20 August-3 September, 2012: St.David's Cathedral Cloister Gallery, St.David's, Pembrokeshire Wales.
20 September-3 October, 2012: Jeannie Avent Gallery, North Cross Road, East Dulwich, London.
2009: St.Olav's Gallery, The Norwegian Church, London.
2010: Gallerie d'Art Citadelle, Calvi, Corsica.
2011: St.David's Cathedral Cloister Gallery, St.Davis's, Pembrokeshire, Wales.
Posk Gallery, King Street, Hammersmith, London.
St Bartholomew's Hospital London.
Chelsea Methodist Church, King's Road, London.
A Collector’s Comment (by Carol Schoen, in New York):
I started collecting John's artwork about twenty years ago, beginning with a pastel of a nude which I saw in John's house with which I was immediately captivated. It was one of a woman seen from the rear and the tension between the demure pose was carefully captured and gave the picture an electric charge. Only John, I thought, could see the very gentle woman locked into a husky frame.
Most of the works I have bought since then are abstract, but the tension and electricity persist. Now the contrasts seem to focus on the conflict between the linear and the spatial demands of the work. In one, a sharp straight line cuts the space into two unequal sections: each complete in itself - one showing two irregular circles while the other contains a collage of rectangular paper - yet somehow striving to overcome the division. In another, called 'Sgraffito' the sense of division is expressed equally, but the dividing line itself is more fully explored: a thin white line inscribing the separation, possibly between two ancient terra cotta buildings, with a deep blue background accentuating the separation.
My most recent acquisition moves in still another direction. Stark black and white units slash diagonally across the print, their force mitigated by a second print in the lower right hand corner showing a charming domestic scene of a table and a window view of a New York skyline - tension and electricity, line versus space, gentle versus strong, now combined in one image.
Following John's career has been a joy.
About the Pictures:
The paintings use a textural approach, with gesso, sand and encrustations of wire or metal, often with acrylic and maybe a touch of gold leaf. They usually incorporate photographic imagery which leads to a title to help the viewer decipher the narrative content, although the story you tell yourself will be different from mine, and probably better.
Since some of the work stems from periods spent in Corsica, you may recognize elements of sea, beach, blue skies and sunshine, though not literally, more a suggestion. Other images refer to historical moments, some dark or even, more recently, to political events. The choice of colours may also be symbolic.
Meditative monoprints deal in space, light, sky, land and water. They are at the mystical end of the spectrum one never tires of because they lead into dreramscapes. All are one-offs, sometimes with phototransfers, where the title will lead you into the spirit of the image.
Most are mounted on canvas and varnished matt, ready to frame and to glaze if you so wish.