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Past exhibitions at Rochester Art Gallery and Craft Case




Of Fireships & Iron - Lily Dudley, Laura Dunnage, Heather Haythornthwaite, Xtina Lamb and Adam Newton

Enbosu - New work by Wendy Daws

Trace Engines – Drawings & prints by Gary Clough                            

Occupation - Steve Mace





Drawn to Ohio

Rust and Bloom

Billy Childish in print









Apertures of Light

Data Exhibition

Inflatable Archive




2014Time Lapsed

Beyond Boundaries

A Thousand Words

Time Lapsed Marissa Mardon

The Skull Grins Relentless





Richard Heeps

Jessie Brennan

The Illustrator's Art

Kaleidoscope - Printed Textiles by Neil Bottle

Man's Ruin - Richard Heeps

Being and Nothingness - Matt Bray





Clearfell by Andrew MackenzieUnder A Bridge - Simon Barker 

Resonance - Susie MacMurray 

Evaluation of Space

Passing Reflections - Rosie James 

Imago: Silverpoint Drawings and Paintings - Reza Ben Gajra




Photo of Sea Rhythms by Wendy SmithSedimental - Stephen Turner 

Seaflowers - Wendy Smith 

Vessel: Still Points / Turning Worlds

Conditions of Abstraction - Marta Marcé




Roses and Other Flowers in a Vase (Philosophy of Futility) by Rikard ÖsterlundGet Real  

Women of Mettle

Suspended Animation

Thread Bare






Of Fireships & Iron

2 June – 27 August 2017

Bom Adam Newton

New works by Lily Dudley, Laura Dunnage, Heather Haythornthwaite, Xtina Lamb and Adam Newton.

Winners of the Medway Printmakers Bursary 2017

Rochester Art Gallery & Rochester Cathedral

Five Medway based artists, all pushing the boundaries of contemporary printmaking are showing their work as part of Heatherthe 350 year commemorations of the Battle of Medway and Medway Print Festival 2017. Working in partnership with the Guildhall Museum, the artists used the collection of Dutch prints (currently on display at the museum for the first time), as inspiration for work that explores the location, history and stories of the Dutch raid.

Lily Dudley has devised works with a textured surface, experimenting with iron, screen printing and digital processes, she has used details of a historic engraving to create a narrative.

Laura Dunnage has crafted a collection of hand built, ceramic pieces that shadow the shapes and details of the battleships, referencing archive images of portraits, maps and newspaper articles.

Heather Haythornthwaite’s composite hybrid print uses traditional and contemporary print techniques, exploring the Raid as seen from different cultural contexts, this piece is being exhibited in the Cathedral.


Xtina Lamb has collected objects on mudlarking trips along the Medway shores where the Dutch Raid took place, taking impressions from them to make large scale monoprints with a ghostly resonance of the river's history.

Adam Newton has explored printing on and with iron, using the image of the defensive chain that was raised across the river during the battle, to investigate the wider theme of chains as a symbol and metaphor.Image

#Bom350 #OfFireshipsAndIron





Enbosu - New work by Wendy Daws

13 March – 21 May 2017 - ‘Enbosu’ - New work by Wendy Daws

Enbosu is the culmination of a year-long Arts Council England supported project called The Value of Touch, led by award winning artist Wendy Daws.Starburst

Enbosu (‘to emboss’ in Japanese) explores notions of memory and interpretation through touch. Created by Daws, this new collection of tactile embossed paper works uses Japanese woodblock printing and low relief casting techniques to visually represent different eye conditions. The Japanese method of ‘Karazuri’ (or ‘empty printing’) informs the aesthetics of the exhibition while the gold reference running through the work relates to ‘Kintsugi’ - the Japanese art of repairing damaged pottery with gold and also to the medical use of gold used in certain eye conditions.

Daws is well known for her inspiring and highly creative participatory work with marginalised groups, notably blind and partially sighted and older people. With the participants she has created a host of remarkable projects, facilitating not only their creative exploration of the world, but her own artistic response to what they feel and experience throughout the collaboration.

The Craft Case will feature work by printmaker Laura Boswell who has been teaching Daws the craft of Japanese woodblock carving and printing.

The exhibition interpretation will be produced in Braille and large print texts.


Trace Engines – Drawings & prints by Gary Clough

24 November - 18 Feb 17

FreeGary Clough

Semblance ‘the outward appearance or apparent form of something, especially when the reality is different’ -Oxford Dictionary of English

Trace Engines explore the tense relationship between the world of things and their images. The amalgamated drawings flatten the world of three-dimensional objects into a diagrammatic plane of lines, shapes and shading. They are at once abstract and literal, but in bringing together the flat outline forms suggestive of man-made objects such as airplanes, vases, buildings and machinery, they create new and abstract contexts for the objects that possibly inspired them.

In this often incongruous coming together, where big things are made small and round things are made flat, Trace Engines play with notions of archetype. True to the iterative nature of their creation, the drawings have only a fleeting clarity that sees the clean crisp lines of their tracing bleed and blur in the act of mono-printing, the process becoming the means through which the work undoes itself.

Rochester-based artist Gary Clough is Head of International Pathways at UCA and a tutor in art and design. Trace Engines was developed through a collaboration with the AIP Centre in Guangzhou, China and the University for the Creative Arts.



Occupation by Steve Mace

26 August - 12 November 2016

Having formerly owned a factory in Medway, Steve Mace captures the production lines and occupations of local industry.

His work references the patterns and rhythms of industrial work, cemented with rigorous research from his own experiences and those of others. From cement dust to concrete and steel, ‘Occupation’ questions the security of zero hour contracts that are offered to workers today.

Traces of the economic uncertainty vs. yesteryear’s lifetime occupations are also referenced throughout Mace’s work.


Steve Mace







Billy Childish in print

27 May - 14 August 2016Billy Childish

Billy Childish, Medway-based painter, poet and musician, has been active in the field of printmaking and small press publications since the mid 70s. This survey exhibition brings together works from the artist’s extensive archive in a variety of media, from early punk fanzines, to recent print editions. Many books, woodcuts, etchings, mono prints and posters spanning Childish’s eclectic career have been included.

Some of Childish’s earliest printed works were fanzines, dating from 1977-79. These show his twin interests in Punk rock and Dada (notably Kurt Schwitters). These fanzines soon expanded, including poetry, collage and handmade books. The artist began making woodcuts in the early 1980s, influenced by Edvard Munch and Karl Schmiditt-Routlouf (the German Expressionist’s Die Brucke group).

Many of these prints appeared as covers to poetry chapbooks published by his small press Hangman Books - and to accompany (not illustrate) the poems.

As well as original woodblock prints from the 1980s more recent print editions (including hand painted photogravure etchings, monoprints, hand stamped record sleeves, limited edition books, Gestetner prints, and polemic posters have been included in the survey.

Working closely with The L-13 Light Industrial Workshop, Clerkenwell a new poster has been specially commissioned for the show and will be available to the public.


Rust and Bloom - paintings by Hannah Maybank

26 February - 15 May 2016Hannah Maybank Adeline

An exploration into the subject of decay and renewal through paint and flora.

We always yearn for those things that we can't quite capture. There is great beauty in loss and impermanence. This can be personified by a flower teetering on the 'perfection' of full bloom only to tip over into deterioration and transition.

Material presence is of great importance within the paintings. By making my own watercolours I relish the pigments that move and react with one another beyond my control. An example of this is verdigris that seeps from brilliant emerald green back to the copper colour of its origin. Cast iron powder blooms with rust as the seasons change.

In my acrylic and latex works, paint is layered again and again over pockets of latex – wrapping the picture up to produce it’s own ‘rings of a tree’. These painted layers are then ruptured to reveal the composition and lifespan of the piece as it breaks out of or dies back from the surface.

By using the physicality of paint, repetition, reaction and the subject of flora these works hold an implied or actual ‘life’ of their own beyond completion.

The Craft Case - Emma CleggEmma Clegg three lovely bowls

Emma Clegg uses only porcelain clay, arguably the most difficult of clays to master, to create her translucent, delicate ceramics.

Using both throwing and hand building techniques, each piece is asymmetrical and organically grows from its base as it's made. She is inspired by the Cotswold hedgerows near her studio and the floral work of Edward Raby.

She has exhibited widely and has been commissioned by clients including Fortnum & Mason, Sothebys and Hidcote Garden.


Drawn to Ohio

27 November 2015 - 13 February 2016Drawn to Ohio - RAG

The exhibition Drawn to Ohio is collated from work made over the last seven years, in which Shelly Goldsmith explores both the geographical and emotional distance between Goldsmith’s home in Ramsgate, Thanet on the Kent coast and Cincinnati, Ohio, and environs, where Goldsmith’s parents live. This on-going theme has re-occurred in Goldsmith’s work for many years, expressed through a series of textile based pieces.

The work draws both upon the high incident of dramatic meteorological events that prevail in this area of the US and our relationship with the clothes we wear, and the emotions and memories that these garments are imbued with: themes constant in Goldsmith's work.

The work presented for Drawn to Ohio uses a palette of textile traditions and new media, ranging from charcoal drawings, hand stitching to digital printing on pre-constructed garments and photography. Pieces are presented as installation works as well as wall hung pieces and Limited Edition Prints.

Anima Exhibition

28 August – 14 November 2015palm canyon

Join us at 6.30pm on Thursday, 10 September for the opening reception of Anima at Rochester Art Gallery.

Dan Perfect’s paintings begin with improvisational mark-making on paper. That vocabulary is then expanded through digital compositing to inspire large-scale canvases full of detail, colour and dramatic gesture. These evoke a natural world bound up with technology; bold brush marks and sinewy flashes of neon dart across fluid, spacious backgrounds, whilst nascent figures, masks and beasts emerge as if summoned from some primal formlessness. Implicit in Perfect’s practice is the question of how and when something animate arises; how we recognise ourselves emerge from the vast flowing river of sense data and our endless surprise at burgeoning self-consciousness and mutating identity.

Perfect’s recent paintings eschew previously explicit forms to create an abstract sensate field, with a profusion of drifting elements. Several possible readings are suggested: the paintings as portraits; the frenzied actions of biology on a micro-scale; the hybrid forms of human information language.

Craft Case

Tommaso Corvi-Mora has been running a contemporary art gallery in London since 1995. In 2009 he started taking evening classes in ceramics at Morley College, with his interest centred on functional ware, with a particular focus on the irregularities of the hand-made and on the evocative powers of forms dictated by function.

This exhibition marks the first presentation of the Heads series. Every part of each sculpture is wheel-thrown and assembled and most of them maintain the functional quality that characterises wheel-thrown ceramics: the heads can be used as jugs, vases or money boxes.

Apertures of Light

12 June – 16 August 2015 Tracing Footprints

Join us at 6.30pm on Thursday, 11 June for the opening reception of Apertures of Light at Rochester Art Gallery.

Katayoun Dowlatshahi is a contemporary artist working with the medium of print, drawing, photography, time-based media and architectural glass. She creates work for public and private commissions as well as gallery-based exhibitions.


Apertures of Light features work produced between 1998 and 2012 often linked to public realm commissions. Context and site specificity are always integral and are motivating factors with her research and this exhibition includes exploratory drawings and studies that respond directly to her immediate environment. These studies are often abstracted or deconstructed to reveal the hidden landscape of light, architecture and space. Photography is a constant in her work too, often combined with other materials to produce fascinating results.


Katayoun has successfully integrated contemporary art on a number of public commissions across the UK, including new city developments and heritage locations. For this reason she has been appointed as lead artist on IN-SITE, a public art project for Chatham and Rochester Riverside. Katayoun is mentoring six south-east based appointed artists who are working collaboratively in pairs on three temporary commissioned works. With her extensive knowledge she will support and guide them as they develop and produce their final outcome.

The exhibition was curated by FrancisKnight.


Works by Salvatore Arancio, James Brooks, Leo Fitzmaurice, Helen Kincaid, Noa Lidor and Tom Richards

Friday 3 April - Sunday 31 May 2015 Data

Data brings together a selection of works by Salvatore Arancio, James Brooks, Leo Fitzmaurice, Helen Kincaid, Noa Lidor and Tom Richards that explore systems of knowledge and information.

 In a world saturated by data - gathered, analysed, archived and shared - and engrossed by issues of privacy and control, the exhibition seeks to locate a fault in the system: the place where a human narrative interrupts the flow of numbers.

 Interrogating scientific disciplines, the works investigate the potential for data to be manipulated and re-invented through obstruction, deletion and imitation.

The exhibition artists use a range of strategies to subvert the tools employed to evidence, measure and order the physical world - electric circuits, architectural plans, astronomical charts and geological illustrations - transforming them into the psychological realm and investing them with wonder and humour.

Through acts of deletion and redaction, blurring, muting and intentional error, the artists investigate notions of scientific and artistic authority while experimenting with the suggestive language of data visualisation. In place of reassuring information, the manipulated, malfunctioning objects offer a sense of disorientation and confusion.

The exhibition presents a survey of possibilities and limitations, exploring the boundaries between fact and fiction, science and art, objectivity and poetic license, and asking questions rather than providing conclusive answers, offering a space for exploring these tensions.

Data is curated by Shiri Shalmy. The exhibition was commission by the Contemporary Art Society.

The Inflatable Archive

The Inflatable Archive New works by Claire Orme & Drew York orb

23 January – 21 March 2015

"Everything in the world has its own spirit which can be released by setting it into vibration." Oskar Fischinger

The Inflatable Archive is an exhibition by Claire Orme and Drew York - two recent graduates of the School of Music and Fine Art. They are the recipients of the first Recreate Bursary in celebration of the University of Kent’s 50th Anniversary.

For The Inflatable Archive, Drew York aims to explore the relationship between Sound and Image in an immediate and visceral way. Centrally concerned with acoustic anthropology, York uses 3d printing technology as medium to the unseen dimension - bringing to light the forgotten sonic histories of our environment by realising sound as object. 

Claire Orme presents works that playfully explore the unexpected associations between the history of Kent, Ancient Egypt and British Music Hall. Weaving together Kentish folklore and ancient rituals, ghost stories and archaeology, music hall and sonic arts, Orme constructs an unorthodox narrative that is somehow suspended between the real and the imagined. This narrative is created through research materials, sculpture, drawings and sound. 

Taking over the gallery and transforming it into an archival grotto, the artists will fill the space with curious artefacts that they have excavated from the ether.  Dismantling local chronologies and assembling new narratives, Orme & York will entwine past and present in an imagined reality.

This exhibition has been supported by the University of Kent, the European Union Recreate Bursary and Medway Council with objects kindly loaned by the Guildhall Museum.


Disquiet Beauty


Works by Kate MccGwire, Zara Carpenter, Tessa Farmer & Kerry Howley

24 October 2014 – 3 January 2015

Rochester Art Gallery

This exhibition brings together the work of four artists who all explore notions of beauty and alienation, attraction and repulsion and the otherworldly in their use of materials and form.

The works of acclaimed artist Kate MccGwire use the language of natural materials to attract and repel in equal measure. Her feathered sculptures have a constant sense of ‘otherness’ to them, at once seducing and disturbing the viewer with their strange familiarity. This abject beauty is integral to MccGwire’s practice, where bodily forms reference both the beauty of the natural world and its darker undercurrents. For this exhibition MccGwire will be showing several pieces including ‘Sluice’ a remarkable floor installation made of 4000 feathers.

Medway based artist and milliner Zara Carpenter will be showing her first major sculptural work ‘Persephone’ which explores the acceptance of ones own mortality and the ageing process and the desire to leave something beautiful behind. The work uses gathered and found objects including silk flowers, birds wings and insects to investigate themes of metamorphosis.

Kerry Howley is a contemporary jewellery artist fascinated by the power materials have to influence the wearers emotional response and particularly how these can be conflicting. She uses familiar forms yet works with materials that both fascinate, attract and repulse, turning discarded hair into exquisite yet unsettling adornment.

Tessa Farmer creates intricate miniature fairy sculptures made from insect carcasses, plant roots and other found natural materials. Microscopic battles between insects and tiny winged skeletal humanoids are both sinister and bewitching and offer a glimpse of an apocalyptic microscopic underworld.

An exquisite selection of artefacts including seldom seen Victorian mourning and hair jewellery has been kindly loaned by the Guildhall Museum from their collections as part of the exhibition.

Medway based artist Cormac McManigan who's work is inspired by nature, is showing two stag beetle pieces for the show, carved and cast in bronze and made specially for the exhibition, the pieces are displayed in antique specimen drawers and can also be worn as jewellery

Beyond BoundariesLiz Miller

Printmaking by Xtina Lamb, Adam Piper and Liz Miller

22 August – 11 October 2014  

Free admission

Preview event Thursday 21 August 6.30-8.30pm

The exhibition showcases three artists working at Medway Fine Printmakers in Rochester - Xtina Lamb and Adam Piper (co-founders of the print studio, and INTRA, the new multi-disciplinary arts venue that houses it), and Liz Miller who was the first artist to complete a residency there.


                                           Liz Miller. Debussy 2.


Themes of mapping, crossovers, and visualisation of hidden patterns run through the show, expressed through a range of print techniques including intaglio, silkscreen and relief printing.

Liz Miller's 'Classics on Vinyl' series combines music and visual art with the aesthetic quality of information graphics, in a photopolymer etching project investigating repetitive patterns in music.


Xtina LambXtina Lamb screen prints layers of densely colourful imagery with stencils and Print Gocco to map personal geographies, memories and folklore.




Xtina Lamb. Swept away.



Adam Piper works with ancient presses, combining the transformative qualities of reversal, mixing weights of line and rich, velvety tonal ranges, achieved with intaglio processes and mark making experimentation with relief printing. 

A Thousand Words

comic artBryan Talbot is one of the true greats of British comics, a master draughtsman and storyteller whose astonishing career is surveyed in A Thousand Words. Bryan and his wife Mary received the 2012 Costa award for biography for Dotter of Her Father’s Eyes, the first British comic to win a major literary prize. A Thousand Words presents original artwork from this and a range of his other significant books, including pages from the currently unpublished fourth volume of his Grandville series.Rendered in beautiful ink washes and alert to the minutiae of life, Joe Decie’s stories are peppered with absurd or impossible moments that both escape and celebrate the everyday. Joe’s work has been collected in two acclaimed books, The Accidental Salad and The Listening Agent.

Ian Williams’ comics are informed by his career as a doctor, presenting the unseen side of medical practice in stories that are both funny and painfully honest. His first graphic novel, The Bad Doctor, will be published in June.
Mark Barnes applies his crisp design and cleverly observed humour to a group of new illustrations for this exhibition. Drawing on the vernacular of comics by adopting imagery from its history, Mark Barnes’ work plays on and disrupts many of the expectations people have of comics.

Craft Case

Lisa Swerling’s Glass Cathedrals a series of artbox sculptures contain brilliant tiny worlds inhabited by miniature people.

Time Lapsed  Marissa Mardon

Time Lapsed

Craft Case – Ceramics by Imogen Noble & Raewyn Harrison

28 March – 1 June 2014

Free Admission 

Marissa Mardon takes her inspiration for Time Lapsed from a creative fusion between painted forms and traditional and historic contexts. Using vintage photography as her starting point, Mardon attempts to show the blurred line between image construction and the painting process of photo realism for which she is best known. Time Lapsed presents a body of work that is experimental in approach and a move away from Mardon's usual style. 

Time Lapsed Oil and graphite on linen. Marissa Mardon 2014

Mardon's focus is on contrast and form, light and shade. Her canvases are bare in places, left partially raw revealing the evidence of visible pencil marks and brush strokes. She encourages the viewer to become drawn into the work, its construction, development and pause. A time lapse film captures and reveals the process of her work, demonstrating exactly how each brushstroke evolves onto the canvas from beginning to end. The passing of time is referenced in the historical imagery found in Mardon's work as well as the making process which she explores through sound and film.

Craft Cases - Ceramics by Imogen Noble and Raewyn Harrison.

Raewyn HarrisonFascinated by architecture, industry and tidal landscapes, Raewyn’s work explores, history and industry. The fragmented images are an integral part of each piece as they reveal the narrative of a journey, moment of time or place.  Raewyn’s visible clay techniques include; slip casting, throwing and hand building and photographs are specifically taken to work with the perspective and scale of the form.

Raewyn Harrison 3 Delft Turbines

Imogen NobleImogen Noble makes pots inspired by patterns found in landscape and textiles, and by the weathered surfaces of stone and wood. She hand builds one-off vessels using pinching, coiling and slab building techniques which are fired in saggars – sealed ceramic boxes – to which locally foraged Whitstable seaweed and oyster shells have been added to give flashes of rich colour and texture in the kiln. Imogen was recently selected for the Crafts Council creatHothouse 4 programme.

Imogen Noble Small jars. Stoneware clays 6” tall 2013. Photo by Phillip Keevil

Marissa, Imogen and Raewyn’s work is further complimented by historic objects in the craft case kindly loaned from the Rochester Guildhall Collection.

The Skull Grins RelentlessSkull

Wolf Howard & Mick Hampshire
Craft Case: Sarah Crouch & Xtina Lam

17 January to 15 March 2014


Four Medway artists will be showcasing their creative talents at an exhibition in Rochester Art Gallery.

Paintings, drawings and pinhole photography will make up a display called ‘The Skull Grins Relentless’ by self-taught artists and musicians Mick Hampshire and Wolf Howard.

Wolf Howard specialises in images painted in a style called impasto, which involves painting with thick, deep visible brush strokes that form part of the image itself. Howard – who tries to capture his subjects with a childlike innocence - paints in his back garden using oils on canvas and shoots old-fashioned style films with his super 8 cine camera.

He will also be conducting two special painting and drawing workshops for families during the exhibition.

Mick Hampshire’s abstract work is inspired by cave paintings and medieval art. He often paints with a grinning skull sitting on his shoulder, a fact that has helped inspire the name for this exhibition.

Galleries throughout London and the South East have showcased Hampshire’s work and a number of his paintings have found homes across the world.

Mick and Wolf have known each other for over thirty years but have never tired of laughing at each other’s misfortunes. Expect some animals, some skulls, some abstracts, some ancient-looking photography and a weird film.

Some of the pair’s well known pieces will be at the exhibition as well as art created especially for the show.

Also on display at the same exhibition will be crafts by two other Medway artists.

Sarah J Crouch will be presenting a selection of her sculpted ceramics inspired by aboriginal art as well as 1950’s and 60’s graphics.

She will be joined by printmaker Xtina Lamb, who will be displaying her colourful artist books; vinyl cut illustrations and printed banners based on the themes of luck, loss and truth.


Jessie Brennan

The Cut

Rochester Art Gallery is pleased to present an exhibition of drawing, video and installation by the London-based artist Jessie Brennan. In Spring 2013 Medway Council commissioned Brennan to develop new site-responsive work that explores and documents the River Medway’s heritage through the hidden histories and first hand stories of people who have worked, lived and played along the river.

The Cut (detail) 2011, Pencil on Paper, 29.7 x 504 cm

This is Brennan’s first solo exhibition in a public gallery showing the prizewinning work The Cut (Jerwood Drawing Prize, 2011, François Schneider Foundation, 2012) as well as newly commissioned work by Medway Council in partnership with LV21 Lightship where Brennan undertook a residency as part of the commissioned project.

The Gallery and Craft Case will display historical artefacts relating to the River Medway, kindly loaned by local organisations and private collectors including LV21 Lightship, The Guildhall Museum, World Ship Society, Master Ropemakers at Chatham Dockyard and The Medway Queen Preservation Society.


The Illustrator’s Art

Prints by Andrzej Krauze, Lynn Hatzius and Matthew Pagett

Craft Case – Books by Kaho Kojima and Chisato Tambayashi

Friday, 26 July to Saturday, 5 October 2013

SempervivumThe Illustrator’s Art celebrates the work of Andrzej Krauze, Lynn Hatzius and Matthew Pagett, who all work as fine artists and illustrators, and explores the influence of narrative and figurative expression transferred from illustration to fine art through printmaking.

Lynn Hatzius experiments with a combination of collage and printmaking, her recent work, inspired by the anonymity of found material, alters the physicality of her portrait subjects by adding images of nature, to suggest loss, growth and completeness.                                  

The RCA graduate Matthew Pagett received the 2012 New Graduate Award at londonprintstudio. Using new techniques and processes at the studio, he has been evaluating new ideas through printmaking.

Andrzej Krauze a leading political cartoonist in his native Poland, became known for his extraordinary illustrations in the Guardian newspaper. A master of producing wry, ironic, sometimes scary images, the bold paper cut images in this exhibition represent a radical departure from his normal line drawing style.



Printed Textiles by Neil BottleTeal 2013

Friday 17 May to Sunday 14 July 2013

Neil Bottle’s exquisite new ‘Kaleidoscope’ series of printed textiles has been created especially for this solo exhibition at Rochester Art Gallery.

In the Kaleidoscope series, Neil explores the relationship between digital textile printing and craft printing techniques and how these seemingly opposing practices can coexist.

A combination of the latest cutting edge digital print techniques such as dye sublimation combined with craft traditions such as screen printing, discharge printing, pleating and Shibori have been developed in the work. Kaleidoscope Collection.                                

Teal 2013. digital printed cotton sateen wallhanging. Neil Bottle

The Kaleidoscope series of wallhangings is printed in rich shades of scarlet, flame, teal and gold. These designs are in a sense autobiographical, representing an eclectic mixture of references, journeys and memories. A key focus in the work is to create a sense of depth and space on flat printed cloth, pushing the limitations of digital textile printing.

Neil is the Course Leader for Fashion Textiles at University for the Creative Arts (UCA) at Rochester where he set the BA Hons degree in Fashion Textiles: Print in 2009. Neil's research is part of the international Crysalis textiles regeneration project which is funded by UCA and the European Regional Development Fund.

Neil’s studio is on the Kent coast from where he designs printed textiles for fashion and interiors. His work is held in collections around the world including The Victoria and Albert Museum in London, The Cooper Hewitt Museum in New York and The Crafts Council Collection in London.

Neil counts amongst his clients, The British Museum, Shakespeare’s Globe, The Royal Academy, Royal Opera House and The Guggenheim Museum, New York. Over the years his work has been sold and exhibited internationally in galleries and stores such as Libertys, Harrods, Browns, Fortnum & Masons, Neiman Marcus and Bergdorf Goodman.


Craft Case

pink orchid

Medway-based, ‘Chatham Girl’' milliner, Zara Carpenter makes unique, bespoke, sculptural headpieces and ready-to-wear hats, using found objects. Inspired by nature, 1920s design, Dutch still-life paintings, fantasy books and films, Zara’s beautiful pieces are wearable works of art.

Neil will also be exhibiting his range of fashion and interior accessories from his own label in the Craft Case.


'The Oloha'(Summer collection 2012) silk flowers, plastic toy goldfish, satin covered headband, Zara Carpenter.



Man’s Ruin - Richard Heeps


Friday, 1 March to Saturday, 4 May 2013

Richard Heeps has been photographing hot rods and Americana in the UK and the USA for more than 10 years. His images capture the vibrancy of contemporary scenes inspired by the 1940s and 1950s and pay tribute to mid-century modern life, as it is lived today.

Heeps' images capture the spirit and pursuit of the American dream - stylish, glamorous and hedonistic. His portraits capture those at odds with modernity and his landscapes and interiors preserve and celebrate places where time has stood still and the wrecking ball is looming.

Heeps' work is not a passive nostalgia; situations within his photographs are real, found and not pre-arranged, subjects are celebrated and not styled. Heeps is a traditional craftsman using film and hand-printing his own pictures full-frame. 

Playful and ambiguous, Heeps' large cinematic and technicolour images of diners, motels, gold rush towns, airstreams, hot cars and Rockabilly enthusiasts wilfully lack any clear pointers to time and space. The work is witty and misleading. Think you’re in Nevada, or maybe it’s Norfolk? 

Photograph by Richard Heeps. Bonanza Cafe, Lone Pine, California  

Craft Case

Margo Selby


Over the last decade Margo Selby has been developing award winning fabric constructions and textures on handlooms, which are used for luxury textile products and projects. Her trademark patterns and textures have ensured her products are fast becoming coveted contemporary classics.

Image: Margo Selby. Silk and lycra woven cushion

Kaz Robertson

Kaz Robertson


Kaz Robertson creates bold and colourful handmade resin jewellery in her studio in Edinburgh.

Magnets inside some of the pieces create bangles which can stick together to build up sets, rings that you can swap their tops and necklaces that can be connected in various designs.


Image: Kaz Robertson. Bitties earrings, resin with silver chain

Being and Nothingness

Matt Bray

Craft Case: Jewellery by Sian Bostwick,  Glass by Kathryn Roberts

14 December 2012 to 16 February 2013

Free admissionRochester Art Gallery                                              

Matt Bray’s abstracted figures draw upon personal feelings of alienation, using expressionist techniques to engage with the human body. Bray’s paintings occupy and explore the tensions between subject and object, figuration and abstraction and allows the paint to exist on its own terms.

Being and Nothingness brings together key works to date, from dark forlorn heroes and expressive portraits to a more fragmented figure. Colourful sci-fi inspired canvases see the figure transformed - trashy horror movie monster, neon zombie or dismembered android body parts, now form the subject for Bray’s immediate and impactful approach to painting.

Matt Bray is currently studying for a PhD in Fine Art at the University of Kent and has a studio in Chatham’s Historic Dockyard. Although still a relatively new figure on the British art scene, his affecting paintings have featured in UK and International group exhibitions and in several publications.

Interpretation card for Being and Nothingness - Matt Bray (pdf 171KB). To download a pdf you will need Adobe Acrobat Reader. If you do not have it on your computer, please use our advice page.

Image: Being and Nothingness 1, 2012 (detail). Oil on canvas

Craft Case

Award-winning, Medway-based Hot 100 2012 jewellery designer Sian  Bostwick, creates jewels with delicate detail and a hint of wonderland,  inspired by the Kent countryside, mysterious literature and enchanting fairytales.


Under A Bridge - Simon Barker

Friday, 28 September to Sunday, 2 December 2012Image by Simon Barker

Artist and architect Simon Barker investigates how a place can be defined by the hidden, the missing, and the erased. How this can contribute to a community’s potential to reclaim the value of a place, think intuitively about its area and engage in regeneration and change.

Simon Barker's practice explores the traces people leave behind and the marks they make on a place. He is interested in people's relationships with the built environment and how this informs communities and society.

Under A Bridge explores a particular relationship between the M2 motorway bridge dating from the mid 20th century and a monumental structure, from the last quarter of the 19th century that was once omnipresent in the local landscape in Gillingham, Kent but has since been almost totally erased: Jezreel’s Temple.  

The Temple was constructed in the 1880s by the Jezreelites, the religious followers of James Jershom Jezreel, a charismatic leader who had preached a millenarian form of Christianity. The Temple was never completed, but was nonetheless an impressive structure in the form of a severe masonry cube of approximately 30m in height.

The still vacant site of the demolished Temple, and the river banks below the bridge, where the remains of the temple now lay buried, are both marginal, ‘edge’ landscapes, uncared for and unvalued. The exhibition explores the nature of, and relationship between these nonetheless very distinct places and their communities.

The Jezreelite sect dwindled over the 50 years after construction of the Temple, but the building became a well known landmark that was: featured on postcards; used as a navigational marker by ships on the River Medway; and became a strong element in the folk memory of Medway communities. It was demolished in 1960 and there are still many members of the local community that remember it.

Simon Barker's interpretations, re-constructions and compositions are explored through moving image, sound and visual installation influenced by archival materials, the performance of a 120 year old hymn and the collection and recycling of local photographs, stories and tales.  

Interpretation essay for Under a Bridge - Simon Barker (pdf 600KB) Craft Case

Jennifer Collier, a paper artist and founder of Unit Twelve, a contemporary craft workshop and exhibition space in rural Staffordshire, creates work from paper by bonding, waxing, trapping and stitching. She produces unusual paper fabrics, which are used to explore the remaking of household objects.

Kate O’Connell’s ceramics are inspired by ‘things that have gone before - historical objects of function whose essence can be used as a basis for contemporary craft’. O’Connell challenges notions of familiarity and reproduction, by altering the scale of objects and stripping them of their function.

Resonance - Susie MacMurray

13 July to 16 September 2012

Two Hairnets No.5, 2011, pen on paper, Susie MacMurrayResonance examines the complex relationships between Susie MacMurray’s drawings and sculpture and how an engagement with materials is central to her work. It is through her choice of materials that she searches for ways to explore the paradoxes that exist within unpredictable, arbitrary and volatile personal/public life experiences. She is attracted to materials, particularly ‘found’ materials that generate a measure of ambivalence - memory/mortality, power/ submission, protection/suffocation. It is by subverting her materials; she is able to make sense of these juxtapositions. MacMurray is concerned with the intimate relationship objects can have with the body itself and how they can immerse or repel. She often makes domestic references not only in the materials she uses, but in the way she explores what it is to be female, a wife, a widow, a ‘catch’. She explores provocative and challenging issues in her work and tries to understand ‘where one finds the residue of a fleeting but intensely emotional experience', be it a profound sense of loss, or deep-rooted connections between people and stories within a place. Drawing is an important part of MacMurray's creative practice. In addition to her elegant pen and ink works she extends the possibilities of making drawings using unconventional materials including rubber tubing, hair, wax and discarded strings from musical instruments.

MacMurray's work encompasses drawing, sculpture and site responsive architectural installations. A former classical musician, MacMurray retrained as an artist, graduating with an MA in Fine Art in 2001. She now has an international exhibition profile and shows regularly in the USA, Europe and the UK.

Photo: Two Hairnets No.5, 2011, pen on paper, Susie MacMurray

Interpretation essay for Resonance - Susie MacMurray (pdf 667KB)

Evaluation of Space

27 April to 29 June 2012

Andrew Mackenzie, Oliver Barratt, Rosie Lesso, Dan Stafford

Evaluation of Space explores transformation in the context of interior and exterior space, and how this translates between the imagined and the experimental. The exhibition brings together painting, drawing, sculpture and applied arts that provoke curiosity and question ideas surrounding space and the built environment.



Clearfell 4, 2011, Oil on panel, Andrew Mackenzie

Andrew Mackenzie captures a tension between nostalgic and romantic associations with landscape painting and modern-day life, through his curious, uninhabited spaces and utilitarian structures.

Rosie Lesso’s drawings explore the boundaries between realism and abstraction by bringing together broad subject matters, encompassing her fascination with the colour black, performance, outdoor intervention and writing.

Thinking Aloud by Oliver BarrattOliver Barratt’s sculptures are elegant and uncluttered. Their fluid lines and forms grow and fall, loop and swell, suggesting familiarity, as if straight from nature. Dan Stafford’s sculptural ceramics are about the manipulation of perspective in sculptural form. He employs subtractive processes, masking and stencils, to build up and take away intricate patterns and contrasting textures.

Thinking Aloud, 2005, Ceramic, resin, wire and paint, Oliver Barratt

Dan Stafford's sculptural ceramics are about the manipulation of perspective in sculptural form. He employs subtractive processes, masking and stencils, to build up and take away intricate patterns and contrasting textures.

Interpretation essay for Evaluation of Space (pdf 660KB)

Craft Case

Lesley Risby examines fragility and vulnerability with her ceramics. Their skeletal nature represents the susceptibility of living organisms to natural and man-made environmental forces.

Bud Latven, an internationally acclaimed sculptor, creates beautifully crafted woodturned forms. Influences include Southwest Native American ceramics and prehistoric and contemporary culture surrounding the vessel.


Passing Reflections - Rosie James

10 February to 13 April 2012

Art piece by Rosie JamesThe exhibition brings together works by textile artist Rosie James, ceramics and glass by Andrea Walsh and fused textiles in glass by Alison Lowry.

Anonymous passers by, individuals and crowds are the subject of Rosie James' investigations. Within her figurative-thread drawings and screen prints she draws attention to often-overlooked details found in everyday occurrences and looks to capture the commonality found within groups.

James explores connections between her subjects and their location by interpreting their surroundings, through drawing and photography, making reference to buildings, windows and skylines to suggest urban landscapes. Her energetic, sketch-like, thread drawings are sewn onto transparent fabrics, to reveal and celebrate the process of sewing. Loose threads and frayed ends imply speed and movement, which suggest busy towns and bustling environments.

Craft Case

Rochester Art Gallery’s Craft Case presents ceramic and glass faceted boxes, together with a selection of jars and vessels, by Andrea Walsh. She explores the physical and metaphorical relationships between the material object and external qualities of light, shadow and surface.

Alison Lowry's fused textiles in glass aim to capture and preserve traces of the wearer, translating ethereal properties into a second skin of memory using family heirlooms.


Imago: Silverpoint Drawings and Paintings - Reza Ben Gajra

25 November 2011 to 3 February 2012

Rochester Art Gallery presents Imago: Silverpoint Drawings & Paintings by Reza Ben Gajra. The exhibition brings together recent works concerned with the body and its spiritual and emotional connections to the heart and mind.

Reza Ben Gajra's imagination and sensitivities are reflected within the linear qualities found in his silverpoint drawings, the symbolic representation from metal leaf motifs and the playfulness of his paintings. The artist describes his work as a visual language that embraces the interconnections between abstract and figurative expressions and levels of objectivity between emotional attachment and detachment.

Reza’s work and the process of producing it, derived initially from his observations, focusing on composition and pictorial space. This investigation became consumed by more open experimentation, using metal leaf, powder pigments, wax encaustic and housepaint alongside oil paint, and the collaging of his own abandoned paintings, to emphasise depth of surface and artistic expression.

Following a year in India in 1989/90, Reza’s visual language and use of materials became minimalist and formalised, concentrating on surface arrangement and the stylisation of forms. Metal leaf replaced paint and colour, and drawing was employed as a tool of enquiry. The work became increasingly more detailed and linear, and the scale more intimate. Reza began to use silverpoint, which requires time and patience. This manifested itself in fine lines executed very slowly, deliberately and obsessively, perhaps reflecting thought-processes and memory.

Craft Case

Rochester Art Gallery’s Craft Case presents Nan Nan Liu’s sculptural paper and previous metal collections, which show her interest in Chinese culture and ways of storing. Natalie Vardey uses traditional techniques to weave, knit and crochet fine precious metals to create delicate jewellery, some of which have moving parts in acrylic, silver and gold.

Interpretation essay for Imago: Silverpoint Drawings & Paintings - Reza Ben Gajra (pdf 209KB)


Sedimental - Stephen Turner

25 August to 11 November 2011

Sedimental is a journey of (re)discovery for artist Stephen Turner; an exploration of significance in nature and a reflection on how this can be incorporated into his work.

For Turner, the Medway estuary reconnects people in our ever increasing urban lives to the pulsing heart of nature. He examines threads interweaving geology with history, flora with fauna, hydrology and river archaeology, purity with contamination and other such contrasts that make being beside this stretch of tidal water an enlightening and enriching experience.

The estuary's rich story, animated by people and defined by place over time is the subject of Turner's intimate conversation and impetus for connection, using the oldest and newest technologies - the muddy clay itself and digital audio and video in collaboration with the river, its histories and its people.

Interpretation essay for Sedimental - Stephen Turner (pdf 455KB)


Seaflowers - Wendy Smith

17 June to 19 August 2011Photo of Sea Rhythms by Wendy Smith

Seaflowers is an exhibition of contemporary paintings and textile installations by Kent-based artist Wendy Smith. The exhibition has been conceived as a celebration of colour and ritual.

Informed by a recent self-initiated residency on the coast in Karnataka, South India earlier this year, Smith presents new work that responds to ritual behaviour, interwoven into the necessities of daily life and vibrant street culture in South India.
Smith has sought to redefine the exhibition experience by exploring its possibilities as a visual journey rather then a series of objects. This is evident in her abstract paintings, based on seascapes and drawings of temple flowers and textile installations from sari material, which are sumptuous in texture and colour.

In Seaflowers, Smith has explored pattern and space, absorbing herself within the richness of Indian colours and the ritual of making. She has introduced elements of printing, combining her passions and treating the canvas as both textile and painting.

During her residency, Smith immersed herself in daily life, observing women and children selling flowers to pilgrims and tourists outside the temples each morning, while local fishermen went out to sea night after night, as their families sold the day’s catch at the market.

Interpretation essay for Seaflowers - Wendy Smith (pdf 265KB)

Craft case programme

Rochester Art Gallery's Craft case will be exhibiting work by students from applied Arts and Contemporary Jewellery courses, University for the Creative Arts, Rochester.


Vessel: Still Points / Turning Worlds

1 April to 3 June 2011

Featuring work by Annie Turner, Sara Radstone, Dan Kelly, Kate Wickham, Ruth Franklin and Robert Cooper - acclaimed ceramists at The City Lit in London.Photo of Ruth Franklin's work Russian Revolutionary Granny 2

The focal point for this group exhibition is the vessel, as an object and abstract concept. The exhibition aims to present broad links between disparate and diverse makers, techniques and approaches. The vessel becomes the starting point for unravelling symbolic, conceptual, subversive and figurative references.

Annie Turner's sculptural vessels, inspired by the River Deben in Suffolk, are triggers for personal and collective memories - contrasting fragile landscapes and the intervention of man.

Kate Wickham's hand-built vessels explore interplay between form, surface, colour and texture, containing and preserving memories like reference points or markers.

Ruth Franklin's work combines printmaking techniques and ceramic sculpture. It concerns family memories, the importance of household artifacts and their ability to conjure up childhood memories.

                                                                             Russian Revolutionary Granny 2, 2008, Ruth Franklin

Sara Radstone's sculptures explore themes of history, memory and place. Recent works are inspired by ambitious display methods - suspending work with wire and composing wall and freestanding pieces.

Robert Cooper is fascinated by the persistence of artifacts and ideas. He often uses found objects and employs recycling as a mode of working. A range of intriguing discarded materials are recombined to create new narratives.

Dan Kelly's wheel-thrown vessels combine the aesthetics of the accidental, appreciated by tea masters, with the exuberance of expressive painting. Rims are left raw and marks made during the making process remain.


Conditions of Abstraction - Marta Marcé

14 January to 25 March 2011

Flowing in Yellow - Marta Marce

The gallery presents paintings by Marcé, a Spanish-born, Berlin-based artist, who is interested in the idea of play as a metaphor for how society operates in an era when daily life is becoming ever more structured, planned and controlled.

Featured right is her 2008 painting Flowing in Yellow.

Marcé investigates concepts involving the human condition and the act of painting. She explores the principles of games, rules and laws; those that encourage obedient behaviour and those that seek alternatives to the system through judgement, decision-making and chance.

The physicality of the artwork is expressed through colourful hand-painted geometric shapes used to reinforce a universal understanding that celebrates human activity and its imperfections. The pleasure of discovery, comforts found from being in control,self-determination and innocent playfulness are concerns that Marce sensitively considers to create conditions of abstraction that are bold and joyful.

Interpretation essay for Marta Marce - Conditions of Abstraction (pdf 114KB)

Craft case

Lindsey Mann’s playful jewellery and objects are inspired by light-hearted memories of her childhood, spent surrounded by her father’s collections of vintage machinery and all things mechanical. Mann’s fascinating mixed-media pieces combine printed anodised aluminium with silver, semi-precious stones and colourful objects trouvé. The aim being to create something amusing that seems to be both familiar and foreign.

Clare Tindall’s colourful liquid latex plant-like objects are intriguing, playful and toy-like. Her perfect specimens, made from the sap of the hervea-brasiliensis tree, are fabricated and manipulated through moulding, layering, dipping and painting. Undercurrents of mutation and cloning can be found in her explorations when transposing the physical elements of one animal or vegetable species to another.


Get RealRoses and Other Flowers in a Vase (Philosophy of Futility) by Rikard Österlund 

15 October 2010 to 3 January 2011

Get Real brings together contemporary artworks that explore transformation and communication within unreal, imaginary and artificial contexts through photography, film, installation, performance and jewellery.

UK-based Italian artist Emilia Telese explores public and media fascination surrounding icons and celebrities, the heights of frenzy associated with the act of being famous and interprets the beauty industry’s obsession with perfection.

Rikard Österlund, a Kent-based photographer, investigates contemporary notions of beauty and our post-modern relationship to nature through a series of monumental portraits of Kent artists and theatrical floral compositions influenced by 17th century Flemish paintings.

Featured here is Roses and Other Flowers in a Vase (Philosophy of Futility), 2010.

Cumbrian-based jeweller Adam Paxon presents one-off pieces of sculptural jewellery that reference nature's languages of warning and courtship while maintaining a dual identity both on and off the body.

Moon Young Shin, from South Korea, creates playful jewellery using silver, pearls, beads and handcrafted and self-dyed acrylic. Her jewellery attempts to express paradoxical ideas between the human form and the person wearing it.

Interpretation essay for Get Real (pdf 208KB)


Women of Mettle

24 July to 3 October 2010

Away with the Fairies, 2004.Frances Brennan. Photograph Joel Degan.

Using mild steel, stainless steel and enamelled copper wire, Frances Brennan celebrates the unanticipated and the curious in her contemplative, tangled, spiked and knotted sculptural forms.

Kate Samuels transfers two-dimensional mark-making to metal surfaces using vitreous glass enamels, sketches and photography to develop themes within her work.

Cathy Miles uses wire and found materials to create quirky three-dimensional drawings of birds and everyday objects. She is Musemaker Artist in Residence at the Guildhall Museum, Rochester creating a new installation The Toolshed until 31 August.

Libby Day balances traditional and computer-aided methodology in her work to explore related tensions in modern culture through mapping the layers of connectivity and contrast contained within natural and man-made structures.

Photo of Surfacing complexity, surfacing simplicity, set of six objects, gold plated brass, 2010, Libby Day



Surfacing complexity, surfacing simplicity, set of six objects, gold plated brass, 2010. Libby Day. Photograph Clifton Mair

Li-Sheng Cheng’s silverwork is inspired by her belief that “everything has a life which should be cherished and respected”.

Ane Christensen’s work explores the boundaries between functionality and sculptural form. Vessels, created from deconstructed sheet metal, echo her interest in the negative spaces between buildings and architectural decay.

Suzanne Wall’s work is a critique of the ideologies embodied in silver as a precious historical and household material. Our expectations of silver objects and their function are cleverly inverted through playful manipulation of her chosen material.

Suspended AnimationPart of the Suspended Animation exhibit

1 May to 11 July 2010 


This bold and dynamic exhibition of contemporary studio glass, explores both physical and emotional responses to organic states. Inspired by the natural world, the work featured explores the cycle of growth, reproduction and decay, stillness, movement, permanence and transience through a variety of diverse approaches and techniques. A series of exciting contrasts are designed to stir the senses and engage the imagination.


                                                          Black, Red and Turquoise relief Vertical, 2009, Rachael Woodman

The glass artists participating in this exhibition are highly respected makers in their field. Examples of their work are rarely seen outside specialist galleries. Angela Jarman's work makes subtle reference to the uncanny and sinister elements in nature. Ruth Dupré's sculptures contract, stretch and swell, reflecting her interest in mass, movement and contemporary dance. Rachael Woodman's highly-refined forms combine dazzling colour with opaque and translucent qualities, while Joseph Harrington's distinctive works are cast from melting ice blocks, capturing and permanently 'freezing' a moment in time.

Craft Case

The gallery's Craft Case will showcase Stuart Akroyd's elegant, organic forms, with their combination of balance, playfulness and skill and Stehen Gillies' and Kate Jones' jewel-like blown glass bowls, inspired by the colours and textures of their rural surroundings in North Yorkshire.


Thread Bare

13 February to 25 April 2010Part of the Thread Bare exhibit

Thread Bare presents four contemporary artist-makers who use textiles to explore the human condition and gender-related concerns, relationships between past and present and narratives constructed around personal and cultural identity.

Craig Fisher's sculptural installations question representations of violence, disaster and macho stereotypes. Staged scenes invite the viewer to speculate, as a voyeur, on the artist's intent, as potentially hazardous objects are presented as large soft sculptures.

Lucy Brown's work explores female identity through themes such as beauty, absence and presence of the body, clothed versus unclothed. Brown meticulously unpicks and reconstructs second hand and vintage garments to create abstract, sculptural works, that evoke heightened nostalgic and physical responses.                       

                                                   You are entering a secure zone (installation view), 2008, Craig Fisher

Craft Case

Joanne Haywood's bold and eye-catching jewellery draws upon the conflict of opposites for dramatic effect - skeletal forms and fleshy volumes, the natural and unnatural and the interplay of light and shadow.

Contradictions and ambiguities lie at the centre of Judith Dwyer's work. Embroidery techniques on luxury fabric are combined with cheap and disposable materials to create disconcerting, hampered creatures inspired by Indian pathway icons, pantomime characters and Staffordshire ceramic figures.

Interpretation essay for Thread Bare (pdf 430KB)



28 November 2009 to 7 February 2010

Coppice examines the work of contemporary artists and makers who reveal, through their diverse, innovative and experimental approaches, the intrinsic beauty of wood.

Malcolm Martin and Gaynor Dowling draw bounding contours and shallow relief, inspired by land and sea, into oak and lime using basic hand tools. Tension between form and surface is accentuated by the fall of light across undulating surfaces and sensual forms. Vessels and still life compositions blur the boundaries between two and three dimensions.

Inspired by her training in geography and basketry, Dail Behennah's work is large in scale and abstract in nature. A preoccupation with geometric forms, coupled with the effects of light and shadow, have resulted in hanging installations and meticulously constructed vessel-based forms.

Wycliffe Stutchbury's compositions reveal wood's unfashioned beauty, durability and vulnerability, while respecting and emphasising its origin. Found, fallen, forgotten and liberated timber is altered to create new narratives.

Award winning designer Anthony Roussel creates wearable sculpture from layered and compressed plywood inspired by the epic sweep of the British coastline, repetitive linear patterns found within rock formations and a passion for modern architecture.

Using a range of recycled materials, Sarah Thirlwell challenges our perceptions of the traditional craft of woodturning. Old and new, translucent and opaque, natural and man-made are combined to produce vibrant, tactile and intriguing vessels.

Interpretation essay for Coppice (pdf 210KB)


Rochester Art Gallery and Craft Case is located at 95 High Street, Rochester, Kent ME1 1LX