- Venue
- The Morvah Schoolhouse
- Location
- South West England
The area near Morvah, where the current exhibition is situated has many lovely, sheltered coves with sandy beaches like Portcurno, Lamorna and Portgwarra. It is the latter which features prominently in the oil pastels in the current show. The grey of the rocks cascading down the hillside set off the vibrant colours that constitute the excitement and fascination of these works. Paintings which convey a contentment and fullness appropriate to both the physical setting of the gallery and the season. The violet heathers and russet bracken between the random masses of dun boulders illustrate the grandeur of this part of Penwith from skyline down to the protected inlet and the sea itself. Yet human factors are joyfully indicated in the meandering coastal road and the brightly colours of the various punts drawn up in a cheerful huddle on the beach.
“There are no hidden meanings”, Angela writes in her personal statement. No, instead these works have an open generosity; a sense of abundance in this part of Cornwall. The pastels depict Mousehole, Carn Kenidjack, Newlyn and Morvah itself. The latter shows horses and riders, a subject she greatly loves, cantering through the foreground. There is a sense of movement and of freedom in these gemütlich paintings. Angela loves animals; cows, chickens, giraffes, mares and foals and she has affection too for everything from strawberry trees to geraniums. Much of her work shows a wry sense of humour and a humane feeling for activity from The Ark unloading, a model feeling the chill in the life class studio, pink washing blowing in a gentle breeze, cyclists passing a paint shop and the fishing boat in port. Figures are shown in context, in the studio or out of doors. Her palette has been influenced by her experiences in Africa, in Zambia and Botswana. She says, “I have been fortunate enough to have lived in a great number of places” and these visual memories are clearly displayed in the vivacity of her current work.
Angela has worked as a medical illustrator and in education. She has told of her affection for Bonnard, for Rose Hilton and her boundless admiration for Matisse. Perhaps it is the latter’s feeling for design which shows through in her ceramic works such as her Blue Jug and in the elaborate scraffito patterns on the Big Plate. She has been advised by the well-known Jason Wason whose pottery work she esteems and cherishes. There is perhaps a trace of this influence in the unusual horse lid jug.
Mention should also be made of the splendid figure drawings, works executed in ink and acrylic. There is the domestic simplicity of Maggie and Motley and what is probably the same model on a sofa with an elaborate decorated throw. This exhibition is characterised by affection and humility. It is compositions like these in this superb setting that sustain our sanity in trying times.
