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Showing posts with label hutchinson. Show all posts
Showing posts with label hutchinson. Show all posts

Friday, 31 January 2020

Foyer Display - Ruth Hutchinson




St Martin-in-the-Fields is home to several commissions and permanent installations by contemporary artists. We also have an exciting programme of temporary exhibitions, as well as a group of artists and craftspeople from the St Martin’s community who show artwork and organise art projects on a temporary basis. One of the initiatives from this group is a changing display of work by the group members or artists linked to the group. Each month a different artist shows examples of their work, so, if you are able, do return to see the changing display.

Ruth Hutchinson came to England from Jamaica in 1959 to train as a nurse. Now in her active retirement she enjoys lots of artistic pursuits including her art and her poetry. She does lots of poetry with local groups. She is also a longstanding active member of the congregation at St Martin-in-the-Fields, one of the welcoming stewards’ team and a co-leader of The Archers. Her passion for the arts was ignited when she re-trained as a nursery nurse but really grew when she studied art after retiring in 2001.

Ruth writes: ‘The Tie Suit was inspired by “my Dave.” When he died I found it difficult to part with his ties. I added to the collection by gathering more ties from charity shops to first create my tie skirt which was a hit at parties and then create the Tie waistcoat Shirt.

Sometimes we can find it hard to part with our loved ones. By reusing we can creatively create something new out of something sad and at the same time protect our environment.’

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Julie Miller - All My Tears.

Monday, 25 June 2018

Foyer Display: Ruth Hutchinson









‘Communication’
(‘Graffiti’ – work in process – and ‘No Graffiti’ - the final work)
by Ruth Hutchinson


St Martin-in-the-Fields is home to several commissions and permanent installations by contemporary artists. We also have an exciting programme of temporary exhibitions, as well as a group of artists and craftspeople from the St Martin’s community who show artwork and organise art projects on a temporary basis. One of the initiatives from this group is a changing display of work by the group members or artists linked to the group. Each month a different artist shows examples of their work, so, if you are able, do return to see the changing display.

Ruth Hutchinson came to England from Jamaica in 1959 to train as a nurse. Now in her active retirement she enjoys lots of artistic pursuits including her art and her poetry. She does lots of poetry with local groups. She is also a longstanding active member of the congregation at St Martin-in-the-Fields, one of the welcoming stewards’ team and a co-leader of The Archers. Her passion for the arts was ignited when she re-trained as a nursery nurse but really grew when she studied art after retiring in 2001.

‘Communication’ was an art college project. The sketchbook in the cabinet shows part of the considerable preparatory work required. Ruth explains: “I was and still am very interested in the environment and recycling. I feel that graffiti can be a good and a negative thing. A lot of graffiti is only about the person leaving their own mark. However, there are some wonderful pieces and I feel it is a very strong means of communication.”

Ruth studied the works of Tracey Emin, Jean Michael Basquiat, Keith Haring, Nicholas Ganz and Banksy to inform her work. She also researched ‘Communication’ in the widest possible sense, looking at hand gestures, facial expressions, colour, sign language, confusion or communication, how babies communicate from birth, public signs and tactile communication.

“I found it immensely interesting doing the research and being at college with younger people. I think the art work brings out the best in me. ‘Graffiti’ involved mixing fabrics, mixing colours and using the shredder to shred tiny pieces, using whatever I could find around me to create the final outcome. This was really exciting.

For ‘No Graffiti’, because I also worked with the under 5’s, I was inspired to use colour and to make things out of nothing. Having an interest in the environment around me and recycling I was able to use whatever materials I could get my hands on to create the final piece. I have a particular interest in sign language and that’s why the hands in the final piece show its title.’

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Staple Singers - Let's Do It Again.

Saturday, 31 October 2015

Music update: Stephen Hough, James Morrison, Floating Points and Spiritual Jazz

'Catholicism was central to all the composers in the recital [Schubert, Franck and Lizst], which included the pianist himself. [Stephen] Hough’s own third sonata, subtitled Trinitas, here received its premiere. It is a striking contrast with its more restless but equally idiomatic 2012 predecessor, carefully structured around the number three, moving confidently and always articulately through major and minor thirds from austere to perky and affirming. Hough played it from the score and it more than held its own in such exalted pianistic company.' (Martin Kettle, The Guardian)

'“I got demons” wails the voice, before the 2007 Brit Award-winner [James Morrison] attempts a confession of St Augustine proportions: “I close my eyes and talk to God / Pray that you can save my soul.”

It may be the sound of someone desperately trying to stay positive in the post-Ed Sheeran era, but actually, desperate positivity is a good sound for him. Higher Than Here is almost Nashvillean in its godly striving, as reflects an epiphany that Morrison had after three deaths in his family.' (Richard Godwin, Evening Standard)

'As a young boy, [Sam] Shepherd was a chorister at Manchester Cathedral and went on to study piano at Chetham’s School of Music. His father is a vicar and the family vicarage turned into a studio for musical experiments: “I could set up cellos in the kitchen, drum kits in my sister’s room,” he says mischievously. A teacher gave him some jazz records and it was then that he “stopped thinking of classical and jazz as two different things”, and started seeing them harmoniously. “Kenny Wheeler is so beautiful that [his music] could have been Rachmaninov,” he enthuses. “And Bill Evans is similar to the colourfulness of Debussy.”

Like his favourite spiritual jazz records, Elaenia is improvisational and designed to be heard in one go. But Shepherd says he “finds it difficult to reconcile not being religious with being into spiritual music”. Instead, he admires the genre architecturally. “Spiritual jazz, for me, feels like building a space out of nothing and within that space [the musicians] build their house, their city, their entire universe through music,” he says excitedly. “They exist in this black hole and they create an amazing place without form, without structure, without harmonic beginnings …”' (Kate Hutchinson, The Guardian)

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Stephen Hough - Born In Bethlehem.

Thursday, 12 April 2012

A most interesting period of British stained glass


St John's Seven Kings is mentioned in a new Wikipedia entry for the artist Louis B. Davis. Davis designed the Nativity window at St John's, originally located in our baptistry and now part of our sanctuary.

The new entry has been compiled by researcher Gordon Lawson as part of his research into the work of Christopher Whall and his followers. Lawson started with Whall himself:
 
 
This led him to Whall's daughter, Veronica:
 
 
He then moved to Edward Woore, Margaret Chilton and Marjorie Kemp and Karl Parsons:
 
 
He plans similar works on Caroline Townsend  Mary Hutchinson, Arnold Robinson, Paul Woodroffe and a few others so that when he has finished he will have set out a reasonable source of research information on a most interesting period of British Stained Glass.

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Florence and the Machine - No Light, No Light.