Due to recent Government advice and the developing Covid-19 situation, Crescent Arts has taken the decision to suspend all activities on the grounds of safety and well-being. Our building is now closed with immediate effect and all activities will cease until further notice. During this time there will be limited staff availability whilst temporary working measures are in place.
Meanwhile you can still contact us at info@crescentarts.co.uk 

Thank you for your patience during this difficult time.

Art Happens Here  

Andy Black  Kate Black  Serena Partridge  Rachel Renwick  Sally Taylor  Lyn Wait

Friday 28 February – Sunday 5 April
Fridays – Sundays 11.00am – 4.00pm and by appointment.
Admission is free.

 

This exhibition brings together the work of a new studio collective in Ryedale. Since the Autumn of 2018 these artists have been working at Community House in Malton, a building they recently turned into artists’ studios. For this exhibition, each artist presents an element of their current practice – some works are in progress, others more resolved. How do these individual practices overlap or speak to each other, as practitioners share a building to develop their work? Through the exhibition the artists highlight the need to work within a supportive creative arena where values and interests can be discussed and nurtured.

 

Drawing plays a central role in the work of these artists and spans a range of approaches and concerns. Andy Black produces striking monochromatic work that draws upon an ‘alphabet’ of around 200 drawings of forms which derive from sources such as landscape, architecture, gardens and topiary. These forms are used to construct drawings of imagined exterior spaces – gardens, cities, stages – ambiguous territories populated by interacting forms. Kate Black is a multi-disciplinary artist who creates narratives often inspired by museum collections, historical or contemporary ephemera and observations of the absurd parade of life. Folk art, outsider art and children’s drawings are also influences that play a part in her work.

Images: Kate Black, Serena Partridge, 2019

Museum collections and children’s drawings have also been a source of material for Serena Partridge in her previous work. She creates mixed media objects and installations, sometimes as collaborations, and will be engaging her fellow artists in the surrealist parlour game Exquisite Corpse as way to tap into the unconscious collective personality of this group of artists. Lyn Wait also works across a range of media to create small still-life or tableau-like representations and creates actions within other environments, including outdoor spaces, often in collaboration with others. Her work traverses narratives, time lines, places, people and objects and might employ drawing, walking, film, clay, clothes, humour and found objects as a means to excavate hidden stories, evoke memories or point to an unknown future.

Images: Rachel Renwick, Andy Black, 2019

Sally Taylor frequently uses found objects, salvaged paper and cardboard in her work, enabling the superimposition of drawing and marks in relation to the personal history of the surface. Her drawings signify a desire to understand more about human relationships, specifically the artist’s own interaction with others. The recurring motif of ‘smiling mouths’, for instance, seeks to unravel social constructs surrounding the unsaid, and non-verbal interaction. Rachel Renwick is another artist whose work signifies a desire to express an internal dialogue and her reflections on the world around her. Rachel works in series, through ‘repetitive’ drawing, consciously employing recurring motifs, limited materials and techniques. A drawing might contain layers, built up through erasure and re-emphasis, showing traces of its own past. The work may embody a response to a self-constructed rule or logic, exploring combinations of recurrent motifs, and thinking of these as human interactions; scenarios with alternative endings.

Images: Sally Taylor, Lyn Wait, 2019

 

 

 

FOOTNOTES 4
New work from artists at Crescent Arts

CLAIRE  –  JUSTIN DL  –  RUTH MIEMCZYK  –  CHARLOTTE SALT  –  JANET WHITE

Sat 16 November – Sun 15 December
Fridays – Sundays 11.00am – 4.00pm and by appointment.
Admission is free.

Crescent Arts has always championed contemporary visual arts in the form of innovative and challenging work by emerging artists. This exhibition is the latest in our Footnotes series, through which we present new work by the artists who currently work from our studios. There are five artists in the exhibition and their work spans a range of media and disciplines including painting, drawing, printmaking, ceramics, digital media, performance, cyanotype and sculptural installation.

Wed 20 November at 7.00pm
‘In Conversation’ – meet the artists at Crescent Arts.
Admission is free.

CLAIRE, image (detail), photograph Claire, 2019

CLAIRE describes herself as an image-maker. Her practice encompasses image-making through collage with drawings and photos, sewing and knitting to make costume and writing for spoken word (to put visual images in the audiences’ minds). This creative process of image-making, which draws upon autobiographical material and experiences, feeds into and is designed to generate live performance-based works that seek to elucidate states of mental and physical being.

JUSTIN DL presents “not-JDLVSPC”, a series of photo-etchings of digitally manipulated images previously envisaged as paintings. These images seem to be at a fragile state of finality. Working through a process of old photograph to drawing, to painting of a drawing, to photograph of paintings, and then digitally manipulated image – the “climax” of the work seems uncertain. Their current state questions their purpose – arising from an ever-growing archive based on work made from  the archive, not the archive itself.

3495(II)+3517(II)(D-GS-B150-C100-lvlsG44-066-222), detail, Justin DL, 2019

RUTH MIEMCZYK makes non-representational paintings, drawings and collages that reference each other, sometimes through a mimicking repetition and at other times by being divided or separated. These relationships are manifest in pairings or groupings of paintings and particularly in the diptych form, which dominates much of her current work. Ruth works on several closely related paintings simultaneously where the subject is the object and, through this concrete reality, looks to touch on a common resonance.

Ruth Miemczyk, installation view (detail), photograph Crescent Arts

CHARLOTTE SALT is interested in processes and production as a way of exploring and understanding the connection we have to our environment. She combines a range of techniques and materials concerned with the physical processes of making, and exploring the relationship to the body as a precarious site. The artist works intuitively with materials, adopting an ‘automatic’ approach driven by the subconscious. Apparent contradictions surface in work that is slow and thoughtful in construction, yet expressive and impulsive in style.  

Charlotte Salt, ceramic sculpture, photograph Crescent Arts, 2018

JANET WHITE works with found objects, plotting and mapping pathways, tracing the experience of her environment. The present, in the form of her activity and documentation, collides with the past (recent or otherwise) as embodied in fallen, discarded, tide-carried or unearthed materials retrieved and incorporated into her work. Over the last year she has been concerned with issues of waste, pollution and climate change. She is concerned with ways in which found objects or materials inform perceptions of time, movement and change through evident metamorphosis.

Janet White, Close-up 1(detail), photograph Janet White, 2018

BACK TRACKS
posters, print & ephemera from Crescent Arts’ archive.

Sat 28 September – Sun 27 October
Fridays – Sundays 11.00am – 4.00pm and by appointment.
Admission is free.

Our autumn exhibition programme continues to mark Crescent Arts’ 40th anniversary looking back affectionately, while at the same time looking ahead with anticipation. We revisit some of the lively events that have taken place over Crescent Arts’ remarkable life span, followed up with new work by artists based in our studios today.

Back Tracks traces Crescent Arts’ ‘life story’ in the form of posters, print, audio-visual material and a cornucopia of fascinating ephemera retrieved from our extensive archive. From Art Day 1979 to The Arts Party Conference 2013, International Sculpture Biennales of the 1980s to Scarborough Winter School 2016, Back Tracks presents some of the highlights of Crescent Arts’ exciting and ground-breaking work.     

Art Day 1979, photograph John Jones

Proposals: Red, Yellow, Blue, 2019

 

After Image: Light Colour Space Time

Saturday 15 June – Sunday 28 July

Fridays – Sundays 11.00am – 4.00pm

Admission is free


This new exhibition is a collaborative venture by Crescent artists exploring light and colour as spatial, material, temporal and architectural elements. The artists make use of non-representational primary geometric shapes and forms defined by colour to reconfigure physical space.

Colour is perhaps the most highly charged and evocative of visual sensations capable of eliciting vivid responses, whether conscious or subconscious. It permeates our lives and our environment, and can determine how we navigate the spaces or places we inhabit and move between, through and around.

We make frequent everyday choices and decisions involving colour-association commonly relating to appearance, for example of food, décor, fashion and design. Equally, It informs our avoidance of situations that we think might cause us physical harm, psychological unease or discomfort. Colour is embedded in our everyday language. We ‘see red’, might be ‘feeling blue’ or feel ‘green with envy’. Such colloquial expressions, like all language, are cultural constructs and far from universal, but are nonetheless highly effective in conveying emotional states.

Whether by chance, or by design, colour plays an integral part in many of our decisions and much of our behavior. As a means of expression it appeals to our most subjective, even primitive, nature and instincts while at the same time engendering more objective theoretical research and harnessing of its powerful influence upon us.

After Image sets out to challenge perceptions and heighten awareness – physical, psychological, aesthetic – through inviting response to
an immersive environment.

Found Objects, Scarborough Winter School, 2016. Photograph Justin DL

 

Made To Measure
Celebrating 40 years of workshops at Crescent Arts 1979 – 2019
Sat 27 April – Sun 26 May

Fridays – Sundays 11.00am – 4.00pm and at other times by appointment
Admission is free

Printmaking, ceramics, drawing, collage, sculpture, digital media, textiles, book binding, painting, cyanotype, sound, mask-making, photography – you name it, there’s been a workshop at Crescent Arts!

Literally thousands of people of all ages, interests and abilities have brought their talents and creativity to our workshops over the past 40 years. We’ve lost count, but we do know that some amazing things have been produced here with inspiration and guidance from an impressive range of artists who have been involved with Crescent Arts since it began in 1979. Made To Measure features the video, ‘Art Day 1979’, showing the very first workshop day which launched Crescent Arts.

Made To Measure also brings together a small sample of the inspiring work that has been produced on a range of workshops over recent years. We’ve always tried to offer an adventurous range of workshops, usually led by artists who work in the studios at Crescent Arts. While the artists provide support and guidance with technical processes, they are also keen to encourage creativity and experimentation. I think you’ll find this is a strong feature of the work in the exhibition.  

Book Binding and Paper Making, Crescent Arts 2015

Printmaking and ceramics are well-represented, which is not surprising given the excellent facilities which include our relief and intaglio printing presses and large kiln. The exhibition also gives an idea of the range and versatility of media available within the visual arts – from cyanotype to collage, drawing to digital media, book binding to mask-making and much more besides.

Workshops have led us far and wide to take creative activities to different places and people whether foraging in the forest at Dalby, wall painting in an empty shop in the town centre, or working with art colleges across the region. Scarborough Winter School 2016 brought together artists, teachers and art students from Leeds, Scarborough and Newcastle for an intensive day of ‘hands-on’ creative activity and debate about art education.

Clay Modelling, Scarborough Winter School, 2016. Photograph Suzanna Garner.

We hope you’ll find the work in the exhibition as impressive as we do, and perhaps it will inspire you to take part in a workshop or two. Visit our workshops page to see what’s on offer. We’d like to thank all who have contributed work to the exhibition and look forward to seeing you at future workshops, exhibitions and events at Crescent Arts.

 

1. Seen From a Train 2. Half-Seen From a Train 3. Fall, From a Train, Reduction Block Linoprints, John Jones, 2002

 

Land Marks: John Jones
Linoprints, Cibachrome Prints and Drawings 1979-2019

Saturday 2 March – Sunday 31 March 2019
Thursdays – Sundays 11.00am – 4.00pm and at other times by appointment. Admission is free.

John Jones was one of the founding artists of Crescent Arts and this exhibition marks the launch of Crescent Arts 40th Anniversary celebrations. We’re delighted that Lady Ayckbourn, as a longstanding supporter of Crescent Arts and friend of the artist, has kindly agreed to open the exhibition.

John Jones has been working as an artist-printmaker for over 40 years and the exhibition LAND MARKS’ brings together a selection of linoprints, cibachrome prints and drawings which exemplify his creative range, innovative approach and technical prowess developed over a considerable period of sustained artistic practice.  

The works in the exhibition naturally form distinct groupings through a range of themes and media. The earliest works included are observational drawings of landscape, architecture and of the human figure. While these are not ‘preparatory’ drawings they, nonetheless, inform later work. The same can be said of the series of Cibachrome prints, ‘Yorkshire Wolds Rape Fields in May’ (1984), photographic images produced at Crescent Arts which re-surface as colour reduction-block linoprints a decade or so later.

The exhibition does not aim to present work in a chronological sequence, rather to make connections between different sources of inspiration, imagery and processes as filtered through the artist’s wide-ranging experience and practice over an extended period of time. The process of reduction-block linoprint is clearly central to the artist’s creative and technical approach and the exhibition presents linoprints as series, small groups of related prints, and as individual works. With his land and seascape colour prints, John dispenses with the traditional linear key block system of linoprinting, devising a pure tonal and more painterly additive colour printing method. He also experiments with processes such as etching lino to introduce very fluid and subtle painterly and textural qualities to the printed image.  

Lifesize Bewick Hobby, Reduction Block Linoprint, edition of 24, John Jones, 2003

The North Yorkshire landscape features strongly. John Jones has a remarkable facility to capture the weather conditions of different seasons at various times of day, and the extraordinary qualities of light and colour in the landscape, through his highly disciplined process of printmaking. A further series of prints is derived from the superlative wood-engravings of Thomas Bewick (1753-1828), translating several of his ‘British Land Birds’ engravings into life-size linoprints. Architectural elements recur, often through use of ‘the window’ as a framing device, which can be seen in such prints as the ‘Lunette’ series (2014) and more recently in the series of twelve prints, ‘A Mediaeval Zodiac’ (2016/17), based on images taken from the stained glass at Chartres Cathedral.

A Mediaeval Zodiac – Scorpio, Reduction Block Linoprint, Suite of 12 Prints, edition of 20, John Jones, 2016/17

It’s not possible to do justice to the accomplishments of John Jones as an artist, nor to his contribution as a teacher and to Scarborough’s creative community, in such a brief account as this. We are indebted to John Jones as one of the artists who founded Crescent Arts in 1979 and we’re proud to acknowledge his considerable standing as an artist through this exhibition.

Stuart Cameron, Director of Crescent Arts

Exhibition Events and Workshops in March

John Jones ‘in conversation’
Wednesday March 6 at 7.00pm
Admission is free

John Jones will give an informal tour of the exhibition, with an opportunity for visitors to discuss the work with the artist. All are welcome and booking is not necessary. Light refreshments will be served.

Reduction-Block Linoprint Workshop
Saturday March 23, 10.00am – 4.00pm
Artist-tutor: John Jones
Crescent Arts members £30 / non-members £40

FULLY BOOKED

John Jones trained at Bath Academy of Art, Corsham (1961-1964). He went on to teach art at secondary school level before taking up a post as teacher of Fine Art and Visual Media at North Riding College of Higher Education in Scarborough. John Jones is widely-travelled and was a guest lecturer at the Museum School of Fine Arts, Boston, Massachusetts and Savannah School of Art & Design, Georgia, USA, 1976-1996. In addition to working as an artist and teacher of art, John Jones has consistently promoted the visual arts in Scarborough. He was a founding member of Crescent Arts in 1979 and has been a strong supporter and life-long member of Crescent Arts up to the present day. He was also an advisory member of Yorkshire Arts Association’s Visual Arts Panel (now Arts Council England, North) and an instigator, organiser and participant in Yorkshire Coast Open Studios which evolved into North Yorkshire Open Studios from 2006.

John Jones has exhibited widely regionally, nationally and internationally. Major solo exhibitions include those at Polaroid Gallery, Cambridge, Massachusetts, U.S.A., (1981); Crescent Arts, Scarborough, (1982, 1987, 2002); Bretton Hall, Wakefield, (1985); Lumiere Gallery, Savannah, Georgia, U.S.A., (1996); Huddersfield Art Gallery, (2000); Old  Meeting House Arts Centre, Helmsley, (2002); Darlington Arts Centre, (2005); Biscuit Factory Gallery, Newcastle-upon-Tyne, (2010); Arthub Gallery, Deptford, London, (2014).

He has also taken part in a wide range of group exhibitions and is currently an exhibiting member of North Yorkshire Printmakers’ Circle of professional printmakers.

 

Drawing The Line
Sunday 27 January – Sunday 17 February
Fridays – Sundays 11.00am – 4.00pm
and at other times by appointment.
Admission is free.

Drawing Workshop at Crescent Arts

Paul Klee, in the 1920s, famously talked of “taking a line for a walk” which suggests that the concept of line is unfixed, active and essentially abstract. What to draw is no longer the main concern when we set out to make a drawing. Instead, mark-making, surface, material, space and scale are some of the considerations we might think about. The exhibition presents both individual and collaborative experiments following this approach to drawing, by members of a workshop led by Ruth Miemczyk.

If Paul Klee’s approach to drawing, based largely on observation of natural phenomena, was analytical it was also playful, experimental and poetic. It is this ethos that the workshop and exhibition ‘Drawing The Line’ will look to explore further. Not only will participants make individual smaller-scale ‘experiments’ in drawing, they will also be able to work together on a much larger scale directly in (and on) our exhibition spaces.

Paul Klee’s ‘Pedagogical Sketchbook’, which The Bauhaus first published in 1925, can be thought of as an early example of exploring connections between art and science, clearly demonstrating a more analytical approach to drawing. It demonstrates the revolutionary changes in attitude towards art education as exemplified by The Bauhaus at this time and which led to a completely new approach. Even now, much of our thinking about art education stems from the foundations laid down in the earlier part of the last century and, coincidentally, Bauhaus 100 marks its centenary year in 2019.

Workshop: Drawing The Line
Saturday 26 January
10.00am – 4.00pm
Artist/tutor: Ruth Miemczyk

For further information and booking please visit our workshop page on this website.

After Paul Klee, Pedagogical Sketchbook, 1925

 

 

Charlotte Salt, Gold Coast Customs, details, 2018

You are invited to the preview of this exhibition at Crescent Arts on Friday 9th November between 5.30pm – 8.30pm

Charlotte Salt
Gold Coast Customs
Saturday 10 November – Sunday 16 December
Fridays – Sundays, 11.00am – 4.00pm
Admission is free

Charlotte Salt is fascinated by the subconscious, combining an interest in an ‘automatic’ approach with a desire to work intuitively with materials. Her investigation of craft processes and production encompasses a range of materials, media and techniques, as a means to understand or interpret our environment. The artist sees the physical act of making and creating with one’s hands as empowering – the opportunity to shape one’s environment in a meaningful way.

The cultural and historical context of her surroundings, of processes and materials, has a significant impact on the form of her work. Choosing to work with clay, for example, comes with strong cultural and historical connotations that Charlotte is keen to assimilate and explore through the role the material plays in the making of the work.

“Working with clay has a grounding effect on me, literally connecting to the earth, and the slow pace of ceramic production is counter to fast paced mass production. I find myself absorbed in a phenomenological experience of making, handling the clay and other materials, sampling and reinterpreting visual stimuli.”

– Charlotte Salt

The process of looking and translating, unconsciously sampling elements from her day to day surroundings, leads Charlotte to incorporate ‘man-made’ elements such as stylistic features of a Victorian drainpipe or cast iron railings, or natural elements such as the shape of a shell or patterns on the sand when the tide has gone out. Charlotte drawsmore widely upon traditions of non-Western art making, process, labour, folk and pre-avant-garde art, as well as influences of feminism, expressionism and symbolism.These elements and influences are then re-presented or resurface in the artworks, translating everyday experiences and unearthing covert associations, causing us to reconsider the familiar. By transposing these elements into new contexts – often absurd, humorous or playful – the artist elicits multiple interpretations.

The title for this exhibition refers to Edith Sitwell’s poem, Gold Coast Customs, published in 1929. The poem is about the artificiality of human behaviour and the barbarism that lies beneath the surface.

Charlotte Salt graduated from York St John University with BA (hons) Fine Art 1stclass in 2013 and has been working from a studio at Crescent Arts since 2015. Over the past four years she has participated in various group exhibitions across Yorkshire and in Manchester, Liverpool, Nottingham, London and New York.

Visit Charlotte’s exhibition and try your hand at ceramic sculpture!

Ceramic Sculpture Course
Tuesdays: November 13, 20 & 27 / December 4, 11 & 18
Artist/tutor: Charlotte Salt

Charlotte will demonstrate pinch pot, coil building and slab techniques and using glaze – all of which can be combined in one piece of work. Whether you want to experiment, be decorative and/or functional, you’ll learn great new creative skills and will definitely have something to show by the end of the course. For further information see our workshops page and to book, please email info@crescentarts.co.uk

Charlotte Salt, Gold Coast Customs, detail, 2018

Load More