Ironridge Fine Arts and Framing
Our beautiful fine art printmaking gallery is located in the heart of Ironbridge in an attractive industrial brick and wood timer frame building, with a 40ft high ceiling that includes a total of 104 glass panels. We are proud to be a lively hub for artists and art lovers alike..
With over forty years of experience we continue to work with artists, schools, universities, colleges, individuals, art groups and art societies across Shropshire, the UK and right across the world. Our passion for printmaking as well as raising the awareness, profile and accessibility of printmaking and fine art, grows daily as we see the joy that it brings people. We love what we do and enjoy seeing the positive effect and support that we can give to our customers.
As real artists we know the dedication, passion and drive that is needed to produce artwork and be successful. As a business we offer a range of services for every requirement that you may have – from drawing workshops, teaching the art of printmaking & being the sole distributor of the Gunning Arts Printing Presses, giclee printing and scanning, framing artwork to guild commended standards right through to the sale of incredible artwork within our beautiful gallery!
“At the age of 14, artist Dave Gunning had three 3 pieces accepted into the Royal Academy.
You open your mouth, fishlike, when trying to take in the extent of Dave Gunning’s work and achievement. And each time you are about to ask a question, there is another list of galleries, exhibitions, commissions to pore over. The truth of the matter is, Dave doesn’t actually know how many exhibitions he has going at any one time and has had down a good number of years but thinks it’s got to be more than 70.
And there can’t be too many people anywhere with his intimate knowledge of the country’s art galleries and museums. He won a Royal Academy Art Competition at the age of 14 and no doubt to the envy of small children everywhere, started painting with his hands – and still does.
His work is in many public and private collections and includes 50 small etchings now in one of the most prestigious addresses in the land – Her Majesty’s Royal Collection.
And in this her Diamond Jubilee year, Dave couldn’t be more proud of that – well not since the day it was his role to greet The Queen as she stepped from her car to open Walsall New Gallery back in 2003.
And after that very successful meeting, he spent a couple of years making and refining the etchings which were eventually sent to Buckingham Palace and accepted by The Queen.
David Gunning has exhibited widely. He has work in many public and private collections. He continues to exhibit paintings, drawings, limited edition etchings and etched work on polished steel.”
Written by Shirley Tart MBE for Shropshire Magazine.
Jenny is a passionate Printmaker and gallery owner. Her enthusiasm and drive for Fine Art is remarkable and is immediate and apparent from the moment you set foot inside Ironbridge Fine Arts and Framing which is situated at the birthplace of the industrial revolution and the banks of the River Severn.
As a specialist printmaker Jenny works with many different materials ranging from metal to wood to textiles and plastic. She loves creating etchings of all sized and used a wide variety of colour, pigments and paper depending on what emotions are present and the reaction that she wants to create from the subject she is capturing. Jenny’s work is in many private and public collections across the glove and she has many collections of work available to purchase.
In this new series of work from Jenny you can see that she still loves to work big and challenge herself with both new ways of creating marks, tones and texture but also with the paces she is choosing to visit, draw and then make etchings and prints of.
Jenny has many collections of work available. The editions from each plate are small as Jenny likes to then cancel the plate and sell the Artwork in its own right.
Jenny runs weekly printmaking workshops at the Gallery and also goes onsite to schools, Universities and private studios passionately promoting the incredible Art of printmaking in all its forms.
Born in Wolverhampton, West Midlands, Liz always loved the rolling hills of Shropshire and eventually moved to Ironbridge in 2004. It was a move that was destined to be; ever since Dave (her husband) and her self decided that Ironbridge was where they wished to live from the start of their journey together in the late 60’s.
She spent 28 years working as an art teacher and loved the creativity that the children showed when drawing and painting. Liz created her own unique child art curriculum and became one of the first primary art teachers for Wolverhampton Authority.
She firmly believes that being creative is something we all have to work towards to reach our inner selves, and by teaching children the basics of how to draw and paint, gave Liz the foundations to work from for her own art development. When working with clay she feels as though she has a pencil in her hand and draws through the clay to create the shapes that she imagines in her minds eye.
Indeed Liz’s love for Mother Earth is un-bounding. She loves to work with all the elements, Earth being the clay; fire for the releasing of the colours in the glazes; air for mixing of the oxygen within the drying process and water to bind all the elements together.
“I love the excitement that is experienced when firing the pots using the Raku method. Its so fast and sudden, so dramatic and playful. Do I know the outcome from the glazes? Well, I should do, but its so exciting cleaning the pots and discovering their unique colours. The shapes are deliberate and I just love the motion of creating the forms.”
Three beautiful collections of work will be on display during this exhibition including her fascinating range of Hares, Raku Pots and Earthenware Vases.
Rod Willis was born in 1969. He grew up in the carpet town of Kidderminster, which borders some of the most stunning countryside in Britain. It was these areas of rural Worcestershire and Shropshire and across into Wales that triggered his passion for landscape.
Rod showed early promise as an artist but did not pursue this path with his education. He left Manchester University in 1992 with a degree in Social Science and Scientific History and paid off his student debt with a series of paintings he completed between his studies. He immediately set out on a career as an artist, spending these early years teaching himself whilst trying to earn a living from his work. Having lived in Nottingham and Devon (the south west was a constant draw) he eventually moved back to Worcestershire in 1995.
During this time, Rod exhibited in various galleries throughout Worcestershire, Shropshire, Gloucestershire, Devon and Cornwall before opening up his own studio gallery in the rural village of Mamble in 1999. This proved very successful; he sold all his own work and completed many private and corporate commissions, leading him to move on into studio and gallery premises in the World Heritage site of Ironbridge. Here his progress was checked somewhat by a series of debilitating back problems which forced him to close the gallery and virtually stop working altogether.
He has now recovered and, with a young family behind him, he has a renewed impetus for his work . He now works from his home studio in Broseley Wood.
The basis of Rod Willis’ artwork has always been his intuitive feel for light, atmosphere and mood, coupled with a natural eye for composition. Whether at first light when low lying mists fill the hollows and valleys before being burnt away, or later in the day when the last embers disappear westward, these are the times which Rod has captured in many of his paintings.
Rod works in two mediums. his watercolours display a subtlety and assured lightness of touch which has proved ideal for capturing translucent light, where often the detail in the painting is conveyed by the merest hint or suggestion.
Rod uses the quality of oil paint to bring a different range of depth and colour into his paintings. His mastery of the medium allow him to capture ephemeral effects such as flickering sunlit reflections on water, or the fierce colours of a sunset and make them appear to burn out of the canvas.
An artists stamp is usually the best way to recognise a potters work. This never proved to be a problem for Paul Gooderham. His work is instantly recognisable without searching for any added mark or monogram. For those familiar with his distinctive style of work this site is designed to further their interest, and for those not yet accustomed to his range of wall plaques, boxes and sculptures then it is hoped that interest gleened will be enough to prompt a visit to his studios in South Staffordshire.
His first studio was situated in Birmingham Jewellery quarter in early 1976 after training at Wolverhampton Art College. Three years later we re-located to previously redundant church premises in Gailey, South Staffordshire. His influences have been rich and varied and his appeal as a potter is as strong now as it was almost four decades ago.
Paul works in Stoneware and Porcelain utilising Dolomite & Ash glazes prepared at the studio and fired to 1280c in a 24 cu ft gas kiln. His work is reflective of the colours and textures of natural imagery predominately landscapes, the results are striking in their essence of the countryside. Tastefully, coloured etched and inlayed onto the surface of the day.
Now almost into his fourth decade in business, Paul is developing further ranges that are available only from his studio. These explore life and our inland waterways and particularly that of the canal narrowboat whilst at the same time creating sculptural representative of our coastal fishing boats and trawlers. Experimenting with textures to develop a new range of birds and inlay techniques involving glass and vitreous slips of porcelain.
Besides appearing in craftshops, galleries and private/public collections throughout the British Isles, Pauls work can be found in collections throughout the world.
I love all 220 miles of it. It’s where I am most content.
Some people find spiritual fulfilment in a cathedral, on a mountain or by the sea. I find it by the “mighty” River Severn.
I’m not the only person who thinks it’s great for the soul. I observe walkers, anglers, canoeists, cyclists, picnickers and many more all soaking up its ethereal qualities.
Through my work I try to portray our relationship with the river and in doing so, justify my own obsession with a place that has captivated me since childhood and driven me to becoming a completely self-taught, professional artist.
I work mostly on-site either from the bank or my Canadian canoe and use watercolour, oils, acrylics or mixed media; in fact anything that will fit into a rucksack.
I would describe my work as intuitive, shifting between figurative and abstract approaches where each, although seemingly quite different, share the same marks, colour choices and motifs.
Layers are also important in my compositions, each one having its own significance but all being visible in the finished work from the first pencil stroke to the last, delicate wash or bold slab of colour. It’s a technique that has taken time to evolve and has relied on shaking off all my earliest influences
Gregg was born in Truro and has lived in Cornwall all of his life, growing up in the area of North Cornwall. Regular days out to the coast and to the moors, exploring old mine workings naturally means that most of Gregg’s inspiration for his designs come from the rugged coastline of this area and from the mining history of Cornwall.
Gregg established the Craft Fusion studio in 2005, and since then has built up a large portfolio of galleries where his work is sold, from Penzance to Inverness. Various commissions for private clients and commercial businesses have also been designed and created.
Originally working with coloured glass, he went on to use mineral foils in the glass. This work was greatly influenced by the colours and effects he found in the deposits of metal ores in the old mine workings he had explored as a child, he stayed working in mineral foils until he felt he had developed this medium as far as it could go.
Feeling the need to stretch himself and to take his work on to a higher level, to create more flowing and organic lines in the work and develop new textures, more creative techniques and exciting colours. He now works mostly with coloured glass powder, producing vibrant and organic works of art.
Through experimentation, Gregg has been able to develop techniques for working with the glass powders that are unique to his work, which creates an unusual textured look in the glass, a process that requires a very long time in the kiln. The end result of this process allows the work to take on its organic forms.
Anna studied and obtained a BA (Hons) Textile Design degree from Manchester University and went on to become a textile designer and colourist for Courtaulds.
Living abroad in the eighties she started working as an artist painting and drawing landscapes, people and floral paintings for TAG Arts Gallery Jeddah, Saudi Arabia.
On returning to the UK she started producing terrariums and stained glass, both Victorian and small individual geometric pattern designs.
Each terrarium is hand crafted with plain and stained glass using copper foiling and lead soldering techniques
with various patinas applied at the finish. On completion all seams are waxed and polished.
They can be made to order with or without plants. Larger terrariums usually have high quality artificial flowers for easy care.
Smaller terrariums are planted with air plants which are also easy to care for and only need an occasional spray of water.
After using art extensively during her teaching career, her retirement was enhanced by higher education, finishing with a Masters degree at Falmouth University.
Etching has been a crucial part of her life for the last fifteen years and particularly enjoys varying the print and paper.
“I can remember placing the raw glazed pots carefully in the ancient front loading kiln in such a way that they would be accessible with tongs. The door was closed, the pyrometer was set to 850deg.C, and the kiln was switched on. I can remember the nerves of excitement getting to me. All of the hard work and preparation was now in the hands of the kiln and the elements. The sensation of not being in full control was also somewhat unnerving. The utensils were all set out with almost military precision. The tongs, gauntlets, metal bin with lid, sawdust, facemasks, a metal container of water and a prayer book lay opened at ‘The Gospel according to Saint Bernard. The pyrometer reached 850C and Gauntlets and masks were donned. We opened the kiln door very slightly. I had never previously experienced such intense heat being so close. The glaze on the pots had melted to a brilliantly shiny liquid orange surface. The first glimpse was stunning. We decided to go for it. One opened the door whilst the other pulled out the pot which was hastily put into the sawdust. The smoke was very dense and it started to fill the pottery studio which was indoors and not well ventilated. We continued to quickly remove all of the pots and took the bins outside. Fresh air is so much taken for granted. Once outside we removed the bin lids after about fifteen minutes of reduction. The sawdust immediately reignited, that was quite a scary moment. As the flames calmed, the pots were one by one removed with the tongs and put into cold water in order to freeze the reduction process. The hissing and spitting of the pots in the bubbling water was quite an amazing sight. As the pots were covered in carbon, it was virtually impossible to tell what lay beneath it. At this point all of our hopes were in the laps of the gods. We scrubbed and polished the first pot. Slowly the design came into view followed by the most amazing copper and silver lustres, along with subtle pink hues. Surprise followed surprise and the happiness was awesome. From that day on, I was hooked and my ceramic avenue was chosen. “
Liz Simmons is a young contemporary jeweller who has been creating jewellery for over 15 years. She began working in copper and silver when taking a jewellery design community access course whist studying Philosophy and Classical Civilisation at Bristol University. After University she worked at several designer jewellers in central Bristol, before taking a silver-smithing course at Bristol School of Art.
There she explored different media and techniques in jewellery fabrication, and discovered a love of spoon making.
Last year she was awarded the ‘Welsh Artist of the Year 2012 Applied arts category’ for a sand cast sterling silver twig spoon with a hand wrought bowl. Winning this accolade has further encouraged me to develop my love of spoon making.
Her favourite techniques employ balling and globulation, piercing, doming, and creating surface texture using reticulation, hammering, and brushing techniques.
Her design influences are mainly drawn from nature, and employ both the use of recycling and the inclusion of vintage materials.
Liz has created the brand ‘Magpie Chique’, and is currently living in Shropshire creating unique pieces in her studio with the surrounding scenery as her inspiration. She loves making both bespoke contemporary silver and gold fine designer jewellery, and quirky kitsch fashion accessories including unique eccentric fascinators.
Liz will gladly undertake commissions to your specifications in either fine silver or gold, or create fashion jewellery in a range of new and recycled materials. She will also endeavour to accept repairs and remodelling of existing pieces.