Malcom Hardy has lived and worked on the South Coast, where he has for many years owned Artists and Framers Gallery in East Street Shoreham.
Malcolm, I am sure, that, in common with many other Artists he has a wide (self taught) education and general knowledge. Not only of art but many other topics.
He has a great passion for people, and loves to debate, discuss and deliberate on most subjects. I believe that this is why the little Gallery in East Street, Shoreham, that he has occupied for the past thirty years, is invariably occupied by at least two, sometimes more, local people, who have popped in for some entertainment, enlightenment or for just a good discussion.
His paintings reflect this energy for life and his sympathy, compassion and empathy for anyone or anything who is ‘up against it’.
Although, not always consciously considered, many of the influences that Malcolm has experienced and understood over the years will be portrayed.
He was influenced by the Fauves Movement which followed on from the Impressionists in approximately 1905.
The Principle of the Fauves painting was the notion of the reversal and abstraction of colour, to release colour from the demands that the objects place upon it. We may end up with blue trees, green skies and red grass, the artist chooses the colour not the object.
When we see this it changes our relationship with the world, and allows us to see and think about things differently.
The primary motive in ‘social comment’ in a painting is the ‘idea’. Not necessarily overt political comment but by looking at the paintings in this class, hopefully, one will gather the point that the artist is trying to make, that life is a bit uncertain, and a bit dangerous.
This was to do with the injection of emotion, confidence, excitement, freedom and possibilities as apposed to the influence of the church.
The exchange of prayer for an adventure.
The Romantic Movement was not just hearts and roses, but to do with freeing up of the individual and allowing us a sense of ourselves as being important rather than religion.
Art has always been seen, if it is worthy, to be full of furrowed brows and concentrated and intellectual explanations so that when people see humorous pictures they don’t tend to believe that this is serious painting. Of course it is because there is humour in all art. It is the other pole to political thought.
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