Just finished

Fire and Ice: Works by Gina Glover and Jessica Rayner

Upstairs at GroundWork

Hilary Mayo ceramics

14 October - 16 December 2017

The three artists complement each others’ practice within their unique disciplines, and have been brought together in Fire & Ice in a way that points an audience beyond the simple constraints of human understanding to deeper connections with the base elements that underpin planetary life and consciousness. These artworks ridicule human obsessions with energy creation, and connect us to the beauty and deeper power of the raw elements of this planet.
— James Murray-White in climatecultures.net

One of Hilary Mayo's beautiful Topography of a Landscape ceramics


Melted World, photograph by Gina Glover


Gina Glover

Melt  Melt is a series of 12 circular aerial images of the Greenland ice sheet, taken in August 2013.  GPS references are displayed on each photograph.   


Melt is a series of 12 circular aerial images of the Greenland ice sheet, taken in August 2013.  GPS references are displayed on each photograph.



Jessica Rayner

I think that all of us, perhaps more so when we are children, are inquisitive or curious or react to nature through wonder. That is where our art and science comes from and that is the response that I also want to communicate through my work.  

Still from video, Conversion, depicting a bale of Biofuel burning and regenerating endlessly


Solsten looks especially good in the evenings.


Still from video Nothing is Destroyed, where a block of ice is chipped to fragments and reappears whole in an endless cycle.


The Wood Pile, a wonderfully detailed and meticulous drawing of biofuel wood-chips, named after Robert Frost's poem, The Wood Pile.


Upstairs at GroundWork

Hilary Mayo: Topography of a landscape

14 October - 16 December 2017

Hilary Mayo

Foss I and II

Handbuilt stoneware, porcelain slip, oxide, stain and glaze, h. 38 & h. 24.5


Landscape vessel,

handbuilt stoneware with hand brushed multi-layered glaze, underglaze and stain. h. 15cm


Deliquesce. On show in pride of place in the front window of GroundWork Gallery

Handbuilt stoneware, painted layers, porcelain slip, oxide, stain and glaze, h. 27cm


Femke Lemmens

Newly on show are some beautiful wool and cashmere Saori-woven scarves by Femke Lemmens.

Femke Lemmens uses natural fibres and naturally obtained colours, to create weaves with a certain lightness and movement. Creating her own colours at home from plants and kitchen waste, has become an engaging and integral part of her whole process.


For the weaves in blue, red, and russet, the artist was inspired by the blueish cold evening air coming down onto the red of the Alpujarras mountains in Andalucia, southern Spain. While dyeing, the scarves were strung up in a woven shibori technique, then unfolded after they were dry. This has contributed to the ripple effect of the colours.

Weaving can be a very momentous expression for an artist. Changes along the way lead to new inspirations. We end up slowly growing something true to who we are. The products of this kind of SAORI weaving are alive.
— Femke Lemmens

Fire and Ice 14 October - 16 December 2017

From glaciers to biofuels and from Iceland to N Dakota – images about nature, light and power, raising questions about energy use, over use and climate change

‘Fire and Ice’ includes images of industrial intrusions into wild nature, melting ice-caps, and burning biofuels. It tackles tough subjects to do with the over use of energy and the stress it is causing to the environment. But while there are tensions around the subjects, they are visualised through beautiful work in photography, installation, film and drawing by Gina Glover and Jessica Rayner, and ceramics by Hilary Mayo. Following GroundWork Gallery’s emphasis on connections between art and environment, the exhibition is intended to be thought-provoking, leading, we hope, to a greater sharing of ideas between the art and science communities around climate change and energy futures.

Gina Glover and Jessica Rayner

....are artists who explore the melting, changing, landscapes of climate change. Gina Glover is a photographer with a long-term interest in environments affected by human conflict and economic development. Jessica Rayner uses the illusion of film, light and mirrors to make dramatic installations about sources of energy in nature. Underlying their beautiful images are the stories of the stresses to the environment caused by over demanding uses of energy.

The artists who are mother and daughter, have developed complementary images in film and photography, and shared a dramatic exhibition project in 2014, The Metabolic Landscape.

Gina Glover, Melted World, photogaph

Gina Glover is founder of the London-based photography organisation, Photofusion, and her interests have ranged from exploration of biomedical science related imagery, to the study of environments affected by human conflict and economic development. Among the works in the exhibition, is a series about fracking sites, and another of melting ice-floes.

Poisoned Water Runs Deep

Gina Glover’s dramatically entitled series of landscapes, documents fracking sites in the United States. These photographs show a variety of ordinary looking equipment, water tanks, pumps and pipes, which collect gas which is piped onward from the fracking site to a gas compression station.  Mostly these occur on farmland, in some cases right beside where cows graze, or close to habitation.

Jessica Rayner’s interests range widely around the phenomena and mechanisms of light, power, perception and reflection. Much of her practice is based at the juncture between science and art and aims to examine notions of progress and our continual need to pursue knowledge, even as we move mundanely through our daily tasks.

Conversion and 365 Faces of the Sun on display at GroundWork Gallery

The artist's assumption is that we produce unresolved questions when we look at things, and consequently, much of human inquiry in any field, is based upon inspired guesses or chance discoveries.


For this work (below) Jessica Rayner examined the mineral, Icelandic Spar. Icelandic Spar has optical properties akin to polarising lenses.   Recent research showed that the Vikings used it in the course of their navigation at sea, to reveal the position of the obscured sun.  Often, at sea, the sun is hidden by clouds, so through use of this mineral, the Vikings were able to judge their direction of travel, using the position of the sun as a guide. For the artist, this series of works encapsulates the way in which material experiments and discoveries can be used to overcome human limitations.

Solsten by Jessica Rayner, one of a series of 3 light-box installations

‘365 Faces of the Sun’,

365 photographs of the Sun were amassed, many from NASA, the US space agency, with others borrowed from amateur astronomers.  As each of these 365 images momentarily passes in front of our eyes, we see that they can be quite different, which perhaps says as much about the different means of recording as the fact that the Sun never seems to wear the same face.

Hilary Mayo

Upstairs at GroundWork, there is a selection of ceramics by Hilary Mayo, made following a recent trip to Iceland. Collectively entitled Topography of a Landscape. this body of work is informed by the strangely addictive beauty of Iceland’s other worldly landscape, following the artist’s recent visits to the country. they demonstrate her completely different response to this changing and fragile environment.

One of Hilary Mayo's dramatic Icelandic landscape photographs next to one of the pots which it inspired.

Hilary Mayo's collection of ceramics on show with Gina Glover's Melt series of photographs, showing different reflections on icy landscape and the impact of climate change.

The delicate pots in this series of works demonstrate the artist's completely individual and powerful response to this changing and fragile environment. Working from photographs, memory and observed detail, ideas have evolved in terms of form and surface decoration, referencing receding glaciers and climate change so clearly evident in the topography of the Icelandic landscape.

One of Hilary Mayo's photographs of Icelandic landscape, which shows very clearly the source of her inspiration for her forms and glazes.

Finely rolled slabs of stoneware clay are assembled and form a canvas on which multi layers of glaze, oxide and stain are applied with a brush.

History lies before the eyes of the observer as a petrified, primordial landscape
— Walter Benjamin

This is part of a collection of stoneware vessels made following the artist's visit to Iceland. It is a perfect medium to reflect her responses to that country's fragile, watery, changing landscapes. 

Femke Lemmens

Saori weaving

Scarves by Femke Lemmens on show Upstairs at GroundWork

Femke enjoys the age old traditions in this interplay between dyeing and weaving, which fits perfectly with the freedom she has discovered through SAORI weaving.  The term was invented in the 1970s in Japan by Misao Jo. SA comes from the word “SAI” in Zen vocabulary: everything has its own individual dignity | ORI means weaving. 

Misao Jo was the first to realise that irregularities in her weavings were an expression of her creative spirit, and should be seen as positive expressions of her personality, not as imperfections. As a teacher, she encouraged her many pupils to explore freely as young children do, to see everything with wonder, to break with convention and be true to their instincts.