Kings Hill, Kent

Alan Rankle, Lost Horizon, Oil on canvas, 76x101cm

Alan Rankle born in 1952 is an artist and curator whose work explores historical, social and environmental issues informed by his interest in the evolution of landscape art. Since his first exhibition at the Institute of Contemporary Arts London in 1973 while still a student at Goldsmiths College, he has worked variously in painting, video, photography, printmaking, architectural intervention and curating, through a series of international exhibitions and commissions.

Retrospective surveys of his work have been presented at Gallery Oldham in 2006 and Fondazione Stelline, Milan in 2010 where he also began his critically acclaimed series of collaborative exhibitions On the Edge of Wrong with the artist Kirsten Reynolds. Recent projects include curating the exhibition Axis: London Milano for Fabbrica del Vapore in Milan with Claudia De Grandi and a prize winning immersive installation Riverside Suites at the Lowry Hotel, Manchester in collaboration with the designer Veronica Givone and AFK Architects.

Kirsten Reynolds, Never Ending, 122×152, oil and acrylic on canvas.

Kirsten Reynolds makes art that deals in revelation. Working in drawing, sculpture, installation, painting, print, photography and sound she makes radical re-interpretations of classical and traditional themes and is often inspired by historical, scientific and philosophical ideas concerning the natural world. Following in the footsteps of the Dadaists and Futurists, Reynolds uses unusual combinations of modern and ancient techniques and materials to create intuitive and uniquely personal works.

Ella Clocksin, Phrasing, Water based mixed media, 80x100cm
I love words. But I make art about inarticulate types of experience and the insufficiency of words in communication.
My work hinges on interactions between observation/abstraction, drawing/painting, visual/acoustic, beauty/trauma, intuition/ideas and the articulated/the unsaid.
Whether working in ancient woodlands, a city shopping centre, or collaborating with other creative practitioners, I’m interested in the emergence of visual form for human experiences that aren’t readily put into words.
And the allusive qualities of watercolour and soluble drawing media echo the fluidity both of recall and of emerging perception in the present moment.
So a cloud of marks becomes communicative but impossible to translate precisely. An illegible calligraphic line gestures to that which cannot be written. And the abstract indicates what remains unsaid in the shadows of relationships or unsayable in intense emotional experience.
With a cross-disciplinary background in literature and psychotherapy, my work is influenced by literary and forest mythologies, philosophies about how we know what we ‘know,’ and psychotherapeutic understandings of what can and cannot be said. And, in landscape, an inexplicable but profound sense of place.

Rue Asher, Floating Landscape, Acrylic & mixed media on canvas

My work varies from broad expressive energetic mark making to a gentler approach to evoke a particular mood. Inspired by the local area, they represent memories of places I’ve visited, recollections reordered and re imagined back at my studio. 
Each painting is a personal investigation populated by ambiguous figures, moments, landscapes and distortions, dissembled and reconstructed into something timeless and shifting. I like to explore texture, excavated marks and imprints of what’s left behind.

Frances Doherty
From 1986 to 1996 I owned a restaurant in Brighton and sold it when I became hooked on ceramics at an evening class. So that I could study the subject further. I spent five years at college, studying photography and plastics as well as ceramics. When I graduated in 2001, I took out a lease on workshop premises in Hove, and sublet spaces to other artists/craftspeople. Since then I have exhibited and sold my work at art fairs and galleries throughout the British Isles. In 2004 I won an award for Best Newcomer at BCTF, and have written features for their magazine “The Craftsman’. I took a post grad in teaching and learning in HE, and have worked part-time as a tutor at Northbrook College, Brighton University and HMP Ford.
My inspiration comes from flowers and plants that we see all around us, in gardens, fields even cracks in the pavement. I particularly love the secret worlds inside these flowers, in the patterns and textures hidden away that give a continuing sense of promise and renewal.
Until 2005 my work had been mainly in the domestic & functional arena, but then I decided to work on larger, often one off, sculptural pieces. So far, I have concentrated on the forms of seed pods and fruiting bodies which ties in with my earlier work, but which looks completely different.
I like to play with scale and will often imagine the size that a plant must appear to an insect…what is it about the flower that attracts or repels?  Often I will scale my sculpture up so that we can have an ‘insects eye view’ of it.
I work in stoneware, throwing the basic shape of the sculpture, then I alter and model onto it. This gives me a certain speed and control which is the way I prefer to work. My pieces are high fired so that they can go into an interior or exterior environment.
My glazes are chosen to compliment the form and are often slightly chrystalline or irradescent, this makes the pieces glow.

Diccon Dadey, Gorilla, Powder coated steel

Most sculptures are fabricated entirely from sheet metal but some introduce mixed media in the form of salvaged or drift wood to enhance the representation of nature.  Others are made entirely from scrap metal: reusing materials and reforming them into a beautiful piece of art which reflects nature and which, somehow, seems a fitting way of demonstrating the ongoing worth of the materials often so readily discarded.

Many of the artist’s pieces are an observation of nature, using this man-made material to capture the unique movement, character and alertness for which animals and birds are so much loved and which makes these sculptures such a popular personal art choice.

Kate Rochester, Drift, 60x80cm

I am a contemporary artist based in Newhaven, East Sussex.

 My paintings are free and expressive, bursting with colour and movement. 

Sketching ‘en plain air’, my work is influenced by the light and energy of the ever changing environment. Working with a fresh contemporary palette, my paintings are an extension of my sketch book and become a dance of mark making and a call and response process.  Each mark or colour bouncing off previous lines, strokes and textures. Pieces develop with different shapes, scales, line quality, spacing, tones, and colour, capturing the fluidity and movement of the sea near my home, but also its harmony with the connecting grasslands and countryside.


Control Tower Gallery, Kirsten Reynolds & Alan Rankle
Control Tower Gallery
Control Tower Gallery