8-11 May, 2020 (11am-4pm daily)
Our second pop-up exhibition for 2020 will take place in an award-winning family home in rural Norfolk between Holt and Fakenham and will feature recent work by 22 artists and makers from Norwich, Norfolk, Suffolk and Cambridgeshire. This will be a great opportunity to view works for sale in a striking and award winning domestic setting. See more about the works available below.
Both buildings express the client’s modernist aesthetic, with beautifully unobtrusive detailing while maintaining the generous agricultural volumes of the original structures. They share uninterrupted views across the North Norfolk countryside and will provide an unusually modern domestic setting for a four-day exhibition that will focus on a selected presentation of contemporary art, sculpture, prints, woven textiles, leather goods and handmade objects by artists, designers and makers from East Anglia.
Since graduating from London College of Communication with a Masters in Photography, Debby has built a strong and diverse portfolio with specialisms in documentary and editorial work. She has published in The Guardian and Independent Newspapers, numerous photography magazines as well as touring exhibitions across the UK. In 2015, Debby was selected as a finalist in the prestigious Association of Photography Awards 2015. Running along side this, Debby was chosen as one of the most highly rated documentary portrait photographers from 145 countries with LensCulture Photography Awards.
Ferenc is a Cambridge based visual artist whose artistic style is rooted in his architectural and fine art training. He enjoys working with geometrical forms present in our built environment and exploring the interaction between humans and these shapes. Ferenc has been experimenting with basic shapes and forms for a long time. He is intrigued by the possibilities of space, space alteration by objects, movement in space, and the relations between humans and space.
Amanda has lived in Suffolk since 2005. Her paintings are abstract in nature, drawing in architectural and figurative influences, horizons, aerial views and perceptions of the aesthetic... confronting opinion and degrees of acceptability. She constantly asks of her process the question of thinning out and addition… what is needed and what isn't? Amanda has shown her work nationally and internationally in Germany, Portugal and Pakistan.
John Kiki trained at both the Camberwell School of Art and the Royal Academy Schools. By the time he finished his studies in 1967, Kiki had developed a unique style, a fusion between figurative painting, abstraction and Pop Art. John Kiki's long career has included shows at the Royal Academy, Hayward and Serpentine Galleries in London, as well as the OK Harris Gallery in Soho, New York.
Verity is a multi-disciplinary artist based in Norwich. Her paintings and sculptures reflect three broad themes: function/non-function of objects (and our attachments to them), fading memories of journeys through spaces and places, and the transience of our personal habitats/environments. The rituals and imagined - or reconstructed - histories we create around these fascinate Verity, as well as an increasing need to pin down what 'home' might be. Through her practice, Verity tries to express the ever-changing evolution, movement and energy of the surrounding environment - and the sense of us within our personal habitats. Verity has work in important collections in Suffolk and Dublin, Ireland. She has shown her work across the eastern region as well as London and internationally, several times recently in China and Greece.
Molly taught fro many years from Falmouth Art Collge in the 1980s, to Cleveland Art Instiute in 1990 and then as a senior lecturer at NUA from 1991 to 2010. Now working on her own collection. For her, painting is a process of construction, reconfiguration, application, observation and assessment. A point of balance is as individual as each painting, although on the face of it these are monochromatic paintings. A single carefully chosen colour creates a lush colour field. However, there is a surgical precision at work here. Her colour choices are steeped in memory, often triggering deep-set associations for the viewer of long forgotten favourite things like a leather jacket, a much loved car, a piece of Tupperware, a bar of soap or some kitchen cabinets. The shape of the panel underscores the direction that the memory travels.
Thomson works within strict limits that she sets for herself and then pushes against those rules to produce hard won moments of colourful, calming, collected joy.
Maryrose Watson is a textiles artist living in Norfolk. She graduated with a 1st Class BA(Hons) in Textile Design at Chelsea College of Art and Design, in 2010. By applying her own mathematical formulae to the intersecting layers of yarn, geometric forms emerge. These structures react with light to create a constantly changing visual experience, intensified as the observer moves around the work. The inspiration for Maryrose's choice of colour is wide ranging, often combining the natural and man-made world, in whatever way feels right to her at the time.
A graphic designer, printmaker and a Dutchman, resident in rural West Norfolk since 2015. Here he runs his design practice and is currently setting up his print studio in a former chapel. He loves applying the fundamentals and systems of graphic design in his ‘crossdisciplinary’ practice and works across a range of media, believing “Anything can function as a carrier for information”. He is also Visiting Lecturer at Norwich University of the Arts, at the Graphics faculty.
Mark Croxford's sculptures refer to the texture and vitality of the urban landscape. Mark's wall based constructions hint of the inner city but don't recall a specific place or time, more a displaced memory that evokes a sense of past and habitation. His use of two and a half dimensions allows his work to straddle preconceived norms and engages his sculptures in physical space while still pointing to the metaphysical.
Andrew studied at Newcastle in the early 1970’s and began a project on the wind that lead to a 30 year career in power kite design. After over 30 years of designing for kite power and control, Andrew has returned to explore the wind for its own sake. His sculptures have an order to them which, by means of careful balancing, can then be easily disturbed by even the slightest breeze. Chaos may follow, but usually a gentle sort of chaos which reminds us that all is not rigid, nor should it be.
Creating works reflecting the culture he grew up with Dan David continues to produce iconic images from the rave culture, trainers, paint spray cans and smiley faces in surprising stone including carrera marble.
Telfer was born 1940 in St Ives, Cornwall. He went on to study at the Slade, and had a Beckmann Fellowship to do a postgraduate at Brooklyn Museum Art School, New York in 1962. He taught from 1964 at Reading Art School and Bath Academy. He founded imprint WEPRODUCTIONS (Artist Books) and published 20 books between 1972-2002. Some in collaboration with Helen Douglas. Telfer started to make Sculptural objects in 2008 and exhibited at Kettles Yard Open the same year.
Teucer Wilson is one of the country's leading lettercutters and stone carvers. He produces a variety of work including sculptures for private settings and public art projects, garden pieces, signage and memorial work. He enjoys making anything from three dimensional abstract sculptures to more functional work such as birdbaths, sundials, seating, house name plaques and headstones.
DESIGN FOR THE HOME
CAROLYN BROOKES DAVIES
Carolyn graduated from the Royal College of Art in1982. After a twenty-five year career in London as a fashion designer she moved to North Norfolk in 2003. Carolyn’s background in sculpture, her love of natural form and the close proximity of the beach led her to indulge a childhood interest in shell collecting. Shells with their accidental beauty, subtle colours, variety in shape and texture appealed to her. Their endless ornamental possibilities have inspired her recent shell work of elaborately decorative objects, which are as exquisitely beautiful, intricate and unique as the shells themselves.
Heather has been making these cushions for the last 3 years. Each one takes a month to produce. Her learning difficulties have made it impossible for her to find normal employment. She was given a tapestry set by a friend and it has given her a creative outlet that she has never had. She is passionate about each one and so loves the whole process.
Karen Downing lives and works in The Brecklands of west Norfolk. She throws porcelain pots for everyday use: pots to be filled up, held, drunk out of and eaten from. The essence of her work is in its potential for use. The intention is that these pots not only fulfil their functions, but also transform what are often unconsidered moments into cherished ones: to make the ordinary tasks special and to bring beauty and pleasure to the everyday, even to the washing up. Her hand thrown white porcelain is available directly from the studio, as well as from venues and stockists listed on the Events page.
Laura Fletcher offers her first collection of woven and striped cushions,throws and accessories. All feature beautiful stripe combinations – this love of stripes, colour and texture runs through much of Laura’s work. All products are designed and made in Suffolk and the eastern region of the UK, using contemporary British fabrics
Richings Greetham is inspired by the skill and care of traditional makers, combining integrity and honesty with a utilitarian eye for detail. Designed in Norfolk and developed for simplicity and function. Everything follows the principles of good design, both practical and highly aesthetic. 100% tumbled buffalo calfskin and natural vegetable dyes. Presented tissue wrapped in a handmade Richings Greetham embossed gift box. in a handmade Richings Greetham gift box with Japanese style wrapping.
par-avion is a Norfolk-based furniture and lighting design partnership consisting of Simon and Monica Cass. With diverse backgrounds spanning architecture, interiors, lighting and furniture, their work is evocative of a carefully crafted process that mixes traditional craft and modern styling. Supplementing their iconic furniture designs is a newly expanded range of handcrafted homewares, including a woven tray, turned pepper mills and pottery thrown from a studio on the Norfolk broads.
Charlotte is a lighting designer and artist who has been working with lighting since 1990, designing bespoke luminaires for private and corporate clients as well as manufacturing small batch runs for selective retail outlets
With a BSc in Environmental Science and involvement in direct action opposing the destruction of ancient forests and cultures, it is important to Tim that all his work is made from locally sourced wood. Entirely self taught through trial (and often painful error) he strives to produce elegant, functional pieces with graceful uncluttered lines, for the kitchen and table
Amanda studied History of Art at Manchester University before, specialising in Furniture Restoration and Design at The London College of Furniture. Having moved back home to Norfolk, Amanda is currently exploring the technique of verre églomisé through gilding, etching and painting on the reverse side of glass. Her verre églomisé pieces are available for interior and architectural applications. Some are available as pictures
Vandertas is run by Nienke Jongsma who produces all handmade pieces in her workshop in Suffolk. Nienke (originally from The Netherlands) has been designing/making since 2003 before establishing Vandertas in 2012. Vandertas pieces are made with a variety of carefully selected materials. Varying from vegetable tanned shoulder hides, used army tents and elaborate vintage fabrics. Giving each piece their authentic look, solid feel and durability.
MORE ABOUT THE BUILDINGS
THE MAIN RESIDENCE
Snoring Barn is a three-storey conversion of an 1860 flint and brick threshing barn completed in 2007. There were a number of structural challenges: the walls are up to 600mm thick and composed of flint faced rubble and brick; and over time the spectacular scissor trusses in the roof had caused the corners of the building to twist outwards.
In response ties were introduced to restrain the walls and the areas of repaired flint and brick were strengthened by the introduction of stainless steel. The addition of a steel frame into the barn brought additional robustness to the existing fabric and provided the framework for the upper levels. The challenge was to retain the scale and industrial / agricultural spirit of the building and to avoid domestication. The accommodation at upper levels is clearly a modern intervention into the grand hall of the barn – a mezzanine floor has been designed to ‘float’ inside the ground floor space.
The palette of materials in the main spaces is restricted to oak, glass, concrete and stone The external walls have been lined internally with breathing insulation and through colour ‘Claytec’ breathing plaster to avoid the need for invasive damp proof treatment. Light and ventilation is introduced to the centre of the plan by an 18m long rooflight. Openings for external windows and doors are formed by re-constructed stone frames with tall oak windows with frameless glass balustrades. The ground floor is stone with underfloor heating and the upper floors are timber also with underfloor heating.
Conceived as flexible additional accommodation for guests and family this also serves as a workshop with a car-lift. The building forms the third wall of a new, formally landscaped ‘outdoor room’ a counterpoint to the wilder landscape surrounding the main barn. The original C19 flint and brick walls of what were pigs-shed were retained as much as possible and a modern four bay post and truss pitched roof structure was added.
Architecturally the annex is simple in concept, essentially single aspect, taking advantage of the south orientation for solar gain and views, opening out on to a polished concrete terrace (an extension of the internal finish) and an area of formal garden (lavender beds and lawn). Provision has been made to retro-fit external blinds if required.
The building is flanked by two private walled gardens and the opportunity for full height sand-blasted glazing to the shower has been exploited. The walls are naturally lit by north facing roof-lights. The building is sub-divided into four bays, one bay with two small guest bedrooms with fitted timber/plywood units providing storage and dressing table, pocket doors are installed throughout to maximise usable space. The central two bays contain the main living space and kitchen and the fourth bay serves a workshop equipped with car lift. Sun-tubes shed natural light onto the work top of the kitchen. The building is insulated to a high level and heated by a low temperature water U/F system.