PAiNT Exhibition – Undercroft – Norwich


We are privileged to be alive at a time when painting is not dominated by one single movement, at present we see the flourishing of many different styles, techniques, subjects, and themes. We have a wealth of artists of various backgrounds pushing at the boundaries of painting. Paint is an exhibition of over 22 artists all working in their own individual style, all very different but all producing interesting high quality and sometimes challenging work.

As well as being and exhibition there will also be artist lead practical workshops and a series of talks on Art history by art historian Andrew Taylor. To find out more or to book a place please visit the Workshops page and to see a list of the artists exhibiting visit the Artists page. 

Opening Times

Wednesday – Saturday 10am – 5pm

Sundays 11am – 4pm

The Undercoft is located below the War Memorial opposite City Hall, St. Peters Street, Norwich. Access via the right side door, top of the market, opposite the Guildhall.


Because I Do Not Hope To…

A painted illustration inspired by part one of T.S. Eliot’s poem Ash Wednesday (1930). The poem concerns Eliot’s struggle with converting to Anglicanism.

Eliot’s words easily conjure vivid imagery in the mind of the reader; akin to being a youngster reading Tolkien’s Lord of the Rings and being enthralled by Fog on the Barrow-downs.

When this painting was still confined by sketches in pen, it seemed to be an inspired choice using readily available source material. The poem is in six parts. So six paintings, each referring to its constituent part, felt like a great idea. Knowing Ash Wednesday (February 18th 2015) was five to six weeks away gave a degree of urgency to the work.

For the most part this painting has been thoroughly enjoyable to compose (I’ve retained images documenting the painting’s progression), especially during some of the most glorious winter skies over Norfolk. This is something I’ve never really explored before; a direct observation of something that, may, directly inform the work. Some of my other work is born of observation, however those observations will have been constructed over a period of time and consequently are indirect; they are musings.

During the process of painting, I visited the REALITY exhibition at the Sainsbury Centre for Visual Arts.

Curated by artist Chris Stevens, REALITY explores contemporary British painting featuring works by Graham Crowley, Ken Currie, David Hockney, Paula Rego, Jenny Saville, and Caroline Walker, amongst others.

The exhibition helped peel away a layer of ego.

Graham Crowley, a former Professor of Painting at The Royal College of Art (1998 – 2006), gave a talk to the Norwich Twenty Group of artists. This talk helped peel away another layer of ego.

These two layers revealed the underlying importance of flesh and substance; illustration or painting.

If it is painting one wish to explore, then painting must be considered as the primary source. If it is a painting using secondary source material as primary, then an illustration is the likely outcome.

Manet thanks…aw 1000 pix

Writing can be painting with words that make sounds….

Extravagant capitulations expect,

Inward ballooning affable syndrome:

Abalaster comparable decisions?

Functioning wit,

Arrogant twit,

Modernist pursuit condemned,

Hilariously divulged information,

Set in stone!

Set in stone?

Set in stone be alone on a mobile phone.


Blocked access

Redefined as song

Fathom the beast down and down

Into the ink

The black

Swarms and pools forget these fools.


Swifts circle and bees bumble,

Summer garden spinning turntable,

Syntax error reads:

Unable to complete command!

Romance and trees,

Dreams amongst leaves

Newspaper category locality,

Reorganise amfortitude

Possible outcome says no

Says no as does,

He says no as does,

Says no.


Artist Statement

My artist statement evolves along with my work; as the work develops the statement may need to be adjusted. The statement can often be useful in guiding the work along during those moments of multiple neurobiological inconsistencies. Such occasions are to be celebrated. Enabling movement creates lucidity.

Existing artworks transformed by processes affecting the material, subject, and outcome.

My current art practice explores common values in art by hand-cutting into found art objects; transforming and re-presenting them as my own this process questions both my and the original artist’s role as well as criticising interpretations of the financial and historical values placed on art. The work can, on occasion, be specific to an exhibition’s location or context and seeks to question the economics of the art market, and bourgeoisie attitudes towards art.

Some of the artwork features a value, in written form, hand-cut from the canvas – this is important as hand-cutting the value relates to traditional drawing and painting skills – and in some cases this is the selling price of the work. A deliberately polarising statement…Can the work be worth the value cut from it? Maybe the work becomes more or less valuable before, during or after my involvement. Whatever questions are asked there appears to be a definite value attached to the work through my involvement and forms only a part of the dialogues that may be raised.

Amusing and possible outcomes from this body of work could be if any of them are resold for a figure higher or lower than that cut out of the canvas, e.g. a work with £2000 cut from then resold for £500 or £3000

Other artworks being produced involve recycling some of my earlier paintings that have been exhibited elsewhere. Deconstructing these works and reconstructing them as new artworks presents a unique opportunity to see how an artist directs their evolving artistic practice and output.