The Student and Staff Art Exhibition
2011, Semester 1
Artist Information and Price List
Elizabeth Benger
Elizabeth is an English student and amateur photographer in her spare time. You can follow her on Instagram:
Bengernator.
Josephine (2011)
Photograph
Not for sale
An amateur shot capturing the innocence, and perfection of my (then) two year old niece.
Rosie Brown
I studied Art GCSE and continued with it to A Level attaining a Grade B in 2006. I used photography a lot in my
A Level to capture images which I later used as a starting point for experimentation, usually resulting in a
textiles piece. From these photos I have created a skirt and a silk painting amongst other pieces of art work.
I love capturing the beauty of plants and flowers in close up photos and find inspiration in these images.
I graduated with a BA in Drama in 2009 and have worked for the University ever since. Since completing my A
Levels I have not continued doing art which I regret and I hope that soon I can spend more time capturing the
beauty in creation.
Valentines Rose (2008)
Photograph
For sale*
This rose was found discarded after Valentine’s day and I wanted to capture its beauty before it withered.
Autumn Leaf (2006)
Photograph
For sale*
This photo was taken for an art project titled “Underfoot” and was later used as a starting point for a skirt
which I designed and embroidered copying the lines created by the veins in the leaf.
Lily (2004)
Photograph
For sale*
This is one of the first photos that I took with my first digital camera which was bought for me when I started
my Art A Level.
Spider Plant (2005)
Photograph
For sale*
The photo of the spider plant was taken for a project called “Exotic Plants” – although not classed as exotic, I
loved the shapes the leaves created and the way it caught the light coming in from the window it was hanging
by.
*contact the artist: [email protected]
Meg Burrows
Although I’m not a professional artist, I have always had a keen connection to art since a very young age. I find
that much of my work revolves around people, their expressions, their identity- it is usually people or their
actions that inspire me to draw. Art truly propels me in other creative aspects such as my writing and music as
they all are part of portraying or expressing something or someone. Over the years I’ve experimented with
various materials but I favour drawing with pencil and then layering with biro as to create a raw, real feel to
the picture- I am also passionate about black and white photography- in a similar way to the biro and hard
pencil, I find the lines of someone’s face is more defined, more prominent on the page.
Jester (2010)
Pencil and Biro
Not for sale
This was created doing a doodle- at the time I didn’t think about it, but I was studying carnivalesque on my
course and was thinking a lot about the different masks people wear both in fiction and reality. The different
colours were consciously done as to represent different emotions and thoughts inside the one face.
Gerber (2010)
Pencil and biro
Not for sale
Based on a picture of Anthony Hopkins during an interview, I wanted to create a picture of a person midthought. However, starting the piece, I realised that I was thinking a lot about a character that I created in my
first year of University- an elderly man called Gerber Hemmingway. I also feel with older faces, there are so
many stories to tell, which is what I hope to portray with this picture.
Adichie (2010)
Oil pastel
Not for sale
Its not often that I use oils but when I do I like to concentrate on merging colours or highlighting them to
embellish the natural curves of faces, eyes, lips. I suppose this was influenced by reading a lot of Chimamanda
Ngozi Adichie such as ‘Half a Yellow Sun’. I wanted to represent the strength and beauty in the women of the
stories, but also in the colour, their rich culture.
Ann Fokke
Following three decades as a health care professional I am now an undergraduate on the BA single honours
English degree programme. In 2007 I was introduce to creative textiles and machine embroidery. In the same
year the Tate online Introduction to Modern and Contemporary Art launched me into the wonderful world or
art and literature. Iridescent fabrics machine embroidered with 100% silk threads provide the main media for
my artwork. The exhibition submissions: The Glitter of the Infernal Stream inspired by Joseph Conrad’s Heart
of Darkness is shown to its best advantage by lighting the work. Whereas Metamorphosis of Marilyn inspired
by Andy Warhol is seen to its advantage unlit. My aspiration is to complete the BA Hons in the coming years
developing literary appreciation and contextualizing my work.
The Glitter of the Infernal Stream I (2011)
The Glitter of the Infernal Stream II (2011)
Machine embroidery
Not for sale
My inspiration for the composition of these works came from reading Joseph Conrad’s Heart of Darkness. Silk
threads have been used to embroider the fish, emulating the main characters within the narrative of the Heart
of Darkness. From the leopard tail print of Marlow to the vibrant shine of Kurt’s mistress, to the dark
interwoven laced effect of the fish representing the two women knitters foreboding Marlow’s journey up the
infernal stream. The ghostly appearance of Kurtz can be seen paling away as the golden locks of his intended
glisten, glugging through the glitter of the infernal stream. Iridescent fabric provides the backdrop, as the
effect of the fish, superimposed on rickrack, imitating weed brings movement and depth to ‘The Glitter of the
Infernal Stream’.
Metamorphosis of Marilyn (2011)
Machine embroidery
Not for sale
A digitized image of Marilyn was embroidered onto fluorescent fabric. Identical images set on a different
coloured background, offer a unique appearance of Marilyn. Using corresponding iridescent threads to the
background fabric colour of the silhouette of Marilyn, I then manipulated the digitized image on black fabric.
Inspired by artist Marcel Duchamp and his ‘fourth dimension’ in art (1912); Giacomo Balla’s Dynamism of A
Dog on a Leash (1912) and Andy Warhol’s pop art prints and acrylics on canvas, notably his Eight Elvises (1963)
I then tried in the same vein to capture a sense of the ‘fourth dimension’ in the triptych ‘Metamorphosis of
Marilyn’.
A Cocktail of Hibiscus (2011)
Machine embroidery
Not for sale
The inspiration for ‘A Cocktail of Hibiscus’ came from my wild cottage garden. I wanted to create a work to
hang between the oils on canvas, adorning the living room walls. Like looking through a glass of champagne at
the unfolding Hibiscus flower, the colours in the embroidery evolved. Bringing the outdoors, indoors, I chose
to use silk threads once again manipulating the stages of the design whilst taking from the colours of the
Geoffrey Chatten seascapes.
Nina Lazarski
Artistically active since a young child, and 2 years of study at Portsmouth College of Art form part of my
experience. Earliest memories summon up hours spent drawing and sketching. The scent of paper, paints,
pens and pencils feels like ‘coming home’.
Inspiration comes in various ways from nature, music, stories, sights, imagination, phrases. And from artists;
Klimt, Hundertwasser, Hockney, Rackham, Dulac, Seddon-Boulet (I could go on!).
I love colour, pattern, texture... so why choose to show black and white pen drawings?
Well, for the past 14 years I’ve freelanced for Hampshire and Portsmouth Music Services illustrating music
education resources for Year R up to Year 7 (budgets dictate the need for black and white images).
My most recent brief for Portsmouth Music Service in partnership with Marwell Wildlife was to illustrate 18,
specially commissioned ‘animal songs’ for a song book for Portsmouth schools. Here I’ve chosen 4 of my
favourites.
Ring-tailed Lemur (2011)
Drawing pens
Not for sale
In the Madagascan forest something caught my eye,
An animal that I could not identify.
All I could see was its tail held high,
Beckoning to me.
It was bushy like the tail of a big racoon,
But longer than the tail of a kangaroo.
There were black and white rings all round it too,
Whose tail could it be?
Black and white stripes, bushy and large,
That tail is not for camouflage!
(excerpt from ‘Ring-tailed Lemur’ - lyrics by Catherine Brentnall for Portsmouth Music Service)
Quick Gazelle (2011)
Drawing pens
Not for sale
Chant: Calm gazelle, calm calm gazelle.
Cautious gazelle, on the look out.
Grazing in the herd, as the sun rises.
Something approaches, in the desert.
A predator of, South Morocco.
(excerpt from ‘ Quick Gazelle’ - lyrics by Vicky Bacon for Portsmouth Music Service)
The Sand Cat (2011)
Drawing pens
Not for sale
During the day, I stay hidden,
Out of the way, while I sleep,
Then when it gets dark I wake up
And I call, loudly and this is what I say:
It’s so hot here, hot and dry,
I need shade or I might fry!
(excerpt from ‘ The Sand Cat’ - lyrics by Lynne Rowland for Portsmouth Music Service)
The Red Panda’s Plea (2011)
Drawing pens
Not for sale
Part 1
Save our forests!
Don’t chop down that tree!
Save our forests!
Hear the red panda’s plea
Hear the red panda’s plea
Hear the red panda’s plea
Part 2
The red panda’s habitat is disappearing fast,
How much longer will the red panda last?
The species is threatened, it’s time for you and me,
To hear the red panda’s plea.
(excerpt from ‘ The Red Panda’s Plea’ - lyrics by Catherine Brentnall for Portsmouth Music Service)
Sue Mclachlan
Ever since I was at school back in the 70’s I have painted, drawn and loved animals, particularly horses! Three
years ago I have been lucky enough to acquired two horses of my own, having been desperate for one since I
started to ride at the age of 7 back in the 60’s. My inspiration to paint animal portraits is from the love of
these beautiful creatures. I work from photographs taken myself to obtain a new perspective depicting the
essence of the animal. I work in both water colour, pastels on paper and acrylics or oils on canvas in
manageable sizes, from 10x5cm to A2 and A1. Having graduated with an MA Fine Art in 2008 I’m always up for
a challenge whether it be media or scale.
Where Next? (2010)
Watercolour
£350
I have more recently been lucky enough to be able to hunt with the Hursley Hambledon Hunt when sometimes
my family follows on foot and my daughter, being a keen photographer, has taken some wonderful photos and
I have used these to paint from Where next, Hursley Trio and My Boy.
Hursley Trio (2011)
Watercolour
£350
My Boy (2011)
Watercolour
£350
Hursley Trio (2011)
Mixed media on canvas
£500
This composition is typical choice for my watercolour paintings, but I wanted to challenge myself with oils and
a different style by concentrating on using a limited pallet.
Keith Mildenhall
No artist, nor yet a photographer; simply someone who came to 35mm photography at a time when the
liberating effect of the 36 exposure film was still being felt and hence the vogue was to capture the moment
rather than pose the subject. The digital camera has arrived, but the film cameras are retained and really the
medium is preferred. The digital SLR is even more liberating in terms of disposable images it’s true but
somehow there is more warmth in film and more depth in monochrome. Digital photography seems somehow
th
soulless. It’s the difference between a Rolex watch and a 19 century long case clock. The one is accurate and
efficient; the other requires a relationship that can be troublesome; the rewards are different.
Sailing to Byzantium (1988)
Kodak ASA 200 film
Not for sale
Actually, it’s Scotland (no less exotic); Loch Ness in the evening, heading towards Fort Augustus, dinner and a
bath. Tiller in one hand, tea in the other, sailing is done for today and there’s been no sign of Nessie. Ben Nevis
looms mysteriously in the background with a promise of journeying into the unknown tomorrow.
Smoke on.. go! (1991)
Agfa ASA 200 film
Not for sale
RAF St Mawgan Air Show. One of many attempts to capture the best pilots in the world doing what they do
best. This was taken using a 200mm zoom lens nearly a foot long so heavy it was a problem to hold securely.
Fortunately this was a slow pass at low level.
Brief Encounter (2006)
Kodak Ultra film
Not for sale
‘Is that my train?’ A lifelong love of steam trains produces many pictures of interest only to enthusiasts but at
this moment the size and power of the engine contrasted with the slender ‘frailty’ of the onlooker. There are
echoes of a famous Southern Railway poster from 1924 of a small boy looking up at an engine driver.
Old Friends in Conversation (2005)
Kodak Ultra film
Not for sale
The Hawk Conservancy near Andover on a falconry ‘day’. Man talks to Eagle. Eagle silently responds ‘Who
me?’ while the third person’s slight smile reveals that she has heard this all before. The participants and their
situation apart, the whole thing could otherwise have taken place in ‘The Dog and Duck’ down the road.
Jennifer Pascoe
I have been drawing and painting for as long as I can remember, specialising in acrylics and with a
main focus on animals of all kinds. I studied Fine Art at GCSE and A level and for a year at degree
level and have continued it as a specialism for my Primary Education Degree.
I have done countless commission for friends, family and work colleagues. My aim is to create
paintings that are highly photographic but with character and feeling, my main inspiration being Rolf
Harris, Pip McGarry, David Dancey-Wood and Lyndsey Selley. I am also a member of Marwell
International Wildlife Art Society and would love to travel to Africa one day to get some first hand
sketches to further my art.
On the Rocks (2011)
Acrylics
£150
Tigers are one of my favourite animals and are amazing to paint. This painting reflects their beauty and
elegance.
Endangered (2009)
Acrylics
£100
Marwell zoo, monkey world and tv advertisement inspired me to try and capture the desperation in the eyes
of an endangered species and emphasise the need for our help.
Storm Surge (2008)
Acrylics and watercolour
£80
This piece is a memory of stormy sea in Cornwall. The unruly power of the sea ia a challenge to portray.
1, 2, 3 (2008)
Acrylics
For sale
This set of 3 paintings highlight the decreasing number in the wild. I enjoyed painting each of the animals, as
they are all different so required a range of techniques.
Karen Pendlebury
Everest (8848m) from Rombuk Monastery (5200m) Tibet (2011)
Photograph
Not for sale
Sera Monastry Tibet (2011)
Photograph
Not for sale
Annapurna (8091m) from Kagbeni, Upper Mustang, Nepal (2011)
Photograph
Not for sale
Swayambhu, Katmandu, Nepal (2011)
Photograph
Not for sale
Sarah Robinson
Elephant, Okavango Delta
Photograph
Not for sale
Mokoros, Okavango Delta
Photograph
Not for sale
After the Storm, Brecon Beacons
Photograph
Not for sale
Tom Strutton
As an artist I am drawn to naturalistic subject matter and I have been painting watercolours for 12 years. In
my work I do not attempt to transform or interpret nature, rather than take it as a basis to explore the
relationship between line, shape, colour and the individual qualities of medium. I believe that artists have a
responsibility to critically reflect on their own work, and for me this has resulted in the pursuit of a painterly
approach to watercolours that doesn’t draw too much from conventional watercolour technique (light washes,
transparency etc.) To me, naturalistic painting presents many challenges and the enjoyment of painting lies in
approaching a blank sheet of paper or canvas armed with confidence that the painter is uniquely equipped
with the knowledge and experience to overcome those challenges.
Boats (2011)
Watercolour
£300
st
This composition of four boats, side by side, was captured at Beer, Devon, on January 1 2011. It is the first
time I have attempted boats as a subject matter and I approached the composition as a group portrait.
Inspiration came from the challenge of presenting four individual characters and capturing a balance that
encourages the eye to explore the spatial and colour relationships between the subjects and their setting.
Crabs (2011)
Watercolour
£375
st
This composition of 6 empty (but intact) crab shells was created at Beer, Devon, on January 1 2011. The
pebbled beach was scattered with such crab shells and I experimented with photographing different
arrangements of them from different angles. The photograph that I chose to work from was taken from a very
low viewpoint to emphasize the perspective and foreshortening appearance of the pebbles. The challenge of
this work was primarily in achieving tonal balance in view of the multitude of colours present. In order for the
painting to work the crabs needed to seem part of their environment, whilst at the same time retaining
enough identity to ‘stand-out’.