Edwina leapman biography of williams

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London has a pleasant new art gallery at the Jerwood Space, Union Street, SE1. The building looks totally modern from the outside, but is a converted 19th-century school, cleverly adapted for the Jerwood Foundation's present-day purposes. Most of the floor area is occupied by five rehearsal spaces which are used by dance and theatre companies. The one I saw was excellent. Downstairs there's a cafe, a sculpture courtyard is at the back and the gallery opens on the street.

This is a fast-developing part of Southwark. Even though there are not many people in the streets, there are large new banks, surely a sign that the future is waiting to spring on us. The Jerwood Space is quite close to the Globe Theatre and the new Tate Gallery at Bankside. I expect that Union Street will become a popular venue by the millennium. It has started quite well. The first show looks good, if not spectacular. The previously homeless Jerwood Painting Prize is now in its fifth year and has become an established part of the British art scene, not least because its winner receives the sizeable sum of pounds 30, The Prize is also popular because it concentrates on painting, a vital contemporary art form that's often overlooked by the conceptual establishment. Furthermore, there's none of the ageism that tends to creep into art competitions these days. Most of the 10 shortlisted artists who make up the exhibition are in their thirties, while two of them, Basil Beattie and Edwina Leapman, are in their sixties. Significantly, both of them are painting with more authority than at any previous time in their careers.

Leapman, as always, exhibits can-vases in which some five or six dozen stripes run horizontally and in parallel from one edge of the picture to the other. These stripes have a variegated touch and muted colour. For some years Leapman used only white - grey, that is, for very few white paintings are absolutely white.

Edwina Leapman and Annely Juda Fine Art have a long-standing history together, resulting in numerous solo shows since her first with the gallery in This exhibition brings together recent work with earlier paintings from the ’s and 80’s, highlighting Leapman’s move from the early monochromatic canvases to the more recent coloured paintings.

The early works show pronounced lines that are rendered in thin transparent whites, whereas the later work contrasts broad colourful brushstrokes painted over contrasting base colours; ranging from shimmering blues to dark reds and purples. Guided by parallel lines, Leapman draws a brush across the canvas from left to right, thus the paint engages with the weave of the canvas with varying intensity and depth, resulting in her characteristic paintings with their rhythmic, resonating surfaces.

Leapman originally worked figuratively and her early abstract works were a natural evolution from her exploration of Chinese landscapes coupled with her longstanding interest in music and the timely influence of Abstract Expressionism and Minimalism. Her attempts to portray music in painting resulted in an exploration beyond the representation of a musical performance to the underlying structure of the music itself; she wanted to explore sonority, both in music and painting, revealing their common harmonies and tones. Leapman asserts “Sonority is a word to describe a feeling that I would like to find, in painting as in music.” Implicit in her paintings, as in music, is the notion that colour, tone and light influence the emotions. Complementing this, the gallery space allows for a changing experience of Leapman’s paintings with the different conditions of light and space, juxtaposing early and recent works like the differing harmonies that find unity in a single piece of music.

[73] pp.; x 4 x cm.; loose leaves; slipcase; black-and-white; edition size ; unsigned and numbered; offset-printed Exhibition catalogue published in conjunction with show held at Coracle Press, London, in Artists include Roger Ackling, Reg Ashton, Tony Ashton, Robin Bagilhole, Allen Barker, Glen Baxter, Gavin Bennett, Boris Brook, David Brown, Jennifer Buxton RMS, Peter Cartwright, John Christie, Tom Clark, Laurie Clark, Les Coleman, Martin Cook, Simon Cutts, Rosemary Deval, Stephen Duncalf, Paul Eachus, Kenelm Evans, Martin Fidler, Noel Forster, Terry Frost, John Furnival, Phillida Gili, Peter Gordon-Stables, Paul Hammond, Jonette Harley-Peters, Glynn Boyd Harte, Adrian Heath, Anthony Hill, Charlie Holmes, Patrick Hughes, Tess Jaray, David Johnstone, Ron King, Brian Lane, Eileen Lawrence, Edwina Leapman, David Lehrle, Kim Lim, Stuart Mills, Brodnax Moore, Dave Morris, Glen Onwin, Eduardo Paolozzi, Roy A. Perry, Tom Phillips, David Prentice, Dinah Prentice, Kay Roberts, Martin Rogers, Archie Puff, William Scott, Stephen Skidmore, Birgit Ski�ld, Diane Slocock, Karl Torok, Ian Tyson, Darrell Viner, Shelagh Wakely, Warren Editions, Alan Welsford, Madelaine Westwood, Steve Wheatley, David Willetts, Julia Wilson, Richard Wilson and Trevor Winkfield. Catalogue consists of 71 loose cards each one devoted to an artist in the exhibition with a black-white-image of their work one side and caption information on the other, housed in a printed paper slipcase. Very Good. Complete set. Cards in Fine condition. Light flattening of box, with 2 mm. of soiling to recto. Number /