• Autumn hills

    £190.00
  • Autumn trees

    £185.00
  • Autumn walk

    £155.00
  • Craddock Moor

    £185.00
  • East Moor

    £185.00
  • East Moor boundary stones

    £375.00
  • Field Edge 1

    £350.00
  • Field Edge 2

    £350.00
  • Field Edge 3

    £350.00
  • June Garden

    £175.00
  • Landreyne Footpath

    • SOLD
  • Leskernick

    £495.00
  • Small red-black abstract 1

    • SOLD
  • Small red-black abstract 2

    • SOLD
  • Small red-black abstract 3

    • SOLD
  • Trees

    £185.00
  • West Moor

    £185.00
  • Winter valley

    • SOLD

The Last Chance Saloon
30th September to 4th December

We have known for decades that human civilisation is driving other species to extinction and warming the planet. But, despite more and more of us trying to do something about it, it isn’t nearly enough…..not yet : climate change and habitat destruction have become an existential threat. There is still time for us to change, but it looks like we are getting pretty close to the last chance saloon.
 
This exhibition of environmentally inspired work and eco-art by artists concerned about climate change, pollution and habitat loss is timed to coincide with the COP26 international climate change conference in Glasgow. Will the delegates agree actions proportionate to the danger? Aren’t they at the last chance saloon?
 
Co-curated by longtime environmentalists Phil Barton and Richard Sharland, this exhibition combines work by artists familiar to Terre Verte along with several artists exhibiting in Cornwall for the first time. Artists include Charles Binns, Imogen Rigden, SRG Bennett, Laura Madeley, Peter Ward, Catherine Herbert, Tina Kutter, Katy Suggitt, Diane Wingate, Peter Jackson, Karen Howse, Simon Hodgkinson, Richard Paton, Phil Barton and Richard Sharland.
 

Grist to the Mill

Last week I had the privilege of visiting the Jean Buffet retrospective at the Barbican.  With one or two exceptions, his work was new to me and I was unsure what to expect.  What I got was a masterclass in experimentation and materiality.  In the space of an hour I understood why the digital experience of viewing art of the past eighteen months has generally just not done it for me!

Dubuffet’s constantly experimented with materials – surfaces, pigments, liquids, collage, earth, plaster, varnish, biro – you name it he tried it.  He shape shifted from realism to abstract and back again, but all born from careful observation and then the making of work from his memory of that observation.  And the results are there on the topography, grain and pattern of his pictures and, occasionally, sculptures.

But looking at the photographs in the catalogue today, I realise that they do not capture the essence of his work.  The photographs flatten, tidy up, tame and mis-represent his work.  Nothing quite matches the real thing…

Lithograph of stressed figure with a telephone handset at each eat

Lithograph ‘Telephone Torment’ by Dubuffet; and who amongst us hasn’t been there?!

Kate Scott

I find myself striving to crystallise and recall the intangible sense of a particular place in time, how it looked and felt to be there, both emotionally and physically, be it landscape or exterior space. I experience the physical act of painting like a conversation in which using mark making and layers of colour I express the silent voice that I cannot communicate in any other way: when the conversation finishes the painting becomes something separate and can appear to be a window to another world, which then reflects the experience of the viewer.

Chris Thomas

Painting has been about finding a place in which I can feel my presence. I am interested in finding dynamic ways of recording these spaces – sometimes this has been outside in the sunshine, rain and wind; at other times it has been inside the rather dark studios I have inhabited over the last fifty years.

Jill Goodman

Living in this very rural corner of Cornwall, I walk every day through fields from the studio or along footpaths and out on the moor. I need that connection with the natural environment, from the wooded valley to the rugged hills and granite tors of Bodmin Moor. These experiences are within my paintings, referencing not only the elements of rural life and landscape, but also the memories, and the generations of lives before us, and this changing world.

Extraordinary phrases

Sometimes when I am reading, I come across a sentence or phrase that stops me in my tracks. I forget what I have been reading about previously and am unable to continue. The phrase repeats over and over in my head and with each repetition a different shade of meaning arises.
It happened when I heard Amy Macauley performing her long poem ‘Oedipa’ when she came to the line “the truth only exists in extraordinary circumstances”. And most recently when I read “Identity is a walled concept”……a statement by writer Ben Okri in an article about cultural appropriation.
I have been working on a large painting about the Amy ‘quote’ on and off for two years – it is proving difficult to paint, almost certainly I am waiting for ‘extraordinary circumstances’. Ben Okri’s statement is still whirring around waiting for an outlet, perhaps an exhibition. Identity – that we all think we pursue to discover, fight to protect, that we feel in different ways – ultimately a prison, an obstacle rather than a home, something Dante and Buddhist dharma hunters aim to burst through.
As artists and writers we are often encouraged to ‘find your voice’, a core strand of your work that links to who you are……and if it flows out from a ‘walled concept’ deep inside us, should we be aiming to get beyond it?
Richard Sharland 17th June

An Artist’s Year , March 2020 – March 2021

22nd July to 24th September

In the 12 months between March 2020 and March 2021, we all experienced two long periods of lockdown. For some this was a period of inertia and inactivity, for others enforced isolation produced a flood of creativity. This exhibition seeks out artwork made during the pandemic which still seems relevant as life steers back towards a ‘new normal’.

Exhibition includes work by Dorothy Hanna, Lynda Powney, John Rabbetts, Lisa Cooper, Bethany Murray, Pete Grant, Sam Akroyd, Nev Akroyd, Margo Kirkwood and Richard Sharland.