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Payments

BACS payments should be to:

North Norfolk Open Studios

Acct no: 25612462

Sort code: 80 22 60

Bank: Bank of Scotland

Cheques should be made payable to:

North Norfolk Open Studios

and posted to:

Keri Lowe

16 Clarendon Drive, 
Martham
Norfolk
NR29 4TD

Your brochure entry:
Brochure image:
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Artist number:
To be confirmed.
Name:
Christine Allman BA.MA
Trail:
To be confirmed.
Studio address:
17 Bluebell Road
North Walsham
NR28 9EH
Tel:
07504 853453
Wheelchair access:
YES
Directions:
Description:
The work titled 'Transformation' is one or two paintings that resulted from a visit to the Warham Iron Age Fort in North Norfolk, the second titled 'The path in Search of a Queen'.
Dates:
25 May
YES
26 May
YES
27 May
-
28 May
-
29 May
YES
30 May
-
31 May
YES
01 June
YES
02 June
YES
Your artist's page:

Christine Allman BA.MA

Note: if you are viewing this on a mobile device there seems to be a glitch where the dates aren't showing properly. I won't be fixing this as the same problem doesn't appear to be happening with actual artist pages that the public see. If you want to check the dates either go to the editing area in the Members' area or have a look at your actual artist page by clicking on your image here

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open dates:
Sa
25
May
Su
26
May
M
27
May
T
28
May
W
29
May
Th
30
May
F
31
May
Sa
01
Jun
Su
02
Jun
artist number:
To be confirmed
trail:
media:
Drawing, Painting
website:
Website
mobile:
07504 853453
landline:
Landline
address:
17 Bluebell Road
North Walsham
NR28 9EH
wheelchair
Accessible by wheelchair
directions:
currentItem_ID
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Norfolk has always been my home county. I studied art at the NSAD. I maintain my profile as an exhibiting artist both in solo and group exhibitions with work in private collections and completed commissions.

I have curatorial and arts management experience. I also advise students on their art practice both as individuals and within small groups.

I work with two main mediums, egg tempera, my current and preferred medium and oil glazes with its qualities of subtle transparent layering of colour, offering a sense of emanating light from within the painting.
Inspirational to my earlier work was the late English metaphysical painter Cecil Collins through his use of oil glazes and spiritually charged landscapes and figures.

Drawing is a valuable entry point to my painting which begins with photographs, sketches and observational drawings a means of recording visual information and developing ideas before committing to paint.

I enjoy the particular demands of working with egg tempera, it compliments and underpins my current practice, achieving an ‘other worldly’ quality to working with landscape. It is a time consuming, meditative, exacting, process. A layering of transparent or opaque, finely detailed, delicate but expressive mark making, layers of colour over and against another, one shape in relation to another.
The challenge is to create light, shadow, form and texture, absorbing and transforming visual clues from the physical world and reflecting them back to the viewer through landscape to offer a sense of other.

The final image is very rarely clear to me at the onset. It begins with a spark of intuitive inspiration, an inner recognition of something from a visual experience, a place, objects, buildings, figures, textures or colours. I collect and consider memories, visual patterns, forms, colour, texture and emotion, a journey, guided by a silent inner intuition, trusting that, through the painting process, a final image will come to fruition.

Current influences are, British artists Eric Ravilious, John Nash, British Ruralists members, Anne Ovenden and David Inshaw.

Artists working in egg tempera, Americans Andrew Wyeth, George Tooker, Robert Vickrey, Canadian artist Alex Colville and British contemporary artists, James Lynch and Anna Sweeten and the late Irish painter Fergus Ryan
 
In conclusion, in the words of Fergus Ryan:

‘I think my primary emotion is a sort of solitude in timelessness, an experience of time suspended for a measurable moment, a glimpse of the ‘presence of absence’.

‘But the ancient landscape is far from empty, it is everywhere filled with ‘the presence of absence.'

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