Small Memory's Wound 3 - Marcus Rees Roberts


There are only 4 more days left to see Winter Journey by Marcus Rees Roberts! Recent visitor comments include:


Intense and moving.


Inspirational use of text and image to create such moving and personal art.


Dark and sombre.

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Underexposed poster FINAL small
FREE lectures by leading experts – guarantee your seat today or it may be standing room only!
Making a difference. Women artists as printmakers by Gill Saunders, Senior Curator (Prints), Victoria & Albert Museum
Saturday, 17 May 2014 from 10:30 to 12:00
Working in the studio of Paul Rego by Paul Coldwell, artist and Professor in Fine Art at the University of the Arts London
Thursday, 22 May 2014 from 18:00 to 20:00
The different techniques of printmaking by contemporary artist and Kent alumna Dawn Cole
Saturday, 24 May 2014 from 14:00 to 16:00
Gwen Raverat: her history, wood engravings and circle of friends by her grandson, William Pryor
Saturday, 31 May 2014 from 14:00 to 16:00
Biting through: the relationship between etchings, lithographs and screenprints and my kinetic sculpture by Liliane Lijn
Saturday, 7 June 2014 from 14:00 to 16:00
Black, white and one: developing a print portfolio from artwork to gallery by Fiona de Bulat, artist, lecturer and cofounder of ‘DBA editions’ print studio
Thursday, 12 June 2014 from 18:00 to 20:00
‘Beauty in art’ and ‘My printmaking techniques’ by the celebrated artist Anita Klein PPRE Hon RWS
Saturday, 14 June 2014 from 14:00 to 16:00


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SMALL By the Black Window 21 - Marcus Rees Roberts


There are still 4 more weeks to see Winter Journey by Marcus Rees Roberts, an exhibition that visitors have described as:


Very expressive and unique


Deeply moving


Deep, beautiful…


Moving and provocative




A poignant and moving presentation of images, text and video…


A very sophisticated and literary show. Wonderful.


Deep, dark and moving


Very, very, very good. Quite haunting really…


Dark yet pertinent!


Intense and moving

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Underexposed poster1a


Underexposed. The exhibition that aims to challenge opinion.

Exposure isn’t exclusive to photography. In fact, when it comes to the arts, lots of things are ‘underexposed’ but none more so than female group exhibitions and the medium of the fine art print. That’s according to the curators of a forthcoming exhibition at Studio 3 Gallery in Kent, Frances Chiverton and Lynne Dickens.

Underexposed will survey the ways in which over 40 prominent female artists have used the medium of print over the last two centuries (and beyond). It will feature painters and sculptors, and highlight how print relates to their primary focus. It will also look at those who are or have been printmakers first and foremost, and why they have chosen to work in that particular artistic medium. At the same time, the exhibition will examine the different types of prints – from more traditional wood or metal engravings, etchings, lithographs and linocuts to more recent methods such as screenprints, photogravure and digitally produced work – as well as the different subject matter chosen by the various female artists represented.

The exhibition concept has received a lot of support from professional curators in both national and local institutions and in higher education, including Gill Saunders, Senior Curator (Prints), Victoria & Albert Museum, who says: “Many of the terms which have traditionally been associated with prints – small-scale, modest, private, intimate, personal – have been applied to the work of women artists too. This exhibition sets out to challenge the often dismissive and derogatory implications of such terms by bringing together a diverse mix of works which demonstrate the originality, innovation, skill and ambition to be found in the printed work of female painters, sculptors and printmakers from the 19th century to the present day.”

The curators, who are in fact two mature art history students at the University of Kent, feel it is an opportunity to educate both the art-going public (and other students) on the importance of the print medium in western art history, and to celebrate the artistic achievements of female artists overall. There seems to be a lot of consensus in this idea, as during the exhibition there will be a series of free lectures for the general public given by leading experts including: Gill Saunders, William Pryor, grandson of 20th century artist Gwen Raverat who was a founder of the Society of Wood Engravers, artists Paul Coldwell on his time working in the studio of Paula Rego, Anne Desmet RA RE, Anita Klein PPRE Hon RWS and Kent alumna Dawn Cole.

Anita Klein, one of the contemporary artists – and a fellow and past president of the Royal Society of Painter Printmakers (RE) – whose work will be exhibited at the show explains why she is supporting the ambitious students, “Like many artists I became addicted to printmaking for the variety of marks the various techniques allowed me to make. The immediacy and domestic scale of printmaking has always felt appropriate for my subject matter, the celebration of daily life. Like many women artists, my artistic style has often been at odds with prevailing fashions for large-scale grand statements and masculine bravura. So when I was invited to participate in this interesting exhibition I was delighted to accept. I commend these students on their bravery in bringing together such a diverse range of artists and in perceiving our underlying connection.”

Similarly artist Charlotte Cornish is equally enthusiastic about the exhibition. She reckons, “Making prints has always excited, engaged and intrigued me – the mastery of techniques and the handling of materials; the exploration of the infinite and varied forms of mark making; building images layer upon layer; the satisfaction of process; the potential for multiples; and the thrilling element of the unexpected. I feel that printmaking has deeply informed my practice as an artist, not only through creating editions of prints and making monoprints but also by influencing and shaping my approach to painting.”

But Klein and Cornish are just two of the many 20th and 21st century contributors to the exhibition, which will include high profile artists such as Alison Wilding RA, Anne Desmet RA, Barbara Hepworth DBE, Beryl Cook OBE, Bridget Riley CH CBE, Cornelia Parker OBE RA, Eileen Cooper RA, Elisabeth Frink DBE RA, Lill Tschudi, Sandra Blow RA, Sonia Delaunay, Tess Jaray RA, Tracey Emin CBE RA and Valerie Thornton, and a long list of others. “Our aim is not to generalise but to focus on a specific category and exploration,” explain Frances and Lynne, adding, “the exhibition is partial, a snapshot, but in our opinion addressing a gap.”

Underexposed takes place at Studio 3 Gallery within the School of Arts building at the University of Kent in Canterbury from 16 May to 19 June 2014 (except 23 May and bank holiday 26 May).

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Coming soon – Marcus Rees Roberts Q&A

Marcus Rees Roberts, 'By the Black Window', 2013 (detail)


Q&A with Marcus Rees Roberts

The artist behind Studio 3 Gallery’s current ‘darkly poetic’ exhibition will be in conversation with curator Ben Thomas on Monday 24 February 2014, 5-7pm, in Studio 3 Gallery. Do come to find out more about the sources of inspiration – including such writers as Brecht, Benjamin, Celan, Lorca, and Radnoti – for this rich and compelling show.

All welcome. Wine will be served.

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Marcus Rees Roberts catalogue available now!


Rees Roberts book cover

The catalogue for the current Studio 3 Gallery exhibition Marcus Rees Roberts – Winter Journey is now available. Beautifully produced by Pratt Contemporary, with full colour reproductions throughout, it has an introduction by Edward Winters and an essay by Ben Thomas. The catalogue costs £5 (discounted to £2.50 for students).

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Winter Journey – Private View

The Private View for Marcus Rees Roberts’ ‘Winter Journey’ is on Monday 3 February 2014 in Studio 3 Gallery from 6pm – 8pm. All Welcome!

Rees Roberts opening

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Monday 20 January – Friday 11 April 2014


There is an expression in French to describe dusk: ‘entre chien et loup’. At the end of the day, in the dying of the light, it is hard to distinguish ‘between dog and wolf’ and objects take on an indeterminate menace in this state of perceptual ambiguity. This is the moment inhabited by the art of Marcus Rees Roberts.


Working together with Pratt Contemporary, Studio 3 Gallery presents an exhibition of the darkly poetic work of Marcus Rees Roberts. The focus of the exhibition will be recent short films from The Winter Journey cycle, and related work in diverse media including By the Black Window (2013) – a work consisting of 24 drawings conceived for Studio 3 Gallery – and paintings from the Echo Song series (2012-13). Also exhibited are the book works Ash to Dark Water (2005), The Sad Sea (2009) and Night of Four Moons (2009), and the sets of prints Between Dog and Wolf (2008), Memory’s Wound (2010) and Echo Song (2012).


In his current work Rees Roberts has taken inspiration from the poetry and writings of Miklós Radnóti, Federico Garciá Lorca, Paul Celan and Walter Benjamin: all of whom were victims of fascist persecution. Underlying his concern with modernist stylistic experimentation is the insistent political question of how the artist should bear witness to the atrocities of our times. Rich in poetic connotations and thematic leitmotifs, it is uncertain whether the Winter Journey envisaged by Rees Roberts is Radnóti’s forced march, Schubert’s Winterreise, or Odysseus’s voyage to Hades’ ‘dark shore’.


Between Dog and Wolf II


Marcus Rees Roberts studied English at Cambridge, before moving to the Slade School of Art where he studied Film Theory and Printmaking, and was awarded the Slade Prize in 1977. He lectured on printmaking at Edinburgh College of Art from 1980 until 1995 when he moved to London. He is currently a Visiting Lecturer at West Dean College in Sussex. His work is represented in leading collections throughout the UK including the British Museum, the V&A, UCL Art Museum, the Ashmolean Museum, Scottish Arts Council and Pallant House Gallery.


Marcus Rees Roberts – Winter Journey is on display at the Studio 3 gallery from Monday 20 January – Friday 11 April 2014. The gallery is located on the University of Kent’s Canterbury campus, within the School of Arts’ Jarman Building, Canterbury CT2 7UG. The gallery is open to the public, Monday – Friday, 9am – 5pm.



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Alfred Drury and the New Sculpture will close in Studio 3 Gallery on Friday 20 December at 5pm. After that it will move to The Stanley & Audrey Burton Gallery at the University of Leeds where the exhibition will reopen on 15 January 2014.


Here are some of the comments left by visitors to the exhibition so far:


Very Good


Beautiful –definitely worth repeat visits


Very beautiful works – fascinating sculpture


Simply stunning. Extremely impressive work and a joy to view in this space.




Beautifully arranged and lit.


Absolutely astounding exhibition!


Wonderful! So pleased to be here.


Great exhibition!


What an achievement. So many different mediums…


Fantastic work. Quite inspiring!


I love how elegant and dignified Alfred Drury is!


What a treat! Thanks. Drury & Rodin to boot.


Always nice to look around these exhibitions. Personally I preferred his paintings to the sculpture.


Truly a wonderful experience.


A lot of interesting things to look at not just the sculptures but the use of other materials as well. Really enjoyed the attention to detail. Like the fireplace.


Wonderful! The most inspiring and professional show on in Canterbury!


A really impressive fulfillment of a long maturing project!


Well done – another fantastic and inspiring exhibitions. They just get better.


Positively inspiring: Drury really is due for a reassessment!




Inspiring – love the recreation of the studio.


Captivated by Head of a Young Man by Dalou…


Very refreshing and interesting exhibition as part of the Festival week.


A really engaging and eye-catching hang. Great selection of works. Really enjoyable exhibition…


Worth revisiting many times.


Beautiful and inspiring.


Really interesting.




Excellent exhibition – good to have something like this on campus.


So enlightening. I wish there were more to see…


A wonderful exhibition. Stunning.


Most impressive.


Fantastic exhibition of an underrated artist.


Learnt a lot!

Alfred Drury, The Age of Innocence (1897)


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Alfred Drury, Griselda (1896)


Studio 3 Gallery, School of Arts, University of Kent:

30 September – 20 December 2013


The Stanley & Audrey Burton Gallery, University of Leeds:

15 January – 13 April 2014


Studio 3 Gallery is delighted to announce a major new exhibition dedicated to the art of one of the leading sculptors of the late Victorian and Edwardian period: Alfred Drury. The exhibition will show Drury’s most important sculptural works on a smaller scale – including his most characteristic masterpieces Griselda, The Age of Innocence and Lilith – thanks to generous loans from private collections. The exhibition, which will move on in the New Year to The Stanley & Audrey Burton Gallery in Leeds, is supported by grants from the Paul Mellon Centre for Studies in British Art, the Henry Moore Foundation and the Leeds Art Fund.


A fully illustrated catalogue with contributions by Benedict Read, Jolyon Drury, Brian Landy, Jane Winfrey and the exhibition curator Ben Thomas will be published to accompany the exhibition, and which presents new research on the artist. The catalogue is published thanks to the generosity of the Leeds Art Fund – Susan Beattie Memorial.


A display of drawings by Alfred Stevens – ‘England’s Michelangelo’ – from Drury’s collection will accompany this exhibition at The Beaney House of Art and Knowledge in Canterbury from 21 September to 1 December 2013:’England’s-Michelangelo’-Alfred-Stevens-at-The-Beaney-House-of-Art-Knowledge/details/?dms=13&venue=3036870&feature=1148


A related exhibition on Alfred Drury is currently running at the Henry Moore Institute in Leeds until 20 October 2013, The Age of Innocence: Replicating the Ideal Portrait in the New Sculpture Movement:


Alfred Drury, The Age of Innocence (1897)


The aim of the exhibition Alfred Drury and the New Sculpture is to review the art and life of Alfred Drury (1856-1944), the formative influences on his sculptural practice, and his role in the New Sculpture movement of the late Nineteenth and early Twentieth centuries. Drury is due a reappraisal. Recent writing on the New Sculpture has tended to follow the lead of Edmund Gosse’s influential articles in the Art Journal of 1894, which saw Frederick Leighton and George Frederic Watts as initiating a reform of British sculpture that reached its zenith in the work of Alfred Gilbert and William Hamo Thornycroft. Gosse barely mentioned Drury, dismissing him as ‘a mannered Kensington student, somewhat under the influence of Dalou’.


Arguably, however, Drury was one of the central figures in the New Sculpture movement because he combined in his art the realism of the great French sculptor Aimé-Jules Dalou (1838-1902), with whom he had a long professional relationship, and the Michelangelo-esque vision of Alfred Stevens (1818-75), whose art he revered and whose drawings he collected. Dalou and Stevens were seen as the key influences in the reform of British sculpture by a slightly later generation of critics to Gosse, including Marion H. Spielmann and Kineton Parkes. Drury was recognised by Spielmann as ‘one of the most distinguished’ of the group of British artists taught by the exiled communard Dalou, and according to Parkes, Drury’s ‘adherence to Stevens has never wavered’ so that ‘in his work he is a direct descendant of the great sculptor-painter-designer, and is therefore in the direct line of English sculptural development’. The neglect of Drury’s art may also have been partly due to its languorous beauty, eschewing muscular heroics and decorative excesses. By contrast with Leighton and Thornycroft, Drury ‘cares little for vigour, passion or anatomical display’, argued Spielmann, but instead ‘seeks the graceful, the placid, and the harmonious’.


Alongside sculptural works by Alfred Drury, the exhibition will display paintings and medals by the artist, and also documents and photographs from the period. The exhibition will also include works by Aimé Jules Dalou, Auguste Rodin, Lord Leighton, and Alfred Stevens.


Alfred Drury's studio c. 1899

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