We re-open for the new season on Saturday 28 March 2015
We launch this year’s exhibition programme with a tribute to the artist Roger Ackling (1947 – 2014). This show sets the tone for a season that offers a wider perspective to the consideration of art in a rural context.
In addition to Roger Ackling – Sun Histories (28 March – 17 May); the early part of the programme will also include work from young emerging artists in Cornwall and London in Testing Tropes (23 May – 12 July). Paul Chaney will return through the month of May to continue his ongoing research into low impact ‘grass roots’ architecture with the design and construction of a temporary pavilion, Encampment Supreme.
The Cornwall Workshops will once again be hosted at Kestle Barton this year, in May and October. Following the debut last year, the Summer Solstice on 21 June will feature the return of Abigail Reynolds’ piece Double Brass, performed by St Keverne Band in the wild flower meadow at noon; with musical composition, Troheaul, written by Gareth Churcher.
Moos/Moss (18 July – 6 September) is an exhibition by German artist Andrea Büttner, on show through the summer holidays to provide thoughtful commentary on the simple beauty of the ‘overlooked’ and the reverent power of woodcuts on paper made on a large scale.
The final show of the season will be a wonderful collection of Bryan Ingham’s etchings of ‘Jollytown’. These depictions of his own home, just down the road from Kestle Barton at Lizard Point, were made over a ten year span of time; Bryan Ingham – Jollytown, Etchings 1968 – 1978 (12 September – 31 October). This show coincides with the launch of a new book about the life and work of Bryan Ingham by Simon Marsh; who has been pivotal in the making of the show. Late in the season Kestle Barton will also be featuring Spontonality – a music improvisation sequence with Matthew Barley, Tim West and guests (10-15 October).
28 March - 17 May 2015
‘Roger Ackling makes his work out of doors. He draws by focusing the sun’s rays through a magnifying glass and burning lines on the surface of a small piece of wood or card. He works from left to right across the surface of the piece with the sun always at his shoulder. The lines are photographic in its truest sense. Each mark or dot is a small black sun. Each line is a repeat pattern of burnt sun images, scaled down many million times. Images of the sun, that is, minus any object which intervenes between the glass in his hand and the sun one hundred and fifty million kilometres away; when a bird passes overhead, its shadow is captured within the burnt sunspot. An outline blocking out the light may be as small as a bird or as large as a cloud, but its presence registers. Each dot records the history of the sun’s ray on its journey to earth.’
Sylvia Ackling, Weybourne – 1996
Kestle Barton is very pleased to be able to show an exhibition of work by the late Roger Ackling. His direct collaboration with the natural environment offers a thoughtful and sensitive approach to visual representation. The artwork for this exhibition is graciously provided on loan from the vast collection held by Annely Juda Fine Art; with kind support from Sylvia Ackling.