New Ashgate Gallery champions the best of contemporary art and craft providing an unparalleled resource in Farnham, Surrey and beyond
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Chemistry, light, skill and chance are the key ingredients for the recipe of 'Accidentally on Purpose'. The New Ashgate Team have carefully selected a trio of artists who have all mastered working with their materials and the element of the unexpected within their finished works.
Local photographer Simon Painter will be exhibiting his high energy photographs. Simon uses light and movement whilst shooting to change the focus of an image from the objects in the scene, to the light between those objects. He manipulates and distorts subjects to create atmosphere and beauty. "My work is not a representation of reality but uses the world around me as a brush with which to create new images. I try to create a sense of movement in all my images. My urban landscapes reflect hectic city life but the ethereal soft nature of the pictures also represents more of the non-physical side to our lives such as thoughts, emotions and dreams." The consequences of this unpredictable process are Simon's stunning, vibrant, semi-abstract prints, available on aluminium or glazed and framed.
Lynn Pascoe creates beautiful Cyanotypes informed by the Cornish landscape in which she lives. This photographic process starts with light sensitive emulsion applied to fine art paper. An image can be created from a transparency or negative, or objects can be place on top of the emulsion to produce photograms. Exposure to ultra-violet light fixes the image and the unexposed areas are then 'washed' away in water to process and develop the image.
Victorian botanists famously used this technique to document seaweed and other plants. The process was also historically used to produce engineering blueprints - it's called a cyanotype due to the distinctive blue colour of the print.
Bryony Rich is showing a selection of her wonderfully volcanic-looking Raku fired ceramics. After the first firing the pots are glazed with copper oxides, giving the surface a matte lustre. The work is removed from the kiln at bright red heat and subjected to post-firing reduction (or smoking) by being placed in containers of combustible materials. Each pot goes through a well-practiced process but can never be replicated. The finished article is left to create its own 'infinite spectrum of exciting colours and surface qualities.'