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Peter Hay (1951-2003) was a visionary artist. He was a very English
painter whose work has a poetic and mystical quality. Eclectic,
curious magpie, he found inspiration from everywhere and gathered
it into his image-making. He was a fine draughtsman and
watercolourist, a brilliantly inventive printmaker. At heart a
figurative artist, the work moves into abstraction through striking
black and white and a rich use of colour. After studying Fine Art
at Reading University, and two years away in Cornwall, Peter Hay
settled in Reading for the rest of his life. He had a strong sense
of place; the junction of the rivers Thames and Kennet close to his
home was a frequent symbolic theme in his work. He became a central
figure in the local art community and was an inspirational teacher.
In 1994 he founded Two Rivers Press which gave him the opportunity
to pursue through illustration his passion for campaigning, his
love of poetry and history. This book brings together the range of
this prolific artist's work for the first time.
Written as a poet's view of the world's oceans and islands from a
small boat, these are poems concerned with human vulnerability and
ecological anxiety. John Froy's second collection is filled with
love, hopes and fears for his family and friends and for the
natural world, from Costa Rica to Japan, Somerset to Cumbria, to
Antarctica and the oceans. There is loss, both personal and global
- the death of a father, a stepfather - and environmental loss, the
damage and havoc we continue to inflict on our planet, habitats and
species despite all warning, and the urgent need to protect them.
But there is also joy, humour, gratitude, admiration and love.
Simple, direct and unconfrontational, yet the sense of catastrophe
looms.
This second volume of John Froy's memoir, a sequel to his childhood
story in 70 Waterloo Road, takes us from Italy to Reading
University and Falmouth School of Art with many twists and turns
between. The memoir chronicles the life of an art student in the
70s: a time of great experiment and change; the figurative/abstract
divide in painting and sculpture; the new photography, film and
Happenings. And in the gaps, while extricating himself from the
family home, being a volunteer archaeologist in Assisi, an osprey
warden in Scotland, a London bedsit and dead-end job, a Wiltshire
valley idyll and landscape painting in a caravan through a Cornish
winter. 'Things may come and things may go, but the art school
dance goes on for ever.' (Pete Brown, 1970)
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