WELCOME TO MY WEBSITE

Please scroll through the Gallery and if you want to know more  about the images – click on the number at the bottom right hand side of the image and the title etc will appear on the left.  On the first image of each category there will be a short explanation about the series you are looking at.

Just to tell you a bit about me – I use a variety of different subject matter/media in my work but there are two common concerns which run throughout it – an interest in what makes people act and think as they do (and how this is shaped by their cultural heritage) and an exploration of place and light as I investigates locations to which I travel as well as those I know well. I also love a challenge and I especially like to make work which responds to particular spaces or a concept.

SUMMER ART WORKSHOPS 2017 WITH SUSANNA HARRIS HUGHES

In this year’s workshops we shall be studying how white can be used as a colour to create a feeling of space.  The Impressionists painted contre jour (against the light) and it is this aspect which we shall explore.  All the courses, which run from 10am to 4 pm, start with a cup of coffee and a short talk on art historical influences of the chosen topic.

Thursday  25th May and Thursday 1st June    MAKING PLATES AND PRINTING FROM CARD  In these first two workshops we shall make simple prints using card and paper as plates from which to print. Day 1 will be spent preparing the plates.  Day 2 (a week later) the plates can be printed!  Limited to 6 people  £120 including some materials.

 Thursday 22nd and Friday 21st June   MAKING A BOOK USING THE TECHNIQUE OF  CUT OUTS  Two consecutive days looking at the Cut Outs of Matisse and other inspiring artists -make templates from  motifs of your choice, prepare coloured paper and make a simple concertina book.  This is a wonderful way of learning about colour and design.  £100 for two days.

 Thursday 20th July   DRAWING DAY   Drawing in the garden using charcoal    Fee £50

Monday 7th August   PAINTING DAY  Painting in the garden experiment with contre jour.  Fee £50

Thursday 24th August   ON THE WAY TO ABSTRACTION   Looking at the work of William Scott.  Fee £50

Participants bring a picnic lunch.  Tea and coffee are provided.  The courses have a lovely informal atmosphere and are suitable for all abilities.

If you would like more details and a booking form for the courses  please contact Susanna at:   susannahh@susannaharrishughes.com

PETER MATTHEWS AND SUSANNA HARRIS HUGHES DISCUSS THE PRINTING OF DAVID HOCKNEY’S ETCHING ‘ KAISARION AND ALL HIS BEAUTY’ 1961

In October 2011 Susanna contacted her ex-tutor from Wimbledon School of Art, Peter Matthews to discuss the printing of David Hockney’s 1961 etching “Kaisarion and all his Beauty”. The print at the time was on display at Pallant House Gallery, Chichester and she was intrigued to learn that Peter, who was still a student at Ealing School of Art in 1961, had editioned the print with David Hockney. It was needed urgently for a British Council exhibition.

Here is what he told her:

SHH Can you say something about Hockney’s knowledge of etching when he made this print?
PM Hockney made the print in 1961 on a zinc plate when a student at the RCA. He had a limited knowledge of etching as this was his 2nd etching (he had made lithographs as early as 1954 when a student at Bradford SofA). He turned to etching because he ran out of money for painting materials and zinc plates were free at that time in the Printmaking Dept. He almost certainly would have had help from the technician and fellow students. I do remember a sarcastic remark made by Alistair Grant who taught in the Dept. On seeing Hockney working on the plate of Myself and My Heroes he said “What do you think you are doing – writing a book?”.
The use of writing and lettering was to become a key element in his future work – Hockney clearly had a feel for the process.

SHH How many plates were involved?
PM Only one plate was used and from studying a reproduction of the print and after 50 years I should say that the plate went through at least 5-6 stages.

SHH Can you say something about the various states?
PM Probably the line drawing was etched first as it delineates where most elements of the composition are. The swirly broken lines at the top were made by simply dragging coarse wire wool through a hard wax ground (this was a stage that all new students did on their first test plate)

SHH How were the head, hands and RCA college crest created? Were they made using a photo etch?
PM I cannot say exactly how the letter press type motifs used were transferred to the plate. At that time there were complicated ways of transferring using wet ink positive images even from freshly printed newspapers. But being the RCA with all the resources it may have been a photographic process. I was not present in ’61 and can only guess.

SHH And what about the lettering?
PM I think they tried to aquatint the lettering on first of all but that did n’t work so I definitely remember that the word Beauty had to be reinforced by engraving it – which someone else would probably have done.

SHH Can you say something about the aquatint?
PM The lettering was originally drawn in aquatint but I guess did not hold enough ink. It must have then been engraved or reinforced with line etching..

SHH It must have been very difficult wiping the plate so that the black ink did not get mixed into the red lettering which was so close to it – how did you do that?
PM The black ink was put on first and the plate wiped very thoroughly. The letters that were to be red had to be cleaned out of black ink very carefully with benzine and then the red ink carefully applied with a dolly.

SHH Why do you think that the print owned by Pallant House was signed but not editioned?
PM In those days there was a practice that gave the artist a percentage number of copies extra to the edition. These would have been signed A/P or Artist’s Proof instead of an edition number. Why this copy has nothing is open to speculation.

SHH What other etchings did you print for David Hockney?
PM All Hockney’s etchings in ’61 would have been proofed by the technician Ron Fuller. I was then at Ealing School of Art. It was I think in the spring of ’62 that I was asked if I would like to print the editions of Myself and My Heroes, Kaisarion, and Three Kings and a Queen. Then when I went to the RCA in the summer of ’62 I editioned Gretchen and the Snurl, Mirror Mirror on the Wall, Rumpelstiltskin, My Bonnie Lies over the Ocean and The Hypnotist. Hockney then signed up with Petersburg Press which brought to an end my association with him.

RETURN TO SENDER – Work in progress

I have just added some images from a book I am writing called Return to Sender. The book is about a Lion called Colvile who takes a letter from Zomba (Malawi) to Bombay. The letter takes 5 months to reach its destination but Colvile has a lot of fun along the way. See also images of a previous artist’s book I have made called A Letter from Zomba 1914 which gives the actual time line of what was happening in the world during the first five months of WW1. This is very much work in progress so watch this space!Return to Sender

A LOOK BACK AT THE GARDEN DAYS COURSES IN 2016

What a wonderful summer!  For the first time this year we were able to use the new barn  [the previous barn had fallen down] which was a great success and the weather was perfect. Here are some photographs of students working in the garden and the barn studio.
img_0557  img_0003  img_0578

The Atmospheric Garden days produced some interesting work:

 img_0574     img_0567     img_0575

And The Garden of Surprises certainly lived up to its name with some creative collages.

 img_0582      img_0590     img_0583

The final day – The Insignificant becomes Significant proved quite a challenge but everyone rose to the occasion and some dramatic work was produced!  img_0599

 

 

 

 

 

 

 

Thank you to everyone who participated in the courses.

GARDEN DAYS – SUMMER WORKSHOPS 2016

Susanna believes that nothing is created in isolation so her courses have a strong art history content. This year we shall be inspired by artists including Bonnard, Vuillard, Eileen Agar, Winifred Nicholson and Peter Randall Page. A short illustrated talk about the artists of the day is followed by practical sessions in her lovely garden with plenty of tuition in small groups.

All courses run from 10 am to 4 pm. Cost £45 per day

New Woodcuts - Winter Tree 2Thursday 21st July – THE ATMOSPHERIC GARDEN 1 – looking at the texture of plants and using different marks to make drawings [Drawing Day] FULLY BOOKED/WAITING LIST

Friday 22nd July – THE ATMOSPHERIC GARDEN 2 – Create different atmospheres through colour [Painting Day] (if these two courses are booked together the fee is £80) FULLY BOOKED/WAITING LIST

Thursday 28th July – THE GARDEN OF SURPRISES – a look at Surrealism using mixed media including collage. SPACES

Thursday 4th August – THE IMAGINED GARDEN – training the visual memory – paint from sketches. SPACES

Thursday 18th August – THE INSIGNIFICANT BECOMES SIGNIFICANT! – Making large drawings of seed heads/nuts etc. SPACES

FOR MORE INFORMATION, A LEAFLET AND BOOKING FORM PLEASE CONTACT SUSANNA USING THE CONTACT PAGE ON THIS WEBSITE

 

A LOOK BACK AT THE SUMMER WORKSHOPS 2015

The Garden Days workshops last summer went well and some really nice work was produced.  We were lucky that the weather was good and apart from half an hour of rain at the end of one of them – everyone was able to work outside.   I am hoping that we shall be as lucky again next summer!  Here are some photographs of work from some of the courses.  Thank you to Jennie Hook, Theresa Lee, Rose Hubbard and Brenda MacKinnon for allowing me to use images of their work.

Matisse Day 1 was making plant drawings in the garden

IMG_0785

Matisse Day 2 Motifs from the drawings were made into cutouts  – some people make books.

IMG_0812

Van Gogh Day 1  – Looking at the bigger landscape

IMG_0847   Brenda MacKinon

 

Van Gogh Day 2  –  Looking at the intimate landscape

Rose Hubbard - Van Gogh Day 2

Ravilious Day – Double square format

IMG_0860

ANNUNCIATION AT ST GILES CRIPPLEGATE 2014

In March 2014 I exhibited “Annunciation” in The Church of St Giles, Cripplegate.  You can see photographs of it in the Gallery section under the title Annunciation.  Previously in March 2004 another version of the installation had hung in St Mary’s Guildford as part of an exhibition entitled “Beyond Belief”.    For the St Giles exhibition I had revised the piece to include a freestanding gothic framework from which the chair was suspended.  I also displayed two prints I had made relating to the Annunciation.

St Giles Cripplegate

A Service of Evensong to mark Lady Day (Feast of the Annunciation) was held prior to the Private View which many people said was ‘thought provoking’ and ‘ put the installation into context’.  During the time it was in the church there were many other comments and the vicar said she had had many different discussions about it with a cross section of people.  It was also used as a teaching aid when the local school children when they came to the church during Holy Week.  “Pilate”, they thought “would have had a far more important chair”!

The explanation about ‘Annunciation’  which accompanied the exhibition which ran from March to June 2014 is given below:

Set in the magnificent space of the church of St Giles Cripplegate in the City of London, a wooden chair hangs from a minimalist framework which echoes the gothic arches of the church itself.

The installation by Susanna Harris Hughes called Annunciation is inspired by C15 Renaissance paintings from which she explores the symbolism of the New Testament story of the Angel Gabriel’s appearance to the Virgin Mary. In these C15 works, the scene is depicted in a typical domestic interior of the time and in many of the paintings the Angel holds a lily as a symbol of purity.

Susanna says of her piece “I am trying to create an image which captures in a modern idiom the essence of what the Renaissance painters were saying. The Angel, the lily and the Virgin are long gone but the wood of the chair (and of the Cross) had a symbolic meaning for early Christians because it was a material of our physical world. The pollen of the lily will outlive its flower and the palaeobotanist can still excavate it. By engraving the grain of lily pollen on to the glass seat of the chair, I am trying to capture the idea of ‘looking through time’ at what was left when the angelic encounter ended.

A familiar image has been deconstructed. Can these physical objects leave us with the shadow of a metaphysical event?”