The Channel Islands Art exhibition 1980

The Channel Islands Art exhibition is always a riot of colour and a pot-pourri of talents and styles. This year’s exhibition, which was the tenth one, was probably of the highest standard yet, although as ever it also consisted of some very mediocre work. This is to be expected because the Jersey Artists Group which has a large membership has the sensible and commendable policy of giving everybody a showing.

It seems a pity that a hundred of the exhibits were from Jersey but only twenty-three came from Guernsey. Perhaps there is difficulty in persuading Guernsey artists to send their work here.

As there were about two hundred exhibits in this exhibition of which over one hundred and twenty were paintings, it was only possible to pick out the highlights. This meant that unfortunately a large body of fairly competent work had therefore to be passed over.

Seagull’s View

Seagull's View

Certain painters have always shown work of a high standard and they continued to do so this time. I particularly like Maisie Ryan’s “Seagull's view of St. Helier from the Town Hall, 1980." Her view of the rooftops with Sand Street car park looming ominously above them had a symbolic meaning for the eighties.

Two other painters of note who can also be relied upon to produce good work were Ruth Pilkington and Norman Pallot. I found the latter’s “View of Corbiére” and the peaceful "Evening Encounter” both attractive paintings, although I have a preference for the more lively seascapes which he has shown in previous exhibitions. Ruth Pilkington’s “Notices Grouville”, “Rozel” and “View from a Train” were all up to her best standard. The latter being most successful in giving the fleeting glimpse of attractive. 

countryside whirling past the carriage window.

Landscapes, Still Lifes and Nudes

I have always found Nancy McCarthy to be a most uneven painter but her “Hayfield” was in my opinion the best thing she has done. She told me that she did the painting on a visit to Trinity Manor while the rest of her party were exploring the manor and grounds.

The Reverend Eric Walker is a painter of proficient watercolours and his “Halkett Place” was a good buy for those who like a straightforward view in a rather slick style.

Sheila Haithwaite exhibited a strong still-life — “St. David’s Day” complete with leeks and Winifred Le Poidevin’s “Still-Life” was a delicate pastel in her best unassuming manner.

The nudes were few and on the whole uninteresting but Norah Bryan showed a gloriously voluptuous one — “June in April” — honey-coloured and delectable.

G. Bilbe Barker’s “Fuchsias” and “Tiger Lilies” were meticulously done in the tradition of fine book illustrations — which is not an adverse criticism.

Finally, as I’m a cat addict, I’m compelled to enthuse upon Callan, Will de Barr’s “Neighbour’s Cat." Any cat lover must have noted that superior expression which only a cat of character can command.

Guernsey and Alderney

My previous knowledge of Guernsey painters was limited but Charles Coker’s “Evening Light, La Moye” was thoroughly professional and full of delicate nuances of light. I’m told that he is also a good photographer and his paintings reflect this. Also Mary Kemp’s study of a “Flamenco dancer from Neje” was full of dignity and character.

Pottery and Carving

From Jersey there were good pieces of pottery from Muriel Harris and Rosa de Barr. Also some wood carvings, including Rodney Stone’s delightful “Bird.” I would single out Rosa de Barr’s Minoan Pot and Minoan Jug as the two best pieces of pottery in the exhibition. They were bold and satisfying.

I realise that with such a large number of paintings on show there was not much room for extra showcases for the pottery, carvings and enamel work. This was a pity because most of it was of a high standard and one wonders whether it would not be possible to have a separate and much larger exhibition of these items from the islands on another occasion?