NPA Lab | 2022
Ilsa Brittain + Amy Dury + James Robert Morrison
Ilsa Brittain has travelled, calling over 30 places her home in 14 different countries. She describes herself as always ‘a guest, an outsider, an observer’ and this feeds in to her work. Now back in the UK she says she is ‘early in career, later in life, out of sync – a female phenomenon.’ As a painter she deals in the simplicity and complexity of psychological layers.
Amy Dury is a painter working with found and vintage imagery. She constructs narratives using figure, gesture and colour to speak to our history, our present, our identities. Having studied printmaking and only come to painting five years ago, she found herself starting a lifelong journey into understanding and loving paint.
After graduating in 2002, James Robert Morrison worked in a central London art gallery for three years, following this, he moved into the public sector where he has worked for the Museums, Libraries and Archives Council, Arts Council England and the UK Government Art Collection. In 2019, after a 17-year break, he went back into the studio to continue his art practice.
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Ilsa Brittain
‘What’s Underneath’ WIP (2014)
Graphite, ink, acrylic, stone, thread, and oil on canvas over panel (168 x 213cm)
Completing a drawing/painting in New York as a final piece of my two year MFA course at the New York Academy of Art.
After looking at each others’ practices and exchanging ideas we realised that the three of us shared a desire to gain more exposure and connect with the art world outside our studio. So, we agreed to each put together our own proposal for a solo show with a gallery, and then share it with each other for feedback. I proposed ‘Retrospective of an Unknown Artist’.
Ilsa Brittain
‘Untitled’ (1978)
Watercolour on paper (30 x 40cm)
The first painting I made at the age of 15. My idea was something to do with nature versus man - which is in charge, how is free-will determined, what is awareness etc.
After looking at each others’ practices and exchanging ideas we realised that the three of us shared a desire to gain more exposure and connect with the art world outside our studio. So, we agreed to each put together our own proposal for a solo show with a gallery, and then share it with each other for feedback. I proposed ‘Retrospective of an Unknown Artist’.
Ilsa Brittain
‘The Female Line’ (1992)
Oil on canvas (150 x 120cm)
I had two children by this point and was living abroad in France. With so little time I had to paint fast. I was interested in gesture and the physical weight of paint itself.
After looking at each others’ practices and exchanging ideas we realised that the three of us shared a desire to gain more exposure and connect with the art world outside our studio. So, we agreed to each put together our own proposal for a solo show with a gallery, and then share it with each other for feedback. I proposed ‘Retrospective of an Unknown Artist’.
Ilsa Brittain
‘Drifters’ (2005)
Oil on paper (15 x 15cm)
By this point I had three children and my husband and I, working for NGOs and the UN were travelling through countries often with only one year contracts. Life was precarious and unrooted but as a family we felt warm and secure.
After looking at each others’ practices and exchanging ideas we realised that the three of us shared a desire to gain more exposure and connect with the art world outside our studio. So, we agreed to each put together our own proposal for a solo show with a gallery, and then share it with each other for feedback. I proposed ‘Retrospective of an Unknown Artist’.
Ilsa Brittain
‘Two Eyes’ (2012)
Acrylic and Oil on canvas over panel (45 x 61cm)
Living in Kathmandu, Nepal, when the youngest child left home, I completed a BA in just 6 months, and then flew to New York to start an MFA. The culture shock, was exciting but extreme.
After looking at each others’ practices and exchanging ideas we realised that the three of us shared a desire to gain more exposure and connect with the art world outside our studio. So, we agreed to each put together our own proposal for a solo show with a gallery, and then share it with each other for feedback. I proposed ‘Retrospective of an Unknown Artist’.
Ilsa Brittain
‘Self Portrait’ (2019)
Acrylic and oil on panel (30 x 41cm)
Having completed my MFA, I spent a year or so in Vienna, then took up residence in the UK. I became really interested in the detail of surface texture.
After looking at each others’ practices and exchanging ideas we realised that the three of us shared a desire to gain more exposure and connect with the art world outside our studio. So, we agreed to each put together our own proposal for a solo show with a gallery, and then share it with each other for feedback. I proposed ‘Retrospective of an Unknown Artist’.
Ilsa Brittain
‘Paradise Snare’ (2022)
Oil on canvas over panel (46 x 61cm)
I was able to begin to spend more time on my own practice. This piece took me two years to paint. The time spent is part of the work as it is about, to some extent, obsession.
After looking at each others’ practices and exchanging ideas we realised that the three of us shared a desire to gain more exposure and connect with the art world outside our studio. So, we agreed to each put together our own proposal for a solo show with a gallery, and then share it with each other for feedback. I proposed ‘Retrospective of an Unknown Artist’.
Ilsa Brittain
‘Out of Reach’ (2023)
Acrylic on canvas over panel (122 x 153cm)
Finally I am able to work on my practice full time. This is my latest piece of work. The reflectiveness of the surface means the viewer become part of it or must consciously choose to ignore the reflections in order to see the image.
After looking at each others’ practices and exchanging ideas we realised that the three of us shared a desire to gain more exposure and connect with the art world outside our studio. So, we agreed to each put together our own proposal for a solo show with a gallery, and then share it with each other for feedback. I proposed ‘Retrospective of an Unknown Artist’.
Reflections on peer to peer mentoring
Ilsa Brittain
Putting together the proposal really helped me focus on what it was I could offer, how best to curate it, and how to present it persuasively. And I felt motivated to find galleries that would suit the proposal. When we came together to hear each others’ pitches it was really informative to see how the different ideas were received, and to dig in with how each could be improved. This was a really welcome chance to gain important information, and constructive support from fellow artists who understand the difficulties of the process. Really wonderful – I’m so grateful for the opportunity!
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Amy Dury
‘The Mirror’ (2022)
Oil and acrylic on canvas (100 x 80cm)
In discussion with the group, we all identified that we were still unsure how to approach galleries or push our work out into the public realm. We decided to construct a proposal of an exhibition that could be modified to present to any gallery we felt aligned with our work. These images relate to my last event which was a response piece to Edvard Munch for the Society of Scottish Artists.
Amy Dury
‘Thirst’ (2021)
Oil on canvas (60 x 60cm)
In discussion with the group, we all identified that we were still unsure how to approach galleries or push our work out into the public realm. We decided to construct a proposal of an exhibition that could be modified to present to any gallery we felt aligned with our work. These images relate to my last event which was a response piece to Edvard Munch for the Society of Scottish Artists.
Amy Dury
‘God Bless Strawberry Jam’ (2021)
Oil and acrylic on canvas (90 x 90cm)
In discussion with the group, we all identified that we were still unsure how to approach galleries or push our work out into the public realm. We decided to construct a proposal of an exhibition that could be modified to present to any gallery we felt aligned with our work. These images relate to my last event which was a response piece to Edvard Munch for the Society of Scottish Artists.
Reflections on peer to peer mentoring
Amy Dury
Presenting my proposal to the group was entirely beneficial – in fact the conversation led me to feel that it was entirely insufficient and that I would like to restructure it completely. The conversation also sparked some new ideas for how and where my work could be presented and I now have a specific project I would like to pitch. Both artists in my group were helpful, interesting and pro-active which gave me a much needed push and guidance.
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James Robert Morrison
‘There is never more than a fag paper between them - Dominic and Andy’ (2021)
Pencil on fag (cigarette) papers (40.4 x 27cm)
At our first meeting we discussed what we each needed most in our practice at this time - exposure scored high for us all, so we agreed this would be the focus for our group project. Following further discussions, we agreed to prepare a detailed pitch/proposal for a solo show at a specific gallery/artspace to present to each other so feedback could be provided.
James Robert Morrison
‘There is never more than a fag paper between them - Jack and Edward’ (2021)
Pencil on fag (cigarette) papers (40.4 x 27cm)
At our first meeting we discussed what we each needed most in our practice at this time - exposure scored high for us all, so we agreed this would be the focus for our group project. Following further discussions, we agreed to prepare a detailed pitch/proposal for a solo show at a specific gallery/artspace to present to each other so feedback could be provided.
James Robert Morrison
‘There is never more than a fag paper between them - Kieron and Wayne' (2021)
Pencil on fag (cigarette) papers (27.3 x 28.1cm)
At our first meeting we discussed what we each needed most in our practice at this time - exposure scored high for us all, so we agreed this would be the focus for our group project. Following further discussions, we agreed to prepare a detailed pitch/proposal for a solo show at a specific gallery/artspace to present to each other so feedback could be provided.
James Robert Morrison
‘Ghost within me #14’ (2020)
Embroidery on erased image from a magazine (20.2 x 27.3cm)
At our first meeting we discussed what we each needed most in our practice at this time - exposure scored high for us all, so we agreed this would be the focus for our group project. Following further discussions, we agreed to prepare a detailed pitch/proposal for a solo show at a specific gallery/artspace to present to each other so feedback could be provided.
James Robert Morrison
‘Ghost within me #16’ (2020)
Embroidery on erased image from a magazine (20 x 27.6cm)
At our first meeting we discussed what we each needed most in our practice at this time - exposure scored high for us all, so we agreed this would be the focus for our group project. Following further discussions, we agreed to prepare a detailed pitch/proposal for a solo show at a specific gallery/artspace to present to each other so feedback could be provided.
James Robert Morrison
‘Ghost within me #17’ (2020)
Embroidery on erased image from a magazine (20 x 27.6cm)
At our first meeting we discussed what we each needed most in our practice at this time - exposure scored high for us all, so we agreed this would be the focus for our group project. Following further discussions, we agreed to prepare a detailed pitch/proposal for a solo show at a specific gallery/artspace to present to each other so feedback could be provided.
James Robert Morrison
‘Pattern # 7142A’ (2021)
Acrylic paint & embroidery on linen (130 x 150cm)
At our first meeting we discussed what we each needed most in our practice at this time - exposure scored high for us all, so we agreed this would be the focus for our group project. Following further discussions, we agreed to prepare a detailed pitch/proposal for a solo show at a specific gallery/artspace to present to each other so feedback could be provided.
James Robert Morrison
‘Pattern # 7142B’ (2021)
Acrylic paint & embroidery on linen (130 x 150cm)
At our first meeting we discussed what we each needed most in our practice at this time - exposure scored high for us all, so we agreed this would be the focus for our group project. Following further discussions, we agreed to prepare a detailed pitch/proposal for a solo show at a specific gallery/artspace to present to each other so feedback could be provided.
Reflections on peer to peer mentoring
James Robert Morrison
Peer mentoring is an essential, but often overlooked aspect of an artist’s working life – upon returning to my practice after 17-years away, my artist network needed growth after being reduced to only two people. Personally, I find networking, meeting, reaching out to, and maintaining relationships with new people difficult. This led me to apply for the 2022 np.a professional development programme in the hope it might help, and I am glad to say it exceeded expectations by enabling me to undertake valuable peer mentoring and establish a new, large and diverse network of artists for the future.