The Royal Academy Alumni RASA Britains finest artists from the Royal Academy Schools

The Royal Academy Alumni RASA Britains finest artists from the Royal Academy Schools

Medium:Photography ArtShot International

Royal Academy in East Anglia


Artists of the RA Alumni working in the region.
The first of a series of exhibitions which will show throughout the United Kingdom and internationally.

This remarkable exhibition shows the work of some of Britain's finest artists from
the Royal Academy Schools Alumni. Enthusiasts are visiting from all over East
Anglia, the North Norfolk Coast and London to see the exhibition, an opportunity not to be missed!



The setting is Wingfield Barns in Suffolk; originally built by Sir Charles Brandon,
the hunting and dancing companion to Henry VIII and the strap work of the great Barn
is awesome to perceive. The exhibition is organised by Lucy Bell and curated by
Doug Kemp both part of a vibrant visionary group whose professional lives as artists
sprang from the great Royal Academy Schools beneath the bastion of Burlington House
in London.

The work is wonderfully varied, revealing a plethora of historic influences, a long
cry from the insularity of Saatchi-driven Post-Modernism. These exhibits are notably a celebration of life that rubs shoulders with long-gone creative companions while at the same time being dynamic and progressive.

Robin Warnes' sonorous abstracts have soul, paring down the atmosphere to its essence. Ron Sims rich geometric planes balance like a house of cards to make the impossible fascinating. Rory McShane travels between the minimalism of Moholy Nagy and a pensive imbalance to raise the eyebrow of Paul Klee.



The atmosphere of the Private View bubbled with animated conversation and laughter;
the Royal Academy had literally come to complement the charm of Wingfield and the rolling fields of Suffolk. Children stood on chairs to get a better look, visitors delved into browsers (the curator's bone of contention) and one forthright visitor announced that he had brought his cheque-book. Josephine Harris, the long-standing artist-secretary of the schools lent a historic authenticity. Notably, this tumultuous and variegated throng looked at the pictures!

Ivy Smith's beautifully drawn swimmers - pink flesh, heraldic colour, and the aqueous energy of a liberated lino cutter that has 'mistressed' the media - unshakably joyful.
Rosemary Elliott's highly detailed landscapes are studies in the great expanse of
the Suffolk farmlands, echoed by a timeless sky. Here is her vision, sense of great silence; artefacts lie discarded, remnants of our civilisation. Paul Nash and Andrew Wyeth
would turn their heads. Stephen Reeves has mastered the warmth of the sun on coastal walls, underlying composition well masked by good solid rich painting.

Michael Checketts, the 'gentle giant of art' arrests the senses in his portrayal of the so-called ordinary every-day event, seen through extraordinary eyes to make us think again about train journeys and market places. His self-portrait is disarmingly but refreshingly honest.  If I could marry Dennis Hopper to Carol Weight, they might produce Michael Checketts!


Historical Connections

Lucy Bell is a part of the British Abstract tradition. Animated and courageous, she makes primary colour tints work to create an atmosphere that is visually musical. Stravinsky's Dunbarton Oaks, Stockhausen, even Bartok align well with these swirling spatial experiences. Linda Adcock's still life studies have a deceptive simplicity; precise, well-observed tones in the Morandi tradition though closer to the coolness of Coldstream.



William Garfit's landscapes are tenderly painted, having an innate charm; quite beautiful.
Chris Glanville pieces together his painterly seascapes and coastal buildings with authenticity, they command my respect and fascination. Mary Millar-Watt, the most senior of this group, paints plein air studies of coastal activity with great freshness and energy. Mark Bennett's detailed linear landscapes are reminiscent of Tristram Hillier, more at ease with the central portrait of a ship than the duality of centred perspective.

M J Mott depicts heads as emblems in a symbolic world of Mycenaean curves - a world of ancient gods - using areas of black to offset rich colour. Finally, in tune with our apocalyptic sensibilities, Paul Hawden shows an extremely large etching filling a dark shadowy space with writhing figures. Together with his paintings, here is an artist who never fights shy of the grand gesture.

In response to this collection, including Julia Heseltine's lyrically dramatic
watercolours, Jerry White's semi-primitive, painterly humour, the gushing edible bravura of Kay Edwards and the 1930's Hollywood grandness of Doug Kemp, you will forgive me for saying, I died and went to Heaven.


Zacron 2011


Current publicity in the media to give you a wider perspective -

courtesy of Rosemary Elliott ARAS  

This exhibition is open from 13th September to 2nd of October, Tuesday - Saturday 10am - 5pm, Sundays 11 am -4pm. Admission free. Disabled parking on the premises and adjacent to the barns.

Photography - ArtShot International




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