Dolly Kary

“Insight” is the intimate relationship with my ever developing self through the portal of the recent deaths of three members of my family. A painful astonishing process of change that has broken, opened and healed my heart in ways beyond the assumptions and immediacy of grief. The words for which evaporate when I try to grasp and explain what I mean. No mark I make nor word I utter will ever touch where I’ve been, where I am or where I’m going.  

Instead, through metaphor and nature, I find ways to articulate and to stay open to my questions without the need for answers. Thus my insight can develop as new questions germinate. Perhaps the spirit of all entities is held within or without the body of each living thing? As a metaphor, would it suffice to introduce the humble husk of a tomatillo to represent the remaining intricately evident traces of a life once lived? Does that life live on in the spirit of the seed? 

The phrase “In Sight” brings up other words like being visible, seeable, within the view of another, observable, exposed, noticeable, revealed, perceptible, transparent. To explore this I have used the husk of the tomatillo with its intricate trails of fine veins and delicate transparent form. What you see with your naked eye is but one perspective and is magnified by the reflection in the mirror. In order to expand and entice you to look closer the magnifying glass can further reveal the varying dimensions of what is within your sight. Take a look? What do you see? 

A response to both “Insight” and “In sight”

Beverley Samler

Beverley Samler

Printmaking is my passion, especially experimental printmaking. I love making use of new materials. This experimental trend spills over into mixed media, combining painting, printmaking and collage. The subjects which interest me are mainly organic, including rocks and trees. I am attracted time and again to certain things in my art, trees, rocks, sharp objects and women predominate. My African life has a huge influence on my work both in the colours I use and a spiritual attachment to the ancient. I also enjoy constructing three dimensional forms and this has drawn me to making prints.

Anita Reynolds

Anita Reynolds

“The painter goes through the land and sees what nobody else has seen because landscape painting comes from inside not out”

Christopher Neve – Unquiet Landscape.

My works explore the integral connection between place and the human condition; in particular the scarring and subsequent healing of the landscape reflecting personal experiences. 

I have read T.S Eliot’s swansong “Four Quartets” many times during my adult life, I have to confess that I still don’t fully understand it all and probably never will. I have phrases from the works that resonate with me, and despite being baffled, I keep being called back to them.

Eliot questioned the human experience, the human construct of time, our search for purpose and the fragility of life. In his second poem “East Coker” he speaks of the cycle of birth and death. 

“Love is most nearly itself, When here and now cease to matter”

My understanding of this is that there is something beyond here and now that we need to connect with. The connection that I have to the thin places on Dartmoor, how I feel when visiting and making images, is the closest I can get to explaining my own work. I find it extremely difficult to articulate in words how I feel when responding to place, it is an ancient, deep gut response that we no longer seem to understand. 

Image: Marking Time

Josie Gould

Josie Gould

There are times spent in Vipassana meditation practise, and when I am fully present and aware in the landscape and places around me, when I enter a way of ‘dwelling’ of ‘being-in-the-world’, in relationship to the world which the philosopher Heidegger called ‘Dasein’. 

Dwelling in the world in this way my senses, feelings and awareness of time and space slow down, merging into a simple, very alive and present experience of fluid moments of changing phenomenon and happenings. In this space of impermanence my eye slowly, continuously follows the seemingly spontaneous phenomena, lines and shapes that it is attracted to and curious about in the qualities before me, through the pencil or paint onto the drawing paper.

Being with and reflecting on these gestural drawings and paintings reminds me of the Buddhist understanding of interdependence in the world. Every thing and every occurrence being dependent on all other things in a mutual relationship which Buddhist Monk Thich Nhat Hahn called ‘Inter-being’ *.

Noticing this ‘inter-being’, the web of relationships that bind the universe together into a cohesive whole, spatially and in time, can sometimes reveal causality in action*, moments when the relationship between cause and effect become apparent.

Deeper awareness of these universal laws of cause and effect, the persistent life-force back of things occurring in their own natural, meaningless rhythms and patterns, may also potentially bring better awareness of contingencies*. Those future events or circumstances which are possible but, being dependent on whatever is actually taking place in a given world, cannot be predicted with certainty. 

Embracing this uncertainty in all its eternally messy and chaotic unfolding I gratefully celebrate in awe and wonder, all that life is.

Rachael Bennett

Rachael Bennett

I am interested in the liminal spaces within landscape created by natural transitions; those uncertain, indeterminate spaces caught between one world and another. My work is descriptive of form, light and place in an atmospheric way.
I want the viewer to experience, for example, that psychological state of mind created at the moment between wakefulness and dreaming, that threshold moment where alchemy happens and limitless contemplation is possible.
I look at landscapes, seascapes and the ever changing weather. The intimate landscape beneath my feet is just as engrossing as the grander view, and the interplay between the two, the near and the far, just as stimulating. With my painting, relationship between materials used and image created is everything to me. One is responsible for the other, it is symbiotic. The resultant conversation is where the true dialogue can happen. This is the entry point, the place where the liminal experience is possible – this is the essence of my work.

Avenda Burnell Walsh 2

Avenda Burnell Walsh

My journey has travelled through Emotional Residue, often beyond sight but waiting to be discovered. Where thought falls away and only a luminous quality remains. Where we are unmasked, becoming our essential selves.

There are times and places in the world where the walls are weak, suspended between coming and going. There are moments when time has burst its banks. 

Moments that beguile and inspire, sedate and stir, where I witness humanity, for a few blissful moments, loosening its death grip on life and taking breath.

Emotional Residue is ineffable, the stuff we can’t express because it’s beyond the power of language to do so. My marks are my own path, my own attempt to anchor it on paper. 

Image: I Draw Breath

I DRAW BREATH yoga breathing blind drawing

Slow, slow I draw breath, my breath

So I might breathe it out on paper.

My breath. Drawn down to belly and toes,

Drawn in, passing colours through closed eyes,

Feeling a path through charcoaled fingers

It lingers in the air and then exhales.

Light, hard, left, right, loose, tight.

To rub or shove, or stretch and curl,

The graphite whorl spells out drawn breath

Across the page of freedom unseen before me.

I will not look yet.

Let the ink jet black unfold its surprise.

Aah, eyes unfurl. Yes. I have drawn breath.

UNEARTHING DARTMOOR FIELD TRIP observations of a markmaker

Spectacular fairy ring of rabbit pooh and tender heather

Rusty heifers with mismatched horns, the young ones skittering and
scampering in playful uncertainty

Pale yellow slender grasses growing strangely brighter, glowing even, as
sun fades at the close of making marks

Gorse scratching, gouging, mark making our thighs

Hastily tucking trouser legs into socks for fear of ticks, spiders,
lizards and adders

The magic of fading sun and clouds on dark water pond, that stares back
at us as we stand and look, and stand and look, and then get bitten

Still scratching at imaginary ants in pants, must investigate that later

The path is there, we see it easily on the back track, the light now
faded, but the path still glowing sandy bright, laughing smug at us who
missed it hours before and scrabbled long through thick and thin, rough
and tougher, sticky and prickly, tender lichens pale and magic, heathers
new and shouting colour, embryonic spruce trees fledging their tiny

We saw it all

We saw and sought to make our marks

And marks escaped us, but we found one or two and caged them in our


Ursula Livingstone

These pictures are made to encourage the transformation and flow from suffering through to acceptance and to inspire bravery and grace, I paint the act of moving through the lanes and woods near our home.The making of images helps me  navigate emotions.

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Jo Gibson

Insight. a journey of self discovery, realisation and further understanding of the way I work – the way I want to work and the materials I choose to use.

This work shows the unexpected ‘happy accidents’ and the magic.

My work is experimental – intuitive and free. I go where the marks take me – responding accordingly. I utilise ‘happy accidents’ creating subconscious imagery which appears as if by magic. Unpredictable. It’s as if I have had no part in it. 

Have I? Yes I have. Is it alchemy?


Katheryn Trenshaw


Revealing the concealed, layer after layer.
Delicate, translucent.

A life lived.
A loss grieved.
An experience integrated. 

Marking, drawing, painting, and then sanding back.
Painting, drawing and mark-making again,
adding detritus and discarded but beautiful patterns and shapes. Layering paintings like the palimpsests of our lives. 

Art full of wabi-sabi wisdom, the perfection of imperfection and occasional broken-open places is marked with time, scars, incisions and alterations… just like our own bodies. 

These are paintings as reflections of getting INTO and UNDER our skin – weathered, worn, wonderful and wise. Touched, held, loved and altered by human exchanges. 

They are like writing on skin in the fashion of monks of olden times, repeatedly writing and erasing whilst leaving traces…
recording our loves, losses, laughter, lives. 

This body of work is made up of inside-out images that comprise a presence practice, revealing hidden treasures. 

Jane Ellis 1

Jane Ellis

Artist plantsman living on the edge of Dartmoor

i walk 

i see colour 

i paint

Making art is all about breathing out what is inside, it is just another way of keeping a diary (emotional or otherwise) a fleeting moment in a timeless space

The energy of nature invites me to paint, creates a space in which to immerse myself,  the place, my emotions to reveal the submerged, presences that underlie existence

i only went out for a walk, and finally concluded to stay out till sundown, for going out, i found, was really going in

john muir

Andy 1 smaller

Andy Coldrey

My life as a woodworker requires a highly focused, concentrated and meticulous attention to carefully planned detailed accuracy, and a conscious effort to best the medium I work with.

My life as a painter allows me to loose these shackles, and delve into the unknown. Those worlds of the dream, of spiritual belief, of pure imagination, those are the realms I navigate as an artist. Where once much of my work was portrait based, lately the figures, the faces have become more ephemeral, more liminal, less categoric.

Primarily, I work in acrylic paint, using layering to reflect the layering of meaning. Right now, white is my goal. To produce a misty swirl of cloud and fog, a world of mysterious white paint, almost hiding the figure, that’s my current dream.

Polly Delahoy

Polly Delahoy

“Everything we see hides another thing; we always want to see what is hidden by what we see.” Rene Magritte

This quote interests me and I relate it to my art practice and interpret it as follows;

When I sketch and paint, I am influenced by many things. Those influences are not always apparent to the viewer and may trigger a need to know. A painting offers a glimpse of what is held within me and my life experience. As an Artist I can share further explanation, but this may or may not be the whole story. Life is full of expectation and intrigue, but human nature often leads us down a road of needing to know, this uncertainty can be uncomfortable, however if we can sit with the unknown, embrace curiosity we may develop our own individual Insights.

When I am painting and sketching I am responding to the immediate influences in my day-to-day life and work, psychologically, emotionally, spiritually and physically. Being in the landscape, whether on sight or painting from memory, serves as a place to escape providing a sense of Solace. When I paint or sketch, my internal landscape and the external world merge.

During preparation for this exhibition, I had a ‘lightbulb moment’ linking my experience and memories of living in Ireland as a child and a young adult. I gained clarity on how this connects to my art practice in the here and now. These paintings link my life in the South West and memories of my life in Ireland.

image: Whistlin Wind