Regarding Nature

Panoramic photographs and photograms by Chrystel Lebas

June 22 - September 16

Re-visiting Sedum anglicum Plate n°300, Blakeney, June 2014

52°58.534’N 1°0.102’E

Edward James Salisbury. From box 290-307-Blakeney Plant Portraits/Photos.

Sedum anglicum. Plate n°300

Re-visiting Honckenya peploides Blakeney 3/5/14 Plate n°305, Blakeney, June 2014

52°58.101’N 1°2.062’E


Upstairs at GroundWork


Paintings and poems Judith Tucker and Harriet Tarlo


Judith Tucker, Towpath, 2017, Charcoal, varnish and white pigment on arches paper. 76 x 56 cm

Judith Tucker, Green on Green, 2017, Charcoal, varnish and white pigment on arches paper. 76 x 56 cm



Ceramics by Kathryn Hearn

June 22nd - September 16 2018

This vessel group reflects the tenacious and private attitudes of fenlanders who sometimes live in remote windswept homes behind barriers of Leylandii trees which have been grown as an embattled fort. Usually pollarded to extremity with the tree trunk revealed, chopped at its peak and leaves removed from the outside whilst remaining verdant and private from prying eyes within its inner safe world.


Theories of the Earth

Shaun Fraser, Wayne Binitie, Flora Bowden

October 12 - December 16 2018

Equally, dismayed by the fleeting changes they have observed in different landscapes, and the frightening rate of disappearance of what seem to be enduring features, the artists aim to communicate the importance of environmental change through their subtle range of artistic images and impressions.

Shaun Fraser, The Ground Itself is Kind, Black Butter


Fora Bowden, Emblem 2017

Flora Bowden, Signet (Flight) 2017


Regarding Nature

Regarding Nature, features, spectacular panoramic photographs, and photograms by Chrystel Lebas, of plants and landscapes of the north Norfolk coast. These works were made from an initial study commissioned by Bergit Arends (independent researcher and curator) at the Natural History Museum, London, to follow in the wake of scientists Sir Edward James Salisbury (1886-1978) and his contemporaries Francis Wall Oliver and Arthur Tansley, and to re-examine their discoveries.

Re-visiting Suæda fruticosa, Blakeney Plate n°303, Blakeney, June 2014; 52°58.546’N 1°0.015’E

Their documentation of coastal plants in Norfolk in the early 20th century, was part of the impetus for founding the British Ecological Society. Chrystel’s work goes beyond the initial research, to contribute a whole new spectacular interpretation of these subtle landscapes, which is also bound up with study of plant detail, in the context of the dramatic coastal end ecological changes since the scientists were recording them some 100 years ago. 

Re-visiting Shingle mobility between Suæda bushes, Blakeney. 27/3/13

Plate n°237, Blakeney, June 2014;  52°58.426’N 1°0.674’E

The exhibition is a selection from Regarding Nature, originally including studies of Devon and Scotland, first shown at Huis Marseille, Museum for Photography in Amsterdam in 2016-17. 



Paintings and poems

Judith Tucker and Harriet Tarlo

‘Outfalls’ by Judith Tucker and Harriet Tarlo, a joint project of paintings and poems undertaken on the Louth Navigation, a canal in North East Lincolnshire. Through juxtaposing open-form poems and monochrome drawings, they explore the relationship between the River Ludd and the canal itself as its industrial past becomes absorbed into semi-wilderness, creating niches for local flora and fauna in its culverts, bridges and locks. 

Judith Tucker. High Bridge, 2017, Charcoal, varnish and white pigment on arches paper. 76 x 56 cm


Ceramics by Kathryn Hearn

Kathryn Hearn's handbuilt porcelain work is inspired by the atmospheric skies above the Cambridgeshire Fens, the farming practices in this industrial agricultural landscape also reinforced by the fenlander’s tenacious and protective attitudes. It refers to the farmer’s intrinsic use of craft and the uncompromising and functional environment.

This sculpture acknowledges the traditional eel catching of the Cambridgeshire Fens and the use of willow and weave being bound to the landscape and the working lives of fenlanders.

Work in progress in Kathryn's studio in March 2018

Theories of the Earth

Shaun Fraser, Wayne Binitie and Fora Bowden

Glass and bronze sculptures and reliefs, drawings, prints, sound installations, and jewellery, from three artists with shared interests in elemental aspects of the environment. Each artist is seeking in different ways to reflect on the deep histories of the earth, on its geological formation. 

Wayne Binitie and Shaun Fraser formed a professional and personal friendship while studying glass at the Royal College of Art and discovered that they had both visited and been fascinated with Iceland, and its stark, magical and mysterious landscapes. Subsequently, Wayne has worked with the British Antarctic Survey, studying glacial water, recording icicles in sound and image.


Solid Liquid Gas, Wayne Binitie's Audio visual field recording of Antarctic ice core air bubbles. 1, 500 years old. Glass sculpture. Here seen on show at V&A Museum, 2017

For Shaun, growing up in the Highlands of Scotland, landscape has always featured heavily as a part of his notion of self. His work often comments upon links to landscape and connections with a wider sense of environment. By incorporating soil and natural inclusions into his sculptural works he hopes to tap into some of this disposition; the ability to evoke this sense of place.

Shaun Fraser, Flow Country.  Scotland

Flora Bowden has developed a new visual vocabulary of stone from her research into geological studies taking place in the 18th century in Enlightenment Edinburgh.  Her work derives inspiration from the geological discovery of ‘Deep Time’ first explored in James Hutton’s book of 1795, ‘Theory of the Earth’.

The artist says: 'One plate in particular details the mineral formations of granite and feldspar, which present very angular, geometric forms. Hutton describes these as having a ‘typographic character’, which has been the starting point for much of my work. I am interested in the idea of a vocabulary or language of stone, and how I can develop this from Hutton’s image.'


Flora Bowden SFuture4, 2017