Black Swan Arts Press Releases

On Repetition

A new show at Black Swan Arts by artist Lucinda Burgess incorporates works in steel, charred wood and glass as well as more sculptural works using Indian Khadi paper.

Lucinda’s primary focus in ‘On Repetition’ is materiality – she is particularly drawn to its natural, often delicate and always changeable character. Each material is chosen for the degree to which it can transform; it may be highly reflective such as glass or graphite, or capable of undergoing radical visual transformation – for example, polished steel to rust.

Another key aspect of Lucinda’s vocabulary is her enactment of Søren Kierkegaard’s observation that “There is no such thing as repetition.” By repeatedly subjecting matter to the same process – or by repeatedly placing the ‘same’ object in different contexts – she reveals that it is all too apparent that nothing can be repeated; that every attempt to do so arrives at an outcome that is totally unique.

In Same, for example, two sets of steel angles, identical in size and material, are placed in different contexts: one on the wall, the other on the floor. Despite their close proximity, the difference in location totally alters the viewer’s perception: the one on the wall looks like modernist art, the one on the floor more like a cattle grid or a foot grille.

Drawing on her deep interest in oriental philosophy, Lucinda’s work emphasises the fact that the visual field is in constant movement and stresses the very experience of looking; she accentuates the importance of first-hand experience, as opposed to our current culture’s emphasis on mediated
experience. As the viewer walks around one of her pieces, the colours may dance about in a sea of reflections or the shapes may transmute as the eyes move. The key message of her work is that, experientially, there is no stasis; that, ultimately, the idea of a ‘thing’ that lasts is just that: an idea, a useful and necessary tool for navigating the constant flux of sensory data.

Lucinda first trained as a painter, then combined painting with teaching and, following that, she became involved with oriental philosophy, spending some years in a monastic setting. Continuing this pattern of dramatic change, she next went on to become a successful landscape designer, winning several awards (including two gold medals) at Chelsea and Hampton Court Flower Shows, as well as an Association of Professional Landscapers award for her large-scale plant installation at the Royal Botanic Gardens, Kew. Since 2010 she has resumed her fine art practice, working primarily in three dimensions.

Lucinda holds a BA in Fine Art from Bath Academy of Art, a postgraduate qualification in art teaching from Goldsmiths, University of London, and an MFA (with distinction) from Bath School of Art and Design. Her art has been exhibited nationally and internationally, including in London, Liverpool, Bath, Bristol and Athens. She has won several funded residencies including the Porthleven Prize in 2014 and a residency at Newlyn Art Gallery, Cornwall, in 2019, and her work was selected for the Jerwood Drawing Prize in 2018 and the Aesthetica Art Prize in 2019. She is currently working closely with Bartha Contemporary in London and enjoys a place in their online showcase. She has been invited to exhibit in Berlin later in the year.

Beyond Body

A new exhibition by Simon Hitchens at Black Swan Arts in Frome sets out to test the boundaries of what it is to be human by investigating the porous relationship we share with the non-human world of rock.

Simon Hitchens takes the notion that there is the possibility of a state or being, sentient or otherwise, that is post-human and explores this through a comprehensive body of work which questions differences between animate and inanimate. He says: ‘I am fascinated by the interconnectedness between the human and the non-human, what passes and what outlasts, as a means of exploring our relationship with impermanence.’

By working directly with rock and morphing that with the human body, Hitchens has made a series of hybrid works – uncanny and speculative beings which seek to re-conceive the human. These works become zoomorphic reformations that display strange living qualities, visceral unions between rock and flesh that comprehend the geological world and the flesh world as united.

His sculptures, paintings and drawings investigate the essence of the things we perceive – the physical, natural world and our place within it. They seek to understand the sublime qualities of rock: physically as the very earth that supports us and geologically as the almost ageless constant that resonates through time, giving perspective to our transient lives on this planet. They ask: what makes a being sentient? Is a mountain or stone a being? What is it to be a thing, and can a thing be without necessarily being human?

Hitchens graduated in Fine Art from the University of the West of England in 1990 and has exhibited widely since then, as well as undertaking private commissions and numerous large-scale public commissions. He was elected as a Fellow of the Royal Society of Sculptors (of which he is currently a trustee) in 1998, he is a Royal West of England Academician and is the fourth generation of artist in his family.

A Duet of Lines
A new exhibition of pen and ink drawings at Black Swan Arts explores nature and the universe.

Guy Watts and Daniel McGirr both specialise in producing meticulous drawings. However, there is a huge difference in the scale of their mark-making.

Frome artist Guy Watts works at a tiny scale. Each drawing is composed of hundreds of fine pen marks, which build up to create detailed images that are both dreamy and complex. His desire to draw was triggered at the age of 27 with the sudden clarity of vision that came when he acquired his first pair of glasses. Guy’s precise drawings can take two or three months to complete.

Bristol-based Daniel McGirr works at a much larger scale, although he makes marks of corresponding subtlety and accuracy. His abstract drawings are inspired by the natural and manmade world, although he focuses on the process of creation as opposed to overall subject matter and theme. The end result is organic forms and patterns using a form of mark-making that utilises precise edges and angles. Daniel endeavours to challenge people’s perceptions of art and what can be achieved through painstaking detail.

Both artists bring a degree of obsessiveness to their practice – for example, not allowing certain lines to touch one another or simply being willing to reproduce repeating lines hundreds of times in one drawing. This helps to give their artwork a three-dimensional quality.

Slow Time: Somerset Reacquainted Tour

As part of the final chapter of the Somerset Reacquainted tour, a new exhibition of solargraphs at Black Swan Arts explores the passing of time.

‘Slow Time’ is the result of a project recording the passage of time initiated during the first lockdown. Led by Somerset Solagraphic Society, set up by artists Janette Kerr and John Gammans, and supported by Somerset Art Works, this extraordinary exhibition features long-exposure photographs of the Somerset landscape created using nothing more than recycled drinks cans made into pinhole cameras.

Over 100 participants placed 150 pinhole cameras containing light-sensitive material in locations around Somerset and left them in situ for five or six months. The resulting images have been slowly shaped by landscape and the movement of the sun, slowly creeping higher with the passing of the seasons. The actions of the environment, like rain and other elemental detritus, have also found their way into the images, yet there is an absence of any moving objects, such as people, animals or cars. The sun’s progress is recorded as an accumulation of lines arcing and streaking across the image, leaving a ghostly exposure of the landscape seen in slow time and out of phase with human inhabitants.

As the pandemic unfolds our perception of time is challenged as daily routines, plans and schedules are laid to waste. Suddenly not having to be anywhere means that we have no option but to be present. Present in the eerie stillness of life we start to reflect and take stock, find new ways to spend our time, and begin to notice those elements that ordinarily pass us by unnoticed.

Part of the Somerset Reacquainted Tour, the solargraphs are being shown alongside a collaborative book, initial ‘sharings’ and objects from the project, contributed by 63 artist members from Somerset Art Works.

The preview will take place on Friday 14 January from 6–8pm – everyone is welcome to come along.

A new exhibition of paintings and prints by Somerset landscape artist David A. Parfitt at Black Swan Arts in Frome reflects on our connections with nature, place and home.

Most of the work in ‘20 Miles’ – a mixture of dramatic, sometimes almost abstract, watercolours and striking monochromatic monoprints – has been created in David’s studio during the lockdowns of 2020 and 2021. ‘Somerset is my home,’ he says. ‘I am from here and I work here. Special memories of past and present pervade my work. The places I paint constantly return to me – they are special and are all within 20 miles of my studio in Coleford. This is me.’

The new works – which feature the trees, wetlands and woods of Somerset – explore the tension between the restrictions that have been placed on all of us over the past year and the desire to get out into the natural world. David says: ‘On the face of it not much changed to my solitary working life, but then again everything was different.’

By staying close to home, David rediscovered places on his daily walks around the village, making new connections and creating new memories. Conversely, he also longed for his regular autumn and winter walks around the Mendip hills and Somerset wetlands.

This has resulted in subtle variations in his practice: ‘The marks I make in my paintings seem to reflect an anxiety. They are less defined, sometimes uncertain, and I am making more work from memory.’ He adds: ‘Does this mean I have travelled 20 miles in advancing or improving my work? I am not sure, but I do know that I have not physically travelled further than 20 miles in the past 12 months.’

David describes himself as a landscape artist working with watercolours and monoprints. His paintings are representational, but his intention is ‘to make things that have a sense of place without looking overly contrived or deliberate’. His method involves working quickly, drawing seemingly haphazard marks with a brush and combining these with loose washes without getting overinvolved in detail. At the same time, he is also ‘thinking about the painting and letting it speak to me, rather than purely replicating the landscape image in front of me’.

Even before the pandemic, David was spending an increasing amount of time working in his studio, although he passionately believes that an essential part of the process is to work on paintings outdoors to capture colour, form and composition. However, these days he takes with him a sketchbook, a small box of watercolours and a camera, using the sketches and photographs to make studio-based pieces where he can give more thought to experimentation or just work purely from memory. Some of his sketchbooks will be on display as part of the exhibition.

David’s monoprints involve a totally different way of working to watercolour: the removal of colour allows him to concentrate on tone, extreme contrast and mark making. He says: ‘These elements are revealed both in the wiping of ink from the plate and by marking and drawing on the plate itself. There is a mechanical process to it all which I find therapeutic, although I am never confident of the result!’

David A. Parfitt was elected a member of the Royal Institute (RI) of Painters in Water Colours in 2011 and is currently serving as the organisation’s honorary treasurer. He won the Neil Meacher RI sketchbook award in 2012, the Frank Herring award in 2014 and the Winsor & Newton/RI award (for the group of paintings judged to be the most outstanding contribution to the exhibition) in 2016.

We were delighted and relieved to receive £54,000, awarded as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future.

We’d like to let you know some information about what we’ve been able to achieve with this funding. It’s worth pointing out that some of this was given to make up the deficit in income – like most arts organisations we lost most of our income in 2020 from not being able to hold exhibitions and from being unable to charge tenants rent. We are also still in the process of delivering work with our funding – the programme doesn’t end until the end of June, and we will produce a final report after that. As with many other organisations, we’ve tried and failed with some things but succeeded in places we didn’t predict.

Arts

We were able to fund two Arts Managers for a contracted period to help us with planning exhibitions and future collaborations.

We have been holding exhibitions partly online and in our downstairs spaces of the Black Swan Arts building, between lockdowns:

• Small & Affordable
• Jewellery & Leather Showcase
• In Pursuit of Spring, Somerset Art Works
• Frome Open Art Trail

We launched our online shop to enable a wider audience to view and buy original artwork.

Community

We’re focused more than ever on the part we have to play in this vibrant and generous community. Alongside hosting group exhibitions which serve a wider range of artists from around the county, we are also in discussions with local organisations so that we can continue to work together, share the load and be more effective for our community.

Education

We have been working to explore and develop the possibilities around future workshops and the package we can offer to those in our community.

IT and AV equipment

We’ve been able to update our IT equipment and software to be more secure and future proofed.

And we have purchased audiovisual equipment to help us with online delivery to continue alongside physical exhibitions. It’s been amazing to see engagement from those further afield so we want to continue to provide that as an option.

Health & Safety

Like everyone else, we have had extra costs to make our building safe to our creative tenants, visitors and volunteers. As we continue to open up our building we are constantly evaluating what the risks and requirements are.

Black Swan Arts have joined forces with Somerset Art Works for their first exhibition since last year’s coronavirus lockdown. ‘In Pursuit of Spring’ has been inspired by poet Edward Thomas’ account of his journey by bicycle between London and Somerset to meet the arrival of spring in 1913.

Responding to various themes in Thomas’ book, In Pursuit of Spring, such as hope, change and renewal, around 50 Somerset Art Works members have created artwork to illustrate the Somerset leg of Thomas’ journey. He enters the county near Farleigh Hungerford and travels west through Norton St Philip, Shepton Mallet, Wells and Glastonbury, eventually arriving on Cothelstone Hill in the Quantocks on 28 March, as the storm clouds of the Great War gathered. Thomas was killed four years later at the Battle of Arras. The work will be displayed alongside text from the book which is published by Little Toller Books of Dorset.

During the COVID-19 pandemic, the natural world has been an important consolation for many of us. Now, when we all need a sense of hope and renewal, Thomas’ descriptions of springtime Somerset – the ‘noble elms’, verdant banks teaming with celandine, pennywort and cranesbill, the calls of larks and linnets – are a poignant reminder of the beauty of our county. This exhibition brings together Thomas’ text with contemporary images and representations of Somerset, and is a wonderful way to celebrate the reopening of Black Swan Arts – almost 108 years to the day since Thomas completed his journey.

As well as the physical exhibition, Black Swan Arts will host a carefully curated online exhibition, including short films about selected artists. If coronavirus rules allow, there will also be a series of art workshops – details to be announced later. All the work will be for sale.

Black Swan Arts receives lifeline grant from Government’s £1.57bn Culture Recovery Fund

Black Swan Arts has been awarded £54,000 as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future, the Culture Secretary has announced today.

Black Swan Arts is one of 1,385 cultural and creative organisations across the country receiving urgently needed support. £257 million of investment has been announced this week as part of the very first round of the Culture Recovery Fund grants programme being administered by Arts Council England.

Black Swan Arts is a Community Arts Centre which has been serving the people of Frome and the surrounding area for over 30 years. With exhibitions, shops, studios and a courtyard café, their vibrant and varied programme features contemporary and innovative art from local and regional artists.

With no external funding, Frome’s arts centre is completely reliant on donations and earned income, which has been severely affected by Covid-19 this year. The grant will enable them to remain open, make up this lost income and, equally importantly, review a new business plan that will make Black Swan Arts more secure both in the short and long term.

Hans Borgonjon and David Daniels who made the application want to put Black Swan Arts back at the heart of the community with a programme of innovative, cutting edge workshops and events.  The exciting range of workshops will be aimed at all audiences and every community group, something for everyone – school children, adult learners, career changers, business developers, anyone who wants to discover their creativity.  Workshop plans include exciting sessions on Robotics, Ceramics, 3D printing, Life Drawing, Chocolate Making, Drawing and Music on an iPad as well as more traditional crafts like Leatherwork, Jewellery making, Illustration, Creative Writing and Painting.

They will be aiming to provide as much content as possible through live-stream and online, as well as safely opening the doors to the much-loved arts centre in the centre of Frome.

“Within these challenging times for everyone we will provide an inspiring learning experience.  This funding means we can make a huge variety of creative learning accessible to everyone.”  David Daniels

“A great benefit of this award is that it provides us with time to think, plan, and open doors to make good things happen again.”  Hans Borgonjon

“We are incredibly grateful for this support – it means an awful lot for us, as a small, volunteer-led, unfunded arts organisation.  It will enable us to continue to work with local artists and makers, and continue as a valuable community resource for Frome.”  Rebecca Morland, Acting Chair of Trustees at Black Swan Arts

“This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery.

These places and projects are cultural beacons the length and breadth of the country. This unprecedented investment in the arts is proof this government is here for culture, with further support to come in the days and weeks ahead so that the culture sector can bounce back strongly.”  Culture Secretary Oliver Dowden

Theatres, museums, galleries, dance companies and music venues bring joy to people and life to our cities, towns and villages. This life-changing funding will save thousands of cultural spaces loved by local communities and international audiences. Further funding is still to be announced and we are working hard to support our sector during these challenging times.”  Chair, Arts Council England, Sir Nicholas Serota

In a new show at Black Swan Arts in Frome, Somerset artist Lydia Needle has sculpted fifty British bees in wool and stitch, and fifty other artists have created responses to each bee.

In the fourth incarnation of her project ‘Fifty Bees: The Interconnectedness of all Things’, Lydia Needle has created fifty life-size bees to represent fifty of the 275 bee species in the UK. The project was devised to showcase the plight of the British bee. So far she has created 200 sculptures, but she is aiming to complete 275 – one for each of Britain’s bees.

She sculpts the beautiful needle-felt bees from wool, embroidery thread and vintage Kamibari gold and silk thread. The bees are housed inside a range of vintage containers, including old tins, match boxes and antique jewellery boxes.

Each tiny bee is paired with a companion piece created by another artist, maker, writer or musician. The work might be about the habitat of the bee, their lifecycle or behaviour, or the flowers on which they feed. The aim is to give a fuller illustration of the diversity of the British bee population, how endangered they are (many species are on the brink of extinction) and how pollinators are deeply interlinked with our own ecosystem.

Additional images from the shown can be found on the exhibition page.

Chaos

A new show at Black Swan Arts in Frome combines painting with music to create a stunning visual spectacle.

Barry Cooper’s Χάος – Chaos takes as its inspiration six violin sonatas by Belgian composer Eugéne Ysäye. The pieces are extremely challenging for the listener, but Barry has transformed them into visual interpretations on large canvases. He aims to ‘reach beyond the visible, into the world of paint through the music, deep into the canvas, layer by layer, brushstroke by brushstroke to an imagined fourth dimension: length, breadth, width and time’. The result is distinct new body of abstract work with some occasional figurative echoes. The artist will also paint a large painting live during the exhibition which will continue his interpretation of Ysäye’s sonatas.

Barry studied philosophy at University College of North Wales at Bangor and later studied painting at the Royal College of Art in London. Since the mid-1970s he has been working with choreographers, composers and musicians, as well as the Rambert Dance Company, to produce paintings and sculptures that he describes as ‘a sort of hieroglyph, a record of the movement’. He says: ‘I am habitually drawn to the painters, composers and writers who are inventors; they appear to step out of the universe of their discipline and into a world which cannot be fully grasped or understood in their own time.’

His work has been shown widely in the UK and abroad, most notably on the Greek island of Paros and in Nairobi, Kenya. But Barry is possibly best known locally for his sculpture at Frome Community College, where he spent a year as artist in residence during the 1980s. This culminated in the European Community of Stones (ECOS) project – a collaboration with sculptor Laurence Knee of an amphitheatre surrounded by 12 monoliths from each of the original 1992 member countries of the European Economic Community. Aerolith, a two-tonne stone sculpture in the form of a dolmen, is also sited on the campus.

Barry’s work can also be seen on the Sustrans cycle track from Wells to Glastonbury. Syrens is an eight-mile long musical instrument consisting of nine waymarkers or standing stones, which was produced with artist/musician Laurence Parnell. Each stone has a recess cut into the top to accommodate a bronze scissor-arch and a bell, all of which are tuned to a different note.

The preview will take place on Friday 7 January from 6–8pm – everyone is welcome to come along.

The artist will appear in conversation with David Chandler on Saturday 11 January from 2–4pm. This event will be bookended by solo violin performances by Katalin Kertész.

Find out more about the exhibition.

A new show at Frome’s Black Swan Arts by artist Corinna Sargood explores her life in Mexico, Peru and the dark world of fairy tale. ‘Pictures & Dioramas’ is an extraordinary collection of painted wooden dioramas, brilliant embroideries, prints and artist’s books. It offers a rare insight into some of the personal and never before publicly displayed work of this exceptional talent. 

Pictures & Dioramas 

Corinna Sargood has spent a large proportion of her life not only illustrating stories but also living a life full of extraordinary tales. She spent three months in the Amazon rainforest in Peru, living with a tribe, painting and drawing exquisite botanical images. From there she travelled to Mexico where she has spent around a quarter of each year living with her husband, woodworker and collaborator in art, Richard Wallace. 

Mexico continues to inspire new work, with its rich and tumultuous history, the immersion of art into the everyday, the ceremony and religion, the colour, people, plants and animals. This spirit is embodied in her intricate and multilayered wooden dioramas and embroideries, as well as in a playful and educational colouring book on the uses of cacti. Corinna has also created a wonderful embroidered puppet theatre (with woodwork and engineering by Richard) which tells the history of the Conquest of Mexico, complete with Papantla flying men, gods, saints and conquistadors. 

Other new work includes a box of embroideries: ease the lid of a mysterious black box made by Corinna’s daughter (Rosy Gray of Black Cat Bindery) and a world of Old Testament stories is revealed, created by Corinna’s skilled but unconventional eye and hand. Full of colour and life, they retell the tales with humour and wry irreverence. 

Corinna’s illustrations are familiar to many, particularly through her collaborations with Angela Carter who was a dear friend of many years. Together they explored in words and pictures the dark world of fairy tales and the power of women to disrupt the patriarchal narrative through magic, insight and sometimes violence. Some of Corinna’s original linocut illustrations for the Virago Book of Fairy Tales will be on display, plus limited edition illustrated copies of Carter’s story ‘The Tiger’s Bride’. 

Come and explore a hidden world of magic, mystery, travel and history and glimpse a rare insight into a fascinating life. The preview takes place on Friday 22 November from 6–8pm – everyone is welcome to come along. 

Black Swan Arts is holding two free events alongside the exhibition: on Wednesday 4 December, 6–8pm there will be an artist’s talk and live demonstrations of the work, and on Saturday 7 December, 2–4pm there will be a children’s day with live demonstrations and stories. In addition, on Sunday 15 December there will be lunch and mini box theatre workshop, 11am–4pm (maximum 10 people; price to be confirmed).

Visit the exhibition page.

The English Woman’s Flora

A new show at Frome’s Black Swan Arts by artist Fiona Hingston explores the beauty of Britain’s vanishing wildflowers.

Part celebration and part lament for what is and increasingly isn’t to be found on the land she calls home, Fiona Hingston’s new body of work, ‘The English Woman’s Flora’, includes more than 200 wildflowers made from masking tape and graphite, based on popular pocketbook ‘The Observer’s Book of Wild Flowers‘ (W.J. Stokoe, 1957).

For twenty years Fiona has recorded aspects of the landscape through drawing, photography, found objects and book works. She lives and works in a village on the edge of the Mendip Hills and sees her practice as a slow archaeological enquiry into place and the passage of time. Over the past few years her observations have become disrupted by the growing awareness of a quiet erosion: silent barns, decaying farm buildings, monoculture crops and vanishing flora and fauna. She sees this local loss as directly connecting to wider issues of commercial standardisation and a diminishing of both environmental and cultural diversity.

Fiona received an MA in Research from the University of the West of England in 2006. She was shortlisted for the Jerwood Drawing Prize in 2008 and 2013, and won the Innovation in Drawing Award at Drawn 2013 at the Royal West of England Academy. In 2014 she won the Hauser & Wirth First Prize at Black Swan Arts Open, and was also winner of the Martin Bax Award and Public Vote in 2013.

Fiona’s work on ‘The English Woman’s Flora’ has been supported by Somerset Art Works’ Artist Development Programme, which has enabled her to explore her practice through mentoring, research and dialogues. The show takes place during Somerset Art Weeks Festival (21 September–6 October), which sees a diverse programme of art, workshops, talks, films and installations involving more than 300 artists in over 100 locations across Somerset.

Visit the exhibition page.

Call to artists

Black Swan Arts in Frome is one of the South West’s most popular art galleries and the annual Arts Open is the most visited exhibitions of the year. They are inviting submissions for 2019 from all artists – professional, emerging, student or amateur – and work created in any type of media (up to 2m³ in size) can be entered.  It must be original, produced within the past 3 years and gallery ready. Entries should be made online via the BSA user-friendly submissions programme; the fee is £13 per picture and up to 4 works per artist can be entered.

Prizes of nearly £4000 will be awarded, including the £1000 prize supported by Hauser and Wirth Somerset; the Sue Conrad Prize of £1000 for work on paper; the Lynda Pelly £500 prize for an artist under the age of 30; the Black Swan Arts Prize of a Solo Show; the People’s Choice Award; the Mount Art Award; the Postscript Prize; the Kobi & Teal exhibition and others.

As usual there is an experienced panel of esteemed judges including Robert Devereux, art collector and entrepreneur; Katharine Fry, winner of the Hauser and Wirth Somerset Prize 2017; the multidisciplinary artist of the Museum of the Moon Luke Jerram; artist and curator, Sandra Porter RWA and Elly Hawley, a Director of Hauser & Wirth Somerset.  The digital submissions are assessed by the panel and up to 100 works are selected. Prizes will be presented by the judges at the Opening evening on Thursday 17 October.

The Black Swan Arts Open is an open submission exhibition celebrating the best of original contemporary art by established and emerging artists. Works selected will be exhibited at the Long Gallery, Black Swan Arts Centre from Friday 18 October to Saturday 16 November 2019. Black Swan Arts is situated between Frome Library and Frome Museum, next to a large public car park.

Black Swan Arts is a visual arts charity run by passionate volunteers and is constantly striving to create opportunities for artists and to promote arts within the community.  The Black Swan Arts Centre demonstrates the on-going major commitment of the Frome-based gallery to the development of artistic talent and to the building of strong links with the community, locally and regionally, supporting excellence in the South West.

Find out more about the exhibition.