It’s become an annual pleasure for me, dealing with the Law Society Art Group and its members around the group’s annual exhibition. I’ve often published a review before the guest judge announces winning and highly commended works – checking for overlaps is a parlour game that cheers some of the group’s members.

I didn’t get to publish first this year, having only seen the works online. So the pressure’s off, but I still enjoyed the trip to the adult education college in Richmond, London, where the exhibition is hosted.

I’d picked out Louise Sweet’s ‘Leap’ as a favourite online, and wasn’t disappointed – a spare work in oilstick. Three figures seem to be acting something out – a commentary on something, and that thing probably depends on your mood when you see it. Does the figure on the right have its head made heavier with a crown?

In contrast, there is a small, detailed oil by Stephen Dodge, ‘Rosedale Heights’, which has a nice treatment of light on a US street sign, backed by blossom.

Two oils depicting the Isle of Wight merit a mention – a small painting by Homa Wilson has a muted pallet than nicely captures twilight. Richard Davidson’s much larger ‘Compton Bay, Isle of Wight’ avoids the sort of over-working that can kill a large landscape. It’s very well done.

Another larger oil, David Fraser’s ‘Casole Walls’, takes one straight to Italy – side on to a bulky stone building with wall and greenery to the fore, it has a very good use of perspective.

I’ve liked Ruth Munby’s work before, and her ‘Murder in the Cathedral’ is a colourful oil that seems saturated in darker meaning.

Works in oils predominated this year. But Gary Fraser’s large ‘Dancer in Movement’ (pastel on paper) is excellent – lines like a wire sculture.

Kate Kante’s ‘Joyful, Bethnal Green’ (acrylic) keeps the theme of past works – a photo-like celebration of the texture of London life.

There were a few 3D works, of which Gerald Bates’ stoneware coffee and tea pots (‘non-pouring’) are a joyful, Mediterranean blue, and a textural freeform feel.

Overall, I narrowed my absolute favourites down to five.

Charlotte McCafferty’s oil ‘Spring in Bushy Park’ is a small oil with the loveliest treatment of trees and shadows. Louise Sweet’s ‘Leap’ (see above). Gary Freer’s ‘Dancer in Movement’ and his ‘Springtime Flowers’. And a watercolour, Charlie Adan’s ‘Rural Studies No 1 – Winter’, a village scene in the snow – perfect watercolour technique, and a very effective composition.

Did my preferences overlap with this year’s professional guest judge? I’m afraid for me, imperfectly this year.

‘Most outstanding’ was Rhian Llewelyn’s ‘Morning Light’. Best Oil/Acrylic was Georgia Mallin’s ‘The Sleepers’. Best work on paper, Charlie Adan – but not my selection, ‘Rural Studies No 2 – Ireland in Winter’. David Fraser’s ‘Casole Walls’ (see above) won the Jon Corballis Landscape award (Jon was the much missed late Group chair). The Edgar Duchin prize, awarded to a work based or completed on one of the Group’s trips, was won by Ruth Munby for ‘Northcourt Gardeners’. Gary Freer’s ‘Torso in Florence’ was best 3D piece.

A full list, including the runners up, can be read here: Law Society Art Group Facebook.

The exhibition runs until, and including, Saturday, at the Richmond & Hillcroft Adult Community College, Richmond TW9.

 

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