Open Call 2022 entries

Christine Allman

late arrival

'PART'

framed. 38.5CM X 29CM (unframed measurement) and the medium is egg tempera on an Italian gessoed board. The landscape of the painting is Cove Hithe south of Lowestoft , I have walked the path along the cliff area and in this case the cliff path is the basis of the painting reflecting a time of loss, change and reflection on what lies ahead. Being alive, existing in the physical world, moving through one moment, an hour, a number of days or years, is a constant parting from one experience to another, the demand for continuous adjustment and change through the passing of time and its consequences. Parting can bring a sense of loss, relief, regret, joy, determination, new ways of seeing and changes in thoughts and feelings but there is always the possibility of experiencing moments, hours, days or years of new and wonderful experiences and purpose, a change in direction, or retracing of steps to find answers. Nature is a true reflection of this complex and continuing revelation. The white crow in the foreground represents this, the figure is the artist and a self portrait. The path the artist walks in the landscape is on the cliff at Cove Hithe which is constantly changing due to erosion by the wind, sea tides. The following words are those of the late Irish artist 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’.

'Heat of the Day '

Painted during the recent heat wave. Capturing a moment in time on the North Norfolk coast.

'One Post'

This one post represents change - such as rot, decay and the changing landscape of the Norfolk coastal mashes

Esther Boehm

The work is not quite finished. The base is 36cm square to fit on the plinth but extends beyond it. In the rush to meet the deadline I forgot to mention that the figures are made of raku fired clay.

Wondering

A spiral growing upward with 3 'figure impressions' on the edge show a journey taken. Could it be that we are on the brink of extinction because of climate change, war etc. or is it a point in life where a leap of faith is required? ... Title: Wondering Size: 47cm x 54cm x 69cm h; base is 36cm square Material: plaster, metal

Cromer is for me a place of childhood dreams and fantasy. A holiday destination; a place of beauty, wonder and of coming of age. As a child I love the sea but regularly dream of monsters emerging from its depths, or of tidal waves engulfing every thing.

Storm of 1993; deal with Godzilla.

Acrylic and pastel on canvas.80cm×60cmA reimagining of the Cromer pier storm damage in 1993, in which Kate Bush deals with Godzilla( a play on ,Running up that hill,- Deal with God) The ultimate battle of wild woman power as Kate Bush defends Cromer pier from Godzilla(A kaiju) or Monster symbolising mankind's destruction with nuclear waste. Kate Bush defends Cromer pier, saving it and probably the whole world.

Acrylic, stones and little people on canvas 30cm × 20 cm

Cromer stones

Cromer stonesAcrylic inkBeautiful hand pained stones, a meditation tool

Stephen Fry

This painting combines markmaking, colour, texture and mixed media. I was inspired by the camp, quirky and fun atmosphere of Cromer. The town has a personal connection to me and my parents, who spent their honeymoon at the Hotel De Paris and have fond memories. I was also surprised and humoured to read that Stephen Fry was a waiter at the hotel, and I quote- spent his wages on "cannabis, cigarettes and sweets", which is why I have chosen to paint him in the way that I have.

Dear organisers. Please find attached by submissions for the Cromer Artspace Autumn festival. These are currently digital works that if accepted I will have printed and framed/mounted for the festival. Each is a mathematical abstract evoking an aspect of the coast. Final colours may vary slightly in the printing process.

Hourglass

45cm x 60cmA strange attractor reflecting the chaotic unpredictability of the natural systems that form our coastlines and weather systems. Formed from millions of points, the location of each dependent solely on the location of the last. Both the small-scale chaos in the detail and the large-scale structure of the shape emerge through this repeated iteration of a simple mathematical rule.

Urchin

45cm x 45cmIn the 19th century harmonographs were popular mechanical drawing devices, plotting patterns based on the movement of circles within circles. Modern computers enable us to build on these simple designs. Here connecting equally spaced points around a curve forms a spiny structre evoking marine life.

At sea

45cm x 60cmA strange attractor bound into a frame, representing the chaos of the sea.

These two art works refer to the fate of the Ukrainian refugees in North Norfolk. The 'Then' is their flight, the 'Now' is their life and their worries about their loved ones left behind, and the 'What Next' is the unknown future of their country.Both pictures, 'Flight' and 'Storm' are dedicated to the Ukrainian people. If the pictures are exhibited and sold, all monies will be donated to the Ukraine Humanitairian Appeal of the British Disaster Emergency Committee. Therefore the prices are minimum prices. If a potential buyer pays more, the resulting donation will be higher.

Flight

Acrylic over collage on Clairefontaine Ingres/pastel paper, cotton mountboard, UV protection acrylic glass in wooden frame, picture size: H. 30 x W. 40 cm, frame size: 43 x 53 cm'Flight' shows a refugee fleeing from the horrors of war and represents all people in this situation. £ 180.00 (minimum as all the money will be donated to the Ukraine Humanitairian Appeal)

Storm

Soft pastel on Clairefontaine Ingres/pastel paper, cotton mountboard, UV protection acrylic glass in wooden frame, picture size: H. 30 x W. 40 cm, frame size: 43 x 53 cmThe lighter colours of 'Storm' refer to the safety in which the Ukrainian refugees can live in this country, for example in North Norfolk. However it shows a storm in the dunes on the coast. Although the Ukrainain people are safe here and get much support, they think of and worry about their loved ones left behind, who are still confronted by war, almost unbearable suffering and death. Therefore their lives here are not calm and relaxed yet. In the centre of the picture the Ukrainian flag can be dimly seen in the distance, an ever present reminder of their home country. £ 180.00 (minimum as all the money will be donated to the Ukraine Humanitairian Appeal)

Water has always acted as a magnet to me, especially, like many others I like to swim in rivers and the sea, as a child i lived near the sea and sailed with my father.

Turn of the tide

The sea waits as it draws in its breath before turningOIL24 X 20 inchesJane ironside jane@janeironside.co.uk mobile 07494287813

Storm

Where land, sea and sky meet .Oil22 x 22 inchesjane ironside jane @janeironside.co.uk mobile 07494287813

Leaf fall

this year leaf fall has come early for some trees due to the heat. Normally autumn is when i spend a lot of time in the woods. As the light gets lower and as the leaves fall the trees draw back their energy and reveal the skeletal structures. Oil18x16 inches portraitJane Ironside. jane@janeironside.co.uk 07494287813

My photography focuses on abstract forms of impermanence. Like life, the sea is in a constant state of ever changing movement. No two waves will ever be the same, it teaches us to live life mindfully in the moment.

Photograph - Wave movement

These works are part of an ongoing collaborative project between James Quinn & Judith Stewart that re-imagines the former Hanseatic League for whom the North Sea was a means of connecting Europe and Norfolk. This triptych of composite images features collaged aspects of the Norfolk coast and areas further inland. This assemblage of imagined places highlights encroaching coastal degradation into the Norfolk landscape, be it Arable agricultural land or public sites commonly associated with the notion of the rural idyll.

North Sea 1

Part 1 of a triptychDigital photographic print 360 x 240mm

North Sea II

Part II of a triptychDigital photographic print 360 x 240mm

North Sea III

Part III of a triptych Digital photographic print 360 x 240mm

Because this is a 3d work I have uploaded 3 separate images to show front back and side , but it is entered as only one work.

Norfolk Clay

This pot is made with clay from the ditch next to my house, .. it shows the use of Norfolk clay across time - to represent the present as a clay vessel , the past as a romantic agricultural landscape and a possible wry future as identikit housing.

Norfolk Clay - back view

Norfolk Clay ( side view)

Rearrangeable Drawing (Contour Lines)

An experimental abstract drawing, cut up into regular squares and turned into a book, which can now be rearranged into multiple sculptural forms... I feel that although the unpredictable landscape in which we live has already been forced into this regular grid, with our imaginations we still have the ability to form and reform that grid into almost any shape we desire...paper, tea, ink - variable size (18 squares - 8x8 cms)

Rearrangeable Drawing (Four, Thirty-two, Four)

A set of four Rearrangeable Drawings that can be formed and reformed either together of separately... As with the first submitted work, I am happy for the public to handle and rearrange these books themselves, although I realise Covid precautions may not allow this...paper, ink - variable size (4 books - 16 squares - 2x2 inch per book)

For thousands of years we have created pottery, the outcomes a record of environment, function and process. The maker themself is included through indentations and finger marks left during the creation process. They are a time capsule. I grew up in Norfolk by the sea. I am fascinated by the environment and how we respond to it. My ceramics work is in response to the changing way we experience the landscape and environment around us, how that landscape is changing. I record and collect what surrounds me at a location, then present that moment as a tactile, textural and visual creation, recording a space in my past as a present and future moment. I am fascinated by how I can capture one day, one moment in a way that can last for centuries. Each piece is handbuilt and unique

Cromer Beach at Dusk

Ceramic Vessel. White Stoneware, hand decorated using Monoprinted and painted pricesses in Coloured Slip, Oxides and Underglazes. Finished with a clear Glaze on the the Outside and Garden of Eden Glaze on the insideHeight 25cmsDiameter 16 x 7cm£60

Cromer Beach, Tides Out

Ceramic Bowl. White Stoneware, hand decorated using Monoprinted and painted processes in Coloured Slip, Oxides and Underglazes. Seaweed and drift findings are used to texture the surface. Finished with a clear Glaze on the the to protect the colours and a Cobalt Oxide wash on the base. Height 7.5cmsDiameter 27 x 25cm£70

Hunstanton in July

Ceramic Bowl. White Stoneware, hand decorated using Monoprinted and painted processes in Coloured Slip, Oxides and Underglazes. Seaweed and drift findings are used to texture the surface. Finished with a clear Glaze on the the top protect the colours and a Cobalt Oxide wash on the base. Height 8.5cmsDiameter 30 x 28cm£65

These photos are part of work in progress by Adrian Palka and Patricia Routh highlighting the complex processes of erosion and renewal in the coastal landscape around Cromer. Based around the site of the collapsed clifftop Overstrand Hotel a group of artists will be hosting events around this theme on thoughout 2023.

Hotel Revenant

A photographic print conjuring the memory of the collapsed Overstrand Hotel.1 x photographic print on foam board 36"(92cms) x 13"(33cms)

Hi there - here are some visuals based on an 18th Century paper piecing technique I would like to use from a second hand book of old photographs of Cromer & District.

Forgotten Past

Paper piece that will reflect the past-times on the beach. Front cover.

Not sure yet.

This shape (although not Cromer related will be relevant to the piecing intend to submit.

Not sure yet.

Again not completed but it will be a similar Dutch Iris Folding technique

Materially Viral 2 (2002) from Things that Kill, Things we Forget

Pencil, acrylic, collage and varnish on canvas (76cm x 76cm)Life's journey and the place where one lives infect / affect one's ideas. The comment here is how the stuff around us - things, nature, viruses gain complacency until we are impacted by or changed by them, the past affects / infects the present affects / infects the future. In essence my work deals with the paradoxical, antagonistic, and yet symbiotic relationships in our world – human versus nature versus nurture versus self-determination. How our identity and veneer, the who we portray through reality or virtually, is constructed including the narratives of our lives. This covers a host of elements – our environment, the images, and experiences we are exposed to, how we construct memory, what we retain, and in turn what impact this has. I explore this through various artistic techniques including paint, print and text, which means a range of stylistic and aesthetic output, reflecting the inconsistencies of being.

Materially Viral 3 (2002) from Things that Kill, Things we Forget

Pencil, acrylic and varnish on canvas (76cm x 76cm)Life's journey and the place where one lives infect / affect one's ideas. The comment here is how the stuff around us - things, nature, viruses gain complacency until we are impacted by or changed by them, the past affects / infects the present affects / infects the future. In essence my work deals with the paradoxical, antagonistic, and yet symbiotic relationships in our world – human versus nature versus nurture versus self-determination. How our identity and veneer, the who we portray through reality or virtually, is constructed including the narratives of our lives. This covers a host of elements – our environment, the images, and experiences we are exposed to, how we construct memory, what we retain, and in turn what impact this has. I explore this through various artistic techniques including paint, print and text, which means a range of stylistic and aesthetic output, reflecting the inconsistencies of being.

Please note this work is not yet made therefore I have submitted a PROPOSAL: The East Anglian Coastline has a heritage of being the first line of defence, the architecture of WW1 & 2 radar stations, bunkers and military lookouts punctuates the landscape. As architectural structures the utilitarian combination of steel and concrete appeal to me. They are sculptural objects.With the upcoming relocation of the Trimmingham Remote Radar Head (The Golf Ball) I have become interested in the hidden intangiable signals that are intercepted and omitted on a daily basis from these points.There is an unseen continual silent noise pulsing above us, below us and through us along the coastline. Threat from foreign attack is monitored and evaded all out of the 'radar' of the general day to day humdrum of the civilians living nearby. For this work, I plan to explore the physical architecture as well as the patterns created by signals that are omitted and intercepted by them. The work will likely be monochromatic, and a development from the two works submitted as images below. Most likely 2 Dimensional, possibly low relief - a series of 3-5 works.

Interrupt

(Media: Hand made paper, hand printed.)135mm X 195mm (individual works)Framed approx. 1000mm x 400mm Artist Statement:We are immersed in the continual buzz of on/off signals - satellite, radar, fibre optic, html, digital, analogue, 4G, 5G … pulsing at high speeds above us, below us, through us. Silent microwaves infiltrate our daily existence, demanding immediate response. We are interrupted.

Error 404

(Media: Hand printed and laser etched textiles)Artist Statement:We are engulfed by the continual buzz of on/off signals; satellite, radar, fibre optic, html, digital, analogue, 5G, microwaves… pulsing at high speeds above us, below us, through us.

(Is there) still life in Cromer?

From the window of a Cromer flower shop, this still life is a metaphor for Britain’s declining seaside towns yet raises the question of the potential of new opportunities to blossom from decay

Reflections - Norfolk Coast

Norfolk coast viewed through a rainy windscreen with a flask of coffee

The force of the wave

The power of our natural resources to sustain or detroy tomorrow

Mermaid

MermaidLimited edition linocut print30x30cm I love the idea of spotting a mythological creatures off the coast of Norfolk, and the duel nature a mermaid really satisfies my love of mythical creatures. The duality of their nature and appearance really appeals, charming and beautiful, yet deceptive, human in appearance but also a sea creature. I love the parallels to the changing nature of the coast throughout the year.

Octo-Pussy With a Spork

Octo-Pussy With a SporkLimited edition linocut print30cm wide x 24cm highI love the duality of this sea creature cat and really want them to exist. The duality of the Octo-pussy reflected in the spork - neither a spoon or a fork. Often representative of the non-binary, but in this piece, also highlighting that our sea beds are covered in needless plastic waste, perhaps mutating creatures creating new ones.

This Chalk pastel is part of a series of new work that I have been making while looking around my garden and picking a bunch of flowers. Contemplating the relationship between my garden and the flowers once brought inside, these floral tributes evoke the continuous progression of the seasons and my elemental connection with them. Over time I have watched as this rhythm is increasingly disrupted by Global warming. I wonder how much longer I will be able to observe the changing of the seasons and the marking of this by the emerging flowers through out the year. Will these pastels become a small personal testament to a passing of the infinite beauty and variation of the plants and flowers in my garden?

Lord’s and Ladies

Chalk pastel , pencil and coloured pencil on Arches paper.96x74 cms. Framed

Coastal Ties

Woven colours from the sea and plant extracts. The golden-pink sheen is a natural dye from Cromer seaweed, foraged locally on the shoreline. This piece is handwoven on a traditional wooden loom, using natural, biodegradable fibres and dyes. Each fibre is hand-dyed with seaweed, indigo and other plant dyes. The heritage of slow textiles and natural materials is prominent in our future, to fill our homes with plastic-free objects, which have a connection to the land. Toxic-free materials, which can return to the soil with no impact will help repair the environment and keep the sea protected. Made from Tencel, linen, wool and paper yarns. Dimensions: 57cm x 67cm.

Woven Origins

A time capsule on Cromer's shoreline. The colours are dyed with Cromer seaweed (golden pink) and natural indigo blue. A sustainable design of natural fibres and dyes, resembling future possibilities to keep the sea clean and our lives plastic-free. The Algae dye is sourced from local foraged seaweed, seen clinging to the sea defences. Seaweed is nature's carbon vacuum, repairing our polluted ocean. This piece is made from Tencel and linen fibres, woven and displayed on a canvas. Dimensions: 20cm x 20cm.

Flock to Fibre

Spun from the land, this piece is made from undyed Hebridean sheep's wool, woven on an old wooden loom. The blue accent is dyed naturally with woad. The traditional heritage of wool is remembered in this piece and demonstrates the fine properties of this raw fibre. The age of wool and natural connections is a future possibility as people look to meaningful, British-made ideals. This piece is made from British wool, hung on a metal dowel. Dimensions: 53cm x 51cm

LOSS

Stitched textile worked in silks. Hand quilted.69 cm x 51 cm£400

MEMORIES

Stitched textile worked in silks, hand quilted72 cm x 48 cm£350

Echoes of the past

Ink and charcoal on paper 99 x 55 cm Work created from life, with ink echo added afterwards, an effort to convey a state of mind, uncertainty

Beneath an oriental plane

Ink and charcoal on plwood 73 x 39 cmDrawn under a 300 year old tree on the Blickling estate on a heady hot foot burning day and attempting to capture some of the organic energy

Journey to somewhere

Ink on cotton 45 x 75 cmMonoprint from memory of standing at the top of a tube station escalator with thoughts to the future

Hotel de Paris

Linocut of the Hotel de Paris, a historic building in Cromer, fascinating architecturally and taking up a prominent space on the seafront. The hotel has had its ups and downs during the past decades, but it still endures and will continue into the future looking out over the North Sea to places beyond. Framed 24cm x 31.5cm.

Dee Evans

"Mother and Child"

Acrylic and collage size 45cm x 55cm (framed) Quite often in my collages there is a suggested narrative. With this one the viewer is asked to speculate on where this room is, who the women are and is there a new generation.

Image refuses to go onto your form! Well, a better quality one is always replaced by a poor one.

Relic of "The Fernebo"

Painting in acrylic of a piece of the wreck of the Fernebo. 75cm x 55 cm (On the East Beach, Cromer, not always visible unless you catch a spring tide, here a piece to the east of the main structure of the wreck, is splendid in sea weed after a barmy warm summer, quite belying the terrible storm that caused it)In January 1917, the Swedish ship Fernebo broke in two after an explosion. Six sailors attempted to reach shore in the ship’s boat which capsized, but were saved by a chain of men reaching for them from the shore.The lifeboat Louisa Heartwell, had already spent that day rescuing the 16 crew of the Greek steamship Pyrin, and now in worsening weather, launch had to be attempted several times, though eventually successful, they had to return as so many oars had been broken (5) or lost overboard (3). After launching again all 11 sailors were eventually rescued.Remember launching a boat in those days meant men wading out in chest high seas pulling and pushing the boat, and once afloat that open boat was powered by the strength of mans muscle, for in those conditions sail would have been impossible. And this is during war time, the men were old/not fit enough to go to war!Coxswain Henry Blogg, the RNLI’s most highly decorated lifeboat volunteer, was awarded the RNLI Gold Medal and twelve of the crew were awarded the first ever Bronze Medals. My great grandfather served on the Louisa Heartwell – he was adamant that none of his sons should ever go to sea!

Robert Barr

paid by bacs

Spectation

Spectation is a wall-sculpture. It is made of marble of various different types and colours, most prominent is the transcendent blue Namibian. There is a group of people under a skyscape, watching, waiting, expecting, but who knows for what? Whatever our fears and hopes, who can ever say for certain what is about to happen? and how do our wishes affect what future outcomes will be? 80 cm x 82 cm

In flux

Acrylic and spray paint on canvas. 55cmx55cmThe title refers to the constantly changing nature of this painting. It has many layers and has had many faces before coming to rest with this one. 'Now, then and what next' is a refrain that is often with me as I paint.

Which way is up

Acrylic and spray paint on wooden panel42cmx40cmI move my paintings 360 degrees when I work, often only finalising which way round they go with the last marks I make. This painting has lines, arrows, shapes pointing in all directions, different pathways 'Now, then and what next'

Cromer Sunsets: A Triptych

Oil on canvas paper 30” by 12”.Now (middle), then (top), what next? (bottom). A commentary on climate change and how it may effect our weather and sea levels in Cromer.

Details and description enclosed.

Then and Afterward

Oil on Linen100 x 100 cms£1,800During lockdown many people were unable to engage with the natural world. As an insomniac I created a series of paintings where the landscape was beautiful and strange. Enduring and changing with or without humanity. As an artist I feel my contribution is to evoke responses to the landscape that is so precious to us: I want to reflect the landscape we live in. The paintings I produce are the result of a distillation of the essential colours, marks and lines. They are not literal representations of what I see. My interest is in the layering of history from the way they are built up, rubbed out, scraped down and covered over again. Some traces of what has gone before may be visible on the surface. I like the work to have a fragile quality to the surface, to show they have been through the struggle for the image to emerge. But the work must still have a freshness to it before I can say it is finished, or that there is no more I can do to it. It has to 'breathe'.

Through Rocks

Oil on linen 100 x 100 cms£1,800The landscape and its history continue to influence my painting. My paintings are often a combination of the real, the remembered and the imagined. My intention is to evoke memories and experiences in the viewer. Seeking stability and calmness in these turbulent times. Water and stone represent life force and continuity in the landscape.

Before and After Summer

Oil on Canvas 100 x 100 cms£1,800Links to the past and to place are becoming more tenuous and contested, and threats to cultural heritage - both tangible and intangible - are extremely difficult to counter, both socially and politically. The transformative power of the arts is they can shape a better world.

Please find my submission of two pieces for the Open Call 2022 exhibition. Please note that each work consists of separate pieces so any final installation may differ slightly from the images. As well as the works being intrinsically connected with the hyper-local and our relationship to place, I consider my practice to currently fit the brief of Now / Then / and What next. I started walking and making for physical reasons when a back injury required me to move about rather than be static at a worktop, but I have also found mental benefits to taking my practice more outdoors, and I'd love to share this with others.

WoolGatherings (i) 2022

Dimensions: W300mm / D300mm / H75mm approxMedia: Wool, cotton, acrylic, found objects and found material, wood.DescriptionWalk. Turn over a stone with your foot. Pick up a feather. Scatter seeds to the wind. Let this place influence you, as you affect it with your passing. This 3-dimensional felted wool piece consists of 12 pebble-like objects, created using a wet-felting technique by the artist while walking in the vicinity of Upton and South Walsham broads. The artist is interested in objects that stand for place, use of found materials and natural processes. Where possible they complete the wet-felting process using water sourced on-site. Some are further finished in the studio using needle felting and embroidery. The presentation in a set of painted wooden trays reflects the human desire to elevate small found objects, curate and display them for our edification and inspiration.

WoolGatherings (ii) 2022

Dimensions: Variable (will not exceed W360mm / D360mm / H100mm)Media: Wool, found objects and found materialDescriptionWind, footsteps, water, scattering, digging, gathering, flow. Exchange of change between person and place creates layers of meaning. This work, a group of hand-felted objects formed using a layering technique reminiscent of geological layers or soil samples, was made in response to the idea that humans and nature work together to affect landscapes on a small scale. Material is found, added, moved about using human and natural processes to create something that is neither wholly human or natural. The artist has incorporated soil, dead leaf matter and seeds in the objects, which at a future point they hope to return to the landscape.

Sorry I didn’t complete the submission properly first time round! So I am doing it again!

Time and Tides that Bind

Mixed media16 x 20 inches£220

My pictures are inspired by the internal power of the land behind the vast cliffs at Overstrand. Constantly shifting and altered by the sea from the front, and by the rain seeping down from behind, it remains a looming threat to the weathered and helpless wooden line of defence - which rather than offering protection from the sea, seems to be attempting to hold back the inevitable and defiant forward progression.Please let me know if you cannot open the images.

Cliff 1

Mixed media collage: acrylic, torn paper, pen and ink. 52 x 42 cm

Cliff 2

Mixed media collage: acrylic, torn paper, packing paper. 84 x 84cm

Pia Henderson

Beach Huts

For me beach huts will always epitomise the sea side. Magical little boxes on stilts that you long to investigate, sensing each may contain a secret. Huge apologies ..... you didn't want me to describe work, you wanted to know it was in oils and measured 64x54cm (framed)!

'Now, Then and What Next?'My work is concerned with the passage of time and how a specific landscape has been shaped throughout the ages. I am particularly interested in the history, geology and mythology of place. Through my work I attempt to connect the prehistory of a place with the present, to show the continuities and flux of nature through time. To do this I walk through the landscape, collecting natural materials from the places I journey through, choosing areas where the distant past and the present intersect. Cromer is a favourite example of such a place.My vision is informed by a profound belief that the landscape is forever in flux, having a restless life of its own. The colours, textures and collected materials that I use intensify the drama, challenging us to discover these connections to our past as if for the very first time and also to consider our present and future behaviour as it relates to our environment.

'Sea Rising - Sun Going Down'

Size: 61 x 61cm Media: Cromer chalk, sand, ochres, acrylic & oil on cradled wooden panel.I have long been fascinated by the cliff formations on this dramatic part of the Norfolk coast and the beautiful colours of the rocks and stones and patterns of movement from the last Ice Age Drift. Working with a little knowledge of the geology of this landscape, I have tried to imagine the area as the melting ice carved its way through the land depositing gravels from as far away as Scandinavia and Scotland. Holding these varied stones, flints and lumps of chalk in my hands and grinding the pigments to add to my paints, brings with it powerful feelings of our ancient history. In this painting I have illustrated how early peoples believed that when the sun went down, it moved beneath the earth at our feet and reappeared on the horizon on the opposite side at dawn the next day.

'Shifting Sands'

Size: 44 x44cm FramedMedia: Cromer chalk, sand, ochres, acrylic & oil on paper.This artwork was begun on Cromer beach and incorporates the chalk, yellow and red colours from stones and pebbles I collected as the tide went out. It was completed back in my studio in Norwich where I feel free to be more expressive with the materials. I enjoyed researching the varied types of rock that have been deposited here; the north Norfolk cliffs being basically comprised of a contorted mix of silts, sands, clays and gravels that were deposited during the glacial and interglacial phases of the last 2 million years.

'Coastal Erosion'

Size: 53 x53cm FramedMedia: Cromer sand, chalk, ochres, acrylic and oil on paper.Walking along the beach and underneath the cliff, we are confronted by recent land slips which remind us of the floods of 1953 and make us consider what might happen within the next 50 or so years. What will the coastline look like then? Here I have tried to suggest the power and destructive beauty of the sea.

Constant Change I

Watercolour and mixed media on watercolour paper mounted on a 15 x 15cm wooden cradled panel.This new series of three submitted works are my response to the dichotomy of the ever changing, ever constant North Sea and Norfolk coastline.

Constant Change 2

Watercolour and mixed media on watercolour paper mounted on a 15 x 15cm wooden cradled panel.This new series of three submitted works are my response to the dichotomy of the ever changing, ever constant North Sea and Norfolk coastline.

Constant Change 3

Watercolour and mixed media on watercolour paper mounted on a 15 x 15cm wooden cradled panel.This new series of three submitted works are my response to the dichotomy of the ever changing, ever constant North Sea and Norfolk coastline.

Watching these starlings on Cromer pier made me reflect on how many of our wild creatures have become scavengers of junk food. Starlings are red listed as of high conservation concern. Although still common here, their numbers have declined by 66% since the 70's possibly because of shortage of their natural diet of worms and berries owing to farming practices. A little Japanese boy was admiring and photographing them.

Starlings on the Pier

Original lino print, 27cm X 27cm including frame

This Linocut image is of Cromer's iconic, award winning pier. Home to the Pavilion Theatre and RNLI Lifeboat station it has played an important part in the towns history and the lives of it's residents and visitors since it was built in 1901.

Cromer Pier

Reduction Linocutimage size 21 x 21 cm, Framed size 33.3 x 33.3 cmOil based ink on Somerset paper

I submit the following

Wind Turbines at Work

Turbines are now a familiar site around our coast line with the Sheringham Shoals wind farm clearly visible from Cromer. Their impact on our environment can be directly compared to the impact of windmills built 200 years ago right across Norfolk and beyond. Will another technology replace them in the future and lead to their sudden abandonment?

Paintings of vintage seaside

Walk on the prom

Oil on board, figurative

Girl with boat

Oil on board

Oil on board

My love of the North Norfolk coast goes back many years, then young visitor and now resident. I am drawn to the sea with wild, unspoilt coastline and gently rolling countryside, set with friendly, summer bustling little towns, to be protected, valued and nurtured, to endure.

Horizon line

Stitched textile and mixed media mounted on board. Width 71cm x height 33 high (landscape)Where water and waves, meet sky, the eye is drawn seaward The horizon line a constant within the ever changing and captivating seascape.

Heading to the beach

Mixed media collage with stitch. Paper, fabric and single use plastic on framed canvas.43cm wide x 51 high (portrait)Pleasant memories of childhood holidays in Cromer. Where the anticipation of finding the perfect spot to paddle and play always led to a trek through sand and pebbles, past beach huts and beyond.

Winter's Cusp (Winter Gardens, Great Yarmouth)

Watercolour on paper, 40cm by 28cm. My painting of the Winter Gardens in Gt Yarmouth was started before the heritage lottery funding came through to save the building, and I painted it to ask the question about the future of our seaside resorts and their heritage. I am drawn to buildings in decay, but at the same time horrified that they can get to that state. This sentinel of Victorian engineering magnificence was on Historic England's At Risk Register and I needed to record that in fine detail, from a rusty rivet to the protective mesh covering the windows. I painted with a blue and cream palette to echo a feeling of threat shown in the stormy skies behind, along with some looming perspective. What started as a painting with an SOS call about our coastal heritage now has become a message of hope with its future restoration starting in 2023.

Polly Cruse

Mob No: 07881652413 I create classic still life photographs from objects and memorabilia cherished and displayed in the home. Cromer and English sea side holiday resorts have given joy, and brought stories and memories to people of all ages and life stages and continue to do so now and in the future.

I do like to be beside the sea side.

C-Type photographic print. Mounted on board, with UVL protection. Ht 30cm x W.23cm Ed 1/5

We do like to be beside the sea side

C-Type photographic print. Mounted on board with UVL protection. Ht 30cm x W.23cm Ed 1/5

N/A

I am a Norwich based artist educator working between sculpture, contemporary craft and mixed media. My materials-led practice is influenced by architectural structures, spaces and places and interventions by/between people and nature. These three submissions are new, unseen pieces that bridge the gap between craft and sculpture. They have been made intuitively from household DIY project offcuts, paint and found materials. Their inspiration comes from the enigmatic coastal buildings I frequently admire during family day trips to our local Norfolk beaches.

Hut

W 95mm x d 85mm x h 145mm. Plywood and acrylic. This piece takes its cues from traditional and contemporary Norfolk beach architectural structures and has been made using simple joinery. It is semi-functional, meaning it can be displayed as a sculptural form or a vessel in which to store one’s treasures.

Lookout

W 210mm x d 85mm x h 175mm. Plywood and acrylic. This piece takes its cues from traditional and contemporary Norfolk coastal architectural structures and has been made using simple joinery. It is semi-functional, meaning it can be displayed as a sculptural form or a vessel in which to store one’s treasures.

Pier

W 263mm x d 100mm x h 142mm. Wood, acrylic and found materials. This piece takes its cues from traditional and contemporary Norfolk seaside architectural structures and has been made using simple joinery. It is semi-functional, meaning it can be displayed as a sculptural form or a vessel in which to store one’s treasures.

Apologies, the first image ADOyley_Sunstar.jpg did not have my contact number - I thought I could edit the title before it was uploaded, but couldn't! I go walking a lot in the countryside and on the coast, which is where I find most of my inspiration. Even the same stretch of coast is different every time I see it, be it because of the weather, or the tide. The ever-changing coastline shows signs of climate change, which is one way it can be linked to the exhibition theme. I do feel that these changes are going to become more dramatic over future years. Burnham Overy Staithe is one of my favourite walks and here particularly every visit it is slightly different, be it a shift in the sand or shingle, what has been washed up with the tide, the birds and wildlife seen. This is where I found the sunstar on the beach in my first artwork. Another favourite is down to the beach past RSPB Titchwell, walking to the right and round by the creek. This is where there are usually seals hauled up on the mud banks when the tide is low. They always watch us humans with interest, but always wary and ready to slide into the water if disturbed. These are the seals in my second artwork.

Left High & Dry (Sunstar)

45 cm (H) x 37 cm (W). Original pen & watercolour drawing. Price £215.On a walk at Burnham Overy Staithe one day, there were many sunstar starfish washed up after heavy seas and this artwork is of one of them. The ever-changing coastline is partly down to the effects of climate change, which I believe links it to the exhibition theme.

People Watching

38 cm (H) x 46 cm (W). Original watercolour. Price £250.These seals are usually to be found near RSPB Tichwell, on mud banks when the tide is low. They watch humans intently but with curiosity but who knows how long they will still be around if climate change is not addressed, which can be taken as a link to the exhibition theme.

As i do not have any works of the requested size that have not been previuosy exhibited, I am submitting a proposal. Every year in the late summer I make drawings on Blakeney Ponit, sometimes of the dunes, sometimes of the mud channels: My proposal is for a new A1 size drawing in charcoal. Blakeney Point is an evolving spit of land, getting narrower and longer, each time I draw there, the dunes and mud chanels are different. I am attaching one image of a drawing of sand dunes, to give you an idea of what i have previously done.

Dunes, Blakeney Point

this is not what i am submitting, it is just to give an idea of what to expect, I am proposing to make a new drawing in this series for the Open Call, its size will be 594x 841mm ( A1)

Geometric Landscape #1-4

The promenades and shorelines of Cromer and Overstrand are the figurative context/subtext for this work. The spiritual aloneness I experience in these locations, particularly in the winter, is profound. I reflect on the human desire for order and control at the same time as being in awe of the visceral power of timeless natural forces. The outlook is reassuringly bleak and inevitable, and I find peace.Tempera relief on canvas board. The work consists of four 22cm x 22cm framed sections, hung in the configuration shown in the attached image. Please note that the image shows the sections in an unframed state.

Higher resolution image of Geometric Landscape #1

See above

Since moving to Cromer, I have been fascinated by the relationship between the beach and the sea - always the same, and yet constantly changing. In fact - now, then, what next?I am trying to reflect this ever-changing relationship in my beach pieces.

Cromer Beach I

Watercolour - 68 x 24 cm

Cromer Beach II

Watercolour - 44 x 44 cm

Future possibilities ! In my work, one thing leads to another........

Fox Frippe

Acrylic on canvas80 x70 cm

Etiquette

Acrylic on Canvas80x70 cm

Do find attached three images for the exhibition, "Now, Then and What Next?"

Hidden Gems

A patchwork of revelations as the ever changing cliffs expose fragments from the past and insights into tomorrow. For the moment though, enjoy the image and the search for hidden gems. A mixed media textile piece, measuring 40 (w) x 54 (h) x 3 (d) cm

Revealing

Taking the moment we live in as being significant, the past is there to haunt or guide us into the place where we question 'what next', this image encapsulates the changes taking place. The folded landscape hides hidden treasures, belies the present day and prepares us for the change, as yet to come. A mixed media textile piece, measuring 44 (w) x 36 (h) x 3 (d) cm.

Art Deco Beach

A bright sunny day on the beach where memories of past times appear in this Art Deco inspired piece. It takes us on a simplified journey from where we are now, into the future where climate change 'heats' up the earth, shapes are enlarged and the rays of the sun fragmented. It questions the idea 'now, then and what next?' A screen print measuring 44 (w) x 36 (h) x 3 (d) cm.

Mother Nature

Monoprint, Mixed Media, Digital Inspired by our modern desire to reclaim nature.

Cromer Crab

Monoprint, Mixed Media, Digital Celebration of the crab

Sally lawford

paid by BACS

Coast matters.

Medium. Textile. re-cycled domestic garments, torn into strips, knitted and wrapped.

3 works submitted, one of which is a digital video Thank you to the organisers for putting this together.

Encampment: from the series Island Britain

Media: Photograph with digital intervention and manipulation. Encampment is a made from recent photgraph taken from the top of the cliffs to the east of Cromer and can be viewed as an observation of the way people bind together in groups and demarcate space to distinguish a group identity, but, within the context of the series, it also makes reference to earlier settlements and the threat of invasion. The map references mark the extreme longitude and latitude points of the British mainland. Island Britain consists of a growing number of images that allow contemplation on how British society has been moulded by our awareness of our island status. There are a huge number of factors here: from the way the history of Britain has been taught in schools and interpreted by politicians and the media to the recent polarisation over Brexit. I find it useful to put images under this title to see if they carry any resonance. Size: 24” H x 20” W framed - limited edition print.

Happisburgh ravine: from the series Island Britain

Happisburgh ravine draws attention to the fragility of the coast - it is place where the land flows out and the sea seeps in. The local and wider discussions regarding the economics and usefulness of protecting this stretch of coastline can form a background commentary to the image and allude to the inevitability of change, both social and physical. Island Britain consists of a growing number of images that allow contemplation on how British society has been moulded by our awareness of our island status. There are a huge number of factors here: from the way the history of Britain has been taught in schools and interpreted by politicians and the media to the recent polarisation over Brexit. I find it useful to put images under this title to see if they carry any resonance. Size: 20” H x 24” W framed - limited edition print.

Cromer: Sea seen

Media: Digtal video A short video made in a Cromer beach hut aimed at creating a space to reflect on the concepts of inside/outside, stillness/movement, silent observation and turbulence. The actual video is one minute long but is designed to run continuously. It can be viewed at: https://youtu.be/rmvy_GFoE1s The size depends upon the monitor - I can provide a monitor that would be mounted sideways - size 56cm x 36cm

Cromer Crabs on a Slab

Watercolour and ink on cartridge paper Height 42cm Width 60cm (without frame) I'm now of a golden age and have been eating Cromer crabs since childhood. I've passed this love of crabs onto my children, and grandchildren, who'll be eating them long after I've gone

Fish in Strange Waters

Watercolour, pencil and paste on layout paper fixed on cartridge paper Height 50cm width 35cm (without frame) I find it worrying that, with climate change, fishermen are finding more exotic fish in their nets.

Blast from the Past

Pencil and watercolour pencil on cartridge paper Height 40cm width 28cm (without frame) From a 1984 sketchbook, showing the dear old Hotel De Paris! from the pier. The very antithesis of George Orwell's famous book.

Now, Then and What Next? Who knows? They are one and the same depending on where you are standing. Painting en plein air Cromer seascape each day for over a year, I watched the tide in, out and in again, in, out and in again, round and round, up and down. Now, Then and What next? 'Tis a continuum round and round.

St Valentine's Day 2021 - Snow melts, rain begins, Cromer

Oil on board painting Framed size 26cm(h) x 29cm(w) Now, Then and What Next? Who knows? They are one and the same depending on where you are standing. Painting en plein air Cromer seascape each day for over a year, I watched the tide in, out and in again, in, out and in again, round and round, up and down. Now, Then and What next? 'Tis a continuum round and round.

Saturday 22nd May 2021 - Black vessel anchored, Cromer

Oil on board painting Framed size 23cm(h) x 25cm(w) Now, Then and What Next? Who knows? They are one and the same depending on where you are standing. Painting en plein air Cromer seascape each day for over a year, I watched the tide in, out and in again, in, out and in again, round and round, up and down. Now, Then and What next? 'Tis a continuum round and round.

Thursday 7th October 2021 - Glorious sun, tide out, Cromer

Oil on board painting Framed size 25cm(h) x 32cm(w) Now, Then and What Next? Who knows? They are one and the same depending on where you are standing. Painting en plein air Cromer seascape each day for over a year, I watched the tide in, out and in again, in, out and in again, round and round, up and down. Now, Then and What next? 'Tis a continuum round and round.

Sins of the mother. An interchangable narrative about envy.

9 small sets using the shore line as a stage re telling the story of snow white and the confusion envy installs on a soul.Framed in thin brown tray frames and mounted 3x3 measuring 93cm by 93cm in total. Mostly oil paint on canvas board.

Dying haired on the path in town out side the chemist

mixed media piece about observing a psychotic episode in the street. 30cm x 36cm in box frame

Joyous July swimming

oil on canvas board 30cm x 40cm

The 3 images submited below are all part of the same work. The work consists of 3 linocut prints, each one printed in A4 paper.

Love

This is the 1st of 3 images in the same work. It is a linocut print in A4. The intention of the work is to show our relationship with the coastline, and how that shapes and relates to the human experience in general and over time. There is something timeless about the seaside and how we connect to it. Time passes and civilization develops, but the human experience remains the same. We love, grow, feel pain, joy, loss, sadness... regardless of the bigger picture. Humankind as a whole creates, destroys, moves backwards, moves on - and in the midst of it all, we as individuals, through very singular circumstances will all experience the same emotions in varying degrees. The seaside to me represents a constant point in an ever changing life.

Growth

This is the 2nd of 3 images in the same work. It is a linocut print in A4. The intention of the work is to show our relationship with the coastline, and how that shapes and relates to the human experience in general and over time. There is something timeless about the seaside and how we connect to it. Time passes and civilization develops, but the human experience remains the same. We love, grow, feel pain, joy, loss, sadness... regardless of the bigger picture. Humankind as a whole creates, destroys, moves backwards, moves on - and in the midst of it all, we as individuals, through very singular circumstances will all experience the same emotions in varying degrees. The seaside to me represents a constant point in an ever changing life.

Pain

This is the 1st of 3 images in the same work. It is a linocut print in A4. The intention of the work is to show our relationship with the coastline, and how that shapes and relates to the human experience in general and over time. There is something timeless about the seaside and how we connect to it. Time passes and civilization develops, but the human experience remains the same. We love, grow, feel pain, joy, loss, sadness... regardless of the bigger picture. Humankind as a whole creates, destroys, moves backwards, moves on - and in the midst of it all, we as individuals, through very singular circumstances will all experience the same emotions in varying degrees. The seaside to me represents a constant point in an ever changing life.

This is the only work I have that fits the criteria ; hope it may suit but understand if not. The framed size is 38.5 x 29.5. - the actual painting is 21 cm x 29.7 cm

Coastal Walk

Coastal Walk (Beeston Bump inspired) is a semi abstract interpretation of a walk on the north norfolk coast. As I journey across the land I often think of the layers beneath the earth, the passage of time and our part in shaping the landscape on it's surface.

The Great Gig In The Sky

‘The Great Gig In The Sky’ Niki Medlik 400 x 300mm media: photography, suminagashi, digital This is part of a body of work I made during the first lockdown of 2020. I was spending a lot of time outdoors, looking at the sky and photographing the clouds. There were no aeroplanes or vapour trails, it was a time of glorious natural skies, with a soundtrack of birdsong. It was like nothing we had known before. We were very much living in the present: a liminal space that felt caught between birth and death, the old life and possibly no future. Beautiful but ominous, who knew that future would be like this, our ‘now’. Work from this series was used for a book cover ‘The Actual Whole of Music’, by Haydn Middleton and published by Propolis books. The novel is difficult to define, but could be interpreted as being about space/time and the future.

Breakwater

Oil on canvas, 40cm x 40cm A crashing wave beats down on the remains of an old breakwater which cannot hold it back.

Wave

Oil on canvas 65cm x 50cm The wave has now vanquished the coastal defences, no land remains.

coastline

oil on canvas 65cm x 50cm Clifftop view on the edge of sea and land - Natural friction or attack due to climate change and rising sea levels on our coast 2002

I am hoping to exhibit three pieces with you for the Open Call for Now, Then, What Next? I have 3 art boards, 31cm x 23cm waiting to be framed. I am anticipating the frames will be no larger than 16 x 12" Each piece is based on a Cromer beach scene depicting 3 points in time. Then, Now, What Next? I am a budding artist, working on this occasion in Acrylic and Collage. My inspiration was cromer and its history and the original image for reference was a photo that I took many years ago, with additional photos of the Fishing boats outside the RNLI

Then.... Victorian Cromer (Acrylic, Size 31cm x 23cm)

A Victorian scene depicting Cromer Beach with fishing boats, Victorian people dressed to the 9's and Bathing Huts.

Now (Acrylic, Size 31cm x 23cm)

A Modern Day depicting Cromer Beach with fishing boats starting to decay, Children dressed in bikinis and trunks playing on the beach.

What Next? (Acrylic, Size 31cm x 23cm)

Cromer. In the future, faded and far away, Fishing Boats dilapidated and unuseable, and a modern mobile phone with social media forefront taking all the attention. Will our beaches be gone and viewable only through a telephone in the future?

I am a printmaker and watercolour painter inspired by walking in wild and magical places. My work has been exhibited in Bath and Salisbury, and with the Society of Wood Engravers

The Lighthouse At The Edge Of The World

Wood Engraving: Image Size 7.5cm wide x 9.5cm high North Norfolk is a land of lighthouses and crumbling coastlines. We live in uncertain times. Don’t go too near the edge!

Norfolk Sky Marsh - Cley marshes

Water Colour: Image Size 11.5cm wide x 7.5cm high The salt marshes are almost a mirror of the sky. A magical place

Cley: Salt Marsh Walk

Water Colour: Image Size 10cm wide x 8cm high Reeds, sea, wetlands and birdsong. Unique.

Cromer has been always colourful and joyful for me, 'for ever'...I made several pastel drawings, and another painting of the iconic view; we used to own a cottage behind the High Street; Surfing should really Return?...our adult son used to join a group of surfers then...;

Surfers in Cromer during repairs to the Pier

pastel drawing 35cm x 50 cm when framed by Elisabeth Kozmian price £ 95 lots of cheerful people about

CROMER FOREVER with strangers chatting on the beach

acrylic painting size 75cm x 55 cm framed by Elisabeth Kozmian price £ 250 friends called it 'a chat up'...!

The inspiration for all three of my prints was taken from bird sightings in Cromer. There have famously been sightings of the rare bee-eater in Cromer recently, with chicks being born here for the first time. However, I have chosen three other birds to represent now, then and in the future, with the ‘little’ tying them together. (Data taken from www.birdguides.com) If you would like to see more of my work, this is my website: www.safibutlerart.co.uk or I am also on Instagram under @safi_butler_art.

Little Auk

Lino print – framed, 33x28cm The Little Auk isn’t seen that often in Cromer, with the last sighting being in December 2021, but I have chosen this to represent ‘now’ as it falls within the last year.

Little Swift

Lino print – framed, 33x28cm In the past, back in May 2012, the quite rare Little Swift was seen in Cromer, representing ‘then’.

Little Gull

Lino print – framed, 33x28cm My prediction for the future is that there will always be seagulls in Cromer, so I have chosen the Little Gull, which is seen frequently throughout the year.

I'm an artist and academic. My work is concerned with the ‘senses of self’: the fluidity, flow, and drift of identity and selfhood; and with the body’s relationship to nature – the sea, the landscape, the animal world. Her pieces on video and other media read and record the body’s connection to these substantial, if somewhat ungraspable, elements.

in.ef.fa.ble

etching copper plate-varied editions 8 inches x 10 inches the theme of the North sea, imagined ideas. ‘elemental’ aspects and multiple readings, rhythm, image sequence in.ef.fa.ble, engages with ideas and experiences of water, flow and drift, whilst also taking account of the parallel movement of time, considered to be a stream or “narrative” sequence of events.

The aftermath of the Storm Surge Cromer

dry point aluminium plate-varied editions 8 inches x 10 inches I read about the Cromer storm and imagined the destruction and aftermath. This images shows the shapes of Cromer and the flying figure above, seeing the place from a new perspective.

Jouissance

dry-point aluminium plate-varied editions 8 inches x 10 inches free figures running on the North Norfolk shore. The work is about the exploration of seascape and the enjoyment of being in the elements, the pleasure of the body being light and the fluidity of water. The North sea is cold and dangerous, and therefore there is also the pleasure of taking a risk. A 18th Century notion of the sublime might be considered where we can be carried away by nature, a fearful and pleasurable experience.

The pigeon is the urban winner, perching on wires, twigs, rapid mating,rough nests,the question of Now, Then and What Next is immaterial.

I See You

Watercolour 35 x 35 cm

My multidisciplinary art practice is a playful exploration of architecture’s possibilities and limitations. I am drawn to the simple geometry of Modernist structures' and the visual connections it has to childhood building blocks; by rejecting the ornate and decorative it allows for more creative freedom to design imagined cityscapes and the architecture that may be housed there. Working with the traditional process of cyanotypes has allowed me to slow down and really look at the images I create of the world around us. Digital photography has become instant and ever present in our lives; viewed on screens for fractions of a second. Working with cyanotypes has been the antidote for me a way to be more present in the process of making a photograph.

Abstracted Cityscape in Blue, Orange & Yellow 1

Cyanotype Collage with Stitch. A5 Reimagining the city and the possibility of architecture through abstraction and geometry.

Deconstruct, Reconstruct.

Cyanotype A4 Reimagining the city and the possibility of architecture through abstraction and geometry.

Abstracted Cityscape in Blue, Orange & Yellow 2

This is currently an unfinished piece. The image attached is the test piece for this. The visual aesthetics will be the same but the image in the centre will be blue cyanotype print, the paper aperture orange and the thread yellow. Cyanotype Collage with Stitch. A5 Reimagining the city and the possibility of architecture through abstraction and geometry.

The piece I am entering is a collaboration with Andy Hornett.

The Circles That You Find In The Windmills

Natalie Knowles & Andy Hornett Pen & Paper, A4 Mounted & Framed 50cm x 70cm An experimental drawing inspired by the changing sea view as wind turbines collide with the North Sea.

Description of work: These sculptural objects are constructed from pebble fragments and sand linking them with Cromer beach. The imagery on the cast bronze elements are of local plants found surviving around the edges of arable crops.

Creeping Thistle

8 x 18 x 18 cm Cement, sand, aggregate and bronze.

Mare's-tail

30x30x12 cm Cement, sand, aggregate, and bronze.

Brief description how the work meets the brief: For Open Call 2022 I chose work which has an emphasis on the horizontal, and where, though abstract, both this and the colour relates to what we see beyond the gallery entrance. Amongst the geometric austerity is an organic feel and we may turn away from the work and gaze at those places where the sky meets the sea, and where the sea meets the sand.

Sequel 6

38 x 38 cm Watercolour, waxed paper and oil on cotton paper

Accumulations 9

38 x 38 cm Watercolour, waxed paper, and oil on cotton paper

"But came the waves"-Homage to HMS Gloucester" 37cm x13cm (can fit corner to corner on plinth,

Brass Love Spoon made to look as though plucked from the sea bed. Brass reclaimed Love Spoon, Norfolk coast pebbles, semi- precious stones, solder. This relates to the brief by focusing on potential found items from the sea that enhances our knowledge of maritime history. History is considered "Then", yet often informs us about ourselves "Now". The "What next" we have yet to discover and as the recent discovery proves there is more under the sea that it is yet to reveal to us.

"All your waves gave back to me"-Homage to HMS Gloucester".

A collection of "sea weathered items", x2 found or collected broken old bottles embellished using solder with local north norfolk pebbles and semi -precious stones and pendant made from found seaglass and reclaimed copper wire.

Dear Cromer Artspace team, I have just completed an Honours degree in Fine Art at Norwich University of the Arts as a mature student, and I am a student member of NCAS. I look forward to beginning MA Fine Art at NUA in Oct part time whilst also working. I have lived in North Norfolk for 16 years and my practice is greatly influenced through museum collections and the local landscape. As an emerging artist, I am still learning how to apply for call outs and hope I have done this correctly. My work can also be viewed on NUA Graduate Showcase 22 and more work on Instagram catherineswain23 I recently received an award from NCAS where I was Highly Commended for my bronze and clay sculptures in the NUA degree show 22. Thank you for the opportunity to have my work considered.

Sculpting the Past

Materials: Newspaper, Modroc, Clay, Gesso, Sand, Gold-leaf, Wood, Plaster Dimensions: H x 28 cm L x 20 cm W x 20 cm (Includes plaster plinth) Now Exploring and researching traditional and antiquity busts in museums, influenced this contemporary version based on the East Anglian historical female Boudica, from the Iceni tribe. Their way of life and surroundings were completely altered through war and occupation. Using local newspaper to make the armature, the head is filled with current news from my hometown in North Norfolk. Sculpting over in modroc, clay, sand, gold leaf and casting a plaster plinth, the materials express the continuity of traditions from antiquity, the passing of time, and the fragility of our human condition. Then Remnants of historical text shape interpretation of how Boudica may have appeared. Personal objects such as gold torcs, unearthed from the ground are associated with the Iceni, through archaeological research. Writers, craftsmen, and artists of the past and present have left their impression to us of this East Anglian tribe. What next How do we understand the past and make connections with our futures? Understanding the importance of the arts to our societies and future generations, allows cultural self-expression and collaboration, forming a holistic and historical narrative. Debating through fact and theory continues the conversation of who we are? how we have lived? and how we are living together as humans? Science and technology push the boundaries forward and continues to reveal new information. Through my practice I try to convey human emotions and anthropological questions, using historical, contemporary, and abstract themes.

Textile Artist

Whitecaps

Dimensions: Height 63cm, Width 33cm, Depth 3cm. Media used: My piece is a woven wall panel, depicting the seas wave movements. I have incorporated various yarn textures along with my own hand spun art yarn using local Norfolk Horn fleece. Description: Looking back at the effects of past evolution, present actions and the widely anticipated increase in sea level, longshore drift and other climate changes our Norfolk coastal defences are having to constantly evolve as nothing will be spared.

'Short Run Lots of Stops'

Marking and noticing the changing seasons using plant material, gathered as I have a short run. People who grow and nurture plants are invested in the past, the current and the future seasons and are invariably opimistic that next year will be better. image size - 60x30cm framed size - 90x46cm

A sequence of 3 collages from a larger series exploring the connections between place, historical contexts and meanings.

Wannsee I

collage on Paper, 2021, 35cm x 27cm approx (framed size)

Wannsee II

collage on paper, 2021, 35cm x 27cm approx (framed size)

Wannsee III

collage on paper, 2021 35cm x 27cm approx (framed size)

The sun always sets

Oil on canvas paper, in white frame behind glass, 22" x 18" Based on the view from my home in Cromer. I can't actually see the sun set into the sea, but I know it does. 'Now'

The rain always comes

Oil on canvas in wooden frame 18" x 18" On a visit to Wells-Next-The-Sea, I watched the storm approach from inland and head out to sea, then came the rain. 'Then'

Imagined hills

Oil on board in wooden frame, 21" x 17" I love living on the Norfolk coast, I love the sea air, but I imagine hills and valleys and rivers and lakes........ and I plan my visit to find them. 'Next'

New work in development. Will be screenprinted by artist if accepted for exhibition. (May also be submitted as a candidate for Cromer Art Space promo use?).

Cromer Art

A graphic destined to become an approx 90x60cm (framed) screenprint on mould-made paper. It is designed to pay homage to Cromer as a destination art venue. The typography evokes iconic deco travel posters while nodding to Cromer’s pier and stylising the windows and their outlook to the sea of the art deco building itself.

Forest clearing

Photograph set in plaster block. 14x20x5 cm

Forest clearing II

Photo set in plaster. 30x25x3

Plaster vessel on Elm.

137x91x44

Now, Then and What Next.

Three tinted charcoal sketches of three women looking back (past), front (now) and ahead (future). Placed in hand-made and hand-painted frames. W83cm L41

Cromer. I love it. I love the pier and theatre, I love the beaches - shingle covered sand, I love the flint buildings and winding streets, the museum, the church, the railway station and shops. I love the way its position in the world pivots between north and east on the top corner of the glorious county of Norfolk. It is unique. It has 'Now, Then and will have .....What Next?' perhaps some inspiring new and modern architecture? More facilities, more festivals? Posh restaurants and upmarket Hotels? Whatever the changes they must be sensitive and not detract from the iconic place that is Cromer. Id like to live there one day - its got everything.

Lampost, Cromer Pier

Then and Now – Cromer heritage The iconic Cromer pier with theatre and lampposts which have stood the onslaught of winter weathers, felt the thrumming drum of footsteps along the boardwalk and basked in the bleaching sun of summer. What would Cromer be without its pier? Without that finger pointing into the North Sea. A magnet for all who visit. A cherished child of the seaside resort. Painting Details - Lampost on Cromer Pier watercolour 33 x 45cm plus frame

Swirling Tide, Cromer Pier

Then and Now – Cromer Heritage The power behind the Pier – strong, resilient, iron structure, cradling this town’s cherished treasure. Ready for a storm, fiercely defending it from rain and wind and the constant swirl of time and tide. What would Cromer be without its pier? Without that finger pointing into the North Sea. A magnet for all who visit. A cherished child of the seaside resort. Painting Details - Swirling Tide Cromer Pier watercolour 33 x 43cm plus frame

Mirrored Sands - Cromer

Then and Now and Forever – Timeless - The beach. The coastal shores of the town gently lapped by the North Sea. The sound of the sea’s breath as it inhales – in, out, in, out. The crunch of tumbling shingle, the magical colour shift of wet to dry sand. The beach will last forever. The retreating tide leaves a mirror of wet silvered sand, reflecting images of happy people. Was ever thus and ever shall remain so. Painting Details - Mirrored Sands Cromer. Oil on board. 14" x 10" plus frame

Old Seahorses

Oil on canvas 305x225mm

Standing Strong

Oil on canvas board 395x255mm

Frances Overy

I would really like to send you a "detail" image from the work. Is this possible?

Asking for Answers

Textile. 93 x 73 cm. ASKING FOR ANSWERS Our present actions, past activities and future direction are questioned by the coloured pointers' random movement through this textile piece. It invites multiple interpretations both locally and on a global scale: crops grow, ripen and are harvested green becomes parched and the parched scorched land and lives devastated by belligerence. This piece interrogates and invites answers.

detail

detail

I’m a self-taught embroidery and pattern artist. I first began embroidering during the first lock-down and fell in love with it as a medium. I suffer/live with some mental and physical health conditions and use my creativity to cope and express myself.

Footpaths

The theme ‘Now, Then & What Next’ really resonated with me as it is precisely what I’m grappling with in my life in general. My submission is inspired by my surroundings here in North Norfolk, by the sea and the maps I’ve studied to find footpaths since I arrived here in August 2020. All these things have helped me live in the now, process some of my past and move on to thinking about what’s next.

Keron Beattie

paid cash

Three samples collected from Now, from then Then, and from What Next

Sea worn glass and glass shards in petri dishes I have my own clear sense of why each sample belongs to the period it represents but others may come to a different conclusion and are encouraged to name or order them within the exhibition as they respond to both the work and the brief.

Hannah Hardy's prize winning sensitive and dynamic mixed media practice has been exhibited internationally. Hannah is from Cromer and her recent work focuses on nature art through her series Realising permanence through impermanence. In this series Hannah collects found natural materials whilst out walking and meditating in nature, these nature art portraits are documented through photography as Hannah leaves the artwork to be taken back to formlessness by nature. Hannah proposes to submit a selection of her beach art portraits from this series, many of which have been created on the local coastline. Hannah would be delighted to offer family beach art workshops to the public as part of this group exhibition www.hannahhardyart.com hannahhardyart@gmail.com

Peace

Peace is a beach artwork from Hannah's nature art series Realising Permanence through Impermanence. Peace was created on the bay of Mont St Michel France through found natural materials. In this sensitive and dynamic land art series Hannah explores a sense of timelessness and stability beyond all that changes. This series is documented as photography as Hannah leaves the artworks to be changed by the natural elements and return to formlessness. Peace Hannah Hardy 594 x 841 mm print www.hannahhardyart.com hannahhardyart@gmail.com

Sea fairy

Sea fairy is a beach artwork from Hannah's nature art series Realising Permanence through Impermanence. Sea fairy was created on Cromer beach through found natural materials. In this sensitive and dynamic land art series Hannah explores a sense of timelessness and stability beyond all that changes. This series is documented as photography as Hannah leaves the artworks to be changed by the natural elements and return as formlessness. Sea Fairy Hannah Hardy 594 x 841 mm print www.hannahhardyart.com hannahhardyart@gmail.com

Flowing as one

Flowing as one is a beach artwork from Hannah's nature art series Realising Permanence through Impermanence. Flowing as one was created on Overstrand beach through found natural materials. In this sensitive and dynamic land art series Hannah explores a sense of timelessness and stability beyond all that changes. This series is documented as photography as Hannah leaves the artworks to be changed by the natural elements and return as formlessness. Flowing as one Hannah Hardy 594 x 841 mm print www.hannahhardyart.com hannahhardyart@gmail.com

I ve been searching for the quintessential imagery for Norfolk and found it in the now familiar seascapes of the north coast

Mill Sails 2021

Oil pastel on cartridge paper size A3 framed

Turbine Murmurations 1 2021

Oil pastel on cartridge paper size A3 framed

Turbine Murmurations 6 2021

Oil pastel on cartridge paper size A3 framed

On Cromer Pier

Acrylic on Board 57cm x 46cm £195 The pier is Cromer's focal point. In the painting, the chairs are neatly stacked away marking the end of the day but another fine day beckons.

Beach Chalets, Cromer

Acrylic on Board 66cm x 61cm £250 The symmetry of the beach chalets harks back to a more sedate, formal time of a bygone era.

The Pier

Acrylic on Board 65cm x 65cm £250 The swirling shapes and general movement in the painting evoke memories of helter skelter and fairground rides - all archetypal features of seaside resorts.

Please accept this as a formal application for the Open Call for 'Now, then and What Next'.

Theater of Ice

This is a self evidently ironic look at the possible future of the Norfolk coastline. As global temperatures rise and the Gulfstream dwindles, icebergs are expected to migrate further south into British waters. The end of the Pier Show could become a different attraction altogether! 12” x 36”. Oil and marble dust on stretched canvas.

Green Hulk

With the decline of small scale fishing, more and more boats are likely to fall into disuse and become abandoned as permanent beach furniture. But decay and decline has its own aesthetic attraction and with time, nature transforms them from working vessels into objets d’arte. Installations that remind us of a different age. 18” x 24”. Oil and marble dust on canvas board.

Golden Blades

With the decline of small scale fishing, more and more boats are likely to fall into disuse and become abandoned as permanent beach furniture. But decay and decline has its own aesthetic attraction and with time, nature transforms them from working vessels into objets d’arte. Installations that remind us of a different age. 18” x 24”. Oil and marble dust on canvas board.

‘Crabbing Banned’

Ink and Watercolour 40cm x 30cm A depiction of ‘what next’ which uses satire and humour to communicate the possibility of the forthcoming crab apocalypse should we abandon Cromer’s greatest tradition. On a serious note, it might just elicit debate on the ethics surrounding the activity. I’ll let you choose…

‘Finely Dressed Crab’

Ink and Watercolour 47cm x 37cm It’s the 8th June 1901 and the pier has just opened to the public courtesy of Douglass and Arnott who have imprinted their artistic signatures in Banksy style. Using humour, satire and of course the famous Cromer crabs, this celebrates the finely dressed Victorian era as well as our love for the pier. ‘Oh, I do like to live beside the seaside…’

I am a painter based in Kessingand, Suffolk. I exhibit regularly and have work in museums and private collections. I completed my MA in Fine Art at Middlesex University in 2006. My practice investigates landscape, , a stark, terrain, where the viewer is unseen. There is a sense of absence, and endurance. I am interested in the figurative and abstract qualities of painting and experimenting within the tradition of oil on canvas

We thought it Was the Beginnning

Doors and Windows They represent opening and closings, exits and entrances. They offer different pathways and new perspectives. Doors can be things of mystery, things of the future, unseen and hidden. The closed door is in itself a challenge, full of possibilities. We don’t know, what lies on the other side - we can only guess. When we open a door, we have decided, doors present us with a multitude of choices. We can never be sure what we will see. A door is a barrier that sets boundaries where we are allowed and disallowed.

Playing with TIme

The window looks inside and outside. when you look through windows, either from the outside in or the inside out. There's a double screening effect, the experience of place lost, and place gained that are disrupted by memory or nostalgia, by fleeting moments of beauty and by strange objects and occurrences

Longing

I am interested in visual ambiguity and metaphors that the frame offers. Paintings are inclined to be about the inner and outer world. I always return to a painting, building up the marks with layers. The layering is about recording memory, life and painting time This series of paintings evolved during lockdown Walking streets and seeing life happening in shadows and distortions. Waiting for the time when I could join the people behind the glass. I hope whoever looks at this series will get a sense that none of us faced this period alone. Our windows and doors were physically closed but we still simply wanted to connect. We are not built for solitude. We can stock up on all the canned goods and toilet paper we can get our disinfected hands on, but there is no way to hoard human connection. We did emerge from the dark of isolation and into the light. The warm air will blow in the sweet smell of rain, and we will open

I would love to apply but my work (2D painting and drawing is too big). do you have other exhibtions without these limits coming up?

Peter Baldwin

PAID CASH TO RUTH I submit two works on a theme of winter and summer which both embrace the human presence at the interface of land and sea.

Blue Beach Hut

The canvas beach hut at Sheringham is at a critical angle; there seems a correspondence between the implied narrative and composition.

Sheringham Promenade in Winter

Mother and child looking out to sea with boarded up chalets and shops.,

A charcoal and colour pencil drawing made from charcoal that I make from a ‘fusain’ (Spindle Tree) from our garden in France. It was the charcoal used by all the Old Masters until fusain was superseded by the faster growing and so more lucrative willow. Framed c. 16” x 20”.

‘Channel Swimmer’

I can only guess that this work, given my links with France, was inspired by Brexit.

DEADLY SEAS

a 3D visualization which addresses issues of plastic pollution in our beloved oceans. 34cmx21cm The organic forms are brought together through made and found objects using pure cotton, machine embroidered fabric,melted Tryvek paper,paper paint and a glue gun I have tried to keep a sense of 'fragility' found in the watery life forms. Suitable for a plinth

Thank you for considering my work for this exhibition and for the organisation.

Cromer Cliff Space

Soil pigments produced from soil samples collected from the Cromer foreshore and cliffs. Landscape painted on canvas using mixed media and soil pigments. Size: 30x40 cm

Pangolin up the tree

Soil pigments produced from soil samples collected from the Cromer and Sheringham foreshore and cliffs. Painted on canvas using only soil pigments. Size: 25x25 cm

Sparkling seas

Soil pigments produced from soil samples collected from the Cromer and Sheringham foreshore and cliffs and leaf pigments collected from Sheringham park. Painted on khadi paper. Size: 21x21 cm

Good afternoon Please see attached my entry for the Open Call 2022. Best wishes, Rosie Winn

Her Next Moment

Medium: Pyrography wood-burning pen on paper Size: 90 x 50 cm Date made: May 2022 Statement: ‘Her Next Moment’ explores the constant movement in our lives that weaves into the tapestry of our sense of self. Where we are from, where we live and where we are going plays into our journey through life. I draw with a wood-burning pen on paper. The method promotes an economy of line that allows a purity of form. The lines burned onto the paper represent the permanence of life: once a thought is thought or a word spoken, it is out there. And life changes.