Arranged by Maurice Cockrill, this gallery feels free to explore both abstraction and social commentary. Cockrill himself contributes a painting called And Then, a boisterously brushed abstract image brandishing flamboyant colours. It could hardly be more removed from Ivor Abrahams’s cut-out sculpture covered in acrylic, which summarises the form of a mad, staring Chianti Owl.
Caroline Gorick, 'The Angelic Guards Ascended, Mute and Sad for Man'. Oil, 180 x 150 cm. Photo: John Bodkin/DawkinsColour Terry New also exhibits a painted sculpture, Siren, but this work is made of mild steel and exudes mystery. It looks sombre and menacing as its forms balance quite precariously on top of each other.
Creatures of a different kind are evoked in Caroline Gorick’s painting of ghostly birds, damaged and struggling to fly away from a dark, haunted town. She calls it The Angelic Guards Ascended, Mute and Sad for Man. Sarah Armstrong-Jones opts for a more straightforward title: Sweet Pea, May. The flower in her painting is boldly simplified and full of life.
Sheila Girling also includes a cluster of flowers in her canvas, but they are restricted to the upper section of a tall image that becomes far more simplified and abstract lower down. James Howard is committed to timely satire in his wryly titled Six-figure Income. Made of a banner surrounded by a gold frame enclosing twenty-pound notes, it recommends that we ‘WORK FROM HOME’. And Howard concludes by asserting that ‘Earning £100,000 a year is just as easy as £10,000 ... when you know HOW.’