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Recent Exhibitions

Open Exhibition

City Gallery, Peterborough 2014

ADeC - Atelier East Summer Exhibition

2014

Greyfriars Art Space Members Exhibition

2014

Opem 3

The Collection, Lincoln, 31st May - 7th September 2014 - Purchase Award Winner

One of eight artists selected by Mark Leckey and Jess Flood-Paddock for the third biennial exhibition at The Collection in Lincoln showcasing contemporary artistic practice in the east of England. The Purchase Award was sponsored by The Heslam Trust, which acquires artworks for the people of Lincoln.

Please click on an image to enlarge.

Eastern Open

2013 - Collaboration with Gillian Palmer

Greyfriars Art Space Members Exhibition

2013

Atelier East Summer Exhibition

2012

Greyfriars Art Space Members Exhibition

2012

Eastern Open (Community Choice)

2012

Recent Digital Prints

Octavia View, Wisbech, 2nd September - 6th October 2011
Recent Digital Prints Poster

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.

T.S. Eliot (from Little Gidding, Four Quartets)

The process of making images or patterns in a mosaic like manner has very historical roots, stretching back in time to ancient civilizations. In the context of my personal artistic practice it all began with a single shaded square sketched with a pencil, at Little Gidding* in 1976. This was about half a centimetre in dimension, the first of many thousands of squares that followed, in various sizes and in different media.

At the time of my visit to Little Gidding I knew very little of the community that served as the inspiration for the poem of the same name by T.S.Eliot, from which I have quoted, and it was without any preconceptions that I arrived one fine hot summer's day thirty five years ago for a brief change of environment.

Ten years earlier the observable path upon which I ventured was already quite set in an artistic direction. The making of sculpture predominated, and my interest in working with other media was in fact rather limited. For one thing I had grown up with a deficiency in colour recognition and although not colour-blind, a term often incorrectly applied to the condition, this was undoubtedly at the root of a certain inhibition over its use.
Under the circumstances it would have been unrealistic to consider that I might one-day work as a painter. But then the whole process of engaging with a particular vocation in life is often a mysterious adventure. And beyond painting, a personal future artistic involvement with a digital workspace would have seemed in the 1960's even more unlikely. The management of vast numbers of colours that can be displayed on a computer monitor would have been impossible. Also I had a rather idealized concept of creativity being expressed in the unique object and the traces of the human hand in its making. The use of a computer would not have figured in my frames of reference at all. Artistic activities were centred in a fairly monochromatic world, working with three-dimensional forms and the play of light upon surfaces and their textures.

Alongside an attraction to the very physical business of making sculpture I was at the time also being drawn towards an expression of something much less tangible. An increasing sensitivity to a clearly unobservable, spiritual path seemed inexplicably linked to the visual work and yet all the while remaining as a separate kind of enquiry, as if untouchable by any earthly considerations. Eventually this perceived other reality would impact the movements of my life within and beyond its artistic expressions. During the mid 1960's however the making of sculpture itself served as a vehicle for an immediate realization of identity and purpose.
Even so, as time passed and circumstances changed so my perceptions altered; new horizons gradually appeared, and with, as it turned out, hitherto unforeseen possibilities. What was once a fairly singular creative pursuit took on fresh directions. Surprisingly, colour gradually came to the fore and this through a lengthy transitional movement away from sculpture towards two-dimensional work. Also, in the light of a vision in 1975 the reality of the spiritual life became one with its artistic expression. I was brought into a new place, the previously incomprehensible inner environment becoming known in as real a sense as its physical counterpart.
The following year saw a fresh beginning, made at Little Gidding, with a single small square that I utilized as a building block in a simple visual language. Over time the language gradually developed and has continued to evolve, especially through working with different kinds of media.

Recently I have engaged with the digital workspace, employing the facility of the technology to modify existing images. Alongside other explorations I have this past year transformed a series of large oil pastels from the early 1980's. These are exhibited here alongside some other recent and similar work.

With its origin at Little Gidding in mind and in the light of its similarity to a 'pixel' (the minute picture element of images and text usually displayed in a square form on a computer monitor) the motif has found a natural resting place within the digital environment. And on reflection, as T.S.Eliot phrased it in his poem, it is possible to arrive where we started and know the place for the first time, but then life can never be the same again. The journey continues differently.

*A Christian community near Huntingdon, originally established in the early part of the 17th Century.

All the work in this exhibition is printed on Innova 315 gsm archival cotton paper.

Digital Prints Preview Evening 1
Digital Prints Preview Evening 2
Digital Prints Preview Evening 3
Please click on an image to enlarge.

Atelier East Summer Exhibition

2011

Atelier East Summer Exhibition

2010

Greyfriars Art Space Members Exhibition

2010

Forty Years On - Paintings and Prints

Greyfriars Art Space, Kings Lynn, 22nd September - 3rd October 2009
Forty Years On Poster

Forty years ago the course of my life and work seemed set in a direction in which the making of sculpture was its most immediate, essential expression. The prospect of becoming a painter wouldn't have entered my mind.

Having grown up with an awareness of not being able to correctly identify a number of colours I had by that time acquired a certain inhibition over their use. Also, my visual interests had become centered very much on solid three-dimensional forms and the play of light upon surfaces and their textures.

However, the path upon which I journeyed was being gradually transformed in a spiritual as well as an artistic sense. Alongside revelation and with time, came a new beginning. With a change of heart and mind, fresh expressive possibilities.

In recent years the embrace of digital technology has prompted further change in the way I think and act. This also marks my first engagement with a print making process in over four decades of working.

Forty Years On Preview Evening 1
Forty Years On Preview Evening 2
Forty Years On Preview Evening 3
Please click on an image to enlarge.

Atelier East Summer Exhibition

2009

Eastern Open

2009

Atelier East Summer Exhibition

2008

Eastern Open

2008

Digital Graphics

The Angles Theatre, Wisbech, 3rd - 29th February 2008
Digital Graphics Poster

Neville Palmer was born in Wisbech in 1944 and has been working with forms of visual art for the past forty-five years, his first interest being photography, when he was in his late teens. This was followed by twenty-five years of making sculpture and drawing with oil-pastels and since 1986 painting with acrylics. Recently he has also been using a computer for the manipulation of digital images and the creation of limited-edition graphics, some of which are shown here for the first time.

"My digital process involves the use of the computer as an electronic tool for producing a tangible image from a high quality printer. In the present series, small blocks of colour have been generated and altered in various ways, for example in regard to their saturation or brightness. Images have then been built up slowly, sometimes with the manipulation of individual pixels, the minute picture elements from which the separate blocks of colour are visually constructed.

In artistic terms the making of high-resolution ink-jet prints from a digital source has gradually become defined by the word Giclée (pronounced zhee-clay) though I also use the simple term of ink-jet to describe the medium. The word Giclée derives from the French verb Gicler, meaning to spray or to squirt and describes the basic process employed in ink-jet printing."

The larger works in this exhibition are printed on Innova 280gsm soft white cotton Fine Art archival paper.

Digital Graphics Preview Evening 1
Digital Graphics Preview Evening 2
Digital Graphics Preview Evening 3
Please click on an image to enlarge.

Mind's Eye

Peterborough Museum & Art Gallery, Peterborough, 16th March - 14th April 2002
Mind's Eye Poster

The work in this exhibition dates from 1986 with 'The Deep' and the artists first use of acrylic paint. This painting was preceded by many years of other work in various media, the first application of the little square being in 1976.

Initially Neville Palmer worked as a sculptor (from 1964), generally carving and building with wood but his creative process gradually transformed into working in two dimensions and with colour.

"In 1975 I had a vision that altered my life considerably and after some time I began to absorb biblical concepts and imagery which formed the basis of much subsequent work. Through recent years I have been aware of looking more intently at the natural landscape and there are moments of inspiration here that also feed me creatively. A work such as 'The Moor' (1998) for instance, is derived in part from my experience of a holiday in North Yorkshire; the colour, the light and the space of that environment having altered my vision and aided it's expression."

All the work is in acrylic paint and this has become a natural expressive medium for the artist now, replacing the oil-pastels that he used almost exclusively for working in colour from 1971 to 1985.

This is the artists first exhibition in twenty years.

Mind's Eye Preview 1
Mind's Eye Preview 2
Mind's Eye Preview 3
Please click on an image to enlarge.