Coastal Gallery Blog



Andy Baerselman at Coastal Gallery Lymington

Like a rather surreal underwater scene, two beautifully dynamic sharks and a floating sting ray are circling Coastal Gallery this week. Created by Andy Baerselman using resin coated birch wood, these sculptures are both an engineering and an artistic triumph. Ingenious layering of blue resin leaves the grain of the wood showing through to varying degrees across the body of the sculpture, almost as if the light were catching the real thing just below the surface of the sea. Andy’s work has been exhibited across the country, from National Trust properties to super yachts.

Andy Baerselman Ray Andy Baerselman Ray Underside Andy Baerselman Shark Blues Andy Baerselman shark underside Andy Baerselman Window Sharks



It seems somehow fitting to go to the home of Duggie Fields to discuss the upcoming celebration of his film work at BFI Flare, and end up talking about almost everything but. Born on the day the A-bomb fell on Hiroshima and coming of age during a Swinging London that he was very much part of (his flatmate was a young Syd Barrett, no less), the work of the acclaimed post-Pop artist is marked by the great upheaval and change of what he describes as the “post-war baby bulge”: that incendiary group of teenagers who moved to London from the suburbs, studied at places like the Chelsea School of Art, and became the first generation to truly rip it up and start again. At 70, the sometime Comme des Garçons muse is still changing – learning to draw on the computer, sampling music on Logic Pro – albeit all from the very same, unmoving flat: a Day-Glo treasure trove of artwork and kitsch, in his beloved but disappearing Earls Court. When were you first approached by BFI Flare? I think last year sometime. I’ve been making little films, which I’ve never seen on a big screen and I thought – that would be lovely, yes. Do you enjoy that looking back over of things? I haven’t seen them! Well, I haven’t seen them in the cinema. But, I prefer doing new work than looking at old things… And I haven’t seen my new stuff on screen so that’s more what I’m interested in doing it for. I’m interested in how that feels. What are you working on right now? Okay, I’ve got an idea for a painting I’m working on that… Maybe it’s at the halfway stage. I always work them out, very precisely, before I start on canvas, because of the way I paint. So I do lots and lots of studies on computer first. I’ve got a painting on the way. I’ve got a piece of music on the way, which is going into an animation. And the animation is on it’s way. None know quite where they’re going to end up but they’re all getting somewhere. Is that always the case with your work? Yeah. I don’t know what the finished product’s going to be ever. I start doing words, and I don’t know if I’m going to use the words or if that’s to get me going. And the same with the music. And the same with the drawing as well actually. I just start and the process takes over. And there’s never an aim? The aim is only to carry myself along with it to finish it. Then to look at it when it’s finished and find I’m interested in it enough to make me want to do something else. So it’s a process. And being able to continue the process… I can’t articulate what I’m trying to do, because if I could I’d just be doing the articulation, I wouldn’t be bothered with the doing, because the doing is hard work. Is it the same with film? I take photos or film, almost everyday. Then I use things that I find on the internet just by random, and they lead me to look at something else that’s interesting. Or I film things from scratch, specially. The thing I’m working on now is yet to have anything specially filmed, because that’s filming myself and I have to get into the right frame of mind to do it. Frequently I do it when I don’t know what I’m doing, but I’m in the mood to. And I think, whatever I do, I’ll make something work out of it. So far, I usually do. It’s interesting that for work marked by such constant change, your actual physical location has remained fixed for so long… I’ve been in this flat a long time, yeah. And I don’t know if that gives me a curious world view. I have a certain physical constancy, while everything is shifting around me. When did you move in here? Christmas 1968. And it was one of those chances where I’d gone to look at another flat and missed it by one person. I’d always said, I’ll never live in Earls Court but I’ve lived here ever since. And it was here that you shared with Syd Barrett? This was my room. That was his room and briefly we had a third person in the other room, then it was just me and Syd. Then it was me and Syd and one other person. Then it became me and Syd and maybe five other people and it got a bit crowded. And then he left and I had to get rid of the other people. And he never came back. You’ve spoken a lot about how the area has changed, of course [Fields was a prominent voice in the campaign against the closure of Earls Court Exhibition Centre in 2014]… The area is just vanishing before one’s eyes. That’s what I feels like at the moment. I’ve always had various buildings in the area round here – cafes, restaurants – where I’d go and eat and hang out. But now, I just walk past places thinking, I don’t want to go in there, I don’t want to go in there. The food is not worth it, the price is not worth it, there’s no atmosphere. You’re not from London, are you? No, I’m from the country. And I definitely don’t want to go back to the country. I’m a city person. I complain about the change but I think I’ve been spoiled… It’s been good fortune that it’s been space to work in. And even after all these years I can see bits of the architecture that I haven’t noticed. Then there are magnificent trees of course, magnificent plants. I was just admiring some dying camellias up the road. Red blossoms, sort of mouldering on the ground. It was very romantic. [] I’d like to speak to you a little more about your approach to making music… At the moment I’m using samples. And I’ve been taking them without listening to them and putting them in the track and cutting loops out of them and placing patterns out of them before I listen to them. And I’ve got some good results! Some really unexpected results. I’m not good at planning a structure beforehand, but I’m quite good at listening and zoning down to something I like… Does that carry through into your life generally? In my life, I’d say my work is very curious these days because it used to be… Um… I talk to other friends about how we used to do more, and life goes faster. I also live in a neighbourhood where I don’t have a contact with the neighbourhood in terms of people as well as place. I used to have friends who live nearby. And I have very few friends who live nearby now… Maybe that’s just age. I lost 13 people from my life in this last year. My neighbour died. We’d been neighbours the whole time I’ve lived here so 48 years. I feel the void beneath my feet. And that’s as well as the big building that brought hundreds of thousands of people to the area… I went to so many exhibitions and concerts. So many hundreds of thousands of people that come to the area. They’d come to the comic convention, Comic-Con, it used to be an annual event in Earls Court. And every year you would see these extraordinary creatures in the street. That character has suddenly vanished. Have you always been drawn to people that express themselves though what they wear? Yes. I have all sorts of theories about that. One is I’m a child of the 60s. I came to London in ’63 and met a whole lot of other people my age who were coming to London. The post war baby bulge, everyone came to the art schools in London essentially. And it was just as the King’s Road was taking off. So I met a whole other lot of people who were the same age, all starting off as art students, designers, architects, and a lot of them went on to be very influential. My flatmate’s band for instance… I love how you call them “my flatmate’s band”. Well did you have a college period when your flatmates had a band? Yes, but the band wasn’t Pink Floyd! That was the reality of it! I thought they were interesting but I didn’t know that the whole world would think they were interesting. What was the scene like at that time? There was this whole fashion change between the generations. Men with long hair were shocking to the older generations, let alone men experimenting with make up and women’s clothing. And it wasn’t cross gender, it wasn’t about anything. It just was and there was a visual community that you would see people on the Kings Road… I ended up living off there and going to college with these visions walking along the street. And I guess I wanted to be a vision too. [] What do you do when you’re not working? I like to watch a lot of things on television. I look at a lot of things on the internet. I’m online looking at things and listening to things, rediscovering and discovering new things… Real Housewives of Beverly Hills, I’ve been watching Real Housewives of Beverly Hills. I do like reality TV in general. What is it you like about it? Well it’s all Andy Warhol. It’s more interesting than what he’d use to do, where he’d just stick anyone in front of a camera but it is an extension of that… Fame is a curious thing. My real closeness with fame has been pop fame and not mine, but my flatmate’s. And my good friend Marc Bolan. Marc’s sense of fame, I think, ultimately, wasn’t necessarily his downfall, because his downfall was an accident, but it did derail him and he was just… Putting himself back again when he died, which is sad. But it did send him off the rails and it certainly sent Syd off the rails. Can it happen to artists? It does a little to artists. But art, by it’s nature, doesn’t really require the audience so much. It’s when you’re actually a performer. But you must enjoy the attention your clothing brings? But this is not for anyone else. This is for me. Okay, would I have put this on [today, a grey suit jacket, white polo neck, black skinny jeans and white trainers], if I was staying indoors. Not quite. This is going shopping, this is going out the house. But this I do [the hair] and this [the brows] I do even if I’m not going out the house. I’d have to be really feeling sick not to do it. Or on a beach. When was the first time? I don’t know. I think around 1975. I can find pictures of me from 1975 where it’s not there too, but there are definitely pictures of me where it is there in 1975. So it became permanent around then. Whether I’ll ever stop doing it I don’t know. I have thought, maybe I’ll stop doing it now. Maybe I’ll change. I like the idea of being able to change my mind. Duggie Fields and Film takes place tomorrow (26 March) at BFI Flare. []


Royal Academy Greeting Cards

Profile The Royal Academy of Arts is an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment, and appreciation of the visual arts through exhibitions, education, and debate. The Royal Academicians are all practicing painters, draughtsmen, engravers, printmakers, sculptors, and architects and are elected by their peers. Coastal Gallery has selected designs by Sir Terry Frost RA, Michael Craig-Martin CBE RA, Sandra Blow RA and Grayson Perry CBE RA. Sandra Blow Sandra Blow was born in London in 1925 and entered St Martins School of Art in 1940. Shortly after the Second World War she studied at the Royal Academy Schools, and in 1947 lived in Italy for a year, where she met Alberto Burri, who was a significant influence on her work for the rest of her career. Blow was at the forefront of the Abstract Art Movement in Britain during the 1950’s. She won the Guggenheim International Award in 1960 and was awarded the second prize at the third John Moores Exhibition at the Walker Art Gallery in 1961. Terry Frost Terry Frost was widely recognised as one of the leading British abstract artists of his generation. Born in Leamington Spa in 1915 Terry Frost discovered his talent for painting as a prisoner of war in the Second World War. After returning to England Frost attended Camberwell School of Art. He went on to teach at Bath Academy of Art, Leeds University, and Newcastle University before being appointed Professor of Painting at the University of Reading. Terry Frost’s career as an artist spanned six decades and his work is held in museums and galleries worldwide. Michael Craig-Martin Michael Craig-Martin was born in Dublin in 1941 and educated in the USA, where he studies at Yale University. He returned to Europe in the mid-1960’s and was a key figure in the first generation of British Conceptual artists. As a tutor at Goldsmiths College, London, from 1974 to 1988 and 1994 to 2000, he had a significant influence on two generations of British artists. His work is held throughout the world and is included in numerous museum collections including Tate, London; the National Gallery of Australia, Canberra; and the Museum of Modern Art, New York. Contact us about Royal Academy of Arts’s> Side Effect Sandra Blow © Royal Academy of Arts [Side Effect by Royal Academy of Arts]


Celebrating Summer with Nick Dawe, Photographer


Summer is upon us and everyone is out and about. While many of us are eating ice-cream and thinking how lovely it is on the south coast, there is one photographer who can be found stalking our shores on a regular basis, finding vistas that even the most aesthetically aware among us would struggle to notice. Nick Dawe wanted to adopt an alternative approach to photography and this manifested itself in looking at the coast with a very abstract and close-up point of view, highlighting the enormous wealth, breadth and variety of visual material on offer. He is thrilled by the interaction between the natural environment and man-made objects. Nick travels widely across the British Isles documenting aspects of the public at work and at play. Throughout his career he has photographed for a wide range of clients from the Army to The Time Out Magazine. He has a love of Modernist Architecture, the sea-side and luckily for us he can often be found in the Lymington and Keyhaven area photographing our coastline. Nick has an instinct for spotting the unusual and aesthetically pleasing  in everyday life and Coastal Gallery is very pleased to exhibit a range of his work, many of which offer a different perspective to familiar scenes.

The new beach huts at Milford on Sea.


Lymington Yacht Haven


Purton Ships’ Graveyard, where ships were deliberately sunk to shore up the banks of the river Severn.


Milford on Sea




Art Inspired Gifts at Coastal Gallery

For many of us, an appreciation of fine art is a way of life. We can find space for beauty and design in our homes and in our wardrobes. Even if we may not be fortunate enough to have the real thing hanging in our living room, there are ways to appropriate your chosen style and surround yourself with references understood by fellow enthusiasts. Many museums and galleries facilitate our need to bring a little piece of art home in their often fantastic range of cards and collection related gifts. At Coastal Gallery we are delighted to announce a new range of ‘Art Inspired’ gifts, including Loqi Museum Collection bags (it’s important to look on-trend when you’re doing your shopping), luxurious scarves designed by colourist Gohar Goddard, and a selection of cards from the Royal Academy of Arts. This new collection will shore up our classic gift range such as the beautiful jewellery collection by Jo Vane and the veritable rainbow of stunningly glazed ceramics by Jackie Giron. Treat yourself and pop in this weekend to find a style that suits you.

Loqi Tote BagTote Bag Pop Lollipop





Jo Vane






Arek Nowicki at Coastal Gallery

Arek Nowicki is a ceramic artist who is breaking onto the British art scene with his unique and fantastical ceramic sculptures and vessels. Originally from Poland where he developed his craft through numerous apprenticeships, he now works from his studio in Bournemouth. Coastal Gallery feels enormously privileged to display some of his works at the gallery in Lymington and to support his growing reputation and recognition as one of the most unusual and experimental ceramic artists working in Britain today.

Arek Nowicki Memories

While Arek still uses the concept of a ‘jug’, ‘platter’ or ‘bowl’ to anchor his work in a recognisable form, the result is always art for art’s sake. Rough stoneware clay provides the material strength from which he can create his large scale organic shapes and structures. All Arek’s work is hand built and his large-scale vessels are feats of impressive ceramic engineering. To balance the solidity and rough texture of the stoneware clay, Arek is a master at applying beautifully delicate and intricate crystalline glazes which shimmer on the surface of his works. From delicate blues and soft greens to earthy sienna with golden highlights, the range of colour afforded by his careful mixing of glazes give his work an ethereal quality.

“(…) Jugs become sculptures;

The border between the two is crossed only when the glazed jug is viewed by different eyes, when the details, decorations and the glazes are observed as the art and the vessel as the canvas upon which they are described (…)”. Arek Nowicki

Arek Nowicki Temple

Coastal Gallery has a range of Arek’s work on display, from his beautifully glazed smaller ‘bowls’ starting at around £75.00 to his large ceramic sculptures which can fetch up to £3,500.00. A good selection of his large vessels (pictured in this article) can be seen at Coastal Gallery and are normally priced around £1,800.00. Arek’s sculptures are extremely striking and draw the eye wherever they sit.

Arek Nowicki Lemonade Fountain


Claire Wiltsher

Claire Wiltsher is a landscape painter who lives and works in Lyndhurst. Her paintings beautifully capture the ever changing light and colours of the landscape. Claire has a very distinctive semi-abstract style which provides plenty of anchors for the viewer to understand the scene in front of them, but her use of multiple layers of paint and sometimes collage is often abstract in its application providing opportunities for heavily textured areas and for colours to be brought together through scratching, scraping and throwing paint at the canvass. Often her paintings evoke a moment when light is captured transforming a scene into something more sublime. In reality these moments are so fleeting, but Claire manages to capture them on canvass for us to enjoy again and again. It is not surprising therefore that she names Turner as one of her main influences and her frequent use of yellows, oranges and ochre seem also to be a nod to the great romantic painter. Anyone who lives in the New Forest and South Coast would also recognise her magical mix of yellows as being the perfect evocation of the yellow tinted haze that is so distinctive to these parts.

We are lucky enough to exhibit Claire’s work on a regular basis at Coastal Gallery and this week have received several new pieces. Please feel free to come in and enjoy seeing Claire’s work first hand.

Spring Wetlands II

Spring Wetlands II

90cm x 90cm

Claire Wiltsher: “The painting “Spring wetlands” is part of a small group of paintings inspired from Pennington marshes out walking a number of weeks ago. Silver greys and burnt umber merge with Ochre in a spatial hazy vision”.

Remains in Skye

Remains in Skye

50cm x 50cm

Claire Wiltsher: “‘Remains in Skye’ reflects the view from my window in Skye last month. A heavily textured painting showing the many layers of landscape. From the sky to the mountains from the river to the marshes. I used a combination of Acrylic as a base with fragments of collage and built up layers of oil paint over the top. Areas have been scrapped away to reveal textures beneath”.

Claire Wiltsher has gained a wealth of exhibiting experience alongside her 20 years teaching and co-ordinating various art programmes. She holds a Master’s in Fine Art from Northumbria University, her work has been nationally exhibited and she has been a finalist in many competitions. In 2010 Claire received the ‘Rosemary and Co’ Society of Women Artists annual award and was selected for the 2010 Royal Society of Marine Artists exhibition at the Mall Galleries.



Profile Chris was Creative Director of a leading advertising agency in London. Never having done a proper day’s work in his life (Chris’s words, not ours!), he moved to Lymington and took up painting full time. Chris likes painting foliage and ‘the chaotic, messy bits of nature – the bits people walk past or over without noticing’.Working in oils and at life size, Chris has a meticulous eye for detail and a wonderfully quirky view of the world. He has exhibited widely in London, including the Brick Lane Gallery, the New English Art Club, Jozes London 2011; and the Mall Galleries, where he won the prestigious Company of Painters and Stainers Award. Regionally, Chris has exhibited at the St. Barbe Museum, Lymington, the National Open Exhibition 2010 in ChIchester and Art in the Park, South Yorkshire. Chris has paintings in collections throughout the UK, and in Berlin, Geneva, Italy, Jersey, London, New Zealand and the USA. Coastal Gallery is delighted to stock a regularly changing selection of Chris’s paintings. Please contact us for further details re sizes, prices and availability.



We are delighted to be exhibiting the work of Samual Kai who is currently studying fine art at AUB. Sam visited Coastal Gallery last year and we were immediately impressed by his enthusiastic commitment and approach to his work. Here is an extract from Sam’s own diary notes which informed his painting and which acknowledges the influences of both Basquiat and Rauschenberg. We look forward to showing more examples of Sam’s painting and progress – including exhibiting with us at ArtSway 2017. My intention within this project was to convey the feelings and sentiments that comes with losing a close friend and confidante; that is to say that I wish wished to convey ‘grief’. I wished to allow this project to flow seamlessly from the last and so these two projects should be viewed together. I kept a diary from around the time of Daniel’s death. This diary recorded my thoughts, mostly in ambiguous drawings and short cryptic phrases to protect those involved. In places, I was more candid so I sealed these pages with tape or painted over in acrylic. These diary pages were used to inform a large painting on builder’s pallets. I wished to produce more paintings but I failed to do so. My only excuse was my low mood at the time. In an attempt to counter this effect, I initiated a new sketchbook entitled ‘Book of cartoons and shitty doodles when I’m too depressed to draw’ so that I could produce work without pressure of complying to an aesthetic style. This solution was only partially successful. I studied Francisco Goya’s series of prints entitled ‘Disasters of war’ and the additions made by the Chapman brothers to these iconic works. I hope that in doing so, I could convey some fraction of the horror that the Spanish master and contemporary British duo command. I failed to do so. I also gained inspiration from the prints and drawings by both Louise Bourgeois and Tracey Emin, in an attempt to imbue my drawings with a similar emotional potency. I (mostly) failed to do so. My painting was stylistically influenced by the neo-expressionists such as Jean Michel-Basquiat but also Robert Rauschenberg (who, despite not being considered a neo-expressionist, probably influenced Basquiat).


Stephen Powell at Coastal Gallery Lymington

Stephen Powell at Coastal Gallery Lymington

Duende Moon Stephen Powell Top

Above and Below: Stephen Powell, Duende Moon Series. Acrylic on Canvass

Stephen Powell has been exhibiting with Coastal Gallery Lymington for a number of years and his work always produces a liveliness of colour and form. His works display an extraordinary talent for bringing together bold shapes, hard edges and an expressively wide range of mark making skills in a coherently beautiful whole.

‘My work is not abstract in total. I always have subject matter and try to get closer to it through the use of a broad vocabulary of mark making, linked to considered use of colour and composition’.

Stephen is a painter and printmaker who works from his studios in the New Forest or in the South of France. His intention is to paint things that exist but can’t be seen, such sound or a feeling. He reacts to the colour and composition as it confronts him on the canvass and feels that painting and the desire to leave a mark is an instinctive action. Stephen has described his creative process as being most creative when it’s ‘walking a tightrope with disaster’.

While Stephen might provide a rough signpost for his own intentions through use of a title, he keeps his directions purposely vague to allow the viewer to create and interpret the paintings for themselves. Standing in front of one of his works is a fun and creative challenge to the viewer, where there are no wrong answers.

Coastal gallery Lymington are delighted to exhibit a selection of Stephen’s stunning work and are happy to facilitate a moment of contemplation should you wish to experience some of Stephen’s work for yourself.

Duende Moon Stephen Powell bottom