New Ashgate Gallery champions the best of contemporary art and craft providing an unparalleled resource in Farnham, Surrey and beyond
Shopping cart0 itemsCheckout
Our friendly and knowledgeable staff is happy to help.
Call 01252 713208, or contact Alison and Rachel - select the item and click on "enquire" or email email@example.com
Spread the cost of buying with a 0% loan. This piece can be yours for just 10 x £17.50 a month over ten months.
Just add to your basket, fill in your details and choose "Send Order" instead of "Proceed to Payment" and we will be in touch to arrange the details.
Trevor Price works from studios in Bermondsey/London and St. Ives/Cornwall.
He was born in 1966 and grew up in Cornwall. He studied Printmaking at Falmouth and then Winchester School of Art. On leaving college he found work in a London etching studio, with this being a hugely important time, learning the skills of professional printmaking in the way of an old fashioned apprenticeship. On returning to Cornwall, Trevor based himself in St. Ives. Then in his mid-twenties, and with the artistic influences of St. Ives, his work began to change and develop. Trevor has since returned to London, but has maintained the St. Ives base, from where he also still works. The Cornwall, and chiefly St. Ives connection, naturally comes through in Trevor's work. He spends a lot of time in St. Ives drawing the surroundings. Understandably artists with a St. Ives connection, such as Ben Nicholson and William Scott, have a large influence on his work. Other artists that influence him include Picasso, Henry Moore, Elizabeth Frink and Cecil Collins.
Trevor's subject matter in some way is a reflection of his life. Some of the pieces are about the intimacy between a couple, and others show the normal obsessions of any man. Trevor describes himself as an artist/printmaker, and not just an artist. It is the opportunity to experiment and the diversity of technique that draws him to the medium. Printmaking can be as simple as making some scratches on a piece of metal and inking those grooves and the burr they create (drypoint), to highly sophisticated multi-plate etchings. Variations/experimentation in printmaking can be endless. At the moment most of his figurative prints are drypoints of one form or another, usually on zinc or Perspex. The images using Perspex are made by drawing on the surface with a soldering iron, and then printing from those marks.