Artist Spotlight: Anne French

My constant desire to experiment sustains my creativity. While working on one project, I am thinking of the next.   As soon as I have found a satisfactory way to make something work, I am looking ahead to the next challenge.

Endless trial and error is how I develop new ideas most of the time, and sometimes expensive and heartbreaking mistakes are made ( I recently finished a very elaborate ‘faux inlay’ china dish; I put it in the oven to bake it – having used a very specific porcelain medium , but it bubbled up, and great blisters appeared. I don’t know what went wrong).

Hundreds of discarded comics strewn around my teenage son’s room, persuaded me to use them somehow. I began a very successful line in contemporary decoupage furniture.  I am constantly inspired by things I see.

Anne French working in studio


Working at the Royal Pavilion in Brighton and my work as an artist are constantly intertwined and I absolutely love them both.  I am endlessly enthused by the beautiful things around me; by materials, by colour, by craftsmanship and sometimes, looking and studying an object, I think,  perhaps it would be possible to re-interpret the art form using materials at hand.

The black and white faux inlay was inspired by an antique chest from India inlaid with delicate pieces of mother of pearl.

I left school at 17 and went to Paris on my own. I had always been ‘good with my hands’, and being resourceful and inventive, while living on a shoe string, became a way of life. My first 2 children were born when I was very young, I sewed a lot at the time, and sold patch work quilts to shops. This was over 30 years ago, everybody was into fabrics, Laura Ashley all over the place. Space was at a premium in Paris, and I made everything, through necessity at first, but also from the pure pleasure of creating something either beautiful, or useful, from what would otherwise have been thrown away. I experimented with mosaics, but this became rather hazardous as the children began to walk!


I deal with creative lulls by pretending to myself that I am so busy elsewhere that I will have to put the ‘art side’ of things on hold for a while. But I am constantly, constantly thinking about it, and anything can spark an idea – a trip to a Mexican market started a passion for bottle tops and their diverse possibilities.

So I began decoupage, and this has really been my passion since. It has such a genteel, prim reputation, but is so diverse. A rather risqué comic chair, or a delicate faux inlay vase – just paper and string and glue and varnish.


I have always been surrounded by artists, there are so many creative people in my family, and my husband’s too. My great great grandfather, Sir Thomas Wardle, was a collaborator of William Morris, perhaps that is why I love fabrics – my grandfather was a painter, as is my sister in Los Angeles, one of my brothers is a woodworker, the other makes films and my husband is a sculptor, so art is all around us. My (five) children are wonderfully creative, and I am very proud of that.

Sometimes I think I would have loved to have been to art school, to have been taught to do things ‘properly’, instead of the endless experimenting, hours, and days, and weeks spent working out how to do something. But in fact I am glad I didn’t. I have always felt so free to go where I wanted, without, necessarily, following the rules.

I will happily undertake a commission which is not too precise i.e. ‘a bedroom chair in faux inlay’, or ‘a small monochrome comic decoupage table’, but I am nervous when I am presented with an old shellac 78, of huge significance, and asked to transform it into a bowl … they are so fragile, and all sorts of disasters can happen.

I can never repeat anything, each leaf is cut out individually, free hand, and no two are ever the same.

I love what I do, but I am not good at promoting (which is such a necessary part of the selling). The system which works best for me is to have my work on show in a gallery. I am so busy all the time, and I would much rather leave that side of things to someone who knows how to do it!

There will always be artists, but I think functional art is probably more in keeping with the modern world. Most of us are pushed for space, so something which looks beautiful, but can serve another purpose, a light, a bowl, a chair is, I think, the way a lot of artists are going.

A few years ago one of my sidelines was flowery dust pans and brushes. I had to go across the channel to find them in pretty colours; over here they were grey or black. Now in every pound shop colour prevails. We expect everything to look beautiful now.

Being self taught, I sometimes feel I am a jack of all trades but a master of none. I have experimented in so many media, tried so many techniques, and I would love one day to have a private lesson with a grand master, be it in mosaic, papier mache, fabric design, decoupage … just to learn the finesse of the craft.

I work at home, so space has always been very limited. I have had to work less and less on large pieces of furniture, concentrating nowadays on small pieces. But, this year (son off to university) I will have a room of my own overlooking the sea, so I wait in anticipation to see what happens! I am so excited.


Artist Spotlight: Linda Connelly

It’s surprisingly hard to find good enamellers so I was really happy that Linda agreed to come and show her work here in the gallery.  The humour and light heartedness of her style is instantly attractive and engaging, but understanding the level of patience and skill necessary to create the standard of work she produces takes it to another level.  Here Linda talks about her artistry, the fascinating process of how she creates her work and the inspiration behind it.

Sometimes an idea appears to me almost fully formed. I can see it in my mind and I play around with colours and designs in my head, making notes and drawings on. Then I will need to go through a lengthy process with pen and overlays before the design is completed to my satisfaction.  On other occasions, for instance the Brighton Pavilion clock, I go through an extensive design process from scratch, photographing and drawing the building from life and then collecting all the other source material I can find. Then I work with tracing paper and a fine black pen, first setting out the basic shape and then repeatedly tracing over it to refine the design. Sometimes I do some of this work in Photoshop, particularly when I want to play around with scale or produce a detailed symmetrical image.

As part of this process I also have to consider the techniques and materials I will use to achieve what I want. Often this will involve making numerous tests and experiments with colours and processes. I keep detailed notes at this stage in a ‘Technical Notebook’, often including detailed samples. As each piece can have anything from 6 to a dozen or more separate firings, it is important to rationalize the making process at this stage, and ensure that my planned colours will work well together, both visually and technically. I also have to consider construction of the piece and how this will fit into the enamelling process. Often in jewellery I elect to solder some elements after or partway through the enamelling stage. This is technically demanding but often the best solution. In the case of jewellery I make mock ups and check the visual appearance of the shape, and how it will hang when worn. Finally of course I have to check that it will fit into the kiln!

Inspiration can arise from all kinds of sources. Sometimes during a walk on the beach, patterns in the sand or rocks will suddenly stimulate an idea and I will have to rush off to draw it. Other times, ideas seemingly materialize from ‘thin air’, although often I can trace a path of various stimuli that have suddenly gelled! I can’t envisage an existence without creativity. Sometimes I go through a dry patch but this is like being only half alive. Being driven by a creative force is as essential to me as oxygen in the air to breathe.

I have always known that I had to create. Over the years that creativity has found many outlets, but for me it is not a choice – it’s a part of me. Not being an artist was never an option. Without it I don’t feel fully alive. Even when my children were young and time was short, I still managed to find time to draw ideas. I didn’t have much time to make anything, but putting them on paper so they might happen in the future helped to keep me going.

I have recently had the problem of dealing with a lull in the flow of ideas, and I started reading through some of my vast collection of enamelling and jewellery books. I find that bombarding my mind with images, as well as accumulating knowledge of different techniques helps my sub-conscious to chug away and produce a new idea. Otherwise, looking through my old sketch books usually produces an old idea that never happened before, but now with new experiences and knowledge can come to fruition. To this end I constantly note down ideas and collect source material which I collate into folders and books. I also take every opportunity to visit inspiring galleries and exhibitions as well as subscribing to various jewellery and craft magazines. All of this helps to ensure a constant stream of ideas and inspiration.

I love my studio. I wish it was larger but it is light and well designed for me. For instance my kiln is at a level that I can see into it without having to bend so I don’t strain my back. Everything I need is there and within easy reach. I only wish I could find it!

I have always wanted to try blacksmithing. Similar to jewellery making in that it involves heat and hammers but on a much larger scale! I once went parascending – even though I’m terrified of heights! It was amazing – so quiet flying above the sea looking down on the earth. I could have stayed up there for much longer – especially as I don’t know if I’ll ever be brave enough to do it again!

I think the future is good. I think that more and more people are becoming disillusioned with mass produced, cheap, badly made goods and are looking to buy fewer items that will last longer and are beautifully made and designed. I welcome the challenge of commissions. With regards to repeating work, I tend to only produce small quantities of any one thing as I’m always being excited by the next new ‘brilliant’ idea.

Glass Fusing course last Monday night


Thanks and well done to the girls to made last Mondays glass fusing evening such fun!  We spent a very happy three hours cutting glass and playing with colours and designs and the results were really exellent.   A very creative bunch to be sure.  We made rather beautiful jewellery pendants and some VERY pretty window hangers.  Check out the photo below!

In defence of optimism!

Sometimes I need to get things off my chest and this is one of those days!  I am an unashamed optimist. That’s how I see myself, I had an interesting and spirited discussion in the pub recently with a friend of mine, who stated that optimism is a dangerous indulgence which should be actively discouraged. He believes it plays a large part (if not being actually to blame) for most of the world ills.  He has come to the conclusion that looking on the bright side and seeing the positive prevents us from seeing how bad things really are and taking appropriate action, and that’s why the world is in the state it is.  This is an interesting concept to me, as one who had always tried to see the upside where ever possible. I found it fascinating and a little scary, but in a good way!  He was basically saying the same thing as a poster I saw in one of those tourist shops that said… ‘If you can keep your head when all about are losing theirs – you obviously don’t understand the problem!’  Pessimists (or realists, depending on your point of view) work on the principal that they do understand the problem.  Maybe I don’t understand the problem?  Could that be true? Actually I don’t think so.  It’s necessary to have a healthy charge of optimism; it helps with your energy, your vision, your creativity and your self esteem.


Humans on the whole (I have read) are hard wired to be ultimately basically optimistic. It’s how we survive!  We believe in better!  But for a reason; we believe in ourselves and our ability to change things, and that ability to adapt has been the key to our survival.  To see beyond the immediate apparent gloom to a better time keeps us motivated to go on, without it we simply couldn’t survive.  Of course we don’t always get it right.  Often we get it wrong but we’re constantly questioning and that gives me hope.

Now I’m perfectly aware that the other thing that is in the core nature of humans is to look after themselves first and foremost.  To build a secure and comfortable place to live is a major drive and so when people have the opportunity to earn or acquire money at the expense of others that instinct can take over, until from the outside it looks a lot like greed.  Then it’s every man for himself and that’s where the problems start.  We’re often torn between our desire to be good, nice, decent people and to look after our own best interests and those of our family.

The constant flow of negative news and of disaster predications keep us scared, defensive and fatalist. It undermines our determination and our sense of power over our own lives.  We start to pull up our drawbridges and build walls rather than be inclusive and to take rather than give.  We get scared, and when we’re scared we see danger everywhere which means we’re more likely to attack first.  Of course it’s important to keep an eye on the world, but actually it’s more important to keep an eye on ourselves and how that information is affecting us and our communities.  Of course, one has to take care of business, pay bills, do tax returns and get the car fixed. But if we could all just determinedly build the world we want to live in from our own back yards, in spite of what we’re repeated told about the world outside, how much difference would that make?

It seems to me that humans have a need to be kind and generous in their personal lives.  It makes us happy to be nice!  It’s actually our core nature, and it’s on that basis I remain an optimist.

I’ll leave you with a nice story.  A little while ago (a couple of months I think) an old chap was walking outside past the gallery. The door was open and my son and I could hear him making really strange noises.  We both looked at each other and questioned if he was OK.  My son went to the door to check on him further but by the time he’d got to the door the old man had collapsed on the kerb side outside ASK pizza.  It was raining heavily but within minutes of him falling he was surrounded and protected by strangers.  The staff at ASK came out, a woman jumped off a bus, ambulances were called, we took out blankets and a pillow and two business men who happened to be passing, without saying a word, stopped and held their umbrellas over him until the ambulance arrived.  People stood around him like guardians, no-one questioned it, no-one thought twice, they just did what was right and it was an amazing sight!

People are basically good and there’s enough for everyone is my maxim for life!  Look for it and you’ll see it everywhere, really you will.  And guess what?  In spite of the terrible weather forecast, the sun is still shining!  Still might take my umbrella though, you never know when it might come in useful!

Janis xx




Artist Spotlight – Jule Mallett

I first saw Jules’s work at the Mall Galleries  in London at the beginning of the year.  I liked her work immediately, I really enjoyed the humour but also the ethos behind it.  The obsession todays society has with physical perfection is a very interesting topic and Jules work highlights the absurdity of it in a gentle and affectionate way that is well said and charming!   Her work is fresh, quirky and can’t help but raise a smile.

Here she talks about her work and gives a fascinating in depth look at how she came to be where she is today.



‘In trying to achieve true beauty Hengrels have lost their own identity and heritage.’

At the heart of my current work are ‘Hengrels’, an artificially enhanced hybrid species of chicken in search of true beauty. To satisfy their compulsion for perfection they resort to cosmetic surgery.  Their appearance and behaviour is often odd. I deliberately recycle cloth from clothes and used linen because of its association with our bodies, culture and passage through time. The property of humans, it has not belonged to the Hengrel and is thereby symbolic of a false identity. Their story is only at its beginning.

In response to today’s throwaway society I take devalued textiles, from car-boot sales, and give them new life. Often traditional techniques such as layering and patching juxtapose digitally printed hand drawn images.  My work takes its initial inspiration from Boro, a Japanese form of patchwork in which cloth has been patched and repaired with scraps to extend its life beyond normal expectations. By doing so, these cloths embody the passage of time and identity of its owner. Wear and tear enriches and in such ruination we find beauty. The psychology of the Hengrel however turns this on its head.

My creativity is continuously fed by what surrounds me or rather what I choose to immerse myself in. I am extremely self indulgent and can easily ignore domesticity and the demands of, in my defence a grown up family.  Dinner is often ate on laps as sketch books, pencils, fabrics and threads cover every surface, often floor included. I work best when everything is to hand and visible. I thought I’d be tidier when I graduated but I’m not. Out of sight is definitely out of mind for me. Unless I’m immersed in my media I find it difficult to sustain my creativity as other distractions of normal hum drum family life take over.
When I develop new ideas I constantly have random thoughts which I scribble down on anything to hand. Bits of torn paper eventually collate in old envelopes or on the sideboard and I methodically go through each one and try to explore the possibilities it may have.  My creative journey is often very slow and laborious with many detours and dead ends. I wish I could be more decisive in my creativity but I’ve learnt I need to physically work  through all my ideas in order to be able to move on and evolve my work.

Being inspired is crucial to my creativity. I don’t keep a work schedule or any routine as such. My days are currently interspersed with voluntary sessions at a charity shop, family life and catching up with friends or meetings at textile groups. In between I immerse myself in drawing, stitch, reading books, and going to antique markets, jumble  and car boot sales. I can just as easily be found stitching at 9 a.m. in the morning as I can be at 9 p.m. at night. I create whenever the mood takes me. I never see my creations as work!

When I hit a brick wall or feel I have  ‘creation overload’, I tend to tidy everything away to one corner of the room and reconnect with the outside world. I constantly visit galleries and craft fairs irrespective of their focus as I find inspiration everywhere. I also reach for my camera and walk for hours taking photographs of anything that interests me. You can tell when I’m re evaluating my work or taking a step back because the house is tidier, meals are on the table on time and we entertain guests.

When asked what led me to become an artist I shrug my shoulders and answer ‘I’m not sure how I got here but the pieces all fit!’

As a child my favourite shop was the ‘Treasure Trove’ filled with memorabilia, the macabre and a giant stuffed bear. Most weekends I rummaged through my grandparents bureau and drawers looking for something forgotten. At university I studied Archaeology and developed a particular curiosity for Ethnoarchaeology. Today all of these strands have unconsciously come together.

Equipped with a camera on a summer’s day, I am the person taking photographs of rust and peeling paint. At weekends I’m happiest rummaging through battered cardboard boxes at car boot sales. Having moved several times as a child growing up, I have few markers of my own past. Instead our house is filled with the paraphernalia of strangers. Often I am drawn to the domestic: old brushes still caked in paint, rusty tools, old maps, scuffed picture frames, postcards and photographs. Nothing is pristine. Every surface narrates its own passage through time. In recent years I have started to collect used linen, in particular old embroidered tablecloths, napkins and bed linen. Today these form the fabric of my stitched textile practice.

Being artistic dictates my life and enables me to be, as I said before, rather self indulgent. Our house is full of random bits and pieces that have caught my eye. Shelves overflow with books, remnants of cloth, thread and drawing materials.  Much of my time socially is spent with like minded people. I have a legitimate excuse to keep going to galleries and car boot sales. Luckily for me, my family support me though still shake their head and ask why when I show them my latest acquisition. I promise them one day I will be famous and I might even earn some money!

At the moment my work takes its starting point from my graduation show in 2011. Later this year however I intend to introduce new ‘Hengrels’ into my work. I had hoped to expand my work sooner but I have been completely overwhelmed by the response my work has had since its first showing. Consequently, I am repeating work to demand but I always ensure each piece is individual and unique in its own right which is achievable since all pieces are handmade.

I currently sell my work at exhibitions and through galleries. I have set up a website but it is still very much in its infancy. As a child my dream was to own an art studio, gallery and gift shop . I still have this dream but the closest I’ve come is to be able to enter ‘hengrels’ into google and have it come up with links to my website!

Currently I am working on different ways to expand my range in order to make it more affordable for a wider market. Originally my work consisted of framed pieces, now I have introduced greetings cards, fridge magnets, mugs and even t-shirts, Also, I am  working on a range of original digital prints which focus on the drawn image and are simply embellished with cloth in order to appeal to a different market.  In order to succeed as an artist today I do think you need to continually evolve your work and take note of what’s current.  In the future I would love to see stitched textiles gain recognition as a fine art. At the moment it is still seen by many as a hobby or craft as opposed to art.



The Big Strawberry and all that Jazz!

After all the excitement and the pomp and ceremony has faded away, it’s back to work as usual. The big Strawberry light went up and came down safely and I’m going to hang a little version in Arthurs if you fancy a peek!  It did look lovely!

Thought I’d share a couple of picks from the festival, don’t the lights look pretty?

Gosh it was COLD though!  Aargh… June?  Lucky we Brits are such a hardy bunch!

Still lovely atmosphere and well done to Lesley Christiane for getting it all together in such style, the music coming from the Jazz tent was amazing and warmed us up a treat (OK the calor gas fire helped a lot too!)  and  I also have to say thanks to the staff at Strawberry Hill House who did a splendid job and went beyond the call of duty in their positivity!  All good stuff, make sure ya’ll get tickets for next year because the  weather will be sunny and warm, the music will sweep you away and you’ll just have a fabulous time.



Artist Spotlight: Annie Rie

Annie’s work got an immediate reaction in the gallery, her small beautifully delicate paintings  manage to describe what feel like little memories we all participate in,  in a way that is classic, even poetic without ever falling into the trap of being sentimental. It’s a pleasure to be able to present her work here.

My inspiration comes from craftsmen and painters such as Christopher Whall, Laurence Whistler, Clare Leighton, Samuel Palmer and Paul Nash and I occasionally see their influence in the windows, door-panels and free-hanging pieces that I make. It also springs from the glorious view down the valley outside my kitchen window which constantly prompts me to work. I delight in knowing that I will never want to stop experimenting with and learning about this fascinating world of glass I have so recently encountered.

I love to see people enjoying the stained glass I make. I am always trying to improve my techniques and am always experimenting with light and shade. Stained glass both draws you in and is uplifting. I love creating light and shade, gaudy and gloom with the dazzlingly colourful glass palette spread out on my light box. As with 14th century glass painters, I mostly use mouth-blown glass and fuse black Glass Painters’ Stain on to it by kiln-firing.

The design, cutting out of glass and the painting all needs inspiration, whereas the leading up and the cementing and cleaning is definitely work! It is nice to have these two things to do as part of the stained glass process so if I am lacking inspiration I can go and do some work in the garage, but if it’s a cold day, I can treat myself to being inside with ideas. I look at books and enjoy the countryside around me. If I see something I photograph or draw it, then I play with pieces of glass to see what they mean to me.

If I have a lull in my flow of ideas then I have to be patient. I do other creative things whilst I am waiting for the ideas to come: caning chairs, patchwork or indigo dying with my daughters, screen printing t-shirts or graffiti stencilling with my sons, gardening, reading, sewing and walking. I have always been surrounded by a creative family in every sense of the word and this really helps. With time to think and reflect I think all these creative things help to bring about new ideas.

I have always done a lot of creative things throughout my life. It became clear stained glass painting was for me when I completed a one day course  and within a week I had bought a very small kiln with some money my mother (who was an artist) had left me when she died. Becoming an artist has meant that I now look at things much more closely and am much more aware of my surroundings. It has given me confidence. I am aware how lucky I am to have found something so absorbing just when I needed it most.

I like selling the work myself because I get feedback from people. Seeing people’s reactions is really interesting and rewarding. Belonging to a guild such as the Gloucestershire Guild of Craftsmen and the Cotswold Craftsmen is really supportive as there is always someone to share problems with. I use my own website  as a tool for people to remind themselves of my work and how to get in touch – not really as a selling tool.

Commissions are only done for people I feel I communicate well with. Usually commissions are inspirational – pushing me beyond my usual boundaries of work, collaborating and encouraging people to take part in the choice of glass and colour whilst keeping some decisions for me. Repeating work doesn’t worry me – it is therapeutic and I do this work whenever I start on anything new to get me going.  In any case, no one piece is ever the same.

In the end, my one wish would be for my stained glass to keep being enjoyed long after I am gone.

Artist Spotlight: Peter Garrard – Ceramics

Our first artist spotlight of the Summer show is on ceramicist Peter Garrard.  His gorgeous ceramic birdhouses are just amazing and really caught my imagination.  We here in Surrey to like to attract birds into our gardens and what better way than to treat them to one of these lovelies!  Peter also has a range of  ceramic panels that we’re very happy to show, quirky and beautiful at the same time.  To help you get to know Peter a little better he talks here about how he develops his work and what brought him to where he is now.

Some of my earliest memories are of making things; constructing towers of wooden blocks spiralling to the ceiling with my Dad on his return home from work; building dams in streams from boulders with my brother and playing with Lego every day for many years. I later went from building Lego houses to drawing the ideal home to live in and for many years thought I would become an architect. At secondary school I discovered clay and increasingly spent all my spare time in the Pottery. Many of my early sculptures were, of course, of buildings. By the time it came to apply for university I realised it had become more important to me to work with clay than to be an architect.

I now realise that by producing my art work I have had the privilege of being able to continue to play as an adult.


I also spent many hours as a child helping my Dad in the garden and reading history books in my room. On Sundays we went to church. All of this continues to inform my own art work to the present day with its recurring themes of Biblical imagery, historic architecture and the natural form.

After university I taught pottery and painting and drawing for many years in a secondary school. I found that, as a teacher, I was constantly thinking up new projects to do with the young people and was in turn inspired by what they produced. Much of my recent work is based on the collaging and mark-making experiments that I did with these classes. I enjoy the freedom of pressing found objects into the clay and then playfully combining the resultant images together to create a narrative.  While I was teaching I continued to make my own work in my spare time but always found that I had more ideas than time to realise them. As a result the subject matter and style of my own work would vary widely.

During the last few years I have spent less time teaching and more time on my own work so I have turned our dining room into my studio, giving me a space in our home where I could work and store all my materials. It makes such a difference when you can leave your experiments lying around and when you can have a quiet space where you can reflect and concentrate.  I find that I am in my studio, well into the evening most days.  I now feel it will be good to separate my home and work life a little more so I intend to build myself a larger studio in the garden, somewhere with more day light and space. I can’t wait.

I have repeatedly made sculpture to be placed outdoors. The initial inspiration for my bird houses was the vernacular architecture of the Cotswolds but I became
increasingly interested in buildings from my travels and particularly by the decorative qualities of the Moorish buildings of the Alhambra and of Cordoba. Close study of the ancient Chinese brass vessels at The Ashmolean in Oxford has also been influential. I always find it hugely inspiring to spend a day drawing somewhere like The Ashmolean or The Victoria and Albert Museum; I come away full of ideas for future work. In fact I am more likely to look at ancient artefacts than contemporary ceramics.












I don’t have any problems in producing work although there are times, when I am feeling less creative, when I might repeat work or go out and seek inspiration.  In fact just handling the clay can be wonderfully soothing and sometimes it is enough to be working on some simple repetitive task.  On other occasions I might simply ‘play’ with the clay. This develops a life of its own as I intuitively work with it and invariably results in something satisfying.

What I enjoy most is when I am set a new challenge such as to create a piece for commission, or as at the moment, making sculpture for a specific venue. My latest work is for The Rococo Gardens in Gloucestershire. Combining my love of history with nature I am creating a series of organic forms inspired by a wall hanging, an 18th century piece of Indian chintz fabric, which I found in the Ashmolean.  With this sort of ambitious task I find it helpful to go through a conscious design process, making studies of things I have found before going onto develop ideas through drawings and maquettes.


Summer Show launch evening and thanks!

A big big thank you to everyone who came to help us celebrate our new summer collection of gorgeous maker designer artwork.  It all went swimmingly, gliding effortless like a swan on the lake( with it’s feet paddling frantically under water). I for one, had a brilliant evening.  I keep trying to remind myself on these evening I’m supposed to be working but to be honest it’s so  lovely to just relax and meet everyone and …just……..breathe!   The atmosphere was really lovely and great fun as always, though I must say I have been left with more chocolate torte than I can cope with…oh lord… what IS a girl to do??  :-)   The night was also graced with live acoustic guitar by Geoff Haves whose playing perfectly complimented the sunny evening, he actually had another gig to go to that evening in Canary Wharf so big thanks to him for giving so much of his time and playing so beautifully!

Unveiling the new collection is so exciting and a huge amount of work goes into setting up the gallery, so it’s lovely to hear the positive feedback and really does make it all worth while. I’d like to thank Ray Mallaney, Gayle Joubert and Jessica Healing who all swept into action and worked their socks off to help prepare and get everything ship shape.

So who are the new talented crew who will be here for your delectation  for the next three months (drum roll please!)

I am proud to introduce work by:
Adam Aaronson (Blown Glass), Adriana Brinsmead-Stockham (Cast Glass), Alan Friend (complex and simple line drawings), Annie-Rie ( traditional painted stained glass), David Metcalff (Wire Sculpture), Elinor Lamond (Juicy colourful ceramic bead jewellery), Heather Bailey ( Bright and stunning mixed media wall art), Jeanne Lewi (Strange but alluring plant inspired ceramics), Jule Mallett ( Hengrel’s – Genetically modified hen humour textiles),  Kathryn Bonson (Ceramics inspired by her love of the Pennines), Linda Connelly (Enamelling – Quirky, feminine jewellery and artwork),

Liz Scrine (Light Box ceramics), Maria Pina Pintus (Glamorous and exciting jewellery), Michael Kusz (Recycled copper Love Bats), Patricia Spero & Gabor Lacko (Beautiful wood turned bowls and platters), Peter Garrard (Garden center peice ceramic bird houses and statement ceramic wall art), Steve Leaning (Classic Urban inspired ceramics) Yume Martin  (beautiful simple silver jewellery).


It’s such a treat to work  in this lovely place and a privilege to be surrounded by such amazing creativity.  It gives me food for thought every day about what we create in the world for ourselves and those around us.  There’s been sad news in Twickenham recently about much loved shops and business having to close their doors after years of trading.  Coupled with so much gloom and financial despondency in the news and on the TV it would be easy for a new kid on the block like us to see the world in a certain less than positive way.  I think sometimes when things get really challenging though, it’s good to think of it as a call to action in our own lives and in the world that is a bit more close to home.  There is a bigger picture than the immediate fog of  ’tough’ around us.  The choices we make around these times and in the smaller world that affects us directly, are the seeds that will grow into our future.

These artists are all driven by the desire to create, but I think we all are – the questionis, what are we creating?  Whether it be a pot, a painting, a glass lamp or a  business, a safe, caring and welcoming home or a loving partnership, we’re all creating all the time.  The more we focus on creating wonderful things for our lives, the less room the doom and gloom merchants in the outside world will have to unbalance us.  Sometimes changes are undeniably hard, especially when financially and emotionally things are absolutely not as we would like them to be, but perhaps we can flow more easily though the difficult times and eventually celebrate what ever changes happened, if we can see each thing as an opportunity to create something new, reinventing all the time – something to aim for anyway!    I hope this gallery will reflect that, reinventing all the time, creating a place where everyone can find something lovely that someone else has created especially for them, just when they need it!
Doesn’t it look gorgeous ?

Janis xx