A L I S O N W H I T M O R E

Footpath Through Barley Field

Footpath to Kirklington

Looking Back Towards Home
Alison Whitmore, originally from Mansfield, trained at West Notts College, Mansfield, graduating from Nottingham Trent University with BA (Hons) Fine Art in 1996; the Nottingham based painter is currently working with landscape. A member of Harrington Mill Studios since July 2007 and associate of Backlit Studios, Alison is Artist in Residence at Thoresby Park for a period of six months from August 2010 until the end of February 2011. This residency culminates in an exhibition at Thoresby Gallery in Spring 2011 (dates to be confirmed). Alison is also a trained FE teacher, an Arts Award advisor, working with ABC Arts in Mansfield and workshop facilitator in primary education settings.
Previous exhibitions include
Backlit Studios Group Show, Backlit Studios, June 2010, curated by Tracey McMaster with Rachel Eite , Jenny Hackett, Martin Lewis, Georgie Park, Tracey McMaster, Beth Shapeero, Simon Raven to name but a few
Derbyshire Open Arts Event, May 2010 Open Studios, Harrington Mill Studios, with Dee Shiels, Helen Stevenson, Justine Nettleton and Jess Calke
We Are Here, May-
Anamnesis: Solo Exhibition, November 2009, Harrington Mill Studios, Long Eaton
Harrington Mill Open Studios 2009, October 2009, with Jackie Berridge, David Manley, Sarah R Key, Sheila Ravnkilde and other studio members
Harrington Mill Open Studios 2008
The Allotment Show, January 2008, Harrington Mill Studio and Long Eaton Town Hall
Harrington Mill Open Studios/Opening Exhibition 2007
Forthcoming Exhibitions
Scale, Connect 2010, opens 10th September 2010, at Fishmarket Gallery, Northampton, group show with Liz Anelli, Wendy Brooks, Viv Dixon, Jenny Hackett, Martin Lewis, Nita Nathwani, Tracey McMaster, Peter Slack, Beth Shapeero and Anne E Watt, to be curated by Karl Hobbs
Journey Into Landscape Solo Show, Spring 2011 (dates to be confirmed) at Thorseby Gallery, to be curated by Cynthia Harrison
Lugging the almost unmanageable paraphernalia of ‘plein air’ painting on a journey to nowhere, I discover new levels of pain with the aid of a tripod stool. Taking the decision to pursue this experiment, testing my endurance, exposed to the elements seems ludicrous in the age of instantaneous digitisation. What reason could there be for such foolhardy behaviour?
The aim of this endless process is to explore and evoke, by interrogating traditional media, a pointedly real sense of place, of having been where I have been, of being intensely hot or painfully cold, wet, insecure, isolated, and uncomfortable.
The activity of observation and recording produces a journal-
Revisiting locations at different times of day, through changing weather conditions and rotating seasons lends depth to this investigation.