• Autumn hills

  • Autumn trees

  • Autumn walk

  • Craddock Moor

  • East Moor

  • East Moor boundary stones

  • Field Edge 1

  • Field Edge 2

  • Field Edge 3

  • June Garden

  • Landreyne Footpath

    • SOLD
  • Leskernick

  • Small red-black abstract 1

    • SOLD
  • Small red-black abstract 2

    • SOLD
  • Small red-black abstract 3

    • SOLD
  • Trees

  • West Moor

  • Winter valley

    • SOLD


Saturday 18th November to Saturday 16th December

An exhibition by the Cornwall Watercolour Society

Limpid hues, vaporous washes and luminous colours abound in this Cornwall Watercolour Society exhibition which focuses exclusively on the traditional medium of watercolour. Work by fifteen of the Society’s members including Peg Jarvis, Mark Gibbons, Margo Kirkwood, David Penhale, Lisa Cooper, Nicky May, Angela Herbert-Hodges, Don Redwood, Vonnie Carter, Hilary Jean Gibson, John Sweeney, Martin Venning and David Rowe is on show.


30th September to 4th November

An exhibition showcasing the interconnected art work of the Akroyd family, featuring work by Barbi Akroyd, Nev Akroyd and Sam Akroyd.

From city to field, from new faces to decaying surfaces and from past to present, the work expresses a concern and love for places and communities, showing the passage of time through sculpture, clay print and paint. 

Change is charted through the portrayal of communities left behind by city developers, the way layers of paint peel and reveal their own histories, and through intimate impressions which freeze moments in the life of trees, bodies and buildings. 

The exhibition also recognises the creative involvement the Akroyds have enjoyed with groups of people centred in Launceston. In particular, the Barefoot Group which ran a range of activities from yarn bombing to murals; raising money for ShelterBox through Art Auctions and by running a series of Creative Community Workshops at the Eden Project.’ 

Ten Years in the West

7th September to 23rd September

Richard Sharland : selected paintings 2013-2023

In 2013, Richard Sharland abandoned full-time employment to concentrate on painting and fulfill a lifelong desire to create a gallery. He was drawn to the west: a trip up the west coast of North America, then establishing Terre Verte in Cornwall, then visits to Connemara and Mayo. This landscape based exhibition includes some new work and reprises some painterly explorations over the last decade.

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.