An exhibition by Marlborough artist Edward Twohig is being staged over the next couple of weeks at the Katharine House Gallery in The Parade.
Edward is a Fellow and Hon. Curator of the Royal Society of Painter-Printmakers, and Head of Art at Marlborough College. His exhibition is entitled ‘From Marlborough & Abroad’ and will be open to all from the 04 to 13 October.
The exhibition consists of works inspired by scenes across Wiltshire and further afield in Azerbaijan, Bhutan, Chile, Italy, Samoa and Venezuela.
The opening will be on Wednesday (04 October) at 7pm by former Marlborough Head of Art, Richard Shirley Smith, and starts with a ‘walk & talk’ event where Edward will be explaining key works, their context, influences and inspirations. The ‘official opening’ will be on Saturday (07 Oct). But on Thursday 05 and Friday 06 October the Gallery will be open at normal times.
It runs until Friday 13 October. Sales from the exhibition will go towards Marlborough College Bursary fund, and Katharine House Gallery Director, Chris Gange will be putting 15% aside from each sale towards this important fund.
Below and above are four images from my ‘Little Bedwyn Series’ – created earlier this year.
Edward explained the inspiration and background to the works in this exhibition: “Works contained in this exhibition at Katharine House Gallery begin from mid-May 2021 with the sudden passing of my mother, Lilian Twohig. I like to think my Mum’s spirit is imbued within and across this work.”
He further adds: “I have employed my practice to channel and work through the loss of my Mum and in doing so, celebrate. Lilian delighted in colour, yellows, blues and purples particularly. My practice has become freer: more lateral, more daring, more adventurous and in doing so, I feel more in-tune with who I am. In turn, my mono-print etchings in black and white have also become more liberated through mark-making. Mono-chrome and colour printing are very, very different worlds. Technically, multi-level viscosity printing is unforgiving, a seeming tight-rope. The tangible properties within inks, each independent or different characters, like the keys of a piano. And, increasingly different in diffusivity and porosity, commingling, merging blends and melding combinations diluted with copper-plate oil and turpentine. One slip in the process, even the slightest increase in the pressure of the hand-spin print-roller and all is lost. All or nothing in flux. The paper, too, is pushed to extremes. The stakes are sky-high. So too are the pitches of success. The gasp of delight lifting the embossed paper from the bed of the etching press can be a priceless moment.”
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