The next four 4brisons – the Brisons Veor Auction…

Sophia Hetherington

Our longest serving Trustee Sophia often works onsite during Trustee visits. Her acute observational pieces and thoughtful approach make her works such a delight.  This example is Cliffs -Brisons Veor 2024 mixed media on paper. Framed 380 x 480 mm. Reserve of £50

bids to my mail:  profdavidmanley@gmail.com. – reminder the auction runs till 22 March (26) @ midnight GMT

Catherine Lovett

We are – perhaps nor surprisingly – very fortunate to have many interpretations of the Cape from our residents but sometimes it is it the crispness and simplicity of line, in this case translated into a Lino print, that captures the location to best effect.  Catherine is a well known figure in print making in the South West. Winter In The Cove Created from sketches collated whilst on residency at Brisons in Jan 2024. Open edition original lino print in Sepia Brown on 160gsm print paper Print size: 180x 260mm.  Paper size: 210x297mm  Reserve of £30

bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

Linda Nevill

Linda has very kindly offered two of her excellent prints…here is the first (more works including another of Linda’s to come*).  Linda, is an RBSA member and has a very distinguished record as an artist focussed primarily on printmaking. Fetching the ball. Image size 105 x 152 mm. Paper size 195 x 280 mm. 6/20 Lino print. Backed and wrapped in cellophane bag (not mounted nor framed).

bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

Lisa Dear

Following a previous career in retail Lisa re-located to the Forest of Dean though draws inspiration from a variety of locations. She says “On a Walk is inspired by walking inland at Cape Cornwall, where the land feels just as open as the coast.” From her residency at Brisons Veor in 2025. “On a Walk”  200 x 200 mm. Sprayed Oil Painting on Board. 300 x 300 mm. Framed in White Washed Wood. Ready to hang.  Reserve of £100

bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

  • Please come back in February where more works will join those already posted….

More support for the Brisons Veor Auction…

Jackie Berridge

Jackie was the guiding light behind Harrington Mill Studios where I spent a number of wonderful years.  I owe her a lot for that and now for this jewel of a work.  Jackie has a very successful career as a painter and is very collectable – this is a great opportunity to acquire a piece  Landscape with Puppy oil on board, 250 x 200 mm. 2025. Reserve of £50. Bids to my mail:  profdavidmanley@gmail.com reminder the auction runs till 22 March (26) @ midnight GMT

Liz Miles

Is an author but also a talented carver with over 20 years experience.  She mentioned Storm Dennis (think Goretti but coming at Brisons rather than from behind the Cape) that might or might not have been an influence on this lovely work   Portland stone, deep relief abstract sculpture Untitled Approx h 230 x 265 x 70 mm. Reserve of £150

bids to my mail:  profdavidmanley@gmail.com reminder the auction runs till 22 March (26) @ midnight GMT

Bonnie Radcliffe

A resident with Catherine Lovett back in January 2024. Although primarily a writer (check out her website –  https://bonnieradcliffe.co.uk/ and also her Substack) Bonnie has offered this delightful watercolour ‘All we are is water’ – watercolour on paper – 210 x 290 mm. No reserve

bids to my mail:  profdavidmanley@gmail.com reminder the auction runs till 22 March (26) @ midnight GMT

Sophie Coe

Another 2024 resident at Brisons Sophie has been devoting her time to her art full time since 2000 following a highly successful architectural career.  She has offered a work that celebrates her time at the Cape. ‘Calm water, Priests Cove’ Charcoal and ink on paper, 30x40cm, mounted for a 16″ x 24” frame.

bids to my mail:  profdavidmanley@gmail.com reminder the auction runs till 22 March (26) @ midnight GMT

The next batch of Brisons Auction Works…

Oliver Raymond Barker

Oliver is a recent visitor to Brisons and a widely exhibited photographer whose work whispers subtle variations in nature and uses a variety of technical processes, he studied in Birmingham (like myself) and lectures at Falmouth (another connection).  His offer is from The Anatomy of Stone series 6. A3 Giclee/Inkjet print. Framed dimensions 260 x 345 mm. (Edition of 10).  Reserve of £300 bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT 

John Newling

John is an internationally recognised artist with a long and highly acclaimed career focussed initially on sculpture but over many years exploring wider social/political, economic, environmental themes, and utilising an even wider array of methods and materials,  In recent years he has explored work that makes the most gentle interventions.  The work offered is one from a group of 36 works – A Library of Ecological Conversations – Leaves and Me (2017 -2019) that formed part of the Dear Nature show he mounted at Birmingham’s Ikon Gallery in 2019. The work offered is 550 x 445 x 30 mm. Soil, leaves and text, Reserve £1600. bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

John France

John is an ex-colleague from my Derby University days.  His highly original imagery and stylistic flourishes inform his drawing practice that in turns fuels his paintings.  Now retired from HE teaching and assessment he’s currently on something of a world tour (wisely avoiding the US for now…).  He offers this Untitled work.  Acrylic on card,  Approx 8 x 18 inches 2025. bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

Mandy Payne

Mandy has built a formidable reputation for her paintings that utilise concrete and spray paints and focus on the urban environment – a very different subject than that of the many Brisons residents here.  Another of those artists who only know of, but have yet to experience, the delights of Brisons she has generously offered a work from her recent printmaking, further exploring her imagery and ideas.  Titled A View From The Bridge – Edition No: 7/10 Paper: Somerset Newsprint Grey Size:  255 x 203 mm.  Printed in collaboration with Stone Tree Press  Reserve Price £100. bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

TAK Erzinger

TAK is best known as a writer, her poetry in particular, but is also a practicing artist and has kindly offered this work to the project.  TAK is American/Swiss and currently lives in the Swiss Alps. Within the Trees air-drying clay, sealed with a slip, gesso and then painted with acrylics. £65 reserve. bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

Some more lovely Brisons Auction works…

Sarah Humby

Dorset based Sarah is – like myself – a fellow Falmouth graduate (a long time after me!) and ex Brisons resident.  She is one half of The Art Of Staring Out To Sea with fellow artist Jane Soakell.  This (framed) monotype printed with oil based inks onto Fabriano Rosaspina printmaking paper directly from an image made on a perspex plate above Priests Cove on the is an excellent and appropriate piece for this auction.  380 x 180 mm. image size, framed 580 x 380 mm. Reserve Price: £180. bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

And now something a little different.  This work was kindly offered to the auction by ex resident and close friend Moira Baumbach.  It belonged to her partner Allan Green (1950 -2024) one of my dearest friends…my thanks for her support.  Francis was Head of Department at Falmouth Art School when Allan, myself and another contributor to the auction Stuart Reid were students and was a well known artist and teacher in Cornwall.

Francis Hewlett (1930 – 2012)

Country Landscape (Ussel), oil on board, 10 x 12”, 1987 £50 reserve. bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

And talking of dear friends, my pal Susan Disley has offered this scary, but deliciously realised, creature to the event.  Sue has a distinguished history as one of most talented ceramicists of her generation.  Since relocating to Northern Tuscany quite a fair bit of her time has been devoted to painting – with equal passion and distinction.

Susan Disley  Wolf, 150 x 150 x 40 mm. Oil on canvas £60 reserve

bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

Charlotte Turner

My fellow Trustee Charlotte is a well known and regarded member of the Newlyn Society of Artists who exhibits widely.  Her highly sensitive and delicate paintings speak for themselves as the best work always does.  Pebble painting 3   Water based Mixed Media on Board finished with Deadflat UV protective varnish  180 x 300 mm. ( 18mm deep)  Reserve £140   bids to my mail:  profdavidmanley@gmail.com. reminder the auction runs till 22 March (26) @ midnight GMT

Another four works for Brisons…

Stuart Reid

Stuart studied at Falmouth with me at the beginning of the 1970’s and shares a passion with me for the far west of the county. However much of his recent painting is inspired by Dorset and other visited locations. This work was exhibited at the Chelsea Arts Club Summer Exhibition 2022.

Katsiki 2021 200 x 200 x 20mm. oil on canvas Framed 270 x270 x 37mm.

Bids should be placed with profdavidmanley@gmail.com

Sarah Key

Sarah was a resident at Brisons some time ago and has given a recent drawing to the auction that continues her obsession with intrigue and  mystery that is expressed through a fluid graphic handling.  The coast is often a powerful source of imagery in her work.  

An Adventurer Would Embark, 2019, ink on paper, 56x76cm. £275 reserve

Bids should be placed with profdavidmanley@gmail.com

Sara Bor

Sara is a highly regarded artist based in the West Country.  Her evocative and physically rugged landscape paintings speak passionately to the locations she depicts.  A Brisons resident back in January of last year Sara worked collaboratively with Angela Harrison responding to the inspiring surroundings. Eowyn 04’ oil on canvas, 60 x 60 cm, unframed. Is offered with a £250 reserve.

Bids should be placed with profdavidmanley@gmail.com

Hortus Parvum #13, oil on canvas, 300 x 300 mm. 2025. I am offering up one of the Small Garden series from last year…I may have posted it here before! bids etc. to my profdavidmanley@gmail.com.

reminder the auction runs till 22 March (26) @ midnight GMT….we will also be so grateful if you can help us out!

More Brisons Veor Auction Works…

see details on previous blog page…

Sarah Granville

Sarah is a Cotswold based artist who was a resident at Brisons back in 2021.  She exhibits regularly in the South Midlands with her first solo show at The Setting Gallery in Nailsworth last year and a two person exhibition opening in Cheltenham this March.  Like many Brisons residents Sarah was drawn to the iconic hut that sits on Priest’s Cove below the Cape and her particularly sensitive etching of it is on offer.

Bids should be placed with profdavidmanley@gmail.com

Zouch, acrylic on board ( on support). 270 x 220 mm. 2021.

Richard Perry is an internationally recognised sculptor usually working in stone with commissions across the UK and beyond. Perhaps a little less known are the smaller sculptures that explore space and colour and his marvellous paintings that explore in two dimensions. I have known and admired this artist for five decades. This is an opportunity to acquire a work from a small body of paintings – not to be missed!

Reserve of £250. Bids should be placed with profdavidmanley@gmail.com

Somerset Hedgerow is a lovely charcoal drawing (405 x 300 mm.)from Annie Musgrove, a previous BV resident back at the end of 2023. It featured in the ACE ARTS Open in Somerton recently and Annie regularly exhibits in the West Country. Her work shows a great sensitivity to the landscape, based in part on her training as a geographer. Bids over £150 (reserve) for this framed work.
Bids should be placed with profdavidmanley@gmail.com

Fundraising for Brisons Veor: Help Renovate Our Creative Haven

In another life I am part of the Trust that runs this wonderful building on the far tip of Cape Cornwall, in West Penwith – Brisons Veor. It’s a magical place that looks out across the Atlantic to the west and down past Sennen & Lands End to the south.

We are currently fundraising to renovate the interior, particularly upgrading the environmental aspects of the property that is offered to professional creatives at highly subsidised fees, and running an auction of works by previous residents and other supporters. Over the next week or so I shall be posting the works on offer here as well as through my Instagram – @profdavid. Please look at the excellent works that I’ll be making available and think about placing a bid (by midnight – GMT on 22nd March).

It seems appropriate to start this offer with a work by a US citizen given that our benefactor – Tracy O’Kates was also from the States. However Robert Ayers is by birth British although he has spent a fair part of his life in the US. He currently lives back in the UK and has a distinguished career as amongst other things, a stint in HE including a Professorial title, a New York based art critic, a well known Performance Artist, a published cartoonist, campaigner and more recently a painter. His recent highly prized work has been exhibited in the USA.
 £500 reserve. Bids should be placed with profdavidmanley@gmail.com

High Pink Swerve  24” square and a couple of inches deep

Treading the same path…

Implicitus Silvis, mixed media on cardboard, c. 140 x 132 cms. 2025

Earlier this year I began clarting* together cardboard packaging that – in the way of it nowadays – there’s plenty of in this house.  I had decided to push the Hortus Conclusus paintings into something more rural in conception and more provisional in construction.  Partly at the behest of the Wireworks Project, nestled in Shining Cliff Woods up in Ambergate in the Peak, who invited me to show and also as I was (as is often the case) tiring of the ‘same old same old’ in the work.  The first of these were shown there, titled after the location.  

This initial foray was followed by a long period of reflection, the production of quite a few smaller works and the start of some larger pieces that have been knocking around the studio for months now, the first two being the third (and final- for nowl)  Lucens Rupes Silvae (Shining Cliff Woods) piece and the second a new series I’ve titled Implicitus Silvis – that roughly translates as ‘tangled in the woods’ or ‘embedded in the woods (you choose your online translator!

Jazz, plastic, paper, paint, c. 42″ x 36″, 1968

These shaped object paintings have long been part of my practice  indeed one of my earliest public appearances was in a School exhibition in Exeter, in Shape 68.  Our art teacher, the wonderful Peter Thursby themed each years annual show at the Royal Albert Museum and I exhibited two large shaped plywood works, Trio and The Ornette Coleman Trio – sadly I haven’t pictures of these pieces but the paper work Jazz is similar in styling.

As a student at Falmouth School of Art this continued with various experiments with supports, materials and constructions.  And though I took a break from this direction through my Higher Diploma and the next year or so before the end of the 1970’s I was at it again…in 1979 I showed a whole series of, mostly, smaller works in a solo outing at Cannon Hill Arts Centre, Birmingham though Jubilee shown below was one of several larger works.

can’t say I liked the hessian wall covering…
81:1, mixed media on paper, c. 84″ h. 1981

In 1980 a year of exploring the boundaries culminated in a series of large paper works backed by resin and glass fibre the later examples of which began a slow process of moving towards a kind of figuration that carried through as I returned to more conventional working practices through the rest of the decade and into the 1990’s and 2000’s. 

Crazy Earl, acrylic on aluminium, 38 x 43.6 cm. 2014

More shaped work finally arrived in the second decade of the new millennium with a series of circular works themed around viruses and a project utilising a form derived from a US GI helmet! (note below…) Then it was back to the good old rectangle until now…so down this path on several occasions over the past seven decades!

Lucens Rupes Silvae #3, mixed media on card, 144 x 136 cms. 2025
  • clarting, an expression that means bad construction technique – the only one I know…
  • The GI helmet form ‘borrowed’ from a McCullin photo to create the series Full Metal Jacket.

No…the other one…

Bouziès Boats…by John Hoyland

Following on from my last post something a little lighter (and back to painting) from my recent jolly to the East Coast. We were staying in a lovely property nestled deep in the Suffolk countryside (roughly half way from Framlingham to Saxmundham) and our bedroom had a better class of artwork (or image thereof) than is often the case. A handsome repro of a Cezanne on one wall, and the oil above on another – a more curious impressionist canvas that I couldn’t really place. It was a pretty decent piece of painting (my photo does it no justice) so being nosy I turned it over to see what was on the reverse.

Well blow me down! Really? Obviously it doesn’t look like a John Hoyland…could it be a ‘Mrs. Bennett’? surely not… but no… luckily there was another label on the back that reveals the truth…Sulis Fine Art.

So now you (and I) know – and perhaps others already knew (certainly the artist himself!) – that John Hoyland (b.1957) is an altogether different painter than the one born in Sheffield in 1934…ain’t life funny?

Our second day walking on Dunwich beach towards Sizewell B – it’s there beyond the beach if you look closely!

Caution…sommat serious…

Unless you have stumbled across this by accident you expect me to ramble on about painting but today I need to rant…and whilst it connects to the subject, feel free to ignore!

Derby’s Cavendish Building reported cost £75 million

I recently spent some time listening to a report on job losses at a Midlands University (it will remain unnamed).  Quite a few others also seem to be at it.  Swansea staff just issued a vote of no confidence in their VC and Leicester staff just managed to get their bosses to ‘fess’ up on £11 million staffing costs in the offing.  Dundee have voted for further action over likely cuts to reduce their reported £35 million deficit.  Teeside have problems as do both Sheffield Uni’s and there are quite a few more who obviously have better PR management (a department that any sensible VC will not cut!) or we would be more aware of other cutbacks.  Although before I got around to posting this my last employer, Derby, just announced 200 redundancies – 87 of them academics.

In a good deal of the ‘new’ Universities Art & Design has been a good earner in the past and Fine Art often the stand out centrepiece.  As a subject it was rolled into Universities way back in the 70’s & 80’s or to be precise Art Schools were pitched into Polytechnics that were then rebranded as Universities (a very few avoided this but have, in the main, become such subsequently.  For what its worth most of the latter seem not to have been fingered in the current wave (perhaps they have better PR).  

Of course more ‘trad’ A&D has been having a harder time of it in recent years.  The ‘what’s the point of HE’ brigade, the introduction of fees and subsequent commodification of the subject, and the general idiocy of much contemporary art practice (cast adrift from its craft bases and intellectual heft) have made it a tougher choice – especially for those without deep parental pockets and without basic ‘traditional’ subject qualifications.  Working class kids often with poor academic attainment but with the vital spark of creativity were the backbone of the art school explosion in the 50’s 60’s & 70’s that led to the ‘creative industries’ (see how the politicians & academics appropriated that latter word) that even the far right politicos trumpet the success of.

But now the HE sector is under colossal pressure.  Of course this has been clear for years – remember Sue Gray who was drafted into Labour ahead of the 2024 election and named it – some six months ahead of it’s achieving power – as one of the incoming Government’s biggest threats?  And much like the Government’s other plans, it’s been ignored (and of course she was jettisoned too!).  

And what did all these Universities do over the past – lets say – 3 years?  Well of course they had prudently projected ahead; the consequences of COVID, continued economic uncertainty, increasing levels of xenophobia and extreme nationalism leading to lowered international recruitments, declining numbers coming through all factored in.  On the other hand expansionist plans for grand infrastructure projects reined in, no expensive (and often ludicrous) rebranding exercises, careful attention to the core purpose (educating students in case we’ve forgotten), serious streamlining of administrative projects and consequent staffing reductions, and increased focus on maintenance of existing campus provision all put in place…

Or perhaps not!  It’s bizarre that – to take one random example – an institution is now cutting back (again) teaching staff on ‘products’ (their word not mine) that are deemed to be ‘underperforming’ and ratcheting up ever higher SSRs putting more pressure on existing staff as well as leaving many courses (my word not theirs) perilously close to closure, or in some cases stripped out altogether.  

And all this taking place against a backdrop of recent adventures in virtually every one of the activities identified above.  Shiny new buildings whilst existing estate is either left to rot or at best patched up inadequately, woeful miscommunication between depts. over the vital business of student recruitment, rebranding without properly costing or planning, trotting off to places new (in some cases overseas or to the capital where one inevitably struggles to compete in a crowded environment).  And so on, you couldn’t make it up really you couldn’t.

The intellectual, educational, economic, social and creative capital that existed in many of the old Art Schools has been squandered in these (mostly) ‘new’ (i.e. post 1992) Universities that are now struggling badly.  Goodness knows this Labour Government has struggled badly too but they at least have the excuse that the seeds of destruction were planted by Thatcher, cultivated by the ‘Austerity’ boys and fertilised by the ‘gang of four’ who stumbled around post Brexit. They might have been forgiven had they not proved so incompetent themselves and of course one of their mistakes has been not addressing this issue.  If you take a look around many of the worst basket cases are crucial pillars of their local economy that should they fail will put the UK even deeper in the shit.  Its long been the contention of most right thinking artists that it would have been far better if those Art Schools had been left well alone to get on with the job of continuing to foster creative education, turn out fully rounded and fulfilled individuals from every section of society, and also properly power that sector of our economy that is the ‘creative industries’.

Staffordshire University (sorry now The University of Staffordshire) Catalyst building reported cost £43 million.