jeremy gardiner - a panoramic view

Jeremy GardinerA Panoramic View


Pallant House Gallery, 13 March to 31 May 2010

All works are available for sale. For further information and prices please contact Paisnel Gallery

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9 bury street • st. james’s • london sw1y 6ab tel 020 7930 9293email [email protected] www.paisnelgallery.co.uk

Jeremy Gardiner’s painted panoramas present a deeply personal

response to the landscape of the South of England, in particular the

geology and natural forms of the Jurassic Coast. The complexity of

his paint surfaces, his subtle colours and the multi-faceted layers

of his reliefs reveal a feeling for landscape that moves beyond the

purely visual.

In his paintings and digital installations, Gardiner has continued

and developed the engagement with the landscape that is shown

in the work of artists whom he admires, such as Peter Lanyon,

Paul Nash, Ben Nicholson and John Tunnard. A guiding principle

at Pallant House Gallery is to present the work of contemporary

artists in a meaningful dialogue with our permanent collections

and temporary exhibitions of modern and historic art. We are

therefore delighted to be able to show a group of Gardiner’s recent

landscape paintings to complement the exhibitions ‘St Ives and

Beyond’ and ‘John Tunnard: Inner Space to Outer Space’. Indeed, it

is particularly rewarding to be able to compare at close quarters the

material affinities between Tunnard’s technique of incising into the

painted gesso and oil surfaces of his pictures and Gardiner’s own

experimental techniques.

We are grateful to Stephen and Sylvia Paisnel, the Directors of the

Paisnel Gallery in London, who have been so supportive of this

exhibition and publication, to Peter Davies for contributing a

perceptive catalogue essay and to Jeremy Gardiner himself for his

great enthusiasm and assistance.

Simon Martin

Head of Curatorial Services

Pallant House Gallery

Foreword

detail: Tilly Whim Caves

Jeremy Gardiner’s group of characteristic landscape

paintings from the recent Jurassic Coast series form an

ideal accompaniment to contemporaneous John Tunnard

and St Ives exhibitions at Pallant House. In particular,

Gardiner’s powerful and spatially probing and texturally

explicit pictures creatively transform the lessons learnt

from pioneering modern British landscape painters such

as Tunnard, Ben Nicholson, Peter Lanyon and Alexander

Mackenzie or from Richard Diebenkorn in the United

States. This results in a body of post-millennium work

that extends the radical achievements of these artists

by introducing a new conceptual rigour and technical

repertoire informed by science, geomorphology,

computer animation, photography and direct physical

engagement with an ancient Dorset landscape that has

exerted its magic since Gardiner was a boy.

Given Gardiner’s driven and quasi-scientific explorations

into the landscape of the Dorset and Cornish coastlines –

resulting in solo exhibitions at Belgrave Gallery, London

and St Ives, in ‘The Coast Revisited’ comprising 12 years

of work at Paisnel Gallery, London and at Dorset County

Museum, Dorchester − it is a surprise to learn that the

artist’s attained and mature ‘romanticism’ is preceded

by early interest in the theme of machines and the

northern industrial landscape. Educated at a military

boarding school, Gardiner studied fine art during the

second half of the 1970s at the University of Newcastle-

upon-Tyne, a renowned centre for experimental

excellence, where Victor Pasmore, Richard Hamilton

and others had famously introduced into British art

education, even pre-Coldstream Report, Basic Design

principles derived from the Weimar Bauhaus. Gardiner’s

Professor, Kenneth Rowntree had an important impact,

continuing both the experimental tenor of the college

and his figurative landscape painting. As Gardiner later

explained, these self-critical rigours led to a situation

where “I learned to question the significance of every

mark I made.” And for Gardiner, significant form, to use

Roger Fry’s celebrated term, meant incorporating the

iconography of bridges, shipyards, factories or machinery

to accommodate the architectonic dictates of pictorial

composition. The creative spark and frisson between pure

form and evocative thematic content, vital to both the

early industrial and later natural landscape phases, would

remain a productive and integral part of his artistic ethos.

Gardiner’s early works, produced on the cusp of the late

and post industrial worlds, were every inch a product

of their late modernist time. The translation of colour

into powerful, iconic, mechanical structures fulfilled

the stylistic conventions of late 1970s abstract painting,

although the persistence of first industrial and then new

technological sources and processes kept his work on the

move. Ironically, however, the greatest change witnessed

a return to the subject of the natural environment, a

development that chimed with the critic Peter Fuller’s

ideological retrenchment and reclaiming of the romantic

British landscape tradition during the 1980s. Gardiner’s

particular return to landscape also owed much to the

visionary art of John Tunnard (1900-71), whose national

touring exhibition during 1977 Gardiner saw as a student

at Newcastle’s Laing Art Gallery.

After Tunnard: Jeremy Gardiner’s Temporal Landscapes

There are tangible artistic affinities between Tunnard

and Gardiner making their concurrent exhibitions at

Pallant apt. Both artists have fashioned a reconstructed

landscape of visionary intensity using abstract, post-

cubist planes. But, while the older artist’s work is

informed by his previous life as a textile designer and by

the pre-war absorption of constructivism and surrealist

ideas – yielding an idiosyncratic and even wacky mix

of biomorphic, technological or musical subject-matter

– Gardiner’s outcome is more plainly topographical and

associated with a specific place as a product of history.

Gardiner’s physical take of landscape is replicated in the

deep incisions and jagged shards of impastoed paint that

constitute his heavy relief-like poplar wood surfaces.

More robust and indeed sculptural than Tunnard’s

decalcomania or frottage, these surfaces accommodate

archaeological and geomorphological perspectives.

To this sense of landscape as a geological product of

timeless evolution, Gardiner adds, eccentrically, a tiny

piece of site-specific human geography, the miniature

architectural features belonging to the present human

social landscape. In ‘Lighthouse Anvil Point’(cat 3), distant

detail including the lighthouse appear like small defining

insignia on vast crumpled garments. Similarly Gardiner’s

scenarios carry a distant climatic, atmospheric or seasonal

signature tune so that the grey green colour schemes

of ‘Mupe Bay’ (cat 9) or the bright yellows and oranges

of ‘Spring, Durdle Door’ (cat 12), vividly evoke sublime or

tangible moods of a neo-romantic kind.

After studying in Newcastle, an Arts Council-sponsored

‘Artist in Industry’ fellowship first enabled him to work in

the Bridon Wire Factory, Doncaster. This culminated in a

four-man show with David Barker Walker, Mick Martin

and Michael Aitkin that toured northern museums.

Gardiner’s professional commitment as a working artist

in the proletarian mode of Fernand Leger in France

impressed Marxian pro-workers tutor, Prof Peter de

Francia at his interview for the Royal College of Art

London, where he went on to study from 1980-1983 again

under his ‘Artist in Industry’ fellowship.

In response to the industrial fellowship Gardiner declared

that the, “industrial environment is changing so it is

important to make some visual record of it” and also that

the “images are not representational, they are reactions.”

Powerful pictures such as ‘Extractor’ (1979) recalled Charles

Sheeler or Richard Diebenkorn in America and it was

indeed to the American scene that Gardiner’s work would

soon ‘react’ during the Royal College years and after.

During a 1977 student exchange scheme that saw

him work, for a summer, in a New Jersey bowling

alley, Gardiner saw an influential Diebenkorn show in

Manhattan. Other artists such as Sean Scully and John

Walker, who preceded Gardiner as Harkness Fellows,

inspired his sense of scale and architectonic power. As an

RCA student during the early 1980s, Gardiner also made

further forays into industry, visiting the Parsons Turbine

factory, car production plants in France and Italy and the

General Electric Research Centre, Wembley − experiences

that he described as a “visual feast”. His 1983 degree show

sold out; and the large orange and grey ‘Coast of Africa’

was acquired by the Sickert specialist Wendy Baron for the

Government Art Collection.

Gardiner had conducted his rapport with industry

and science in the spirit of Joseph Wright of Derby or

of wartime Stanley Spencer. The link between science

and modern art was also self-evidently present and

in response to computer science and other high tech

innovations, Gardiner used Computer Graphics. Churchill

and Harkness Fellowships during the mid 1980s took

Gardiner back to North America where he would largely

remain for the next decade and a half. He worked as

Artist Fellow at the Media Lab of MIT. Receiving further

awards and embarking on a teaching career in the US

(he taught at Pratt Institute, New York from 1986 to 1993),

Gardiner did not return to the UK until shortly before

the millennium, settling with a young family in Bath.

Although his distinguished teaching career continued

in Britain (he is currently a Senior Research Fellow at

Birkbeck College, London), Gardiner’s return heralded

a new focus on British landscape, conceptualised as a

compacted and fossilised record of its own natural and

man-made evolution.

Gardiner’s response to globalisation and to his having

spent so long in the United States was, ironically, to go

‘local’ and to embrace wholeheartedly a small 90-mile

section of the terrain and investigate it with the passion

of a native but the objective scrutiny of a newcomer. After

returning from Singapore aged five, Gardiner did in fact

grow up in south-east Dorset. Re-visits to Swanage in

1990 and again in 1998 (he rented a flat near to where

Paul Nash lived during the mid 1930s) yielded the ‘Ballard

Point’ series exhibited at Belgrave, London in 2000.

The later ‘Jurassic Coast’ series followed featuring the

ancient stretch from Ballard Point in the east to Lyme

Regis in the west. The series included pictures exhibited at

Pallant such as: ‘Evening East Cliff’ (cat 2), with its vividly

dark orange stepped cliffs; the weeping turquoise and

steel grey composition ‘Clavells Tower’ (cat 4), and ‘Arish

Mell’ (cat 8), an irregular tableau-like object akin to a

‘found’ archaeological relic.

Gardiner’s ‘oeuvre’ therefore alights on a few doggedly

pursued epic themes treated in an exhaustive series.

The sensed specificity of a recognised ‘place’ is

counterbalanced by an awesome anonymity, the generic

factor of change and evolution over geological time spans

crystallised in present form. Gardiner’s landscapes share

with those of John Tunnard a visionary dimension. The

younger man treats a familiar vista of coastal topography

with a post-cubist planarity tied to shallow pictorial

space. Tunnard, on the other hand, informed both by the

naturalist’s eye for organic distortion and metamorphosis

and by the coastguard’s experience of the sea observed

as an infinite receding plane, disrupts the integrity of

the picture plane through transparency and a feeling

for deep, illusionist, even astronomical, space. Tunnard’s

prescient ‘Leonardoesque’ inventiveness puts his work

on the cusp of modern art and science; more than half

a century later, by contrast, Gardiner’s sensibility is one

that informs an increasingly ecological take on nature

and landscape and on man’s vital but fragile place

within it.

Peter Davies

November 2009 detail: Summer Storm and Sunlight, Old Harry

1. Summer Storm and Sunlight, Old Harry

Acrylic & mixed media on poplar panel

23 x 48 ins (58.00 x 122.00 cms)

signed & dated 2009title inscribed verso

When Paul Nash wrote the Shell Guide to Dorset, in 1935, he was living at No 2 the Parade, in Swanage, the first floor flat of a Victorian Terrace on the sea front. Number 2 is now a holiday let. In 1992, I started to rent it and paint from the balcony. I worked indoors, looking from relative darkness at the brilliant light on Swanage Bay, from an enclosed place to a vast expanse of sea and sky. From this balcony and Swanage Pier, I have seen the clouds darken the sky and sunlight spill through onto the chalk face of Old Harry across the bay. The horizontal plane of the bay and the oblique shafts of light create a unique spectacle, but the weather changes and the scene is gone as quickly as it has arrived.

2. Evening, East Cliff


23 x 48 ins (59.00 x 122.00 cms)


The vertical banded face of East Cliff overlooks West Bay, the sheer 100 feet cliffs rise up from a beach of shingle. The East Cliff, although barely a quarter of the height of Golden Cap, is impressive for its sheer face and steep end towards the harbour. This painting is derived from a subjective experience of a place by the coast where land, sea and sky meet. It conveys my intimate knowledge of East Cliff beyond its literal appearance; the picture is much more like a portrait than a landscape in any topographical tradition.

3. Lighthouse, Anvil Point


24 x 47 ins (60.00 x 119.00 cms)

signed & dated 2009titled inscribed verso

The Victorian lighthouse at Anvil Point, seen here against a dark sky, was built in 1881 and is now part of Durlston County Park. Approaching it from the north on a summer day, it is always a welcome sight. I have walked along the edge of the cliff, below the lighthouse, on my way to Tilly Whim Caves countless times and still the stark white shapes always take me by surprise, whether it is against a sparkling blue summer sea or a cold grey winter sky.

4. Clavell Tower, Kimmeridge


231/2 x 351/2 ins (60.00 x 90.00 cms)


Built in 1831, Clavell Tower is a cliff-top folly and was the subject of a Shell poster by Paul Nash in the 1930s. It was also the setting for P.D. James’ ‘The Black Tower’. Seen from Swyre Head, the highest point on the Isle of Purbeck, Clavell Tower is only a speck on the coast in this painting and helps create a sense of scale as one looks along the coast to Gad Cliff and Portland beyond. I was walking along this stretch of coast in 2007 when I saw the engineers busy with their theodolites in preparation to move it back from the cliff edge. I painted the picture after it was moved.

5 February Snow, Lulworth Cove


22 x 331/2 ins (56.00 x 85.00 cms)


There were no tourists on the day I saw Lulworth Cove under snow. The cove is a classic geomorphological feature that derives directly from natural marine erosion on rocks of unequal resistance. I have included the ghost of a paddle steamer from a 19th Century postcard in this scene to give a sense of seasons past. Throughout most of Dorset massive bands of rock have been heaved up into a near vertical orientation by unimaginable forces within the earth. Pictured here is the intrinsically beautiful Lulworth Crumple.

6. Durdle Door to Bats Head


221/2 x 41 ins (57.00 x 104.00 cms)


Sometimes my methods of constructing a painting are forced in new directions by my desire to honour specific features in the landscape, such as Durdle Door for example. Structurally, this view shows the northern limb of the Purbeck monocline subjected to enormous pressure from the south. The ‘Door’ or natural arch has been cut by the waves in vertical Portland Stone. Painting this subject, I have tried to give it a presence and personality that sets it apart from the rest of the Jurassic Coastline.

7. Tilly Whim Caves


24 x 241/2 ins (61.00 x 62.00 cms)

signed & dated 2009titled inscribed verso

I first started to go to Dorset as a boy, in summers spent at my grandmother’s house. I would visit the caves when they were open, and it always felt like an adventure. They were later closed when the collapsing roof of an underground quarry made them unsafe. This view with Durlston Castle in the distance is painted from Anvil Point Lighthouse.

8. Arish Mell


231/2 x 231/2 ins (60.00 x 60.00 cms)


I have been painting the Dorset Coast for 30 years. These paintings are based on specific places, they are also about journeys and natural phenomena, and looking at the work invites imaginative travel into the distant past. The shore between Black Rock and Arish Mell should only be visited on a falling tide, for the sea runs up very quickly below Cockpits Head. Chalk of the zone of Actinocamax quadratus stretches from nearly opposite Barber’s Rock to a low bluff on the west side of Arish Mell.

9. Mupe Bay


231/2 x 311/2 ins (60.00 x 80.00 cms)


This view of Mupe Bay on a day in May is from Cockpit Head, which rises sheer above Worbarrow Bay. It is the eastern end of the chalk spine of Bindon Hill and is only accessible when the Lulworth Range Walks are open, usually during the summer. The way I have used colour makes me acutely aware of the changes brought about by season, time and weather, which affect the appearance of Mupe Bay and the surrounding atmosphere.

10. Isolated Stacks, Handfast Point


23 x 18 ins (59.00 x 45.00 cms)


My great-grandfather served the Swanage Hospital as a Doctor from 1895-1925 and my grandmother returned there to live in the 1950s. So it happened that, as a boy growing up in Watford in the 1960s, I used to spend the summers exploring Swanage and taking boat trips to Old Harry Rocks. Nowadays I cycle the cliff path to Old Harry and here the chalk stacks are seen from above. Weaknesses within the chalk have led to the formation of caves that have collapsed to form isolated towering sea stacks.

11. Freshwater Steps


23 x 18 ins (59.00 x 45.00 cms)


“Time passes, listen, time passes”, this quote from Dylan Thomas is carved into a stone bench high on a cliff edge overlooking this dramatic stretch of coastline in Dorset. Freshwater Steps is visible from this spot near St Aldhelm’s Head, where I have spent many hours drawing and painting. A band of hardened shale forms the sill of the waterfall at Freshwater Steps. This view is from the south west and there is no public way up the cliff. The bluff beyond can only be passed at low tide.

12. Spring, Durdle Door


24 x 18 ins (60.00 x 46.00 cms)


For several years now I have been exploring the coast – not only on foot but also on a bicycle, from out at sea in a boat and from above in a light aircraft – in order to see familiar places from unfamiliar perspectives. I have re-visited places such as Lulworth Cove and Durdle Door and these are seen in differing lights and perspectives. Here the sea has punched through the hard barrier of the Portland Limestone, creating the perfect arch of Durdle Door.

1957 Born in Munster, Germany 1962 Family moves back to Dorset1975-79 University of Newcastle Upon Tyne 1979 Receives Artist in Industry Fellowship, Arts Council of Great Britain1980-83 Royal College of Art, London 1984 Receives Churchill Fellowship Receives Harkness Fellowship. Moves to the United States1985 Receive Major Works Grant, Massachusetts Council on the Arts & Humanities1986-93 Taught at Pratt Institute of Art and Design, Brooklyn, New York1987 Receives New York Foundation for the Arts Fellowship Travels to Brazil1988 Receives Prix Ars Prize, Austria1992 Taught at the Royal College of Art, London1993-98 Taught at the New World School of the Arts, Miami, Florida1998 Receives New Forms Grant, Cultural Affairs Council, Florida Moves back to England, lives and works in Bath2001 Travels to the archipelago of Fernando de Noronha in Brazil2002 Receives NESTA grant2003 Receives Peterborough Art Prize2007 Receives Arts and Humanities Research Council grant2008 Receives Arts Council England Research and Development grant Travels to the island of Milos in Greece2010 Receives Arts Council England Grant for the Arts award

selected one person exhibitions

1983 General Electric Hirst Research Centre, London1984 Galerie 39, London1985 George Sherman Gallery, Boston University1987 Compton Gallery, MIT, Cambridge, Massachusetts1990 Centro Cultural Candido Mendes, Rio de Janeiro Museu de Arte Moderna de Sao Paulo1991 Fine Arts Museum of Long Island2000 Belgrave Gallery, London2001 Maltby Gallery, Winchester2003 Lighthouse, Poole Arts Centre2004 Gallery 286, London Maltby Gallery, Winchester Northcote Gallery, London2006 59th Aldeburgh Festival, Foss Fine Art Midtsommerfest, Tysvaer, Norway Black Swan Arts, Frome, Somerset2007 Belgrave Gallery, St Ives Atrium Gallery, Bournemouth University Foss Fine Art, London Campden Gallery, Chipping Campden2008 Paisnel Gallery, London2009 Chelsea Art Museum, New York City2010 Pallant House Gallery, Chichester

Jeremy GardinerBiography

detail: Spring, Durdle Door

selected group exhibitions

1980 Artist in Industry, Sheffield City Art Gallery, (Arts Council touring exhibition)1981 Royal Academy Summer Exhibition1982 New Contemporaries, ICA, London1983 Electra 83, Musee d’Art Moderne de la Ville, Paris Christies Inaugural, Christies Contemporary Art, London1985 State of the Art, Twining Gallery, New York Panopticon, New England Arts Biennial, University of Amherst Emerging Expressions, Bronx Museum of the Arts, New York Self Portraits, The Photographers Gallery, London1986 42nd Venice Biennial, Italy Tradition & Innovation in Printmaking, Barbican, London1987 Emerging Expressions, Bronx Museum, New York Group Show, Casas Toledo Oosterom, New York1988 Emerging Visions, Tibor de Nagy Gallery, New York Summer in the City, Twining Gallery, New York A Kiss is just a Kiss, Twining Gallery, New York1989 Print 89, Arnolfini Gallery, Bristol Ficitve Strategies, Squibb Gallery, New York1991 Virtual Memories, Friends of Photography, San Francisco1994 Nature Morte, Joel Kessler Gallery, Miami1995 ArCade Prints, Brighton University1996 Multimedia Artworks, University of Ghent, Belgium1997 Isle of Purbeck, Silicon Gallery, Philadelphia1998 Landmark, Atrium Gallery, Bournemouth University Royal Academy Summer Exhibition1999 CADE, Historical Museum, Novorsibirsk, Siberia, Russia Belloc Lowndes Fine Art, Chicago Gamut, Colville Place Gallery, London 147th Autumn Exhibition, Royal West of England Academy, Bristol

2001 Maltby Gallery, Winchester Laing landscape competition, Mall Galleries, London Art Loan Collection, Bournemouth University Belgrave Gallery, London The Discerning Eye, Mall Galleries, London2002 Laing landscape competition, Mall Galleries, London Quiet Waters, Poole Study Gallery A Pelican in the Wilderness, Holburne Museum of Art, Bath 2003 Landscape, Campden Gallery, Stratford Upon Avon Peterborough Art Prize, Peterborough Museum and Art Gallery2004 New Media Arts, First Beijing International Exhibition, China Works on Paper, Sears Peyton Gallery, New York Hunting Art Prize, Royal College of Art, London 2005 Royal Academy Summer Exhibition Art Loan Collection, Winchester University 2006 Art Loan Collection, Bournemouth University Time Passes, Renscombe Farm, Worth Matravers Originals, Mall galleries, London2007 A Postcard from St Ives, Belgrave Gallery, St Ives2008 Salon de Yutaka, Kanazawa, Japan Art de Art, Osaka, Japan Artzone, Kyoto, Japan Orie Gallery, Tokyo, Japan Gallery Mai, Tokyo, Japan Gallery Atos, Okinawa, Japan Acostage Gallery, Takamatsu, Japan 61st Aldeburgh Festival, Foss Fine Art Streaming Museums, Federal Plaza, Mebourne, Australia2009 Mapping the Jurassic Coast, Dorset County Museum (touring) 157th Autumn Exhibition, Royal West of England Academy, Bristol2010 Works on paper, Campden Gallery, Chipping Campden Bodyscapes, Bridport Arts Centre, Dorset Light Years Projects, Lighthouse, Poole Arts Centre

selected bibliography

Simon Roodhouse, “A Personal View,” Aspects, Autumn 1980Lawrence Marks, “Art at Work,” Observer Magazine, December 7, 1980Liz Finch, “Heuristic Journeys, from Picaso to Rasta,” Ritz, May, 1984Tom Elliot, “Jeremy Gardiner,” Blitz, July 1986Kelly Wise, “Jeremy Gardiner,” The Boston Globe, June 6, 1987Vivien Raynor, “Bronx Museum of the Arts,” The New York Times, October 25, 1987Marc Mannheimer, “Jeremy Gardiner,” Art New England, December 1987Ginnie Gardiner, “Summer in the City,” Artspeak, June 1988Katherine Silberger, “Drawing the line,” Village Voice, August 23, 1988John Ross, The Complete Printmaker, Free Press, 1990J.Ellen Gerken, Click, North Light Books, 1990Helen Harrison, “Varied Approaches of Expatriates,” The New York Times, June 9, 1991Alan Rapp, “Picture Perfect”, I.D. November, 1994Sandie Angulo, “Grants Reward the Creative Struggle,” Miami Herald, August 17, 1995Kirsten Solberg, “Isle of Purbeck,” Leonardo, Volume 29, Number 5, 1996Iain Burt, “The Isle of Purbeck, A Very Surreal and Romantic Visit,” CTI Magazine, 1998Jeremy Miles, “Celebrating Art in Dorset,” The Daily Echo, May 15, 1998Kate Watson-Smyth, “Open to Visitors,” The Independent, September 6, 1999Simon Olding, “Quiet Waters,” Colville Publishing, ISBN 0-9536240-6-4, 2002Jeremy Miles, “Lighting up Lighthouse,” The Daily Echo, October 4, 2003

Christopher Woodward, “Purbeck Light Years,” ISBN 0-9543788-1-4, 2003Peter Davies, “Jurassic Coast,” Black Swan Publishing, 2006Christopher Hansford, “Inspired by a Jurassic Landscape,” Bath Chronicle, January 13, 2006Jeremy Miles, “The Constant Gardiner,” The Daily Echo, March 13, 2007Peter Davies, “St Ives, 1975–2005: Art Colony in Transition,” St IvesPrinting and Publishing Co, 2007Fiona Robinson, “Mapping the Jurassic Coast,” Dorset County Museum, 2009

selected collections

Barclays BankBNP Paribas, LondonDavis Polk & Wardwell, ParisEnte Nazionale Idrocarburi, MilanGeneral Electric, LondonGlaxoSmithKline Services UnlimitedGovernment Art Collection, LondonLawrence Graham LLPNYNEX Corporate Collection, USAPinsent MasonsRank XeroxVictoria and Albert MuseumPeterborough Museum and Art GalleryBournemouth University Art CollectionImperial College Art CollectionRoyal College of Art CollectionSt Thomas’ Hospital Collection


Published in 2010 by Paisnel Gallery

Paisnel Gallery9 Bury StreetSt James’sLondon SW1y 6AB

Telephone: 020 7930 9293 Email: [email protected]

ISBn 978-0-9558255-2-1© Paisnel Gallery All rights reserved. no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without first seeking the written permission of the copyright holders and of the publisher.Photography: Peter StoneDesign: Alan Ward @ www.axisgraphicdesign.co.ukPrint: Andrew Kilburn Print Services Ltd

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jeremy gardiner - a panoramic view

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