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Long, Hot Summer

Well, it's been quite a summer, so far, I've been on some lovely walks with Walking the land, which have fed into my current preoccupation with post-Brexit ideas about belonging and nationality and the role that landscape plays in those (for me, my sense of belonging is very strong and, I think, quite rooted in the British landscape, which feels more inclusive than other, more shouty, forms of nationalism). I've been working in the same vein towards an exhibition at Rodmarton Manor, with other Victoria Works artists, curated by Charlotte Abrahams, revisiting some of the places along the upper reaches of the Thames, near Kemble, drawn by a visitor to the Manor during its arts and crafts heyday, Thomas Farington, which are on display in the room that we are working in. It's been lots of fun exploring and very interesting to see how much things have changed. For a start there's no water where, in Farington's time, there were boats!

I've also had a bit of success in various exhibitions and competitions, being selected for the Bath Art Prize again this year, as well as the Derwent Art Prize (one of which is Remnants of Doris I, pictured), which will be in London from the 18th-23rd September, then on tour around the country, the BEEP Painting Prize, which opens in Swansea next weekend, and the Wells Art Contemporary, which is to be held in the Bishop's Palace, Wells, from 6th-21st October.

I've been working away at a growing pile of commissions, too, but best of all, I've been lucky enough to have a brilliant and inspiring day with Graham Crowley, discussing work from all directions, and am feeling thoroughly inspired and ready to go... when little K starts school in September. Until then, happy summer everyone, buckets and spades at the ready...

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