Edward is pleased to announce that he is having a solo exhibition of his Mariners Way project.

There is also an opportunity to hear the artist talk about his inspiration for this project, the ancient maritime route from Bideford to Dartmouth and his realisation of this extended journey into the current exhibition of sculpture, paintings, drawings and wood engravings.

The talk is on the 8th November 7pm – 9pm

Exhibition running from 11 October – 23 November 2013

Opening Hours are 11am – 7pm Monday to Saturday

Entry is free.

Location of gallery is

White Moose
Trinity Street
Barnstaple
Devon EX32 8HX
T 01271 379872
E info@whitemoose.co.uk
W http://www.whitemoose.co.uk

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Here is the article of Edward’s latest show in the Journal Newspaper on the 10th October 2013

Some more details of the exhibition click here

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Following in the footsteps of sailors of yore

Read more: http://www.thisissomerset.co.uk/Following-footsteps-sailors-yore/story-20088668-detail/story.html#ixzz2lssKuxiG

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Date: Wednesday, 12^th March 2014

Start time:  2pm

End time:  4pm

A FREE workshop run by Swimbridge based artist, Edward Crumpton is being held at White Moose gallery, which will look at the techniques of negative space drawing.

This approach is used to prevent the logical mind from assigning a symbol to the object being drawn, focusing on observing what is actually seen, not the imagined.

Edward will go through with you the key skills in learning how to think about this technique, helping you correctly place objects on the paper.

The workshop is aimed at students studying art or artists at any stage of their career wishing to develop their observational drawing skills.

Please bring with you, if you have one, your personal sketch book (A3 at least) and some soft pencils. Some pencils and A3 and A2 paper will be provided for this workshop.

For people wanting to come to this event it is essential to book your place. Please contact White Moose on 01271 379872 or email info@whitemoose.co.uk

www.whitemoose.co.uk

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Thank you for everyone who came to my drawing workshop at the White Moose on the 12th March. I was glad to be a part of Art Waves Devon program and that people who came to the workshop enjoyed participating in the techniques of using negative space drawing in the still life.

Also that evening the Arts and Culture team were holding a talk by artist Kurt Jackson at the University of Exeter which I went down to see. I found him a very approachable person and was fascinated by his recent project that involved going to 32 locations across the UK that he requested from friends that had an affinity with and make new paintings at those places. The show is opening in Southampton and touring to a few location this and next year.

-Ed

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Private View: Fri 11th April 2014 (6pm – 8pm)

“Journeys are the midwives of thought” – Alain de Botton, The Art of Travel

White Moose Gallery, Barnstaple and 44AD, Bath, present Edward Crumpton’s major new solo show, Midwives of Thought, being held at the 44AD gallery in Bath.

Midwives of Thought showcases a collection of Edward’s responses to walks and journeys made in the South-West and North-East of England and across America.  This major solo exhibition will include works from his Viking Way, Two Moors Way and Mariners Way walks.

Free Gallery tour/Artist talk with Edward Crumpton at 44AD artspace on: Sat 12th April 1pm, Sat 19th April 1pm and Sat 26th April 1pm.

Open daily: 12midday – 6pm (Sun 1-4pm)

www.44AD.net

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Hello, please find details of my next exhibition on my previous exhibition feed on the home screen.

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Here are some photos of my 2014 April solo exhibition at 44AD in Bath. It brings together all the different walk and journeys I have been on during and since my graduation six years ago. The large wall and floor space meant that I could experiment with hanging varying technical drawings and paintings alongside large sculptures which gave the public a change to engage with the physicality of the media and gain a stronger connection to landscape around them.

Title of exhibition, Midwives of ThoughtStep Line III & II from the Viking Way walk, oil and earth on board (2008)

Poem from Viking Way degree show (2008)

Small pen and ink studies on paper (2011-2012) and Markings of the Paths on The Viking Way, mixed media on board (2008)

San Solomon springs, leaving the grand canyon and three ink studies from the American trip, pen and ink on paper (2009)

Close up of To the four corners of the earth, hand knotted tarred marlin rope from Mariners Way walk (2013)

Braunton Burrows Series II,III & V from the Braunton Burrows walk (2010)

Pace from the Mariners Way walk (2011)

Marlin from the Mariners Way walk (2013)

 A collection of pen and ink drawings, passage house maquette and a map of the Mariners Way walk (2011-2012)

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Competition Winner Announced!

After much deliberation and careful consideration by a highly experienced panel of judges, a design developed by of team of five young graduates in architecture and art was chosen. Four members of the team are all part of Feilden Clegg Bradley Studios in London, with the fifth member being Devon based artist Edward Crumpton.

 The Studio and Workshop shown on location at Lymington Salt Marshes

The design team working on the various construction materials, including the charred wood cladding and knotted marlin rope

The Observatory structures shown in context

The interior of the Study and Workshop spaces

Illustrations to show how the two structures can independently rotate to take advantage of daylight and vistas and respond to the varied landscapes

The Design Team – including Edward Crumpton, Charlotte Knight, Mina Gospavic, Lauren Shevills, Ross Galtress

The panel felt their winning design cleverly delivered on all the criteria of the competition and produced an elegant structure that although contemporary in form is rich in texture, tradition and personality. The structures are crafted from sustainable materials and are respectful to their environments. Initially a striking silhouette in the landscape, they slowly reveal themselves as you approach, with an exterior surface of charred wood cladding, complex woven tarred marlin rope screens and subtle interior detailing. These quiet spaces will provide a retreat for the resident artist and a place of discovery for passers-by.

The winners stated that: Our design aspires to articulate the collaborative process, between architecture and art, which epitomizes this competition’s ethos, with a highly crafted and distinctive proposal for The Observatory. We’ve taken an aesthetic approach that is informed by the natural beauty of sustainable materials, the unique characteristics of the sites and the tripartite narrative between the resident artist, general public and wider landscape. With rigorous research, attention to detail and inter-disciplinary collaboration, we aim to realise a project of exceptional design quality that creates moments of meaningful engagement for everyone that has a chance to look upon, into or out of The Observatory. The Study and The Workshop, are responsive to the landscape through their ability to rotate. This will allow the structures to act as shifting framing devices to the landscape beyond and encourage the artist and audiences to interact by blurring the boundaries between public and private.

The resident artists will be able to orientate The Observatory to take maximum advantage of daylight and vistas, or to create shelter from the prevailing weather. The Study will provide a private and reflective space for the artists to work, while The Workshop will allow for a range of interaction with the general public. The Observatory will arrive pre-fabricated to site, the light-touch and simple installation methods causing minimum disruption and disturbance during installation and removal.

Charlotte Knight, of the winning team, said: “The team and I have been through a fantastic journey over the last few months and I cannot thank Mina, Lauren, Ross and Ed enough for their incredible hard work and dedication. Our work would not have been possible without the continuous support of everyone at Feilden Clegg Bradley Studios and Jane Wernick Associates. We are overjoyed to have been chosen from a selection of such strong entries and we are now thoroughly looking forward to the next step of working with Mark and the team at SPUD in order to realise The Observatory.”

Mark Drury of SPUD said: “we’ve been overwhelmed with the high quality of entries received for the competition and making a decision was incredibly tough. We are delighted with the winning design and look forward to developing The Observatory with such a young, enthusiastic and energetic team of designers.”

The project team is currently working on securing all the funding to deliver the £50,000 construction and installation costs of The Observatory, plus funding for the residencies and engagement programme. A crowd-funding page will launch soon and we would be delighted to hear from potential sponsors for the programme.

A BBC article can also be found following this link:

http://www.bbc.co.uk/news/uk-england-26933848

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Here is a short film from North Devon Moving Image CIC as part of a six month oral history project at St Anne’s Arts and Community Centre in Barnstaple. I talk about my residency at the chapel before its restoration.

-Ed

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Hello,

Over the course of the six months a lot of design and development has taken place on The Observatory project and with only a few weeks to go until the launch I thought I’d give you a sneak preview of the building and rope screen.

The Observatory II – taken 17th December 2014

In the photo you can see two observatories, one of which will be for the artist and the other a space to hold workshops, events, live performances. The building closest to the camera will hang my rope screen. The blue wheel located inside the space will be used to revolve the building into different positions as to the artist’ preferred view and hopefully be inspired by it.

Charred Wood – taken 17th December 2014

Covered around outside of the building this charred wood is going to be attached to give a more naturally feel to the building. The burning effect it has on the wood reminded me of charcoal.

Close up of rope screen – taken 5th January 2015

After many hours of preparing and measuring work has now started on the rope screen which you can see here being developed in the studio. I had planned on making something relatively simple but saw it as a good opportunity to make something that has both intricate design and symbolic meaning to the space.

Close up of rope screen II – taken 5th January 2015

The rope screen sitting beside the charred timber will give a very natural look to the building as a whole. I’m looking forward to finishing the rest of the screen off in the next few weeks!

-Ed

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Created by Devon-based artist Edward Crumpton, the sculpture is a memorial to an ancient walk across Devon, the Mariners’ Way.

It echoes an earlier spherical sculpture on Campus made by Crumpton that combined traditional materials, such as tarred marlin rope and an old technique of knotting, macramé. The previous sculpture Mariners Way, had a hand-made knot in the rope for each step along the Mariners Way walk, thus recreating the walk into a material object.

It was then reimagined by the artist in various manifestations, Crumpton said:“I always thought of carrying on the journey of the walk by transforming the rope into different objects. I see the knotted rope as a line; something one would draw with.”

The rope sculpture’s first change in shape was at Heathercombe Gardens Sculptural Trail in September 2013. Edward set about unravelling, hand-washing, dividing and re-knotting the rope into the form of a Passage House which stood right on the path of the Mariners Way, representing the houses along the route where sailors could find friendly, overnight rest.

The second reconfiguration of the sculpture took the form of a Marlin fish. This was the centrepiece of Edward’s 2013 solo exhibition, The Mariners Way at White Moose gallery in Barnstaple. This sculptural form played on the idea of the material of the rope, tarred marlin and integrated the concept of the marine environment.

Before returning the rope sculpture to the University in its original spherical shape, the materiality of sculpture had to be re-examined. Crumpton explained: “I wanted to use the authentic material for the sculpture that sailors would have used when making different decorative pieces of macramé, learnt from their travels around the world. However, having seen the effect of natural processes on the sculpture throughout 2012, it needed more durability, and to some extent sustainability. So for the sculpture to weather this outside environment I needed to source a new method and materials.”

During 2014 Edward investigated the traditional techniques of tarring rope and was able to re-create, through the application of extensive research, the first reformation of the sculpture, but this time using contemporary materials. He has named the new, 2015 sculpture, Mariners Way II, as a homage to the original sculpture and a symbolic reference of what the first sculpture encapsulated.

“Mariners Way II tells a story of Devon’s maritime history and creates a sense of place for our many visitors and students”, said Naome Glanville, Arts and Culture Co-ordinator at the University.

Mariners Way II can be viewed in the garden area next to the Northern Piazza, Stocker Road. It is one of around 40 sculptures on the Streatham Campus which can be viewed by the public from Monday to Friday, 9 am – 5pm. Some of the indoor sculptures may only be accessible in term times – however, the outdoor sculptures can be seen all year round.

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This is a group exhibition mainly focussing on the material development for a research and investigation thesis by Feilden Clegg Bradley with The Observatory as a case study. Edward will be showcasing a painting representing the two observatories and a rope barrel sculpture from a previous project.

This exhibition is open during the evening (not weekends) from 4.30pm till 8pm.

For further information please visit

http://www.londonarchitecturediary.com/events/4679

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Nestled deep in the Devon countryside Edward invites you to visit him in his hay barn loft studio space to discuss his interest in art. His ink drawings, oil paintings and wood engravings which are all influenced by the surrounding landscape, will be available to view and purchase.

Edward is latest interested is making new paintings based around islands of the British Isles beginning with Lundy island which you will be able to see some of his new unfinished works.

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‘Mariners Way II’ is made of contemporary materials in the form of a knotted rope sphere is now on display at the University of Exeter’s Streatham Campus. Edward has named the new, 2015 sculpture, Mariners Way II, as a homage to the original sculpture and a symbolic reference of what the first sculpture encapsulated.

Created by Devon-based artist Edward Crumpton, the sculpture is a memorial to an ancient walk across Devon, the Mariners’ Way. It echoes an earlier spherical sculpture on Campus made by Crumpton that combined traditional materials, such as tarred marlin rope and an old technique of knotting, macramé. The previous sculpture Mariners Way, had a hand-made knot in the rope for each step along the Mariners Way walk, thus recreating the walk into a material object.

Mariners Way II can be viewed in the garden area next to the (work currently being re-positioned). It is one of around 40 sculptures on the Streatham Campus which can be viewed by the public from Monday to Friday, 9 am – 5pm. Some of the indoor sculptures may only be accessible in term times – however, the outdoor sculptures can be seen all year round.

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Hello. Here are some links with a feast of images and descriptive information discussing the competition myself, Charlotte Knight, Mina Gospavic, Ross Galtress & Lauren Shevills won in April 2014. This project was led by SPUD, based in Winchester. Enjoy!

A BBC article – click here for article

FCBS Studios – click here for article

Ideasgn – click here for article 

PSFK – click here for article

Inhabitat – click here for article

Before its news – click here for article

Waaaat? – click here for article

What next? Well the two buildings are going to be moved to Lymington Salt Marsh with the opening event on the 17th July 2015.

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Hello,

Over the course of 2014 I was busy re-designing the Mariners Way sculpture for the longevity of the outdoors which you can read about here. Whilst this was occurring I was also part of a team that designed and constructed The Observatory buildings which was to house artist for two month residency’s for the next two years moving to a different location every six months. When the application form comes out for artist residencies this Summer I hope to apply and be able to work inside the space in 2016 when it closer to home; Devon. The type of rope which I used on the rope screen is Manila Rope dipped in Stockholme Tar which, due to it’s natural fibres, will slowly deteriorate by micro-organisms living off it. My idea would be to take samples of what organisms might be living there and possibly enlarging them to make rope pieces of them. A good idea would probably try and see if I could get an institution or University that has equipment I could used for this idea.

In 2015 these two projects came to a close and I have been considering what to do next. One of the ideas is to visit twelve islands off the British Isles and make work about those places with the idea of how each one is connected. This idea began from a visit to Lundy Island in 2014 as a way of me re-connecting my fascination with the interaction between sea, land and sky. This journey took me back to visualising images on a two dimensional surface which I am now focussing my time on.

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7 August – 26 September 2015

White Moose will be showing new paintings by three local artists,Edward Crumpton, Hester Berry and Peter Kettle. Reunited after ten years, this exhibition is their first together since they left West Buckland School in 2005.  Since then, they have all forged their careers as artists – studying, traveling and exhibiting in various places, places which have contributed to their creative identities.  Over the decade, their work has grown apart in some ways and converged in others – this show draws upon those differences and similarities and enables a dialogue between the art that has matured over a ten year period.

Despite each artist’s individual career path and lifestyle, they share a love for painting and have developed it in their own way, using it as a language to convey their own experience of a moment.  The landscape plays an important role for each artist, however it is interpreted and used, whether conceptually or figuratively.  While working methods and techniques differ widely, Crumpton, Berry and Kettle all exploit the medium of paint to convey a sense of light as solid and pervasive element.

White Moose

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