For this exhibition Martin is, for the first time, showing dye and pure pigment paintings which result in a series of works which have an intensely natural feel and earthly elemental nature that appear to make reference to his early life as an artist when he was continually inspired by the natural beauty of Jersey, its landscape, sea and light.

The late Robert Tilling RI, Martin’s teacher at Victoria College, had a huge influence over Martin’s formative years as an artist and in this exhibition there are unquestionably subtle references to Tilling’s work which are both touching and poetic.

Jason Martin is unquestionably one of the world’s pre-eminent painters whose large scale paintings fetch six figure sums on both the primary and secondary markets but Private & Public gallery are delighted that local art enthusiasts can now own an original piece for a fraction of that price.

To own one is not only to hold a piece or art history in your hands it is also to have a unique piece of local history that will continue to rise in value in the future.

DANIEL PORTER’s paintings explore the very nature of painting both as cultured language and sheer expression and he disregards the classical polarities of abstraction and representation, past and present, canvas and frame. Assertive compressed gestures, sweeping complex textures, a lush palette, and the dynamic interchange of light and dark are all traits of his distinctive signature. With their maximalist gestures and saturated colors, his more intimately scaled paintings appear jewel-like, while larger works are opulent and theatrical. Painted onto canvas and glass they operate as both objects, images and mirrors and embrace joyous spontaneity and directness in equal measure.

His studio practice is a processes of reflection and capitulation and it may take a year for Daniel to prepare to execute a single brushstroke. The seemingly casual, urgent quality of his paintings belies the fact that most of them have been worked on for two or three years. More than ever they convey the relationship between hand, eye, and memory that drives their process, visual structure, and emotional temperature.

For this exhibition Daniel’s works are displayed in the main gallery space and the interplay between Daniel and Kirsty’s works will produce a truly dynamic exhibition the likes of which has never been seen before in Jersey.

Private & Public Space are therefore delighted to bring this blockbuster exhibition ‘Pop Icons of the 20th Century’ to Jersey to enable residents and visitors to own works by some of the greatest post war artists from America and Britain.

Although they were inspired by similar subject matter, British Pop Art is often seen as distinctive from the American version. Early pop art in Britain was fuelled by American popular culture viewed from a distance, while the American artists were inspired by what they saw and experienced living within that culture.

In the United States, pop style was a return to representational art (art that depicted the visual world in a recognisable way) and the use of hard edges and distinct forms after the painterly looseness of abstract expressionism.

By using impersonal, mundane imagery, pop artists also wanted to move away from the emphasis on personal feelings and personal symbolism that characterised abstract expressionism.

Ponting took some of the first known colour still photographs of the expedition led by Robert Falcon Scott who wanted to be the first to reach the geographic South Pole. Having got there on 17th January 1912, the team discovered they’d been beaten to it 34 days earlier by a Norwegian team.

Tragically Scott’s entire party died on the way home and Ponting’s photographs, the only visual record of this historic expedition soon became a memorial to Scott and the team.

More than a century later, Jersey artist Nick Romeril embarked on his own Antarctic expedition when in January this year he was the 2018 artist in residence for the Friends of Scott Polar Research Institute.

Romeril travelled 3,500 miles in total on board HMS Protector and was taken close to some of the colossal blue bergs which feature among the 200 plus small paintings and drawings he created during the trip and examples of his recent oils as well as a selection of local seascapes will be available for purchase.

Although also available as prints, presenting the work as lightboxes enhances their theatricality, and creates a window into another world.

Allchurch has exhibited regularly in solo and group shows in the UK and internationally, including the USA, Canada, Hong Kong, Japan, Singapore, Italy and Germany. Solo museum exhibitions include In the Footsteps of a Master at Manchester Art Gallery (2015), which toured to the

Djanogly Art Gallery in Nottingham, and Visions of Architectural Fancy at the Sir John Soane’s Museum in London (2018).

Her works are held in private collections worldwide, with a complete set of her ‘Tokyo Story’ series in the permanent collection of the Minneapolis Institute of Arts, and the offices of Fidelity International, Tokyo.

Commissions include Her Majesty’s Diamond Jubilee River Pageant, commissioned by the States of Jersey in 2012, which is on permanent display at the Royal Court, St Helier; Albert Square, Manchester

(After Vallette) by Manchester Art Gallery/Art Fund initiative (2015); and Rathbones Story (2017) for Rathbones HQ, London.

In February 2018, Emily was a Finalist from over 4000 applicants in the Columbia Threadneedle Prize in London and won the Visitors’ Choice Award.

Religion was an important inspiration for art everywhere, and much of the art of the Silk Road was religious in origin. This includes not only the extravagant visual art of Buddhism, which created a legacy of thousands of statues, murals, and illustrated texts across much of Central and East Asia, but also the glazed tilework of Islamic mosques, which stresses calligraphic, geometric, and other nonrepresentational artistic motifs.

But as justly famous as this Buddhist art is, it is only one of many types of art that have flourished or been transported along the Silk Road over the centuries. Artistic artifacts and influences of many cultures, in many media and in many styles have traveled in both directions along the Silk Road, and have exerted their influences over surprisingly long distances. In addition to sculpture and pictorial art, the art of the Silk Road includes textiles, ceramics, metalwork, glass, and a wide variety of decorative techniques applied to objects of beauty and utility.

Each of the artists featured in this exhibition have drawn their inspiration from the ancient trade routes and this show provides a unique opportunity to see contemporary cultural interpretations of thousands of years of humanity by artists from Turkey, Uzbekistan, China and the former Soviet Union.

Chris Clifford commented: “It’s rare for a gallery, not only in Jersey, but anywhere, to secure such an extraordinary treasure trove of incredibly beautiful, intricate & powerful imagery from artists of global significance.

This exhibition is a must see for anybody with an interest in art, and, it is a unique opportunity to view a curated exhibition which fully explains both their individual and contextual importances”.

Within two years this avant garde approach was quickly denounced by fellow Russian artist Kasimir Malevich through his concept of Suprematism which sought to develop a form of expression that moved as far as possible from the world of natural forms and subject matter in order to access “the supremacy of pure feeling” and spirituality in which the canvas became a two dimensional surface.

Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism, and after visiting Paris in 1912, Cubism.

Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His Black Square (1915), a black square on white, represented the most radically abstract painting known to have been created and drew “an uncrossable line between old art and new art”.

Emily Thomas and Daniel Porter are two very talented painters who have diametrically opposite views on how and why abstract paintings should be made and presented. As such we see this show as a great opportunity to highlight the formal concepts contained within abstract painting and provide the public with a richer appreciation of the issues faced by practising artists who have differing viewpoints on the nature of contemporary art practice.

Barry was a pacifist; he had spent World War I as an agricultural labourer and at the outbreak of World War II he reluctantly returned from years of living and travelling in France, Italy and Germany to settle in St Ives. There he studied for a time with Stanhope Forbes, and he would have come into contact with other artists working there at the time – among whom Laura and Harold Knight, Augustus John and Alfred East. After the war, Barry moved to Jersey and lived here for over 20 years, regularly using the island as his subject.

Despite his being a pacifist, the subject of war clearly inspired some of his best known work. He experimented with different styles, most obviously the French Pointillist style of separating colours into dots and using them in conjunction with each other to deliver a more vibrant result. However, one also sees evidence of his having looked at the British Vorticists and some of his impressive, war-related canvases of the 1940s were painted in a combination of these styles. The fountains of coloured lights in these paintings dramatically intersected by angular searchlights, provide some of his most successful compositions and one such work is the centre piece of the exhibition. His work is now very much sought after at auction and in specialist dealerships, with early works fetching hundreds of thousands of pounds, whilst the later works from Jersey have barely been marketed since leaving the studio so are available at much more competitive prices.

His most recent UK museum retrospective in 2011 was reviewed by the Financial Times under the moto, “The Greatest Artist you’ve Never Heard Of”, a situation that has finally begun to change since that show.