participated in group exhibitions at the Tate Gallery, Liverpool and the Barbican Gallery, London in 1993, and at Galerie Josine Bokhoven in Amsterdam in 1994.

    John Hoyland has received many awards throughout his career, including the Calouste Gulbenkian Foundation Purchase Award; a Peter Stuyvesant travel bursary; he was a Prize Winner at the John Moore’s Liverpool Exhibition in 1964 and won First Prize in 1982; he received an Arts Council purchase award; joint first prize with William Scott in the Korn Ferry International and first prize of the Athena Art Award in 1987. In 1998 he won the Wollaston Award for the most distinguished work in the Royal Academy Summer Exhibition.

    John Hoyland passed away in July 2011 at the age of 76. His contributions to British contemporary art have been revolutionary and have had great influence on younger generations artists such as Damien Hirst.


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