Rebecca Holton

RETURNING TO LONDON

28 November–3 December 2022

PV 29 November 2022, 18.30–20.30 pm

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RETURNING TO LONDON

I am a Londoner. I have lived in London for over fifteen years. However, for a brief period, between 2011 and 2017, I lived in Asia. Returning to London after six years of living abroad made me look at the city differently. Yes, I re-appreciated the fantastic history, beautiful architecture, plethora of museums, theatres and stunning art galleries. But I also noticed the smaller nuances in everyday life, that I’d previously missed, or simply taken for granted.

London acts as a magnet attracting people with a range of different stories and backgrounds. We cannot help but share experiences whilst we are here. No matter how mundane, the sharing of routine, of experience, of our city, help bond us to each other. ‘Returning to London’ highlights the importance of the humdrum, celebrating a snapshot of the everyday: Londoners on their local commute, and the all-time favourite British gossip topic; the weather!

Throughout my training, there was a strong emphasis on the core importance of drawing; we had access to life models at least three times a week. Even now, I still approach both drawing and painting from a draftswoman’s perspective. My graphite work pairs down a person’s detail to very minimal lines. I reduce and remove additional information which I don’t see adding to their core individuality or the drawing’s narrative. However, it’s still imperative to me that the images suggest volume, fluidity and personality. I tend to experiment with both removing and replacing detail during my process.

In drawings, I may choose to focus on a detail or pattern, but very rarely add tonal variation. The graphic starkness and way a pattern or shape interacts with the body can also help give the sense of volume. To me, the art of capturing convincing and accurate volume without the need for tone is a challenge I enjoy.

Similarly, in my painting, the main detail is restricted to my model – possibly only their face, whereas the background is kept simple. I very rarely use the same level of detail throughout a painting, finding instead that the area(s) of more refined detail tend to draw the viewer’s eye, allowing more scope to control a painting’s narrative.

I am very aware of the viewer’s role and relationship within my work. I believe, we cannot help but relate to figurative work more than any other genre, as we empathise with or relate to the person depicted. The way someone holds their body, where they are looking, their expression and their positioning on the canvas or page all affect the the way the viewer is invited to engage with them, and their portrait.

Composition, and how it affects the stories within my work, plays a vital part. For example, a figure cropped so her body is partly out of the canvas may suggest she is about to exit the painting – hence, she seems less engaged with the viewer which gives her more control over her and the viewer’s relationship – it could also encourage the viewer to study her windswept hair (now central to the canvas).

– Rebecca Holton, 2022

COMMISSIONS

Each year Rebecca accepts a small selection of portrait commissions. These can be in oil paint, graphite or charcoal.

The graphite or charcoal drawing process takes c. 3 days per single portrait from start to finish. However, this usually spans a week or so to allow time for feedback.

The oil painting process is much more drawn-out and labour-intensive. It includes 7 or 8 layers of paint and a protective varnish. Drying time is needed between each layer, and then a longer final drying time to ensure everything is set before varnishing and packing it for postage/ delivery.

The whole process is expected to take between 4 weeks and 3 months (depending on the complexity, size and thickness of the paint).

CAPTURING THE CHARACTER

I can work from life or photos. I normally go for a mixture, but I am happy to work from more of the latter due to geography.

BRIEFING SESSION
We’d kick off with a briefing session where I’d ask you to come armed with around 4-6 images of the model and we’d discuss what draws you to each image and what you are looking to capture. I’d also ask that you have a look through my work, choose one or a few portraits that you like and be prepared to articulate what you like about each. The briefing session can be virtual.

HONING THE MASTER IMAGE OR POSE
Brief sorted, we’d then arrange a time and location (this could be my studio) to capture the model(s) with photographs and working sketches. Depending on logistics, this would either be the first of several sitting sessions, or I would use this time to create a ‘master’ to base the portrait upon. Some clients want to base a portrait on a photo they may already have – which captures a specific time/memory or expression. I can work from this too.

REVIEWING THE PORTRAIT AS IT PROGRESSES
Capturing someone effectively is a very personal and subjective process. I believe it is also most effective if it is collaborative. After we have agreed the approach, pose and master photo (s), I will share the monochromatic underpainting stage before I embark on colour. I will then share the colour portrait twice more. I allow for 2 rounds of feedback within both stages. It’s important that you are happy with the result!

If you would like to commission a portrait, please email us at thegallery@greenandstone.com

BIOGRAPHY

Rebecca exhibits regularly at the Mall Galleries, including both the ROI and Royal Society of British Artists, and was selected for the Ruth Borchard Self Portrait prize (2021). This year she was awarded the Surgeon’s prize by the Royal Society of British Artists, and in August 2021 she was awarded the Michael Harding First Prize in Oil painting by the Gallery at Green & Stone, London.

She has recently had the privilege of painting a selection of notable sitters, including Paul Mayhew Archer MBE and Lady Alison Scott Deeny. Her work is in a number of other private collections across the UK, Europe, USA and Asia.

Each year Rebecca donates a portrait to charity; beneficiaries have included The Parkinson’s Society and the Royal National Orthopaedic Hospital, this year she is due to donate to the Teenage Cancer Trust’s annual auction.

Rebecca works as a full-time portrait and figurative artist in London, and she is fortunate to have a regular stream of commissions through both private clients and collectors. She juggles these around independent projects for exhibition.

Following her MA (Hons) Fine Art, Rebecca followed a successful 10-year career in advertising in London at a senior level. She lived in Asia for 6 years before returning to London in 2017.

REBECCA@REBECCAHOLTON.COM

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Sophia Persephone Ambrose

TWENTY TWENTY TWO

21–26 November 2022

PV 22 November 2022, 18.30–20.30 pm

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Sophia Ambrose THE RED SUIT. 2022 Oil on canvas 100 x 70 cm

I have named this exhibition ‘Twenty Twenty Two’ because this has been a significant and pivotal year in my painting career.  In March 2022 I left behind everything I had built in the UK to embark on a new life as a full-time artist in Spain.  This was the first time I had been able to focus on nothing but my art, to the exclusion of everything else.  My decision to do so was spurred by a spiritual awakening which occurred in 2020 and 2021.

During the eight months between my move to Spain and this exhibition, I permitted myself to paint whatever I wanted, however, I wanted.  I knew that I needed to discover who I was as an artist. This show represents that journey and features landscapes, abstracts, and portraits in oils and acrylics.  It is now clear to me that I am predominantly a portrait painter who prefers to work in oils at large-scale, with an obsessional focus on colour and composition. ‘Twenty Twenty Two’ features 28 paintings in total, of which 16 are portraits.

‘Twenty Twenty Two’ is an eclectic show which allows the viewer to witness this voyage of artistic self-discovery which I am excited to share with you.  I hope talking about my experience will encourage others to pursue their creative dreams.

Sophia Ambrose. ROSES. 2022. Oil on linen. 50 x 40 cm

Artist Biography

Sophia Persephone Ambrose is best known for her colourful, contemporary portraits, usually focused on female subjects.

Working predominantly in oils, a fierce love of colour drives her work, and she approaches each new piece as a fresh opportunity to explore this fascinating subject.

All of Sophia’s paintings are underpinned by a strong instinct for composition which frequently results in striking, statement pieces.  She prefers to work large scale.

Born in London in 1971, her parents discouraged her from following an art career. She spent twenty-five years in the corporate world, not once lifting a brush in that time.

It was only during a spiritual awakening which took place before, during, and after the Covid pandemic lockdowns that she fully understood she was meant to be a painter.

In early 2022 she sold everything she owned, left her consulting career, and moved to Spain to immerse herself in her art.  Her exhibition ‘Twenty Twenty Two’ to be held at The Gallery at Green & Stone, Chelsea in November 2022 is her first solo show. She has been invited to show her portraits at The Brick Lane Gallery in London in 2023 and will also be represented by a new portrait gallery soon to open in the heart of Brussels.

Works

John Silk and Sue Silk

14–19 November 2022

PV 15 November 2022, 18.30–20.30 pm

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Works are available to purchase from Monday 31 October, 2 weeks prior to the opening of the exhibition. To purchase a work, please email thegallery@greenandstone.com with the title(s) of the piece(s) you are interested in.

John Silk. STUBAITAL, AUSTRIA, 1. 2014. Oil on board. 40.3 x 53.5 cm

John Silk

John Silk was taught to draw and paint from an early age by his father who was an able amateur painter and printmaker. Although John won art prizes at school, he was dissuaded from going to art school and instead read Engineering at Imperial College, and Management at Cranfield. He worked in the engineering industry for 20 years until a takeover in 1987. He then became involved in art dealing and started painting landscapes in watercolour and gouache full time in 1990, and had a number of exhibitions in London. A move to Hampshire in 2006 rather curtailed his painting, but he continues, painting mainly in oils.

The exhibition shows John’s landscapes painted in oils in the last 18 years based on sketches and material collected on travels worldwide, together with some recent work done during lockdown of subjects local to their home in Hampshire.

John Silk: Catalogue of Works

Sue Silk. PEONIES IN A GLASS BOWL 2022. Oil on canvas. 48 x 48cm

Sue Silk

Sue Silk trained and worked initially as a nurse, before changing careers and training to be a solicitor. She specialised in clinical negligence and any artistic output occurred through cookery and gardening.

In 2018, whilst on holiday in Malaysia, Sue picked up pencil and paper and was hooked. She began her training as a figurative fine artist at London Fine Art Studios in September that year.

Sue paints in oils, and her interests lie in still life and flowers, all of which she paints from life. She loves nature and what is around her. She is particularly inspired by great flower painters such as Henri Fantin Latour, Antonio Lopez Garcia, and Kathleen Speranza, with whom she has taken workshops.

Sue Silk: Catalogue of Works

Catherine Clancy

REFORESTING THE SOUL

7–12 November 2022

For more information about the Private View, please email thegallery@greenandstone.com

A LOST AND MOATED LAND

“If you do one thing with your life, remember to reforest your soul” — Dr Murray Cox

Catherine Clancy’s work as a painter echoes her approach to sculpture; she builds, takes away and builds again. Working with palette knives and impasto, cloths are soaked with oil paint, and wiped onto canvases to create both a feeling of sweeping energy and the emergence of light. New work is focused on both light in the landscape and in abstract paintings exploring fragments of light, strongly influenced by Turner; the light calling the form into existence.

This body of work came from a feeling of ‘the creative self’ running on empty with a desire to ‘reforest the soul’. Catherine fell back on her first love—poetry—and set up a conversation between the word and the image. The poems here are either newly found or remembered from past times. The trajectory of the artistic journey random, the image chasing the words of poetry. The medium of the work—ink —a new venture for Catherine.

HEAVEN AND EARTH

Biography

Catherine Clancy is an English sculptor and painter. Her work is known for exploring the creation of beauty from the immaterial. “Art is held in the body. It is a conversation at depth, and every artwork is a ‘call’ to that depth.” Catherine holds a PhD in Philosophy and Fine Art from UOAL. She studied at Central St. Martin’s, London, and in Paris as the pupil of Jean Touret, sculptor of the altarpiece at Notre Dame. Catherine works in oils, acrylics and now inks in painting, her sculptures are cast in bronze. Catherine lives and practices at her studios in London (Rosetti Studios) and France (St. Emilion).

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@CLANCYINSTUDIO

The Collection

Each Art Print is available in different sizes and we accept bespoke requests.

If you would like to have it printed on different mediums (paper, wallpaper, glass…), please get in touch for more information.

The Book

Discover a gathering of the latest collection of paintings inspired by extracts of poetry

‘REFORESTING THE SOUL’ Art Book by Catherine Clancy will be for sale in the Gallery for £14.90.

Carrie Lees

NATURE’S IMPRINT

31 October–5 November 2022

PV 1 November 2022, 18.30–20.30 pm

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ARTICHOKE
Giclée Archival Fine Art Print Edition of 15
80 x 60 cm

Carrie Lees trained as a fine art photographer at St Martins and the Black and White School of Photography where she immersed herself in traditional printing techniques, producing exhibition-quality work. Her work is featured in many group exhibitions, including this year’s Summer Exhibition at The Royal Academy, and in various Condé Nast publications. She subsequently worked as a successful portrait photographer for many years where she developed techniques that focused on the manipulation of natural light to create timeless images and printed using museum-quality papers. More recently she has experimented with using these skills and the same traditional methods to create similar “portraits” of plants.

Carrie is drawn to the beauty and fragility of the botanical world and aims to produce simple but structural images to portray the living essence of the plants themselves. She has been inspired by the work of the old masters of botanical photography in particular Anna Atkins, Karl Blossfeldt and Leendert Blok. Her technique is a combination of using traditional methods with a more contemporary take.

COW PARSLEY
Cyanotype Print Edition of 12 50 x 40 cm

Nature is so powerful, so strong. Capturing its essence is not easy – your work becomes a dance with light and the weather. It takes you to a place within yourself.
Annie Leibovitz

ALL WORKS ARE AVAILABLE FRAMED AND UNFRAMED
CYANOTYPE PRINTS NOS 1–9 ARE AVAILABLE INDIVIDUALLY OR AS A SET OF 9 THEY ALSO AVAILABLE IN A LARGER SIZE OF 50 X 40 CM

CARRIE.LEES@BTINTERNET.COM

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Green & Stone’s 95th Anniversary Exhibition 

3–8 October 2022

Charlie Mackesy. 259 KINGS ROAD EXTERIOR. Pen and watercolour. 20 x 20 cm

Since our opening in 2018, the Gallery at Green & Stone has remained dedicated to not only supporting but empowering artists by connecting them to those who enjoy their artistic talent. We exist to recognise and promote artists, and to continue building a creative network centred on London’s ever-growing art scene. The 95th Anniversary Exhibition is not only a celebration of hard work and partnership, it is a step towards an exciting future.

I can only thank everyone who continues to support us. We love nothing more than following your practice and keeping up to date with your careers and personal lives. You make Green & Stone the special place it is. As part of this exhibition, we will be exhibiting our archival visitor’s book (for a long list of customers please refer to the end of this catalogue). We will also be beginning a new visitors book to ensure we have a record of all our current customers, exhibitors and visitors alike. We hope you will all be able to visit the show and sign this book. Finally, 25% of all sales from this exhibition will be going to a charity very dear to our hearts, the Artist’ Benevolent Fund. I thank you all, and look forward to seeing you at the show.

Hester Baldwin, Managing Director

ALL SIZES LISTED ARE THE UNFRAMED DIMENSION UNLESS STATED OTHERWISE.

ALL EXHIBITING WORKS ARE FRAMED.

25% OF ALL SALES FROM THIS EXHIBITION WILL GO TO THE ARTISTS’ BENEVOLENT FUND.

IF YOU WOULD LIKE TO PURCHASE A PIECE, OR WOULD LIKE FURTHER INFORMATION, PLEASE EMAIL THEGALLERY@GREENANDSTONE.COM

Emma Sergeant
ENGLAND RULES VII. 2013
Conte and charcoal 49.5 x 82.6 cm £10000

Exhibiting Artists

A SELECTION OF WORKS BY:

ALICE BOGGIS-ROLFE. ALICE HALL. ANDREW DERRICK. BEATRICE HASSEL-MCCOSH. BROUGHTON & BIRNIE. CALLUM MACKENZIE ALLEN. CHARLIE MACKESY. DAISY SIMS-HILDITCH. DANIEL CHATTO. DIARMUID KELLEY. DIANA MERCADO. EDWARD ELLIOTT. EFFIE ANDREAE. ELLIE CAETI. EMMA SERGEANT. GEORGE CIANCIMINO. HOLLY FREAN. JESS TOSH. JULIAN BARROW. KATIE JESSOP-EMMINS. KEN HOWARD. KITTY HALL. LINCOLN SELIGMAN. MANDY HUDSON. MARIE CLAIRE-KERR. MARTIN LAW. MARY FEDDEN. MAX WHITE. MENG ZHOU. MICHELLE PEARSON COOPER. NICK BASHALL. NICKY PHILIPPS. NNEKA UZOIGWE. QUENTIN BLAKE. RICHARD FOSTER. SARA LEWIS. SARAH ARMSTRONG-JONES. SARAH GRAHAM. SUSIE ELLIOTT. VICTORIA ACHACHE. WINNIE HALL.

Photos from 50th Anniversary Private View

Catalogue of Works

Gabby Harman

PATHWAYS

17–22 October 2022

PV 18 October 2022, 18.30–20.30 pm

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Gabby Harman. AUTUMN, SLOW DECAY. 2021. Mixed media on canvas. 53 x 46 cm.

“My inspiration for this exhibition is the landscape that surrounds me, the colours and textures of nature, the changing seasons and light.  I work in mixed media using acrylic, oils, collage and printing.  I build up layers of colour and texture to represent the slow decaying of nature through the seasons. I often start by making lots of small sketches in charcoal, ink or graphite which then becomes the starting point for all my work.”

The process she uses are visceral and complex, building layers and scoring back into the work, applying and lifting paint to reveal older layers, washing away to make rivers of paint. Many of the landscape paintings reflect how the landscape is geologically built or weathered. In building up the layers of colour and texture the paintings represent the slow decaying of nature through the seasons. She often starts by making lots of small sketches in charcoal, ink or graphite whilst out walking her dogs or when travelling abroad…always trying to capture the essence of the place. Movement and colour are always at the heart of her paintings. 

I studied at Brighton Polytechnic and qualified as a textile designer specialising in weaving. Then I worked as an interior designer before having 3 children.  Once the children were at full time school I started painting seriously. I work with a group of artists and have been exhibiting locally for many years.  This is my first London solo exhibition.

Consuelo Child-Villiers

PAINTINGS: YELLOW & BLUE SERIES

10–15 October 2022

PV 11 October 2022, 18.30–20.30 pm

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BOOK. 2022
Yellow and Blue Series
Oil on canvas
50 x 40 cm

“Consuelo Child-Villiers is a long established artist who free falls into a world of her own. No net. Independent. Thus her work is quietly, widely collected in Europe and North America. Figures, creatures, objects, and their secrets, dwell in her vision which is both playful and serious. Consuelo’s medium of expression is colour, colour as material fact, communication and soul-song in paint, usually and mostly oil paint.

Her mother-ground is centuries-old rooted in Spain, Mexico and Italy. Her father-spirit is Irish English.”

Guislaine Vincent de Damas

Consuelo trained at the Academia di Belle Arti in Florence, Italy where she studied Sculpture and Painting, followed by History of Art at Christie’s Fine Arts in London. She has exhibited her work extensively in London, New York, Italy and the South of France. Her work has been acquired by various private collectors throughout Europe and the US. She lives and works in London.

Elizabeth Shields

PARENTHOOD

26 September–1 October 2022

PV 27 September 2022, 18.30–20.30 pm

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SKETCH OF BEA ON GESSO BOARD. 2019. Oil on Gesso board. 18 x 13 cm

Parenthood collates three years of work, all centred on the universal subject of family. I attempt to portray the intimacy of the early years through uncompromising and compelling studies of new life, drawing particularly on the apprehensions and fragility of parenting.

Many of the 75 pieces depict small infants asleep. We – as the viewer – are allowed this tender moment when the sleeping child is completely unaware of our presence, cocooned in warmth and safety. Through my work, these intimate studies become enduring images for families to cherish for years to come.

Similarly, each painting of my own family and children has been an opportunity for me to gift the time we spend together, helping me treasure this brief period, encouraging a positive psychological journey and cementing my bond with each. Through this body of work, my intention has been to illustrate the significant importance of the early years in our daily lives by highlighting our shared experiences and the inherent relatability of infanthood.

In the self-portraits and the woman-and-child compositions, I attempt to challenge the precedent that reduces a mother’s existence simply to her function, instead offering other facets, including displays of maternal trepidation and mental conflict, questioning the nature of responsibility, womanhood and guardianship. In the three self-portraits, I examine feelings of foreboding, eagerness and physical depletion, with the fractured “Pregnancy in Two Parts” playing on these conflicts especially.

The rawness of “Three in a Bed” lays bare the duality of the mother’s exhaustion and constancy – a familiar scene to parents – and the exposition of the mother’s unique vulnerability is continued in “Breastfeeding in the Garden” and the various bath nudes.

In “Parenthood”, I invite the viewer to journey beyond the traditional remit of motherhood, developing conversations around the mother-figure, by capturing familiar moments, both fraught and tender.

My approach to painting centres around my interest in mark- making and colour theory. Artists such as Alice Neel, Chantal Joffe and Susanne du Toit have made a great impression on my work, notably in their compositions and the intention of their mark- making. I have really enjoyed the brushwork and the decisive movement in their work, which is the antithesis of saccharin – an approach rooted in reality, which I find so endearing.

Elizabeth Shields, 2022

Biography

Elizabeth Shields obtained her Foundation Diploma at Wimbledon School of Art, a BA in Painting and Printmaking at Glasgow School of Art and the Diploma in Portraiture at Heatherley School of Fine Art. She has exhibited with The Royal Society of British Artists, The Royal Institute of Oil Painters at the Mall Galleries and is included in the Ruth Borchard permanent acquisitions. Elizabeth also sells still life and landscape work through the Lost Gallery, Strathdon.

HELLO@ELIZABETHSHIELDS.COM

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Works on Paper 2023

The Gallery at Green & Stone is pleased to announce that it is now accepting entries for its first Works on Paper Exhibition. The purpose of the Exhibition is to celebrate all works made on or of paper or card.