Writers' Block, Norwich School’s Creative Writing Society

Members of Writers’ Block visit ‘Close’ exhibition.

Pupils within the Writing Society visited the exhibition of Rosie Phillip’s work as inspiration for their creative writing. We wanted to share some of their work alongside the pieces on display by Artist Rosie Phillips.

Rosie Phillips. Le Coup at the Spiegeltent, oil on linen, 67x60” (2023)

Rosie Phillips, artwork created during the ‘Close’ Artist Residency (2024)

Rosie Phillips, Flo, oil on canvas, 16x20” (2023)

THE CRYPT GALLERY TRANSFORMS INTO A WORKING STUDIO

Article posted on 15 January 2024
Norwich School Website

Country and Contemporary are working alongside Norwich School in this exciting new residency with portrait artist, Rosie Phillips. Country and Contemporary are particularly excited about the Open Studios of this residency, offering opportunities to talk to the artist during the creative process. With Rosie, we hope to be reminded of what art really is all about.
Ian Passam, Head of Art and Design at Norwich School, shares, “This is a wonderful opportunity for the school to welcome a young, gifted artist at the beginning of a very exciting journey!”
We hear about Norwich-born artist Rosie Phillips and what her residency will hold.

Where did your love of art begin? 
"Since birth! I have always been drawn to hands on, arty projects of all kinds. My second love was reading and writing, among all kinds of other stuff. I was never bored as a kid - I would be drawing or painting at any chance I got and roping my friends or family into brainstorming sessions. I also used to spend a lot of time at this after school kid’s club because my parents would be working, so I would just be at the art table, completely in the zone. I credit that place so much for everything that’s happened since!"

Can you tell us a little about your art as well as your creative history? 
"I primarily work with oil paint and the majority of my work is figurative. I would describe my paintings as an observation of internal states and body language. Often I am trying to represent a specific moment or feeling - they tend to be scenes from my own life, though I have found that many people have been able to connect to certain elements, which I find fascinating. I’ll rarely know what exactly I’m looking for until I observe a particular stance, interaction, or scene that I’m suddenly drawn to preserve.
I started sharing my art online around 12, and from there, I would spend a lot of my time working on projects in and out of school, such as producing illustrations for a YA novel and taking part in my first exhibition in Holt Hall at 14. During college I came to know and learn from some truly amazing local artists and started to really think about building a career as a painter - It just felt like a no brainer. The following year I’d completed my first few commissions, and to my utter shock, I also managed to sell a 4 foot portrait of my grandad which was hanging in the art cafe I worked in at the time. This encouraged me to focus on creating original paintings, which resulted in a portrait of my dad and dog winning the emerging artist prize and being commended for the Sir John Hurt art prize at Holt Festival in 2021, which was followed by an exhibition at The Gallery Holt. I have continued to build a body of work since, including commissions from around the world, selling, exhibiting around London and Norfolk. In 2022, I was a contestant on Sky Arts’ Portrait Artist of the Year, where my portrait of Big Zuu was shortlisted by the judges. Last summer, my painting ‘Babs’ won the Jackson’s Painting Prize Animal Award, exhibiting at Affordable Art Fair Hampstead and Bankside Gallery." 


What does your residency entail? 
"The Crypt will be my studio for the next month as I meet and conduct portrait sittings with the staff and pupils of Norwich School, as well as the wider community of the Cathedral Close, investigating the area’s rich history whilst also highlighting moments and interactions from the present-day. The hope is to use my practice as a tool for preserving the stories, people and animals that make this place so special. During my time at The Crypt Gallery, we will be running a series of open studio / Q&A events between the 5 - 8th February (please note that there are limited spaces so you will need to book, please email paulvater@contemporaryandcountry.com). The residency will finish with a public exhibition of work created during this period free to visit between the 10 - 15th February. Please visit https://www.contemporaryandcountry.com.
 

What are you most excited for in your residency?
"I can’t wait to meet more of the characters that shape the close - especially Budge the Cathedral cat! I suppose I’m not too sure what to expect yet, which is exciting in itself. I’m really enjoying this new investigative angle that my work is taking, and am looking forward to seeing how this experience shapes my practice moving forwards." 

 

What are the challenges of being an artist? 
"Not biting off more than I can chew! There are SO many rabbit holes to go down with art, so many things to try, so many projects to juggle. I have to be really mindful to not overwhelm myself, but I’d say I’ve definitely improved in this area over the last couple of years. Getting enough sleep is a big one too! I’ve spent so much time up in the early hours because I can’t pull myself away from a painting. Taking the time to be creative whilst also juggling applications, marketing, finance, emails, etc is tricky. Being an artist can feel like ten jobs in one sometimes but I wouldn’t be doing anything else."

 

Who/what do you draw inspiration from? 
"Some of my favourite contemporary and historical artists include Lisa Brice, Rachel Jones, Megan Dominescu, Blindboy Boatclub, Ania Hobson, Gustav Klimt, Alphonse Mucha, Ingres and Velasquez. I’m inspired by the dynamic between people and animals, particularly in the context of domestic life, as well as my own various memories and experiences. Recently, I have been inspired by the practice of art as a tool for storytelling and preserving folklore as well as observing patterns of human behaviour."

 

Is there a particular piece of work that you are proudest of? 
"‘Babs’ has a special place in my heart - It was a spur of the moment sitting of my dog, created from my living room, and every time I look at it I feel like I’m having some sort of unspoken conversation with her, much like I do in real life. It went on to win the Jackson’s Art Prize Animal Award a month or so later and now lives in London after selling at Affordable Art Fair and exhibiting at Bankside Gallery last summer, so definitely a proud moment."


What do you want people to take away from your work? 
"Like most artists I hope that people can connect with my work in some way. I like to think that it promotes connection and humanity. Some people have told me that it has stirred their own memories, which I find really cool. It’s always hard to predict the response each painting is going to get until I share it, but I’m always happy to hear when my work bears personal significance to people." 

 

What are your hopes/aspirations for the future in terms of your creative career? 
"I try to keep my plans flexible as things have always unfolded in such unexpected ways, but I absolutely have a few. It would be a dream come true to get into the Herbert Smith Freehills Portrait Award (Formerly the BP portrait award) at The National Portrait Gallery, and I’d love to go for PAOTY again.  International exhibitions too! I am already loving my time at Norwich Cathedral and so would really love to complete a similar residency abroad at some point, I know there are some incredible scholarships around Europe and I really thrive outside of my usual habitat. In terms of my practice, I would like to expand into larger, multi-subject figurative paintings, and draw more upon anecdotes and personal/local history. It would be great to collaborate on more projects - Last year I worked on an album cover with a friend and had so much fun. I suppose I just hope that things will continue to flow and I’ll be able to collect more of these incredible experiences." 


Make sure you don't miss out on Rosie Phillips exclusive Open Studios, to book your place click here.

'Love All Fear None' exhibition review by Tessa Fox

The collective work of Joey La Meche 

Review by Tessa Fox — www.tessafoxstudio.net

joe.jpg

We all believe in energy. Whether it be from the socket for your plug that then boils your kettle; the energetic forces that keep us grounded to the earth and helped title the 2013 science fiction thriller Gravity; or the unseen peace of a gap year student that found themselves in Bali. It exists; in whatever way you chose to believe. 

With a characteristic vibrancy, Norwich native Joey la Meche brought a new energy down into the crypt space last weekend with his sold-out show Love All, Fear None. 

City College trained, locals may recognise the work of La Meche. His mural, City of Stories, can be seen walking down from Castle Meadow to the Royal Arcade. So, it was no surprise I subconsciously felt ‘at home’ as I walked into the space on Friday to see the freshly hung show. 

Love All, Fear None felt as though it was more than just a show of artwork, but rather, a biographical display of the world in which La Meche makes. Walking through, almost each piece contained more than just the usual exhibition ‘date, name and price’ labelling. Like a visual timeline of events, you were told what fueled the creation of the work. On Teddy Boy he wrote:

A large part of my inspiration throughout my teenage years was music and the culture that came with it. An early fan of MOD culture, I delved deep into researching delicious music scenes with the help of my inspiring Father and his extensive record collection. This poster depicts a Teddy Boy with a quote from Pete Doherty of the Libertines fame. 

Delved deep and delicious music scenes, are you in a trance yet?

 The work on show was a physical manifestation of the concept of ‘creative energy’ with a wide variety of pieces. From posters, to pots, to re-worked textiles and furniture, every piece was coated in La Meche’s distinctive illustrative designs. The vitrine, which has been central to a lot of the recent exhibitions held in the Crypt, housed La Meche’s working mind. It showcased influences and research – books, cards and objects – as well as his re-worked textiles in context, being worn and walked around the city. La Meche worked economically as well; with pricing that could be described as making his artwork accessible, it undoubtedly helped him to sell-out his show over practically one weekend. 

Looking at his painted pots, I couldn’t help but question whether you could draw a parallel between these pieces and the iconic craftwork of Grayson Perry. There was something different about the ones that stood in front of me though that stopped me from doing so; what it was, I’m still not sure. But perhaps it was the overriding energy of the artwork and the creator himself as the repeated phrase hung around the space was 

All that you are, is all that you give.

**

The Crypt Gallery: www.cryptgallery.space

Find Joey on instagram: @joeylameche

Share exhibition review by Tessa Fox

‘SHARE’ — an exhibition of Graphic Design

Review by Tessa Fox — www.tessafoxstudio.net

7 metre scarf by APFEDL

7 metre scarf by APFEDL

The Crypt Gallery, located on Norwich Cathedral’s Upper Close, was recently given a makeover. Over time the space has hosted numerous exhibitions; from student displays to the work of established artists and designers. 

Donning a new grey interior, the space somehow felt cleaner and brighter as you stepped down into the gallery from the world above. This update in appearance was perfectly timed in order to host Share – a collaborative exhibition bringing together a contingent of five designers. Running from the 18th – 30th November, Share saw the works of Graphic Thought Facility, A Practice for Everyday Life, North, MuirMcNeil and Spin all co-exist in the beautiful underground space that housed not only aged pillars and a vaulted ceiling but also clean-cut contemporary gallery wall spaces.   

Staying true to the exhibition’s name, the designers co-existed in equal capacity within the space. Vibrant, wall-filling posters were contrasted with authentically minimalistic white framed works. The 7-meter-long knitted scarf created by A Practice for Everyday Life lead viewers eyes down to the beautifully worn stone flooring of the space – an incredibly apt display as the work ‘featured an excerpt from the chapter ‘Walking in the City’, in which de Certeau describes how cities take shape as their pedestrian inhabitants map out places by walking. The real practitioners or makers of a city, he argues, are those that experience and use it on a personal level.’ The Crypt has existed under many guises over its lifetime and with names etched into its stonemasonry over centuries, it is a brilliant example of how inhabitants can map out an area.

 Curator and organiser of the show, Andrew Campbell, took the time to ask each practitioner about their additions to the show. In their own individualistic design ways, each came back expressing their focus on the concept of ‘sharing’ and its importance. North, when discussing their poster design for advertising the show stated: 

We feel it's important that the poster gives more importance to the people contributing to the exhibition rather than just the exhibition itself as that is the best way to reflect the nature of sharing.  

The Crypt is an artistic extension of Norwich School and offers students the opportunity to see professional practices in place well before they complete their a-levels and potentially pursue a degree. This meant that each designer also considered the importance of their practice upon the moldable minds of the students that may visit the space outside of their lesson time. When explaining the spirit of their response to the brief, Graphic Thought Facility expressed the importance of students taking in art – 

It’s quite likely that this fantastic resource could encourage any of them to become ‘creatives’ by trade, but more important is that they sustain this attitude of being confident, creative problem solvers in whatever they end up doing and this is the point I would like to share with the students at Norwich School.

The exhibition ran alongside the Independent Schools Art and Design Association (ISADA) weekend event. This included evening talks from Will Gompertz, Sean Perkins and Brian Eno – all of whom discussed and expressed their deep belief in the importance of creativity from a young age and the importance of ‘play’ in young artists and makers. 

Campbell perhaps best summarised the entire weekend when he stated:

 […] all you can do is ask, the worst someone can say is no.

Further highlighting just how important it is within the creative trade to have no fear, put your name out there and hope for the best. Campbell then went on to credit his partner, artist Louise Richardson, for the concept of a creative strike; if all creatives were to down tools, how quickly would the government realise the importance of our work and cease to cut educational and governmental funding…but that’s another conversation, for a revolution to one day come. 

Share felt like more than just and exhibition and perhaps the best way to conclude it, is to re-iterate the text located at the far end of the gallery space:

Education should encourage creative confidence for all. Becoming a designer or artist is by the by; creative problem solving is a talent we need more of in every trade. ​

Quote from Andy Stevens— Graphic Thought Facility

Quote from Andy Stevens— Graphic Thought Facility



**

The Crypt Gallery: www.cryptgallery.space

 Graphic Thought Facility: www.graphicthoughtfacility.com

North: www.northdesign.co.uk

A Practice For Everyday Life: apracticeforeverydaylife.com

Spin: spin.co.uk

MuirMcNeil: www.muirmcneil.com

www.tessafoxstudio.net






SAKE review by Mr J C Fisher

There is no such thing as a free lunch, or these days a free conversation. One minute I was chatting with a certain Mr Campbell about the design exhibition exploring the packaging of Sake, 24 hrs later I was being asked to write a response…  I have never drunk Sake and I probably never will. Likewise I have never been to Japan and I probably never will, but if you want to give God a good laugh tell him your plans as they say… I am however interested in a sense of identity and why as humans we can be persuaded to buy things we don’t need. Probably parting with money we can ill afford. I have a fairly strict utilitarian approach to my discretionary purchases; function and necessity being the prime motives. That’s not to say that I don’t enjoy a really good unpasteurised artisan cheese such as Kirkham’s Lancashire. I buy it not for the packaging, it usually comes in nothing but plain greaseproof paper from a stall on Durham’s covered market, but for the tastes. Tastes plural for the last Lancashire made with raw milk is an exquisite series of sensations. Conspicuous consumerism largely leaves me cold. So as I wandered around looking at the various different solutions to the packaging brief my minuscule retail therapy itch wasn’t being scratched. Some designs were quickly sidestepped. Others held my attention, mainly for the cultural information that was the raison d'être of the individual response. I might not be a fashion victim but I am a knowledge junkie. I knew nothing of Kinsugi, the art of golden repair on broken ceramics. I was rather attracted to the concept of celebrating the individual journey of the artefacts by emphasising the scars and imperfections in gold. Diametrically opposed to this was the philosophy of the Snow Goose ‘Hakugan’ Festival where the explicit aim was to increase the value of a ‘standard product’. Naked capitalism and most unappealing to this brand of consumer. The technicalities of some of the printing was impressive but in the long run superficial, my momentary thoughts were often little beyond ‘I wonder how that’s done?’  The design I spent most with was for Shimeharitsuru where a Shrine Bell Rope had been combined with a Crane in a balanced flowing brush stroke. Simple to look at but elegant to my western eyes and I suspect technically accomplished. I later read that Shimeharitsuru is made from ‘Ohyakumangoku rice polished down to 50%, and fermented very slowly at low temperatures, which enhances the natural umami of the rice, and produces a subtle aroma, and a round clean flavour’. Perhaps these powerful symbols having awakened the inner food snob I will try a Shimeharitsuru in the future, perhaps not, it would probably give me a headache…

Mr J C Fisher

SAKE+exhibition+in+the+Crypt_HH027.JPG

'Response': Judging

On 5th March judging took place for the group schools exhibition taking place in the Crypt this month. Sixth Form Students were asked to visit three exhibitions held in Norwich and begin a project in response to one or more of these shows. This included Rembrandt: Lightening the Darkness at Norwich Castle, The Jerwood Drawing Prize at NUA's East Gallery and Laurence Edwards solo-show Visitor at the Crypt. 

At the end of the project five schools submitted work along with proposals and a selection was chosen from each by four judges; Fay Harris (NUA), Hannah Wooller (Hudson Architects), Selwyn Taylor and Keith Roberts (both Norfolk Contemporary Art Society.) It was a fantastic morning and the judges were really impressed by the variation and quality of work submitted.

Congratulations should go to those who have been selected. Everyone who submitted work should also be commended for their efforts - all work will be shown digitally during the show. 

The Schools involved are as follows:

City of Norwich School, Dereham Sixth Form College, Reepham High School and College, Norwich School and Wymondham High Academy. 

Many thanks to the judges who went to great efforts to help curate what is set to be a really exciting show. 

The private view will take place on 15th March 2018 - all are welcome.

Writers' Bloc: Response to 'New Impressions' by Grace Murray

Translators.jpg

Coexistence

High up, oppressed by cold cash,

a man-
making his way downstairs

Below

a child-
struggling on stone floors

The lover,
parting with cold lips,

walking into the night alone.

One fox-
a delight of the small girl,

travelling through the barriers

she created.

A small tear,
cleaning dust on the mantelpiece, unheard by laughter
dancing around. 

Grace Murray (M5) 

Writers' Bloc: Response to 'Visitor' by Eleanor Rhodes-Leeder 

The Bubble Wrap Man

Swathed in plastic sheets To protect him.
He may look bulky now But he’s so delicate.

And each word Pops a bubble.

Beneath his armour, He isn’t alien,
Or angry,
Just scared.

Of hurting himself.

He looks in the mirror, Pop, pop, pop.

He walks down the street, Pop, pop, pop.

The bubble wrap man Crackles and pops Like a fire
Destroying.

He’s protected himself,
But the people who love him Just bounce off now.
A human bouncy castle With all the fun drained out.

He’s oblivious,
Deaf.
The only words that penetrate

Say pop, pop, pop.


By Eleanor Rhodes-Leeder 

Laurence Edwards_TheCrypt_029.jpg