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The Slade Through Time

The Slade Through Time

Elaine Kazimierczuk

Elaine Kazimierczuk




From The Slade Through Time - 2 ROOMS

10 women artists who studied at The Slade between 1958-1962 

5th October 2016 - 30th October 

Private View: 4th October 2016 / 6pm - 8pm

In 2010 a decision for each of us to write a brief memoir of our student days to contribute to the Slade School of Fine Art archives resulted in a group of us, who had been students there in 1960, meeting in London for the first time in many years.

We discovered that we were all still working; many were exhibiting, some had taught, and all had brought up families.

Curiosity led to plans for a group exhibition in Oxford (where three of us live) and all of us agreed to include among our personal selections a piece from the Slade or earlier. Many of us had not seen each other’s work over the last 50 years. 

It will be interesting for us, and we hope for others, to try and see if being taught by such established artists as William Coldstream, Frank Auerbach and Patrick George influenced our work, or did we each pursue our own pathways?




Elaine Kazimierczuk

6th October 2016 - 14th November 2016

Private View:6th October 2016 / 6pm - 8pm

The natural world is an important focus for my painting. Recent landscape paintings tend to the more intimate: studies of familiar meadows, hedgerows, trees, orchards and gardens. My affinity for nature and wild paces stems from outings with my father, who loved to take the family walking in woods and down country lanes. We learned the art of foraging, how to recognize edible mushrooms, where to find wild strawberries; he took us moth trapping at night and taught us the names of butterflies, trees and wild flowers.

My landscape paintings, though semi-abstract, are nevertheless personal accounts of what I see, based on a vocabulary of non-figurative shapes and lines. I use this visual language to share my interpretation and understanding of the subject with the viewer. I frequently paint on a red ground, which gives energy and vibrancy to the over-painting, building up a matrix of colour and texture, like a leaf mosaic in a shaded hedgerow. I want to represent the natural world, the paradox of ordered chaos, that intricate assembly of wild beauty. I find the best way for me to achieve this is to work freely, so that sometimes my brushwork might seem to border on the accidental, but all the while I am conscious of the need to maintain a tension between looseness and control.

Many of my paintings are interpretations of intimately-known localities, which are frequently, but not exclusively, in Oxfordshire, where I now live, besides those of my native Nottinghamshire.

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