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To open thegallery@360° we are joining the North Devon Festival and Art Trek to present an opening show featuring a selection of stunning work by our resident and special guest artists which include:

Bob Crooks - glass maker.

Bob Crooks is one of Britain’s most highly recognised leading glass makers. Renown for the high quality, skilfully executed dynamic forms and surfaces, he has been producing over the last twelve years. Continuously thinking or original and challenging ideas. His work has been exhibited at international level and in noted exhibitions in Italy, China, Scandinavia, Australia and The USA, alongside many exhibitions at home in the UK.

Each piece is designed, handmade and finished by Bob. No moulds are used to create the forms or surfaces achieved.

The pieces are inspired by geometry, architecture and the natural and man-made worlds we live in as well as the qualities and capabilities of glass itself. Throughout the variety of the work, Bob exploits the many properties of the material through refraction or reflection; sharpness or softness; transparency or opacity; working with it’s fluidity and ‘freezing’ it as the desired form is realised.

Within the range of production work made, Bob has consciously developed work that is, because of the nature of different applications, a one-off  it is not possible to make two pieces identical.

The unique pieces have now escalated in size, creating a more dramatic statement. Although large scale, closer inspection reveals intricacies that demand ones eye. The resultant objects demonstrate a masterly love of the material with attention to fine detail. Sarah Edwards (Photography by Ian Jackson)

Elizabeth Lanfear - drawings.

elizabeth lanfearHaving achieved a First Class Honours degree in History of Art and English at York, and a Post-graduate diploma in easel painting conservation at the Courtauld Institute, Elizabeth worked as a freelance conservator for the National Trust and private conservators before setting up her drawing studio in 2007.

Concentrating largely on native wild plants and birds, Elizabeth’s contemporary pen and ink drawings are influenced by a Japanese aesthetic in their subtlety of colour and use of space, whilst also combining the clarity of line and detail seen in the work of some late nineteenth century graphic illustrators.

The paper. Integral to the conception of each piece emphasises the fragility and transience of the natural forms with the chosen composition often highlighting elements of decay and loss.

When displayed in the form of a diptych or triptych, formats traditionally associated with Western religious painting, the status of often-overlooked subjects is elevated out of the everyday into the iconic. Their depiction attempts to create a new appreciation of the intricate detail and quiet tenacity of the commonplace.

Sam Walsh - furniture maker.

Samual Walsh studied furniture design and craftsmanship at Cornwall College and Nottingham, graduation in 1999 with a B.A. Hons in Applied Furniture Studies. He went on to work for several employers on both production and high-end bespoke furniture before spending 2 years teaching furniture design crafts in Nigeria with VSO.

Samual set up his own business as a designer and maker of furniture in 2005 and operates from a shared workshop in North Devon. He works largely to commission as well as creating individual pieces for exhibition.

A recent project, funded by the Arts Council England, was based upon creating pieces of furniture to reflect and embody the Penwith peninsular in Cornwall. Other designs have been influenced by landscape and culture ranging from the stones of Bodmin Moor to the flamboyant and colourful material worn by the ladies of Nigeria.

At the heart of Sam’s practice is a desire to push the boundaries of design and to make furniture that surprises and delights at the same time as fulfilling its function.

Peter Ward - painter.

It has been said that artists remind us of what we have lost, and this is certainly true of Peter Ward. He connects us to the very beginning of the earth, to the beginning of art and the beginning of life”. Sandy Brown. Resurgence magazine

Peter’s most recent paintings joyfully and humorously juxtapose the deeply spiritual resonance of ancient earth pigments with contemporary idea and imagery, placing the idea of a living earth very much in the now.

The use of locally discovered pigments has brought work intimately in touch with the idea of ‘artistic process’, from gathering the materials and mixing and creating his own paints, to producing images alive with deep resonance of the natural world.

Peter has sourced over twenty individual pigments from his local North Devon environment. From ‘raw umber’ in the River Umber near Combe Martin, to copper and iron from the historic mines in North Molton, where his direct ancestors mined in the early 19th century, Peter has explored his matrilineal homelands with individual intuitive enthusiasm.

The raw materials that he collects are then used either directly, with water, mixed with polyvinyl acetate glue, or ground with pestle and mortar and bound with linseed oil to create very raw ‘oil paints’.