Balloons and 'This Weekend' posters were put up all along The Grove, Station Plaza and Brook Street.
The first of today's guest experiences is from:
Ruth Wightman, oil painter at VENUE 13:(Did he go through the submissions process?!...)
A strange coincidence happened on Wednesday. As I was leaving Christ Church (VENUE 13 - late, I thought it was 5 and it was actually 6 ) the wonderful stained glass window on the stairs caught my eye, the words "Children" at the bottom of the first shield particularly drew my attention.
The window had been given to the Church by the Children of Frank and Mary Elisabeth Suddards in their memory in 1940.
After reading this I really looked at the window and noticed what beautiful drawing and colours make up this window and remembered that it was once at the front of the alter before the church gained a floor. The last shield reads "He that was dead came forth " with rather a creepy image of a bandaged figure shinning out of a deep blue background.
I'm not religious but those words kept going through my head on the drive home.
As I neared my house I saw my neighbour who for a combination of reasons I only see about twice a year and so I stopped the car to catch up.
When she heard that I was exhibiting at Christ Church she told me that some of her relatives had given the church a stained glass window and she was amazed when I knew their first names and what really astonished me was that Frank was an artist and an Royal Academist ...so I can't help thinking he came forth!
The second Guest reflection is from:
Chris Smith (VENUE 10) on Gillian Gilroy's work at VENUE 13:
One of my favourite works in the trail is this cup cake (as we seem to be calling them these days) by Gillian Gilroy. It looks painterly from a distance, but starts to loosen into fragments, strips and flakes of coloured paper as the eye closes in. The colours are well-judged with each of the three main complementary pairings present: greens and reds, blues and oranges and most pleasing of all, a few fragments of grey which hint at purple, surrounded as they are by yellows and greens.
This might seem fanciful (I am sure it is), but I caught a sense of ambiguity in the work; between the thing it evidently is, i.e. a cake in a domestic scene and the possibility of something more monumental. Here is the case (ahem) for the fanciful idea of the monumental. Firstly the background is rather map-like, particularly with that curling archipelago form in the top left corner. There is a horizon line which joins a surface plane containing fragments of patchwork green. Then there is the cake itself: solid and circular, topped by icing and supported strongly by those column-like flutings of alternating dark and light. Before you think me totally mad, I remembered what it was that fuelled these thoughts in my sub-conscious; a painting by William Nicholson of the view of Malaga from a hillside in 1936.
This has been the last blog of 2012 Art Trail. I hope you have enjoyed it!