exhibitions and events ...

Adam Green paintings have constant presence of ornamental, hypnotic patterns draw on his love of Mexican and African iconography. He takes reference from vintage commercial images, pulling together diverse elements to achieve a uirky, yet dynamic composition. Humour flows throughout his work, giving the underlying complexity a more approachable edge. The influences, motifs and use of pattern offer fascinating appeal, but he is primarily driven by the physical process of putting paint to canvas. It is from this point that everything else flows, and reveals the incredible tenacity in his application of paint.

This exhibition is inspired by a recent trip to Peru and the textiles of the Paracas and Nazca cultures from around 700BCE. The vibrancy and intricacy of their animal designs and symbols have influenced his palette. The paintings have been made using a series of layers to recreate the feeling of a piece of woven material. Using repetitive lines, circles and motifs, the paintings create the illusion of the depth of fabric, yet retain the sense of a painting.

Adam Green has exhibited widely, including major spaces such as the Royal Academy.

Syann van Niftrik has a strong sense of structure and a delight in the process of working with metal: she is interested in the inherent possibilities of the material. Forging is at the centre of her practice and her work is distinguished by a deceptive simplicity. As she says: "I keep my methods simple to allow elements of my subconscious and the response of others to have life".

Syann van Niffrik has a strong voice as a designer maker. For over 30 years, she has worked with the some of the best galleries worldwide. Now she is internationally renowned and enjoys exploring her creativity and shares a passion for the beauty of life and contemporary design with her husband Nick Barberton.

Nick Barberton began turning wooden bowls in 1988 when he was given some large pieces of Honduras mahogany. He wanted some light relief from the furniture he was making, but felt that this obedient wood was so dull that it demanded the application of some texture. Barberton loves the immediacy of the lathe, and discovered that he could generate a bowl from a lump of fruit tree wood. During his trip to Chelsea Crafts Fair he noticed that several potters were making flat pots. The idea appealed because work made in this way lent itself to narrow city mantelpieces and windowsills. As few such locations are able to accommodate a wooden platter 60cm in diameter, he developed long, carved wooden bowls in which the rhythms of the chisel interplay with the light and the reflection and grain of the wood. These carved patterns now have a life of their own, migrating to walls.

Nick Barberton has worked as a draftsman, a designer, a despatch worker, a teacher, a technician, an occupational therapist and a yacht carpenter, but always as a maker. He refitted the vestry of Ringwood Parish Church, and has work in Winchester Cathedral, Manchester Art Gallery, Sculpture at Goodwood, Artsway, and in several churches around the south of England. He is on the Crafts Council's selected makers list and is a wood advisor for the gallery collection at the Crafts Study Centre, Farnham.

The New Ashgate Gallery has curated an exciting collection of nationally renowned craft makers for its Craft Gallery exhibition this spring. Known for selecting contemporary craft of the highest quality and skill, the gallery selected many of its makers at Origin, Art in Clay, Art in Action and the Festival of Crafts. This show supports the development of both established and emerging craft makers, ensuring their work is visible to increasing numbers of craft collectors.

Ceramics by Daniel Boyle; George Ormerod; Jacqueline Leighton Boyce; John Masterson; Kerry Hastings; Lucy Burley; Maria de Haan; Matt Horne; Adam Marsh; Paul Jackson; Richard Miller; Sherry Richmond.

Jewellery by Hannah Bedford; Lauren Davies; Hannah Louise Lamb; Helen Shere; Jo Lavelle; Sadie Chesterman-Bailey; Vanessa Pease; Machi de Waard; Li-Chu Wu.

Printed textiles by Melanie Mayho. Accessories by Kay Morgan. Sculpture by Jill Walker. Mixed media on canvas by Rachel Grant. Textile cushions by Lisa-Marie Gibbs. Felt jewellery by Bev Harris. Knitted scarves by Alison Dupernex.

Profile image: Machi de Waard.

Adam Marsh looks at the function of classic forms and recreates them in a contemporary format. Our familiarity with, and the accessibility of objects such as plates and cups, means that playing with different contexts - whether as a single vessel or a collection - can change how their function is perceived. Handthrown, they are all slightly different with individual quirks and subtleties, which means that when grouped as an installation they form different lines and shadows, creating different points of interest according to individual perception.

Matt Horne uses crystalline glazing that is time consuming and expensive to produce. There can be many failures, but also stunning effects. His work is hand thrown in porcelain: one of the most difficult clays to throw. Crystalline glaze is mixed using a variety of ingredients, some measured in minute amounts. It is applied thickly, up to 4mm, to encourage the glaze to run. The object is then placed on a pedestal and stood in a dish, to catch the run-off during the firing. The kiln reaches the maximum temperature, up to 1300°C, but is then cooled to a specific holding temperature in which crystals form in the glaze. The amount of time held at this temperature contributes to the size of the crystals, which occur randomly, making each pot unique.

Stella Harding, Mary Crabb and Maggie Smith.

Stella Harding is interested in "dualities and paradoxes and what happens in the spaces where differences coincide. Sometimes there is chaos and sometimes harmony. Almost always there is an element of unpredictability which invites a creative response." In her practice she uses basketry techniques to weave together multiple story lines.

Mary Crabb employs a process that is filled with energy and enthusiasm; Her technique is called twining: it requires the weaving of an active element around a passive warp. The technique appeals to me because the basket is shaped in my hands without the use of a mould. Although repetitive and time consuming, the placing of each weaver informs the final piece. Each pod has its own unique shape and character. They are rigid and their construction is strong. The weaving gives a very smooth, slightly undulating surface.

Inspiration for the work by Maggie Smith comes from the natural world and the materials. Observing both, inspired hours of creative mind games and excitement in her. Many of her works start from a found object which she build a form around, often using materials from the same location. This element of chance forces her to explore the possibilities of these, often unconventional, materials. Her abilities to make use of such materials rooted in the discipline of traditional basketry technique.

Both workshops are now full. Thank you for your interest.

We are pleased to announce a season of craft exhibitions, events and free workshops this Winter.

All the workshops have been sponsored by Farnham Town Council and will take place at the New Ashgate Gallery or at the Sandy Hill Community Bungalow, 130 Upper Hale Road, Farnham, GU9 0LH.

Workshops / February 2012 @ The Sandy Hill Community Bungalow

Millinery Workshop: Fascinators, 13 February 2012: 10.30am - 4.30pm

Textile Sculpture Workshop, 15 February 2012: 10.30am - 4.30pm

The New Ashgate Gallery Trust is committed to supporting exhibition and education opportunities for artists, makers and the local community. Entry to the gallery is free, and we operate the 'Own Art' loan scheme which makes buying art and craft affordable. The gallery is fully wheelchair accessible. Please contact us if you require assistance during your visit. If you have any questions, please contact us on t: 01252 713208