Bath Society of Artists : 119th Open Exhibition (Non Members Only)

After the Twilight Swim

By Allan Wilkie

Oil on canvas

h: 50 w: 60 d: 5 (cms).

This is another painting from my wild swimmers series. I like the aesthetic of the vintage costumes.

£2250.00

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After the Twilight Swim

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‘The Messenger’

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Living in the Atomic age

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‘The Gift’

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Gaze

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Dad's socks

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Who Ate the Teacakes?

By paula martyr

Montage

h: 50 w: 40 d: 1 (cms).

A montage in a recycled picture frame, using Tunnocks teacake wrappers to create the image and also to decoupage the picture frame.

£250

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Who Ate the Teacakes?

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Encounter (aka Narratives of the Absent #12)

By bing-chi wu

Photography, digital collage, giclée print on Hahnemühle Hemp paper (Edition of 3)

h: 19 w: 27 d: 1 (cms).

The landscape shot from the rocky shore is in the northeast corner of Taiwan, facing Japan. The whale origami looks like it is floating above the sea surface as if approaching and drifting away. The landscape and origami form several analogies, such as natural and artificial, rock and paper shapes, rock faces and geometric elements of the paper sculpture, and reflection on sea waves and different brightness with the granular on paper surfaces. In terms of culture, since Japanese origami profoundly influences the art of origami in the world, origami could be a trans-cultural medium. Both Taiwan and Japan are island countries. Taiwan was once under Japanese rule. As the origami representing Japan combined with the coastal scenery of Taiwan, it is quite a metaphor for political geography. In the natural world, whales are ecological guardians. Whale excrement is an essential nutrient for the growth of various algae, and the carbon dioxide of deceased whales sealed in the seabed can help mitigate climate change. Nevertheless, pollutants from human activities affect whale immune and fertility systems. Some whales die of accidental ingestion of garbage. The noise of ship engines affects the judgment of whales, making them difficult for communicating and hunting. As matters stand, are we still blind to these? In the creative practice, photography is used as a poetic means to freeze time; 'folding' is the creative channel to interact with and transform time; collage could be a method to make time in series. I ultimately use digital collage to merge landscape and origami images and adopt inject-printing to enclose these ideas into a work.

£200

£200 (Unframed)

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Encounter (aka Narratives of the Absent #12)

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Coelacanth

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Rear of Royal Crescent

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Crossing

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Abandoned Factory

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Palace of Palms

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Irina listening

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Summer Fields

By Annabel Menheneott BA (Hons)

Acrylic on canvas with gold leaf

h: 60 w: 80 d: 3 (cms).

A contemporary painting abstracting the landscape.

£1600

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Summer Fields

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The Infinite Shepherdess

By sophie howard

Bronze resin

h: 40 w: 40 d: 25 (cms).

From the song La Mere by Charles Trenet, the Infinite Shepherdess rides across the sea and sky.

£900

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The Infinite Shepherdess

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Fish market Brixham

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The Mooring

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Magnolia and Pot

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'The Doubt of Future Foes'

By tessa sulston

acrylic with silk screen print

h: 71 w: 71 d: 4 (cms).

This work includes two poems by Elizabeth 1. The large print in gold is 'The Doubt of Future Foes' a poem she wrote in 1569. It is a masterpiece of poetry which reflects on her thoughts and fears during a great time of turmoil in England. The second poem in the centre is 'Now Leave and Let me Rest' which she wrote at the end of her life where she reflects back on her reign. This work looks at the contrasts between the two poems set on a background of Richmond frequented by the queen, interlocked with her signature, an iconic image. The script from the British Library is by her scribe dated 1559 a copy of which is on the back of the work.

£1600

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'The Doubt of Future Foes'

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FERGUS & FISH

By ingrid johannesson

Terracotta clay, with a wooden base

h: 37 w: 15 d: 15 (cms).

Hand built using slab, pinch pots, coils, texturing and imprinting to create a unique sculpture from terracotta clay. I have also handcrafted the earrings.

£349

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FERGUS & FISH

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BYRON & BIRD

By ingrid johannesson

Terracotta clay with wooden base

h: 33 w: 12 d: 12 (cms).

Byron & Bird was inspired by a visit to the British Museum basement. I’ve used terracotta clay, and a variety of techniques: slab, coil, pinch pots, adding, texturing … and I’ve hand crafted the earrings.

£449

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BYRON & BIRD

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Hope

By leo davey

Watercolour and Mixed Media

h: 80 w: 110 d: 1 (cms).

112 birds of the world in rainbow formation.

£16500

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Hope

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Lincoln cathedral

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Gumuiel de Hizan

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Stef

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Rising Dawn

By Laura Howarth SWA SWA

oil and cold wax medium on board

h: 51 w: 51 d: 2 (cms).

Oil and cold wax is gradually added in layers to build up depth of colour and texture in the final work

£1350.00

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Rising Dawn

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In the Hollow

By Laura Howarth SWA SWA

oil and cold wax painting on board

h: 51 w: 51 d: 2 (cms).

Oil and cold wax is gradually added in layers to build up depth of colour and texture in the final work

£1350.00

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In the Hollow

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The Ultimate Possession

By NJ Alphonsus

Oil on canvas

h: 40 w: 30 d: 2 (cms).

The painting can be viewed either vertically or horizontally, if selected, I would like the gallery to make the decision as to which you prefer!

£1000

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The Ultimate Possession

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Twin Pill Beetles

By Emily Hawtin BA(Hons) Fine Art with Placement Year at Bath Spa

Ink (Stippling)

h: 13 w: 13 d: 1 (cms).

Stippling experiment exploring the form and silhouettes of Pill Beetles through various poses.

£170

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Twin Pill Beetles

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Swirling Snow

By Carol Baines

Intaglio etching aqautint on Somerset paper

h: 15 w: 25 d: 1 (cms).

£175

£115 (Unframed)

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Swirling Snow

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A Storm's Brewing

By Carol Baines

Intaglio a la poupee etching and aquatint on Somerset paper

h: 20 w: 29 d: 1 (cms).

£185

£125 (Unframed)

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A Storm's Brewing

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White Horse at Alton Barnes

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Dark History (Hallway)

By ruth wallace

Compressed charcoal on paper

h: 119 w: 70 d: 1 (cms).

One of a series of drawings of a house in Bristol which was built in 1718 by a sea merchant who made his living from the Transatlantic Slave Trade. As a comfortable family home built on the profits of slavery and torment, the house presents a compelling duality; its walls, which have borne witness to three hundred years of domestic narrative, feel as if they contain presences and traces, not just of past inhabitants, but of those upon whose suffering the house was built.

£1800

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Dark History (Hallway)

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Three Niwaki

By sarah gooder

Indian Ink

h: 56 w: 76 d: 1 (cms).

Drawn with collected sticks

£500

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Three Niwaki

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Autumn Bullfinch

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Small Joys

By dinesha wijetunge-dinsmore

Etching with Acquatint

h: 17 w: 11 d: 1 (cms).

£135

£90 (Unframed)

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Small Joys

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grey on grey

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Chestnut Mare

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La Nuit, Tous Les Chats Sont Gris

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Pause a moment to reflect on this place

By wendy rhodes PhD

Etching

h: 61 w: 40 d: 1 (cms).

£410

£290 (Unframed)

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Pause a moment to reflect on this place

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Twig in a Mug

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Into the Light

By louella frankel jones

Etching with aquatint and chine colle

h: 32 w: 33 d: 1 (cms).

£290

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Into the Light

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On Golden Hill

By louella frankel jones

Etching with aquatint

h: 29 w: 31 d: 1 (cms).

£255

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On Golden Hill

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Fate

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Oranges & Lemons

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He’s Lost His Mind!

By june hammond

Ink on Paper

h: 80 w: 60 d: 1 (cms).

I am inspired and motivated by a desire to represent people's emotions, thoughts and opinions, particularly when they are complex, conflicting or difficult to understand. I am fascinated by faces and abstract facial features are a recurring theme in my work. "He’s Lost His Mind" seeks to explore how a complex mental ‘blockage’ affects the connection (or relationship) between mind and body.

£550

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He’s Lost His Mind!

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'Sunset at St Ives'

By kate newington

Acrylic on gesso board

h: 60 w: 60 d: 2 (cms).

I used sections from some of my small collage still lifes as reference for this painting. I wanted to experiment with painting on gesso board and enjoyed the chalky, graphic quality of the result. I have for some years made collages that are so detailed that they look like paintings and with this picture I wanted to reverse that idea by making a painting that looks, in some areas, like a collage. I particularly relate to the still life work of the Cornish artists, past and present, who flatten shapes and experiment with textures, colour and the drawn line in a way that combines abstraction with figuration. I wanted to reflect that appreciation in this painting.

£650

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'Sunset at St Ives'

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Farm useful one day

By Ember Kelly

Linocut

h: 42 w: 30 d: 1 (cms).

Every farm has a pile of stuff that might be needed one day. From a series of linocuts that explores this theme.

£130

£100 (Unframed)

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Farm useful one day

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Caution wet floor

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Giant Parsley Seedheads

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Flowering Hogweed

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I am invincible in these sunglasses

By lucy bristow

acrylic on canvas

h: 61 w: 61 d: 3 (cms).

This was painted in response to the suffocating heat and lack of rain towards the end of a summer. All the usual colour palates were changed and the whole of the South Downs felt like it was craving rain.

£1200

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I am invincible in these sunglasses

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Starry Starry Night

By jennifer golding

Woodcut

h: 45 w: 30 d: 1 (cms).

This is a reduction woodcut created by laying down a layer of ink and then cutting away areas before the next ink colour is laid down. This process can involve many layers. Most prints are printed in layers from light to dark. Every layer is cut by hand and all layers are traditionally inked using a roller and individually printed using a Columbian printing press.

£350

£290 (Unframed)

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Starry Starry Night

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I identify as a Delft Lion

By pierre williams

Ceramic

h: 73 w: 23 d: 26 (cms).

This piece is made in the tradition of European blue and white tin glaze. It uses the theme of putting animal heads onto human bodies to explore a current debate about 'Identity'. If we can Identify as anything we want this person has decided to be a Delft lion.

£2250

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I identify as a Delft Lion

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Metanoia

By deborah harrison

Alabaster on Slate

h: 57 w: 37 d: 28 (cms).

A sculpture about mental illness and the hope of healing.

£11500

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Metanoia

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Red chairs

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Out of Stock

By Charles Clover

Ceramic & Ready Made

h: 12 w: 5 d: 5 (cms).

Raku Ceramic Bird with ready made base.

£183

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Out of Stock

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Wren

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Pythagoras’s Bird

By Charles Clover

Lino Cut

h: 15 w: 21 d: 1 (cms).

Lino Cut and Brown Paper

£164

£73 (Unframed)

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Pythagoras’s Bird

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Just A Small Patch Of Chives

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Monstrous Devine

By michelle dash

Mixed media, including raku fired ceramic, acrylic painted fabric, wood and found objects

h: 27 w: 20 d: 15 (cms).

£775

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Monstrous Devine

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Human Imposition I

By rebecca barnard

Oil and charcoal on canvas

h: 90 w: 90 d: 4 (cms).

Part of an ongoing series of abstract paintings called Street Life which takes its inspiration from from the sights and sounds of the streets: reflecting the ways in which we connect and separate through our structures

£1950

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Human Imposition I

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Allotment dahlias, September

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Human Imposition II

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Brown Estuary and Iceberg

By andrew hardwick

Mixed medium, collage on canvas

h: 91 w: 122 d: 10 (cms).

I wanted to paint an image that suggests the effect of the earth warming. As yet no Iceberg has headed down the Bristol Channel, but maybe it will happen

£3800

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Brown Estuary and Iceberg

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Oh Just Sweet Nothings

By david wood

Newspaper, cellulose glue and wood

h: 44 w: 27 d: 20 (cms).

Not suitable for outdoors.

£150

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Oh Just Sweet Nothings

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Series 4 no.4

By Geoffrey Howe

paint on ply combined with fire and the working of the surface

h: 65 w: 52 d: 2 (cms).

An abstract exploration of the varying light and emotions experienced within woodlands and landscapes using a combination of paint, ply board, fire and the physical working of the surface. The introduction of a flame to burn the ply surface is an integral part of the work representing the destruction and regeneration found in the natural world and the controlled burning enables the natural form of the wood grain to play its part in the creation of these paintings.

£850

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Series 4 no.4

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Barney

By lucy stopford

Charcoal on paper

h: 90 w: 70 d: 3 (cms).

Drawn from life in one hour.

£2000

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Barney

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Orange and Grey

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Homage

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Gothic Quarter

By rae melody

Acrylic and collage on cradled wood panel

h: 50 w: 50 d: 3 (cms).

£695

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Gothic Quarter

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Kilve

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“Absolute Happiness”. ‘Alone Not Lonely’ Series

By micheline watkins

Acrylic on deep canvas

h: 90 w: 60 d: 3 (cms).

I am drawn to sparseness, a combination of isolation and aloneness, yet also peace and tranquility. I call this series Alone Not Lonely as I firmly believe you can be that. Embrace your aloneness and enjoy life. I call these artworks Line Art.

£975

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“Absolute Happiness”. ‘Alone Not Lonely’ Series

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The Big Cheese

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Crane 29

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Whitford

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Box

By hamish young

Pencil leads, paper pulp and acrylic box

h: 20 w: 20 d: 20 (cms).

Pencil leads and paper pulp nest-like structure in a clear acrylic box with single circular hole cut in one side

£550

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Box

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Grey Matter

By Lisa Travers BA(Hons)

Card, Foam

h: 35 w: 35 d: 2 (cms).

Three dimensional hand cut kaleidoscopic collage

£850

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Grey Matter

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Courage

By Lisa Travers BA(Hons)

Card, Foam

h: 35 w: 35 d: 2 (cms).

Three dimensional hand cut kaleidoscopic collage

£950

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Courage

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Cobogo No.8

By Jim Grundy BA(Hons)

Acrylic on paper

h: 50 w: 50 d: 1 (cms).

This painting was developed from the colours and modernist Brazilian inspired designs of villas in Faro, Portugal. A Cobogo is the term used to describe the geometric perforated screens that allow light and ventilation into the interiors. The precision of the elements derived from the geometry of the Cobogo pattern are in contrast to the fluidity of the repeated gestural swirls which refer to a more intuitive pattern making.

£850.00

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Cobogo No.8

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Upper Lode Counting Shad

By julia manning

Relief print. Wood, lino and Stencils

h: 50 w: 73 d: 1 (cms).

UPPER LODE, COUNTING SHAD A migratory fish THE SHAD is now highly endangered. Working with UNLOCKING THE SEVERN and the RIVERS AND CANAL TRUST I want to raise awareness of their plight. Weirs, dams and intakes all impede their passage to the spawning grounds high up on the River Severn . Upper Lode Weir is near Tweksbury. It is a weir, over which the fish cannot pass, but it has been broken down at one end and a pale-yellow board put in place. The water flow is slower here and the fish sense it, they pass over it clearly visible to the local community who sign up to to count them on their migration upstream in April and early May.

£780

£650 (Unframed)

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Upper Lode Counting Shad

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To Dwell with Flowers and Birds

By julia manning

Relief print. Wood and lino cuts

h: 73 w: 56 d: 1 (cms).

From drawings made while staying on Skokholm Island off the Pembrokshire coast. Fulmers glide over the red sandstone cliffs on which lichens grow.

£680

£550 (Unframed)

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To Dwell with Flowers and Birds

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Skimming the Stars

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Wells Cathedral

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Slate Skies over Stroud

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Shapes I Think About Series (no. 1)

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Winter light, Dexters

By rebecca holton

Oil on board

h: 39 w: 50 d: 1 (cms).

January can be a depressing month; Christmas and New year celebrations are over, the trees are bare, the animals hibernating, and Winter dominates. It was January this year when I spotted this lady having a coffee in our local café in Bath, ‘Dexters’. There was stream of beautiful, warm, amber and pink light coming through the back window of the café. It moved across the café, bringing different details and shadows sharply and softly into focus – rather like a theatre’s spotlight. The incredible warmth of the winter sunlight cast a completely different mood onto the areas it touched. The warmth made warmer as it was in direct contrast to the blues of the winter shadows. I feel this painting is an accumulation of opposites, colour; light verses dark; sharp edges verses soft mutation. I really enjoyed painting it.

£2750

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Winter light, Dexters

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Marlborough Buildings, Bath

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The Wheels Have Come Off (Summer 2024)

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Red abstract composition

By david boyd MA RCA

Mixed media, including repurposed book cloth, linen and acrylic paint on wooden panel

h: 90 w: 90 d: 4 (cms).

This piece of work is one of a series of larger scale works I have made this year in my studio (BV Studios, Bristol). Aesthetically, this series of works are based on smaller pieces I made several years ago. There is a semblance of geometric construction at work; I begin by mapping out a basic geometric structure on the working area and often, working from the centre outwards, form follows line and line follows form in an intuitive way.

£1475

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Red abstract composition

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Golden Eye

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Tynham Blackberries

By moira ladd

acrylic

h: 50 w: 101 d: 4 (cms).

inspired by the atmospheric derelict village of Tyneham in Dorset

£2400

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Tynham Blackberries

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Hedgerow Heaven

By moira ladd

acrylic

h: 81 w: 81 d: 4 (cms).

a snapshot into my fascination of mother nature reclaiming man made objects

£2600

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Hedgerow Heaven

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Fussels Iron Works

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Still Life with Jugs

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The Empty Showroom

By rosie clark

Watercolour and gouache

h: 15 w: 22 d: 1 (cms).

Living close to this garage, I observed the process of closure. My painting tries to capture the time before the lights were finally switched off and the showroom boarded up.

£415

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The Empty Showroom

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Avondale

By rosie clark

Watercolour

h: 12 w: 22 d: 1 (cms).

Viewed from the top of a hill, architectural forms create a bold geometric pattern across the foreground of this painting. This is softened by the contrasting landscape and dwellings which nestle behind. It was the fusion of the two that interested me.

£400

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Avondale

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KOI ANTICIPATION

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TRANQUILLITY

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