The Winter Tree, Standen House and Garden, West Sussex

Raising eyebrows at Standen House this Christmas is a unique festive tree designed by Dame Zandra Rhodes and Andrew Logan. Decorating the tree has brought together their shared passion for vibrant, fun and innovative designs. Smothered in pink ribbons and adorned with colourful gifts - including mirrors and toys - The Winter Tree stands proudly in the courtyard by the entrance to the house. Logan, a prominent yet unconventional sculptural artist, "immediately thought pink" when he was asked to help create the tree. Rhodes, one of Britain's most celebrated fashion designers, who often dies her hair pink, was unlikely to disagree with his choice of colour!

The Winter Tree is not just a celebration of Christmas, but also a "celebration of life." Standen House was a family home whose owners often extended their generosity to the local community at Christmas. The Winter Tree has maintained this tradition by inviting local families to choose gifts to fill the baubles. Rhodes wanted the tree to act as a tribute to Standen House. The National Trust property is renowned as a treasure trove of Morris & Co. designs, including its furniture, wallpapers and fabrics. In a similar vein, The Winter Tree features UK-designed homemade decorations, embodying the same ethos that was behind the arts and crafts movement.

Visitors can also enjoy a display of Christmas through the ages inside the house. Each of the rooms downstairs has been decorated to showcase Christmas trends from a different decade, stretching from Victorian times to the present day. It's guaranteed to make even the most cynical feel more festive!

Address: Standen House and Garden, West Hoathly Road, East Grinstead, West Sussex RH19 4NE. For details of admission prices and opening times go to www.nationaltrust.org.uk/standen.

Christmas 2015 Artists Open Houses, Brighton and Hove

Catch the last weekend of Brighton and Hove Artists Open Houses!

This Christmas edition of Artists Open Houses (AOH) has been running for four weekends, ending on Sunday 13^th December 2015. It’s an excellent opportunity to buy arty festive gifts that you won’t find on the high street.

Featuring over 50 venues, the AOH festival is spread across Brighton and Hove and even extends to the surrounding villages of Rottingdean and Ditchling. Not only is it the largest and oldest event of its kind in the UK, but it also takes place twice a year, in May and December.

Over the years AOH has diversified beyond the original concept of artists presenting works in their own homes. Today the full range of venues encompasses houses, workshops, studios, commercial galleries and pop-up shops. Here are some of the favourites this Christmas:

11 Rugby Road

Brighton BN1 6EB

An Aladdin’s cave of festivity and creativity greets visitors at 11 Rugby Road. Dan Mackey’s contemporary graphics can be seen on the walls, while cards, jewellery and other crafts fill every nook and cranny. Adam Johnson’s marine-inspired ceramics appear as tentacles on the landing and  “crunckles” (sea urchin-like tea light holders) glowing in the bathroom. The kitchen has been transformed into a “candy wonderland”, overflowing with sweets, chocolates and cupcakes amid the gentle aroma of mulled wine. Proceeds from the sale of these sweet treats are going towards Superstar Arts, a charity that specialises in projects for adults with learning disabilities.

Glass in Fusion

Unit 9, Beaconsfield Studios, 25 Ditchling Rise, Brighton BN1 4QL

Close to London Road station is a maze-like complex of studios where glass artist Stephanie Else is based. Her kiln-formed works use a combination of transparent and translucent glass, embedded with metal fragments that shimmer in the light. Jewellery, bowls, coasters, wall panels and sculptural pieces are all part of her bold and colourful repertoire. Unsurprisingly the bestsellers have been the delicate glass snowflakes that dazzle as they hang on ribbons. A few pop-up shops can also be found in Beaconsfield Studios, selling textiles, jewellery, leather accessories and other gifts. Sophie Darling’s intricately detailed hand-printed scarves and kimonos are a must-see.

Atelier 51

51 Providence Place, Brighton BN1 4GE

Atelier 51 is an exciting new venture just opposite St. Bartholomew’s Church. Here five artists have opened their recently created workshops for the public to browse. The ground floor features quirky ceramics by Elaine Bolt and Silvia K, which sit among the kilns and tools used to make them. Walls upstairs are adorned with the mesmerising “paperscapes” of Rhoda Baker and Sarah Young’s imaginative screen prints. The venue is also showcasing the works of 22 guest artists and makers, providing a real feast for the eyes.

Bailey & Daughter

Flat 4, Grand Avenue Mansions, Grand Avenue, Hove BN3 2NA

Geoff Bailey’s atmospheric photographs fill the walls of this tastefully decorated apartment. They convey the sights from his many travels, including Bali, Provence and Cuba. Bailey’s love of the medium is obvious, as is his fondness for the places and people he portrays (including those here in Brighton). In one of the bedrooms are beautiful life drawings and paintings by his daughter, Samantha, as well as contemporary jewellery by Rosalind Winnard. The hosts are welcoming folk, offering mulled cider to guests in dinky handmade cups.

The Claremont

13 Second Avenue, Hove BN3 2LL

This five-star Victorian hotel is one of the more unusual venues on the AOH list. Works by over 30 artists are displayed throughout the building, including the communal areas, a few bedrooms, and even the bathrooms. Art works have been chosen to compliment the décor in the rooms, creating an ambience that surpasses that found in many hotels. All tastes are catered for with an eclectic mix of media and subject matter, plus tasty seasonal complimentary fare.

The Christmas AOH festival runs until 13^th December 2015. Most venues are open 11am until 6pm Saturdays and Sundays, but opening times may vary (check the online brochure at www.aoh.org.uk).

From The Studio Floor, Ipswich Town Hall, Suffolk

This weekend Ipswich Town Hall plays host to an exhibition of new works by amateur and professional artists with links to Suffolk. Sponsored by MLM consultancy, From The Studio Floor follows on from the original Bermondsey show of the same title that took place in May. For the Suffolk edition of the show each artist has displayed a single exhibit to demonstrate their typical work and any current projects they’re undertaking. These contemporary works, in a range of media, are strikingly juxtaposed with the traditional art adorning the walls of Ipswich’s iconic town hall. The end result is a unique smorgasbord of creativity.

Exhibition highlights include installation work by Lloyd Evans and Mark Aaron, whose mesmerising light and sound collaborations grace the walls of the café and staircase to the gallery. Machin by Spadge Hopkins also attracts visitors, who are allowed to touch this seemingly dysfunctional set of mechanical components to make them rotate on bearings. Yet the real stars of the show are the numerous paintings glowing under the spotlights. Paintings like the beautifully depicted night sky by Mark Batty, or the stunning seascapes by George Sarson and Jessica Oliver. The portraits in the exhibition are also of a high standard, especially Leigh Hammett’s version of Sassoferrato’s Virgin Mary. Equally as arresting is Ania Hobson’s Thom - one of a series of eight life-size portraits that are due to be shown in London next year. She masterfully captures the emotion of the sitter in his chequered suit, unconventionally viewed from his feet upwards. Janice Williams’ Joey and Edna is another honest and sensitive portrait, expressing the interaction between an elderly lady and her pet bird.

With its broad range of styles and subject matter there is something for everyone in this free exhibition. What’s more, the central location makes it an ideal place to stop for passing shoppers and those on their lunch break.

From The Studio Floor is on show between 11am and 5pm until Sunday 15th November 2015 in Gallery 3, Ipswich Town Hall, King Street, Ipswich, Suffolk IP1 1DH. For more information go to www.fromthestudiofloor.co.uk.

Bloomsbury murals at Berwick Church, East Sussex

Walking through the village of Berwick in the South Downs you might pass through the churchyard and not even consider looking inside the small church. This would undoubtedly be a mistake because hidden inside this unassuming building is a real feast for the eyes. The walls are adorned with colourful murals painted by artists in the Bloomsbury group. Many of the paintings are by Duncan Grant and Vanessa Bell (sister of Virginia Woolf), who lived just a few miles away at Charleston Farmhouse. They were inspired by their travels to Italy where they had seen the mosaics at Ravenna and frescoes by Piero della Francesca at Arezzo. When Bishop Bell of Chichester invited them to paint the inside of the church they must have relished the opportunity, leaving few walls and panels untouched.

A range of biblical scenes are portrayed by the murals, including the Crucifixion (The Victory of Calvary, 1944) by Duncan Grant, featuring a suitably avant-garde choice of a blue cross on an orange background. Vanessa Bell was given the task of painting scenes such as The Annunciation (1941) and The Nativity (1941), which have a gentle and serene quality. Her son, Quentin - whose painting style was distinctly more Victorian - undertook paintings in the Chancel, such as the Sacraments, plus The Supper at Emmaus (1944), located at the east end of the north aisle. Family and friends were also involved, often posing as models for the biblical characters. This was typical of the Bloomsbury groups' method of supporting each others work. When Vanessa's paintings of Saints were sadly vandalised in 1962, other members of the group repainted these panels on the Pulpit. Duncan Grant lovingly decorated it with vases of flowers and fruit based on designs by Vanessa's daughter, Angelica.

Painted during the Second World War, the murals feature a few military references. Yet the artists were keen to create an optimistic feeling in the church, wishing to overcome the horrors of the war. This atmosphere is apparent when you step inside the building and stare in awe at the heavenly images that surround you. But despite the joyful nature of the decorative scheme there is a disjointed look to the set of murals as a whole, mostly due to the artists' differing styles. Moreover, some of the paintings appear whimsical or dreamy, while others are starkly realistic. For some viewers this sense of contrast will be part of the appeal of the murals, mirroring the unconventional characteristics of these artists. Whatever your opinion of the Bloomsbury set, and their artistic merits, this unique church is certainly worth a visit regardless.

The church is free to enter between 10am and dusk, dependant upon any services taking place. Parking is available in the small church car park, or on the land opposite the Cricketers' Arms. It is easy to combine a visit to the church with an excursion to nearby Charleston Farmhouse - open Wednesday to Sunday from March to October.

Address: St Michael and All Angels Church, Berwick village, East Sussex BN26 6SR.

Two remarkable London sculptural installations - The Rising Tide and The Tower of Babel

There are few cities in the world where you can witness life-size horse sculptures being submerged by a tidal river, or stare at miniature bone china shops piled high in a precarious-looking tower. London is the temporary home of both of these unique sculptural works.

The Rising Tide

Those who wish to see the Thames horse sculptures have only a few days left to do so (they are in-situ in Vauxhall until 30th September). Visitors will also have to view them around the time of low tide to be able to fully glimpse the sculptures before they disappear into the water. Up to two hours either side of low tide will allow this (go to the website www.totallythames.org for more detailed information).

The Rising Tide riverside installation encourges thought about climate change, rising sea levels and the condition of the planet's natural resources. Each of the four horses has an oil pump instead of a head, alluding to the problematic nature of relying on fossil fuels. Two of the horses heads are lowered in a grazing style- as though they are taking oil from the riverbed itself. It is no coincidence that their riders are men in suits, portraying the businessmen or politicians who are sitting back and allowing environmental degradation to happen all around them. The other two riders are children, representing innocent future generations who might suffer as a result of such negligence.

The artist who created these sculptures - Jason deCaires Taylor - has spent much of his working life championing the merits of the earth's waterways. As a diving instructor, naturalist and award-winning underwater photographer his understanding of this environment is second to none. Taylor is most famous for creating the world's first underwater sculpture park off the coast of Grenada. He also co-founded a museum near the coast of Cancun, where over 500 of his sculptural works can be seen submerged beneath the sea.

The Rising Tide was commissioned by Totally Thames - a September-long festival celebrating the river. The cement Shire horses are working horses deliberately chosen to highlight the industrial history of the Thames. They conjure up images of a time when the river was a key resource for manufacturing and transporting goods. Their location is also very appropriate.  Just across the Thames are the Houses of Parliament - where laws are made that impact on the river and the city it supports.

The Rising Tide can be viewed from the riverside walkway next to 87-90 Albert Embankment, Vauxhall, London SE1 7TW (nearest station is Vauxhall).

The Tower of Babel

Not too far away is another unique sculptural installation, which is free to view at the V&A. The Tower of Babel is located close to the Grand Entrance of the museum. It is made up of 3000 bone china shops depicting real shop fronts found in the Capital. The artist - Barnaby Barford - cycled over 1000 miles to photograph the shops in each of London's postcodes. He then constructed a 6-metre-high tower, placing the lowest value shops at the bottom, with the higher-end retail outlets towards the top.

Visitors can look closely at the pound shops and bargain stores at the base but struggle to see the ones near the tip of the tower (without borrowing special V&A binoculars). This deliberately mirrors the real-life accessibility of the shops, with the most expensive being out of reach for many. It is a comment on the nature of retail in the Capital and the material aspirations of its consumers. Each of the fine bone china shops, manufactured in Stoke-on-Trent, is available to purchase exclusively from the V&A. Needless to say the high cost of each one, priced between £95 and £6000, is an ironic case of life imitating art!

The Tower of Babel is on display until 1st November in Gallery 50a.

Artwave 2015, East Sussex

Hurry to Sussex for the final weekend of the 2015 Artwave festival!

Sunday 6th September is the last day for viewing art in a fantastic range of East Sussex locations including artists’ homes, studios, gardens and galleries. Over 100 venues are taking part, showcasing works as rich and diverse as the many artists and ideas behind them. This is the perfect opportunity to purchase affordable works of art direct from the makers and sample plenty of tea and cake along the way!

Currently in its 22nd year, the Artwave festival is going from strength to strength, featuring fresh art trails for 2015. The largest of these, the Lewes trail, is surrounded by smaller trails encompassing satellite villages and the coastal towns of Newhaven and Seaford. It’s easy to see the inspiration behind much of the creativity that takes place here, with the South Downs or stunning seascapes as the backdrop for these idyllic locations.

The Artwave Favourite Awards have been newly introduced this year, allowing visitors to vote for their favourite artists and venues. Visit www.artwavefestival.org for more details.

Sculpture on the Suffolk coast

I recently had the opportunity to view one of Antony Gormley’s sculptures while visiting family in Suffolk. The seaside town of Aldeburgh is the temporary location for one of five installations (called LAND) produced by the artist to celebrate 50 years of The Landmark Trust. Gormley’s life-size human figure stands precariously on top of the Martello tower at the Slaughden end of the town. The tower was built in the early 1800s when it was feared that Napoleon might invade, but has since been renovated by the Trust for use as holiday accommodation. Three of the four remaining sculptures are also located on coastal sites. They are intended to convey an environmental message in addition to highlighting The Landmark Trust’s achievements in rescuing and maintaining old or unusual buildings. In true Gormley fashion the cast-iron figures are symbols of our industrial past, exploring the relationship between man and nature. 

The Aldeburgh figure looks out across the North Sea with folded arms as if to suggest it is defending this spot, thus mirroring the original purpose of the tower. Yet there is a more 21st-century reason for this act of defiance – the need to repel the advances of the sea itself. It acts as a poignant reminder that coastal erosion and flooding can pose a serious risk for the local population in this area. With location choices like this, Gormley raises questions about climate change, asking us to consider how humans might respond as the “inheritors of an Industrial Revolution” (artist’s own words)…a sobering thought for a day out at the sea.

Situated further up the shore is another sculpture by a well-known British artist. The beach between Aldeburgh and Thorpeness is home to Maggi Hambling’s notorious Scallop. The undulations of the stainless steel structure famously catch the light in a way that evokes “wings rising in flight, swimming fish and the ripple of waves” (Suffolk Coastal website). Like Gormley’s work this scallop shell encourages a “conversation with the sea” (artist’s own words). Hambling’s design allows a visitor to sit at the centre of the sculpture and “contemplate the mysterious power of the sea.” 

Scallop was placed on this stretch of beach as a tribute to the Lowestoft-born composer Benjamin Britten. Pierced through the steel structure are the words “I hear those voices that will not be drowned.” These words are taken from the opera Peter Grimes, which Britten wrote about the life of a fictional local fisherman. The siting of Scallop is reflective of the inspiration he drew from the sea during many years spent living and working in the area.  

Some feel that Scallop spoils a natural landscape, contesting the siting of the sculpture, which is now owned by the District Council. Since its installation in November 2003 the shell has been vandalised on numerous occasions and had petitions raised against it. Some believe it should be moved to nearby Snape Maltings – home to a renowned concert hall, art galleries, shops and restaurants. However, it is sad to think that works of art like this should only be confined to the spaces of traditional cultural venues. Part of the allure of Scallop is the fact that it is boldly situated amongst the elements – a fitting tribute to a national treasure that is built to withstand winds of up to 100mph.

Those who contest the placement of public art might be reluctant to admit that the extra visitors and income attracted by the works are important for tourism-reliant local economies.  Perhaps the best way to please all parties is to commission pieces that are temporary, such as the aforementioned sculptures by Gormley. A recent competition launched by Snape Maltings may have found a solution to future dilemmas like these. They have asked designers to provide ideas for a child-friendly sculpture that can be taken down and moved around. It is hoped that the finished piece will tour the region – another benefit of a temporary structure. It will also encourage children to interact with the work and pay attention to its surroundings. This idea was inspired by the fact that children have always enjoyed climbing on the sculptures at Snape Maltings – the names Barbara Hepworth and Henry Moore hold little resonance with them. It will be interesting to see what design is chosen and how it will be received by a younger, more open-minded, audience.

To follow the progress of the Children’s Viewing Sculpture Competition check this website.

Antony Gormley’s sculpture can be viewed at Aldeburgh’s Martello tower until May 2016. Tours of the roof terrace, allowing closer inspection of the sculpture, plus holiday accommodation inside the tower, can be booked via www.landmarktrust.org.uk.

The four other sites where Gormley’s LAND figures are freely accessible are:

Clavell Tower, Kimmeridge Bay, Dorset
Lundy Island, Bristol Channel
Saddell Bay, Kintyre Peninsula, Scotland
Lengthsman’s Cottage, South Stratford Canal, Warwickshire