Archives

Alexandra LeRossignol

Stained glass & Photography

15 March - 19 April 2010

As a stained glass artist, my windows are a lens through which light is directed and transformed. The light of the window is not contained, unlike a painting or a print it doesn’t stay on a flat surface unchanging. There are the unexpected: rainbows darting from prisms, jewel facets casting fragmented lines on crumbling plaster and coloured light illuminating the heads of a congregation. The reflected glory of each window flares and fades as clouds scud across the sky forming an internal landscape on walls and floors. After a childhood in which I travelled from England to Nepal, I am now firmly rooted in a rural Benefice near the North Downs filled with wonderful medieval churches: yet the light, colours and influences of this time abroad are still with me.

Flames Stained glass

3-24 December 2009

Using bronze relief, a technique that he has studied in depth, and that was common in mediaeval and renaissance religious and secular art, but that has since fallen into comparative disuse, Aleksejevas demonstrates a profound mastery of his medium, to produce works that are surprisingly innovative, while still remaining true to the traditional iconographic canon. Following the theory that has animated much of his earlier work, and especially that dealing with religious and archaic pagan themes, Aleksejevas reduces his forms to their essentials in order better to express their inherent power. In this he reflects exactly one of the pre-eminent tenets of orthodox iconography. The use of relief for his icons is, however, unsusual, and recalls a very rare and special category of Byzantine sculpture that was mainly confined to Macedonia in the 9th to 13th Centuries, and which brings a third, “fleshly” dimension to the works which is absent in the flat topography of most orthodox image-making. As Professor Pentcheva of Stanford University’s Art History department comments in her article The Performative Icon: “… with the relief icon, matter fills an empty shell and gives materiality or substance to what is no longer there, to what is beyond the tangible: a present absence…relief icons display divine appearance through textured matter.”

St Anthony the Great

Aleksandras Alekseyevas Relief Icons

From an article by Jonathan Wiggin March 2007

Alumni of the Prince’s School of Traditional Arts

28 October -18 November 2009

Tom Bree

Sara Salman

Samantha Buckley

Javier Romano

Amber Khokhar

Lisa Delong

Ayesha Gamiet

Nooshin Shafiei

Max MULHERN

Drawings & Sculptures

11 - 27 June 2009

Max has infused the show at Sacred Space with a strong maritime under current. It is probably no small coincidence that the bows of boats are enclosed by a safety feature called a pulpit. Crew can sit on them or grab hold of them in case of imminent peril. “Anyone onboard can nestle there and look out over the sea like a preacher. The spectacle is often so beautiful that words too big to say well up in the throat. In these pulpits we listen. »

CHRISTINE WATSON

Works from Journey and Arrival

19 March - 1 May 2009

My paintings come about over a number of years; I work on about ten at a time in rotation. The impasto is partly a result of reworking and a desire to give substance to light itself. The nature of the work has revealed itself gradually to me. The figures are a collective presence, watching waiting moving, active passive neutral, suspended at the moment of and before arrival.

Light meets Light

Encaustic and oil on canvas

Brian Whelan 28 October - 11 November 2010

Brian Whelan grew up in London, of Irish parents and now lives with his partner, Wendy Roseberry, in the quiet village of Hanworth in England’s Norfolk county. Since his training at the Royal Academy of Art, he has lived and worked in the East Anglia area for over 20 years.

Some suggest that Brian Whelan’s international travels can explain his strong narrative and distinctive style. But his journey as an artist found its definitive gateway just outside his own door, in the medieval churches and dwellings of East Anglia. For it is the vestiges of an art form that resonate with his Irish Catholic roots, back to a time when there was one church and from it’s painted walls great stories were told.

Whelan’s paintings, like much medieval art, depict a sublime comedy of life’s glories and tragedies in both religious and secular planes. While his painting "The Martyrdom of St. Edmund" permanently hangs in St. Edmundsbury Cathedral and “The Miracle of the Holy House of Walsingham” adorns the entrance hall of a private collector in Norfolk

Mystery of the Message 31" x 40" Mixed media on canvas

Archived exhibitions

SACRED
SPACE

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Four Horsemen of the Apocalypse - oil on board

Emily was born in London into a family of writers, artists and politicians. She spent her youth in London, Rome, and Wiltshire attending many schools, including Chelsea School of Art, and St. Martins School of Art. As a young woman, in the late sixties and early 70's, Emily travelled widely, living in the USA, Afghanistan, Pakistan, India, France and Italy, and visiting Africa, South America and the Middle East. It was in these years that her broad view of art was formed. In the 70's and 80's Emily worked with the late Simon Jeffes of the Penguin Cafe Orchestra. She also worked and exhibited as a painter, until the 80's, when she began carving stone. Since then, Emily Young has worked exclusively in stone, and has exhibited widely. Her work is in collections all over the world and she is widely acclaimed as one of Britain’s foremost female sculptors.

Emily Young Paintings & Drawings

2 Dec 2010 - 2 Feb 2011

Katherine Worthington

Traditional Sculpture

5 March - 2 April 2011

Katherine is a London-based architectural stone carver/sculptor, letter cutter and mason specialising in this field for the last 15 years. Honing her 3-dimensional skills she learnt her trade at the Weymouth College, Dorset followed by a carving apprenticeship at York Minster.

She has contributed to the restoration of the decoration of many fine heritage buildings and particularly enjoyed the inclusion of flora and fauna both actual and mythical in her work, such as the lion and unicorn for the London Hippodrome. She has in recent years extended her interest to the depiction in clay and stone of the human form prompted by four heads that she carved for the Chapter House of Westminster Abbey.

She has found a freedom through the use of new media and experimentation together with the adaption of her carving technique to develop her own special style. This can be seen in her portraits.

She has just won the first prize for the Morley College Sculpture Society Annual Portrait Head Competition. This year's model was the journalist Darcus Howe. The lead judge was Etienne Millner, the President of the Society of Portrait Sculptors.

This exhibition shows her progression from restoring cathedrals to mastering portraiture. The exhibition will also include sacred art work in stone and other media, and a collection of portraits including the prize winning head of Darcus Howe.

The Prosopon School of Iconology was founded by Vladislav Andrejev, a Russian born iconographer, approximately 15 years ago. The school has branches in Estonia, Russia and the USA. The Prosopon School received the blessing of the Archbishop of New York and New Jersey, Metropolitan of all America and Canada in 2000. Over the years Vladislav’s iconographic technique and teaching method have undergone development and refinement and as a result a distinct school of painting and interpretation of icons has evolved, which strives to be a continuation of the ancient Russian-Byzantine tradition as well as making a contemporary step in its development.

This tradition of icon-writing reached its apogee during the XVth century. Today, Russian iconographers produce icons that reflect the same state of inner contemplative depth through artistic nuance and attention to iconographic canons and principles.

Only natural materials are used, such as gessoed wooden panels, egg tempera, ground pigments, genuine gold leaf and linseed oil based (olipha) varnish.

All the exhibitors studied at the Russian branch of Prosopon.

The Prosopon School of Iconology

Russo-Byzantine style

14 - 28 April 2011

Virgin Vladimirskaya - Ekaterina Vandromme