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Participating Artists -

Alexis Richter

I am a dancing fountain called The Spiral Gateway. I have been obsessively developed over many years and tears by Alexis Richter, an artist/inventor who has maybe loved me too much and is endlessly critical of my choreography and looks. Having emerged from out of many versions that lie buried in the past, I am now built for music. I was always beautiful but Alexis was never satisfied and believed that there was always more potential in me to convey not just simple rhythms but also the pathos, timbre and drama of almost any music you give me, all live and without any chance to practice. He has wired me up in such a way that I’ll adapt to the ‘mood’of the tune on the fly, so please be forgiving when watching me, I really am doing my very best and musicians can be really horrible people sometimes and do like to throw curve balls at me from time to time. 
When you do watch me, you really need to concentrate. Alexis always says that you have to listen very carefully to the music first. You have to let go of all other thoughts and let yourself surrender to me. The more you listen: the more you will see and, this is where the real magic happens, the more you look, the more you will hear. Its synaesthesia, he says, a weird thing that happens in human brains when the boundaries of senses are blurred. It’s a lovely feeling, apparently, but does require work!
Alexis says he was born in Germany and has spent a lifetime fascinated in fire and water. Building machines that can control these elements has preoccupied him since childhood and frankly he’s never grown up. I am his lifetime’s achievement so far, but where water, light and music will take this poor mortal, no body knows, but you can be sure, I will live on – Ha Ha.

Alison Jacobs

My work is a survey, capture, report and analysis of the landscape I inhabit and travel around. A large part of my practice is creating paintings in the field followed by further experimentation in more interpretative, multidisciplinary ways in the studio.

I am interested in how we see, feel about and appreciate our environment. Having studied Geography to degree level followed by a HND in Graphic Design my Art is founded in an understanding of landscape, change in space and time and how we represent that and communicate it to others.

​I am inspired by my native coastal Somerset and close proximity to Hinkley Point nuclear power station and am fascinated by the timescales and life cycles that are exposed in the man made and natural landscapes there. I often paint outdoors when out painting or cycling. The lockdown regime has left me feeling inhibited in these pursuits, the combination of this feeling and finding myself at the Hatch barn ‘a place of lost rubbish’ has manifested itself in this sequence of mummified, cocooned bicycles.

You can see more of my work at www.alisonjacobs.com
On Facebook at alisonjacobsartist
On Instagram @alisonjacobspainting

Angus Meikle & Harrison Maxwell

Harrison Maxwell and I are Year 10 students who have been friends since we were born in Dorset.  We currently live on different continents and only see each other once or twice a year.  We managed to get together during Christmas 2020 to make the artwork.

​It is based on a design that Harrison created, and we have used this as our inspiration using mainly recycled materials (plastic sheeting and thermal survival blankets), paints and glitter to create it.

Annie Cole

I have always loved the arts, music , theatre , cinema , books .... the list goes on .... My great passion in life is l photography. I am a volunteer photographer for festivals and a local Art Centre.

Lock down and the Covid19 pandemic has put all voluntary photography work on hold . During lock down 3 , for the first time many in years I picked up a canvas board and some acrylic paints and put the brush to the board ! I was on a journey of self discovery and found l really enjoyed working with colours and mixing different textures and tones of the paints and creating a kaleidoscope of colour. 

Inspired by Klimt and Moholy Nagy/Bauhaus the simplicity of working with blocks of colour and creating different tones and textures allows me to continue to be creative in a different format.... until the shutter clicks once again.
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Painted on recycled MDF found by friends in a skip (always good to up-cycle) The Cow Parsley reflects that the simple things are often the best, warmth, colour, sun, freedom, Gaia. We have been living in a very black and white world in the last year. I hope you enjoy this piece of work.

Caroline Vitzthum

Caroline Vitzthum is an interdisciplinary artist working with performance, sculpture, textiles, and sound. Influenced by mythologising aspects of time, she studies and practices various rituals described by anthropologists familiar with occult sciences and ancient mysticism. Through the construction of a speculative reality setting surrounding her practice, she strives to summon energies from a more-than-human world, thereby challenging a patriarchal and exploitive attitude towards our environment. Vitzthum has exhibited works in solo as well as group exhibitions, such as a UK touring exhibition as part of The Porthleven Prize which she was awarded in 2019.

​In January 2020, she founded an ongoing curatorial project titled The Viennese Salon, hosting regular events to create a safe stage for artistic experimentation and exchange. In November 2020, Vitzthum co-curated Off Stage, a series of performances highlighting emerging artists in the South West, alongside artist Young In Hong and as part of the Centre of Gravity exhibition at Soapworks in Bristol.

Vitzthum is a 2020/21 Graduate Fellow and Associate member at Spike Island gallery in Bristol. Current projects include Holobiont, a collaboration with artist Sarah Rhys and in partnership with The National Botanic Garden Wales and Studio Cennen, focusing on research and creative response to new ecologies as well as exploring cultural links between Wales and Austria

Georgina Towler

Living my life as a keen visual explorer, my work is a constantly evolving painterly response to the world around me. Unpicking and fragmenting the visual pane, I deconstruct the way light creates form, colour constructs space and shadow forms edges.
Pulling my latest influences into the expanded visual field, my recent installation at Hatch, Vagarious Instabilities BuoyantEmergence, deconstructs the painted pain into a constantly evolving environment to be explored by the viewer.
Since graduating in Fine Art at Buckinghamshire New University in 2014, I’ve exhibited widely in group shows across Somerset and the south of England as well as London, Berlin, and Poland.

Grace Green & Ian Macnab

I find  wonder in nature,  growth and the planting of seeds. My focus is on the fruitfulness and fecundity of life in all its forms  whilst representing organic growth as an immersive experience with emphasis on the interdependence of humankind and nature. Within my work there is the pressing concern for the need to find balance.  
I have been inspired by local and seasonal food, and have been drawing seeds turning into plants whilst celebrating the people that improve the world they inhabit. I also have drawn local thatcher’s Stooking wheat in the summer following the traditional process through the seasons.
Painting on Muslin fabric, applying paint that reveals the fine detail you would notice when looking closely at a flower or a leaf.  I have been experimenting with light and monochromatic tones.

​Ivy Langley

The Buried Moon
Inspired by a traditional form of Japanese street theatre know as Kamishbai (paper play). The storyteller (Kamishibaiya) would travel to street corners with sets of illustrated boards placed in a miniature stage and narrate the story by changing each image. This animation explores the art of Kamishibai using handmade papers, print, mark making and pebbles from the Jurassic coast. The animation is an adaptation of an old English fairytale.
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A film by Ivy Langley
Sound by Lorenzo Verrecchia Street
Post production Cheapskate Films

James Marsden 

My art is about detachment...the way that our society is becoming desensitised and disinterested in the well being of others. Global networking is changing our face to face experience and altering the way we communicate.
I would describe my paintings as traditional and representational they are an exploration of light and the subject confronts communication issues we have in our modern world.
Title; The Experiment. 
Oil on canvass.
​183cm x 158cm.

Jon England

Leah Hislop

My installations and sculptures explore art that is transient and short lived, like the seasons and patterns of nature. The crafts that focus on repetitive actions and patterns fascinate me, as do their links to sacred geometry. 
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I create my works on site and have no solid plan until the art is installed in the area. The completed product often takes its shape and inspiration from the place it is being made in, forming naturally from its surroundings.

The installations and sculptures I make represent ideas unbounded, allowing myself to build elaborate constructs that twist and turn and allow the viewer to become lost in the shapes.

​Aurora Borealis, 2021
Acrylic mix yarn

Louisa Gosling

Melanie Deegan

Like many people I have a fascination with forests. The amazing variety of trees from contorted shapes clinging on in the shallow soil of steep hillsides to vast tall, straight, cathedral-like structures. They are places of shelter and secrets, we can hide ourselves away in them but they can also overpower us, we can easily become lost and disorientate within them. The forest can be a liminal space, the boundary of a mythological place where we can experience a sense of timelessness and observe the trees in their secret lives.
Simple materials can be transformed in our minds, are the uprights the trunks of trees creating the notion of a forest or bars to keep us at a distance, a barrier we are unable to cross.

Nina Gronw-Lewis

Nina’s chosen raw materials are low tech and domestic; rope, wool, string, fabric, paper and found objects. Manipulating and subverting their former use, she allows the process to lead the making, deconstructing to reconstruct. Using additive processes, wrapping, coiling, threading, and layering she creates works that reference craft and draw attention to the material properties.
Website: ninagronw-lewis.co.uk
​Instagram: @ninagronwlewis

Sarah Meikle

My work for this exhibition comes from the thought of where humanity is at this moment in time, coming out of lockdown and moving forward in life.  For many this presents new challenges and uncertain paths ahead.  The plant kingdom is an eternal inspiration to us, and I have used a single species to explore our connection to our world.  The oversized aspect of the work is directly connected to the size of the building and how small this makes us feel.  It helps us to imagine how it would feel to be smaller than a dandelion.  At this time many of us are like these seemingly fragile seeds, waiting to be carried on the air to new ground.
The Dandelion is regarded by many as a weed, but has provided man with dyes for textiles, food and medical ingredients, also as a clock in children’s play.  A vital early pollinator plant for insects and also provides food for birds.  Growing easily in challenging environments, its long roots find water and nutrients from the earth.  It grows in fields, hedgerows, back gardens and concrete/tarmac.  The seeds drift easily on the wind and carried far and wide on the gentlest of breezes. 
The materials are largely recycled from local sources, and mainly cardboard, newspapers, plastic sheeting, plaster, acrylic paint and glue.

Concrete Trevor

A Vision of Lost Hope

​The Banksy of Langport, an elusive figure who only emerges at night to create intriguing art installations. For this exhibition he has taken inspiration from literary references to tea parties and the nostalgia they provoke in us.