CONTESTED HORIZONS Contemporary Art Exhibition

St Nicholas Church, Salthouse, North Norfolk

3rd – 18th SEPTEMBER 2016

See www.contestedhorizons.co.uk for full information on exhibition openings and times.

Toxic Picnic (2016)

Toxic Picnic (2016)




OPENING NIGHT PARTY 3RD SEPTEMBER 2016 with live classical music


Contested Horizons, St. Nicholas Church, Salthouse, North Norfolk 3rd September – 18th September 2016




Contested Horizons is a response to an ever-changing horizon, expressed through a wide range of media from painting and drawings to sculpture and writing. Using landscape, seascape and mindscape – this exhibition explores how artists negotiate that sense of being when either displaced or rooted in the environment.

The Artists

All the artists exhibiting at Salthouse, live and work in Norfolk and come together annually to exhibit, working to one mutually agreed theme in varying ways.


Rhona’s interpretation of ‘horizon’ encompasses not only the apparent merging of the earth and the sky but also our scope of interest and understanding. Between the real and the imagined, the place and time between intentions and between layers of materiality and construct.

Between what is embedded and immured and what is without boundaries.

‘There is a world of inbetweeness that demands my attention, that ambiguous place of synchronicities and illusion. Sometimes it is the slightest action that can be captured to produce a satisfying resonance. I make art that embraces instability and precariousness by the process of its production.’


Sarah’s work explores the dialogue between the physical and psychological aspect of space. Through a layering of the paint surface, she explores this virtual space.

‘The metaphorical horizon in my work is studied through the analysis of illusionary space – that world that is virtually relived through an anticipation of our future over an inescapable past.

I explore the psychological space between individuals and groups of people and the duality of our lives, through these physical and mental realities’.


Claire’s work investigates the limits and process of linear thinking – the imaginary horizontal that can never be reached, the story without end or beginning, the permanence of immediacy, the conflict between now and there.


Paul is interested in the overlap between pain and pleasure, which the terror of the sublime provides. In this exhibition he has decided to exhibit drawings and paintings, which consider how reality falls like night, bears down, takes hold and bites into our collective imaginations. The artworks exhibited seek to visually stage anxiety about the increasingly ruptured relationship between the natural and the constructed world. He is considering, from a safe distance, how the politics of fear are threatening to turn the world dark, escaping all control and blindly destroying the ecological basis, the biosphere, and the conditions of life on earth.


Jane’s intention is to explore the vagaries of memory by twisting and turning, stretching and pleating. These memories are deconstructed and reconstructed as a tangible presence in the form of paintings, using various techniques and materials. They are not about fixed moments or coherent accounts of things remembered, but rather memories distorted and embedded in folds and pleats, referencing and re-enacting something recalled, partially glimpsed yet deeply felt.


‘Whether it is the abstract medium of thought or that of wet paint, horizons determine the limit of what can be seen and expressed. They also predetermine, fallaciously, the unseen and the unexpressed beyond. This arena of what is present and that which is looked for but absent stimulates my exploration of personal experience and nostalgic relationship.

My work takes on a kind of archaeological dig where information and the excavation of painted layers becomes an artificial happenstance, similar to a process of memory. Nostalgia is a complex aspect of human existence and forms part of our daily instincts, drives and impulses. It is often defined as a form of cultural malady, a saccharine indulgence, and until recently was off-limits in art circles. My view is that within the cynicism of the contemporary world nostalgia can become an aid to awareness of that which is beyond the confines, and for my personal realisations about the making and understanding of art and that of craft.’