Art Prizes

Sir John Hurt Art Prize - Winner 2019

BritzMargie Britz
Blue Moon
Gouache and graphite on paper, torn and collaged
80cm x 80cm


The Sworders Art Prize - Winner 2019

RossOliver Ross
Exhibition
Oil painting and collage
110cm x 80cm


Exhibition of Shortlisted Works - Saturday 20th – Sunday 28th 11am-5pm
The shortlisted works will be exhibited all week in the foyer of the Auden Theatre, Cromer Road, Holt.

Judges
Ian Collins, Art Curator & Writer
Professor Paul Greenhalgh, Director of the Sainsbury Centre for Visual Arts
Professor John Last, Vice Chancellor Norwich University of the Arts

Selected Works Sworders Art Prize Entries marked with *

AdamConnie Adam *
Giraffe
Wire Sculpture (wall mounted)
H56cm x L25cm x W80cm

 


AshdownDiana Ashdown
June Flutter
Mixed-technique print
30cm x 37cm

This is work I have created in response to the transience of life, collecting seasonal plant material, capturing a frozen moment in time, an ephemeral image that shifts, emerges, recedes and diffuses, recalling a shadowy memory like an old photo.


Baldwin2Andrew Baldwin
Hidden Beast One
Faux Mezzotint (Emery paper Aquatint )
18cm x 25cm

This is a Faux mezzotint using a non-toxic approach to etching. 1/50


Baldwin3Andrew Baldwin
Hidden Beast Two
Faux Mezzotint (Emery paper Aquatint )
20cm x 15cm

This is a Faux mezzotint using a non-toxic approach to etching. 1/50


Baldwin PeterPeter Baldwin
Nuclear Bunker at Orfordness
Oil
43cm x 50cm

As an old fashioned modernist, relational aesthetics have a critical value. However it is the interface of land and sea which creates a theatrical base for implied narratives and cryptic symbols, often employing a strong figurative presence.


BarberCraig Barber
Annexe
Oil and acrylic
51cm x 61cm

This work is a part of a series which use the painting process to build signs of hypothetical structures or otherworldly occurrences. These structures seem to be positioned in a moment of tension, between construction and collapse. The paintings were made upon considering the way that civilisations build both structures, and social and political systems which may aim for some form of coherence or unity but are likely to be stricken, shatter or rupture.


BeattieKeron Beattie
No Shelter
Photograph on Infrared film. Giclée dye based ink on cotton rag paper
40cm x 43cm

Artist’s proof


BenningtonMatthew Benington
Bettie Batchelor
Cyanotype 1/6
60cm x 45cm

I used an off kilter cyanotype compound meaning no two prints are the same. The text refers to my Auntie Betty’s former red brick, terraced council house in Gorton, Manchester. This and the photographs depicting those who lived there, are all that I can access in relation to this place. Using a handmade photosensitive formula I graft typography onto paper through a stencil which blocks light. My desires is to make tangeable a place, individual and time that I can no longer access directly.


Blythe2Frances Blythe
Dapple
Oil on canvas
61cm x 61cm

 


BuckinghamGabriella Buckingham
Lemon & Crocosmia
Acrylic on birch plywood
43cm x 50cm


BullTom Bull
Biding Time
Digital (Sketchbook Pro)
Customisable

The boat stands idle, biding time until the tide comes calling.


BurgessJess Burgess
Alexandra
Oil on canvas


CampbellJudith Campbell
Random Numbers
Ceramic on board
30cm x 30cm x6cm

The work is about harmony and symmetry; light shade and shadows; connections connotations and interpretations...  and clay and salt.


CatchpoleBob Catchpole
Fork
Oak and steel
90cm x 42cm x 7cm


ColmanJames Colman
A Field near Me, 2109
Oil on board
50cm x 50cm

This is an unremarkable piece of countryside in South Norfolk painted in early spring. After a long gloomy winter, the sight of oil seed rape, even on an overcast day, is a sight to behold.


CooperAveril Cooper
Homage to Jackson Pollock
Fabric and thread
50cm x 76cm

This work of embroidery on Toile de Jouy is a tongue in cheek response to Jackson Pollock’s famous splatter paintings, reminding us that in the 1950s female artists were underrepresented in the fine art world.


DarukhanawalaPersi Darukhanawala
Fire & Rain – Let it Burn
Acrylic on paper
90cm x 70cm


DavisAmanda Davis
A Path Too Well Trodden
Oil on canvas
70cm x 50cm

I am interested in how the human and natural environments inter-relate and change over time. Coastal erosion is a current focus and my work explores how this is forcing a re-evaluation of socio-political priorities; fund the defense of the coastline or let the sea reclaim it. This image forms part of a series on this theme.


DittrichNick Dittrich
Resurrection Engine
Mixed media
51cm x 76cm

My aim is to add movement and an additional dimension to my artwork by integrating discarded items (rusty bottle tops and wire) into a canvas that was sewn together from off-cuts, then partial primed and pleated. This will allow the overal appearance of the image to change due to the shadows cast by changing light conditions during the day. The abstract nature of the artwork allows the viewer to interpret it for themselves.


DurbanIndia Durban *
Christine
Oil on canvas
120cm x 100cm

In this piece I played with how sunlight picks out certain tones in the skin and eyes and how this contrasts with the shadows. I took the photo myself, drawn to the contrasting colours, trying to capture how the eyes have such depth in the sunlight. I was experimenting with mixing my own blacks, and discovered that through using a green undertone I could bring the green eye colour into the foreground wash too. I was also challenging myself, as my subject was at an unusual angle, which took away the natural face shapes you become used to as a portrait painter.


Elwood2Ger Elwood
Stormy Cove
Oil on board


HaddinghamGeorgia Haddingham *
I Belong in the Wild
Acrylic & Watercolour
24cm x 30cm

For this piece I wanted to keep the colours raw and natural to represent the spirit of a bear in its natural environment. The bear has a fearless attitude and is symbolic of strength and courage. The spirit of the bear is a strong source of support in times of difficulty. It provides courage and a stable foundation to face challenges. The creature’s characteristic of knowledge and growth is both empowering and inspiring.


HerbertHelen Herbert
Finding Finlaggan
Oil on canvas
85cm x 85cm

This painting is my response to visiting the home of the Lords of the Isles on Islay. My family is descended from the Macdonalds so it was a very moving experience and full of atmosphere.


Horsley2Anna-Lise Horsley
Fox Frippe
Acrylic on Paper
72cm x 110cm

Anna-Lise paints with fluidity and instinctive conviction. The powerful hypnotic content of her images emerges through relentless dedication and daily engagement between mind, paint and brush allowing the ideas to take over, creating a doorway to an internal and out of control place where shapes and patterns form a dialogue, where the chaotic imaginary occasionally meets the recognisable. Forms appear, only to be drowned and reappear in other paintings.


HurlingLinus Hurling *
2001
Oil on canvas
45.5cm x 53.5cm

An abstract representation of the turbulent year of my birth.


IsaacSusan Isaac
Three Boats in Blakeney
Oil on canvas
41cm x 41cm

This group of boats appeared to me like children's toys, clustered next to the slipway at Blakeney Harbour. I was drawn by the accumulation of curiously shaped objects hanging like a still life assemblage off the bow of one of the boats. I painted this in situ watching the sky alter in stages and the staithe uprights along the quay turn to silhouettes.


JacksonH J Jackson
Quayside Relic
Linocut
77cm x 62cm

A weathered mooring post is the subject of this hand burnished lino-cut. Over the last 60 years I have chronicled the changing face of the fishing industry through full colour prints. I am fascinated by the paraphernalia that goes alongside the fishing boats that feature in my work, from crab pots to lifebelts, baskets buoys and fish boxes. In this image a simple wooden post and rusting chain is given new prominence – a relic of a bygone era.


KimbleyLizzie Kimbley
Wheatfen 1991
Alder and iron, birch alder, linen, paper

This meditative piece explores how our daily observations can connect us to the landscapes in which we are rooted and how this shapes our beliefs and actions in the current climate crisis. Based on daily records of rainfall and tidal changes at Wheatfen, Surlingham kept by Phyllis Ellis between 1991 to 2002, the work charts 10 days in June 1991 and celebrates Phyllis’ observations and connection to her surroundings. Connection to place is reflected in the natural colour and the daily ritual of Phyllis’ walks are echoed in the repetition and rhythms of the making process.


KinnearMartin Kinnear
Watchers
Oil on canvas
96cm x 121cm

You’re never alone in the crowded valleys of East Lancashire. A painting from memory about the urban space and how where we live makes us whom we become. From 2019 series Regeneration.


Lamb2Sarah Lamb
My Path
Acrylic
60cm x 60cm


LeaderMichelle Leader
Blickling Lodge Farm Teapot (or Aunt Daphne’s Teapo
Acrylic
56cm x 73cm

My partner’s Great Aunt Daphne and Great Uncle Tom lived at their much loved Farm at Blickling. When the Farm was eventually emptied, amidst the sadness and muddle my partner found their teapot. To our joy it had been used to keep some of Lodge Farms correspondence from the early 60’s. I wanted every crease and fold and smudge to feel human. I wanted it to evoke a slower and more considered time when a beloved teapot wasn't thrown away after it was damaged, where it was repaired, loved and held on to, containing this fragmented glimpse of the past.


MonahanLiz Monahan
The Chip Eaters
Pastel on Paper
64cm x 62cm


PowellNick Powell


RandleMary Randle
Summer Fields
Acrylic on board
57.15cm x 57.15cm

Abstract


Ross TraceyTracey Ross
Rocky Orange
Acrylic
46cm x 46cm


SalmondGeorgia Salmond *
Buttercup
Acrylic
60cm x 41cm


Salmond2Georgia Salmond *
Eve
Photograph
80cm x 80cm

This work is inspired by Milton’s epic poem Paradise Lost. When writing his great work he referred to the Bible and how original sin was associated with Eve’s sexual transgression. This piece expresses how little has changed in society today.


Schotten2Malca Schotten
Gathering Apples III 2019
Acrylic and mixed media
110cm x 75cm


SmithD D Smith
Deep in Thought
Pen, ink and wash
42cm x 29.7cm


TamplinHeather Tamplin
The River (Can Mr Atomic save the sullen twins from the rising waters of climate change?)
Acrylic
67cm x 85cm


TaylorAbigail Taylor
Gordon Brooks
Pencil
57.15cm x 57.15cm

I drew this portrait of a teacher of mine as my A-level final piece, part of the project titled Faded Memories. I purposely faded his face out to convey this concept and I love how the composition has turned out. I have a lot of respect for this man.


ThomasVictoria Thomas
Feather Heaven
Oil on canvas
40cm x 30cm

Gold leaf background, experimental and loose brushwork.


Tidman3Bruer Tidman
Wheelchaired Into Temporary Accomodation
Acrylic on card
82cm x 62cm


ToddSophie Todd *
Connections
Mixed media

This piece is the connecting of two environments, using the material from one to represent how climate change will mean one will engulf the other
.


Tulk2Corrin Tulk
Terrain
Oli on canvas
30cm x 30cm

Inspired by the East Anglia coastline around Caister-on-Sea, the lifeboat house on the escarpment and coastal erosion.


TylerNicola Tyler
Storm clouds gathering: in the footsteps of Ravilious
Oli and pastel
30cm x 50cm

This work was a response to a walk I took near my home in the Pant valley, Essex. I had just visited the former home of Eric Ravilious, Ironbridge Farmhouse. The night he was lost in action as a war artist, there was a wild thunderstorm and one of the large barns in the farmyard at his home was destroyed. As I walked along the river home the storm clouds were gathering, omnipresent and imposing across the fields. Their presence seemed significant and I wanted to capture the transience of the light and the sense of foreboding they seemed to hold.


ValoriHenry Valori
Table
Acrylic on paper

42cm x 59.4cm


Valori PeterPeter Valori
Study for Bronze Vessel
Red chalk

27cm x 47cm


MindenLaure van Minden
Relinquishing Judgement
Drawing on carbon and tracing papers and placed in a self-made light box
24.5cm x 32.5cm x 6cm

This nocturnal drawing, which is part of a series, is born from the deep need to achieve peace at night. I compare drawing at night with a lullaby, like Louise Bourgeois did. The marks are made with a stylus, in the dark, and are an automatic response to my sleeplessness. In those liminal moments, I have no conscious control of what I draw or write, and traces of time are squashed and layered on paper. To me, the drawing records a temporal palimpsest highlighting underlying existential anxieties.


WalkerKate Walker
Cleave
Oil on aluminium 100cm x 100cm Diptich

Painted on aluminium Cleave speaks of substrate, strata, elements. The work rejects the traditional format of landscape painting by disruption; taking emphasis away from the often dominant horizon line. It seeks to create what Jacquetta Hawkes called a “fossil of the Psyche’.


WestwoodSandi Westwood
Somewhere Only We Go
Acrylic
81cm x 71cm