Exhibitions and Events

Adrian Hemming & Andrew Marr: Fragments & Drawings

(1st - 23rd February 2019)

A joint exhibition of drawings and paintings by Adrian Hemming and Andrew Marr.


First introduced through their love of painting and leading to a friendship that Andrew has described as 'both wonderful luck and a lifeline', Adrian and Andrew first started working together as mentor and mentee before beginning to exhibit together in their first joint show two years ago.


Andrew Marr, also a writer and broadcaster, perhaps best known as the former BBC political editor, had been an occasional painter of ‘quietly representational images of landscapes, still lives and the people I know’ until a serious stroke in 2013 which led to a focus on his painting as a method of rehabilitation and a change in his work from realism to a more abstract style. 

Adrian Hemming met Andrew through a chance encounter which led to a studio visit and then many hours spent discussing art. Adrian's life as a painter was a main point of inspiration, with an international exhibition history and work featured in public and private collections.


This exhibition marks their third joint show and will showcase new developments in the work of both artists.

Adrian Hemming discussing his 'fragments':

"These Fragments have been rescued from larger watercolours and then reworked. I love the idea that a whole mountain or seascape can be reduced to a tiny three-inch square. One set is influenced by the landscape of the Maiella National Park, Italy. The other set, Cote de Nord, Jersey. Watercolour is at the same time, fluid brilliant and intractable and for me these fragments illustrate these virtues."


Andrew Marr discussing his drawings:

"All art constantly aspires to the condition of music." That was what Walter Pater thought and you can see what you meant, although it's a little deflating for those of us who draw and paint. My art and in particular my drawing aspires more to an apparent oxymoron - serious play. I think there should be something unrehearsed, joyous and unexpected about good drawing - lolloping along after the line, wherever it leads, letting the wrist and fingers follow the unconscious. In my most recent drawings, I am taking a very traditional subject, acrobats and magicians, for pictures which reflect moods and mental atmospheres.'

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