We are very excited to be planning our next exhibition!
It’s an honour to be included as a part of this year’s Three Choirs Festival Art in the City and have been inspired to host an exhibition with works based on ‘Harmony’.
We are looking for artists to get involved and submit all kinds of work for this special show. The show will be held in 7 Gomond Street, the premises in Maylords Orchard that we occupied between January and March. International applications are welcome.
This open call is completely free to enter but will close on Monday 21 July.
If you’re interested to find out more or would like to apply, open the pdf document below,,,,,
We are a collective of 7 artists This is our manifesto:
We
are doing it for ourselves
are not complying to or with the system
are using available resources
don’t need permission
believe that art is play and fun as well as serious
are resisting the pressure of exposure or meeting expectations
recognise the importance of the female perspective
we only have to be good enough
Catherine Wynne-Paton
I work with a range of different artforms, through a blend of collaborative and solo practice such as paint, movement and film. I work with librarians, the public, artists, publishers and art organisations because through observation I noticed an issue in UK libraries and wanted to take action and generate solutions via my practice.
I make objects/installations often associated with performance and short films (often with humour). My MFA research focussed on transitional objects or ‘comfort objects’ for adults. I am developing this further by exploring the current relationship between masculinity and feminism.
Rebecca Farkas
Holding Hands
I make animations, videos, drawings and installations that respond to places, people, stories and memories, always searching for a sense of wonder. This series of exploratory drawings revisits my own memories of a childhood on the circuses where my family lived and worked.
Merbach /1\ Grounded yet elevated: Trig Point 2023
I seek found objects to create assemblages in a site-responsive process, aiming to frame my work within the landscape or architectural context. I use performance and collaborative approaches within my art practice. My work often features a sense of space… place… time… being I seem to be addicted to neon orange …..
My art is the actualisation of my thoughts, ideas, feelings and memories. Making objects is a way of sharing past experiences and exploring future hopes. Found objects, fabrics, phrases, all can provide starting points – midnight meanderings too. As I get older I consider the world I was born into and the prospects of the one I will leave behind.
Wendy Healey
Winged (2024) bird wings wood branches muslin clay plaster wool assorted materials debris soft pastel glue – width 30cms height 54cms diameter 74cms A winged mythical creature emerges from the earth precarious, about to take flight. Physically and psychically teetering Winged personifies vulnerability and robustness.
Inspiration for my making lies in my surroundings and within me. I gather natural and manufactured materials imbued with memory, emotion, myths, dreams intuitively following their sensory rhythm to create forms and non-forms. Re-energised sculpted pieces emerge with a life of their own reflecting on what it is to be human through transformation and emergence.
A mountain is defined as being over one thousand feet (300m) above its surrounding land and usually has a pronounced summit and steeper more defined sides than a hill. A hill is expected to be a more modest rounded undulation in the landscape. Mountains have the connotation that suggests being imposing, rugged, challenging, lofty and superior and are inevitably named edifices, whilst hills carry expectations of approachability, gentler inclines, smoother surfaces, and contours. Most hills have names, but our perceptions are usually more usually of them being less dramatic than their fellow mountains. However, for this project the central subject of each artist’s vision is described as a hill but of course many an artist has sought the sublime among mountains!
One artist’s perfect hill may not be perfect to any other artist. The perfection may lie in obvious symmetry like that of man-made Silbury Hill or the naturally created Whimble. The artist might then seek to capture the visual equilibrium and how it sits within, and inter-relates to, a wider setting. For some artists, these regular profiles could be too harmonious to stimulate prolonged attention or a satisfying artistic response. Hills as subject matter certainly occupy a distinct place in the history of British culture and not only in Romantic art often linked to the study of light, atmosphere, and questions of national and personal identity. Richard Wilson pioneered the depiction of hills in British art in his travels through Wales, followed by William Gilpin’s ‘Observations on the River Wye and Several Parts of South Wales Relative chiefly to the Picturesque Beauty’ of 1782.
A perfect hill may be one that offers the artist easy accessibility with a variety of features or appearances that change through time, weather and viewing position, allowing the artist to visit regularly to capture the moods of the season, or hill, or artist. Perhaps perfection lies in the hill offering difficult access to its personality with characteristics that are seldom able to be glimpsed and recorded by the artist twice due to regional climate fluctuations or the changing vegetation or interactions of humans on its terrain through farming, quarrying or leisure activities. The notion of what is presented as a perfect hill will vary from artist to artist in that there is a connection and identification with a particular hill that may be because of geographic circumstance, historical, environmental or personal reasons.
Contributing artists will include: Jonathan Adams, Caroline Allen, Helen Arthur, Peter Bishop, Bryony Burns, Steve Cass, Adrienne Craddock, Tim Craven, Celia de Sera, Brian Griffiths, Bill Evans, Richard Gilbert, Veronica Guest, Sarah Harding, Lois Hopwood, Pip Jones, Andy Johnson, Charles MacCarthy, Andrea McLean, Fiona McIntyre, Katherine Moore, Ronald Moore, Fiona Potter, Rebecca Reynolds, Stuart Roper, Charles Sainsbury-Plaice, Susan Smith , Miranda Whitten-Walker, Matt Williams, Matthew Wood
Click on image to view larger version
Veronica Guest ‘Weaving’ Shetland wool
Helen Arthur ‘Crib y Garth, gloaming, ink on paper 2024
Ronald Moore ‘Aspers Wood from Merbach Hill’. oil on canvas
Sarah Harding, ‘Bromlow, Callow’ Tempera on panel
Stuart Roper, ‘Sunrise on Cwm Sanaham’ oil on canvas
The following exhibitions took place at Bloom Space:
Saturday 25th January, Wednesday 29th January to 1st February: ‘The Return of the Sun’, a solo exhibition by Sarah Jones.
On Saturday 1st there was a celebration of Imbolc with Sun Cake, refreshments and artist’s talk.
The exhibition took its inspiration from the pagan festival of Imbolc on 1st February, which celebrated the start of Spring, the halfway point between the Winter Solstice and the Spring Equinox.
Sarah Jones completed an MA in Fine art at HCA in 2021. Since then she has been painting ‘posts’ as a form of Expanded Painting and has been exhibiting in France and England. Sarah had ‘posts’ accepted in two RA Summer Shows and the RWA in Bristol. This will be her first solo show in the UK.
Friday 7th February and Saturday 8th: An exhibition of work by Hereford Cathedral School pupils curated by Year 12 Art and Design students.
Friday 14th to Sunday 16th February: Emergence
An exhibition by MA Fine Art students at Hereford College of Arts featuring work by Pete Bryden, Charles Gundy, Liam Lacey, Ieva Luka, Nik Pope, Muriel Potart, Kate Slater, and Sophie Wagstaff.
Friday 21st to Sunday 23rd February: ‘In Space’; Escaping Two-Dimensionality in Photography
Photography degree and postgraduate students from Hereford College of Arts will showcase their recent work. The event featured a series of photographic outcomes exploring diverse approaches, including three-dimensional objects and projection.
Monday 24th to Thursday 27th: ‘Tree Stories’, a solo exhibition by Elizabeth Terzza.
Tree Stories is an ongoing project showcasing abstract paintings inspired by your stories. Trees are more than just part of the landscape; they are keepers of our memories and connections to special moments and people. Since ancient times, storytelling and art have connected us, helping us express what matters most. Trees mark important moments in our lives. They are part of childhood adventures, quiet places of reflection, and symbols of love, loss, and connection. Through this project, I listen, collect, and respond to these memories, creating paintings that hold real meaning.
My hope is that each exhibition sparks conversation and helps visitors connect with the deeply personal stories behind the work; like a father hiding ‘dragon eggs’ in his orchard to bring magic to his child’s visits, the loss of an oak tree that framed a home’s view for years, or the memory of a rowan tree that symbolised a brother’s life.
If a tree has ever held meaning for you, I’d love to hear your story and create a piece of art inspired by your memories.
Saturday 1st to Wednesday 12th March: ‘Unseen’, an exhibition of work by members of Herefordshire Visual Artists’ Network.
‘IapetusII’ Amanda AttfieldSuzanna Reynolds ‘The Where That Was, Is Now, And Is To Become’.Jeanette McCulloch ‘Whispers Across Time’
Janine Martin ‘I saw a man who wasn’t there’‘The Unseen’, Richard Gilbert
Saturday 15th to Saturday 29th March: ‘In Search of the Perfect Hill’, an exhibition of work by artists responding toand celebrating their favourite hill in the Marches.
Veronica Guest ‘Weaving’ Shetland wool
Helen Arthur ‘Crib y Garth’, gloaming, ink on paper 2024
Ronald Moore ‘Aspers Wood from Merbach Hill’. oil on canvas
Sarah Harding, ‘Bromlow, Callow’ Tempera on panel
Matt Williams ‘Peaks’
Miranda Whitten-Walker ‘The Skirrid’
Stuart Roper, ‘Sunrise on Cwm Sanaham’ oil on canvas
Celia de Serra ‘Cuckoos Nest (Kill horse Lane)’ charcoal on paper 38 x 56 cm 2024
Kathryn Moore ‘Winter Worzel Wood’
Fiona McIntyre ‘British Camp’, oil on linen
For more details of ‘In Search of the Perfect Hill’ click here
