A Hint of Monochrome

Well, yesterday my new figurative glass pieces were here at home.  Today they are on display at the Sam Scorer Gallery (sometimes the best things happen on the spur of the moment).  IMG_0041

Popped into Sam’s early this morning with Molly (the gallery manager and also my darling wife) to see how the get in was going and was kindly asked to show with Kelly Fisher and Friends in this two-week exhibition (Tuesday 29th January – Sunday 10th February. Open 10am – 4pm).  

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There’s some excellent drawings and ceramics on display from Kelly Fisher herself.

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Kerry MosleyKerry Mosley’s fantastic figurative textiles,

James Sutton & James FaulknerJames Sutton exhibiting sculptural forms and James Faulkner with his ceramic vessels.

All with just A Hint of Monochrome (sometimes mixed exhibitions just work). Well worth a visit!

Why not come and Meet the Artists on Saturday 2nd Feb, 2pm – 4pm.  . Unfortunately I won’t be there………….cos I’m on duty at Harding House Gallery, come and see me there, it’s just round the corner!

If you would like to see what else comes out of Kevin’s shed visit www.kevinwallhead.co.uk


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New work for the New Year

Back in the shed after a very quiet Christmas and New Year and looking forward to the coming few months. I’ve a solo exhibition in June/July at Harding House Gallery in Lincoln, so I must knuckle down and get some new work on the go, but first I thought I’d introduce my new figurative pieces created with glass dust in October 2012.
Have had these on my mind for the last four years, but working out how to make them has been a bit of a nightmare but I got there in the end.

Wells next-the sea 1Wells-next-the-Sea

I have made landscapes in the past, this image of Wells-next-the-Sea in Norfolk was one of the first, but my aim as always was to introduce this technique into tonal, figurative drawings.  So here they are.

Blind Contour 1Blind Contour I, II, III, IV.

Blind Contour is a drawing technique widely used by art teachers, where an artist draws the contour of a subject without looking at the paper.

When these compositions are being formed they are pure white, so you are working blind. The tonal qualities only appear after the firing process in the kiln. Well worth the four-year wait I think!

To see more of Kevin’s work from the shed visit www.kevinwallhead.co.uk