In the first of our exhibitions of 2012 we introduce the work of Scottish Impressionist colourist Felicity Walker - 'I like paint. I like the ability to move it around; scrape it off; splash it around; use unusual tools and create texture and vitality.  The rich damp lowlands of Scotland excite me, and have done for nearly 40 years. I am also drawn to the randomness of wild flowers; their ability to be ungainly and graceful at the same time creates a tension that is irresistible.'
 

We have the delicate slipware of ceramicist Margaret Brampton, whose work is influenced by North Devon and continental slipware. Margaret particularly likes the motto wares of North Devon and uses script on the majority of her work, seeing this as an important design element.
 

 The painterly slab work of Craig Underhill is strongly affected by his continual interest in exploring materials and techniques. Like most ceramists Craig is fascinated by the aesthetics and characteristics of materials and the way they change when different processes are applied to them
 

Glassware is by Cressa McLaren, a glass artist based in Dumfries and Galloway. Cressa's work is inspired by a deep love of nature. A childhood in rural Southern Ireland and precious times spent in her grandmother's Ayrshire garden have given her a lifelong passion for plants and flowers in their many forms. Fresh, vibrant and colourful, her pieces draw on this love of botanical forms, and also give a playful interpretation of the stylised retro designs of the 1950s.
 

The idiosyncratic and imaginative jewellery of Joanna Cave. Born in London to Greek and English parents, Joanna grew up on a remote Aegean island and her upbringing in Greece has largely influenced her work and cultural references are always identifiable in her timeless creations. Her style is informed by tradition with an air of modernity and refined aesthetics.
 

And we welcome the return of:

The landscaped based paintings of Donald Wilkinson. 'I spend a great deal of time working on the spot often returning to the same location over long period, watching changes that the weather and the season have on particular places that have become familiar to me. When I begin working in a chosen piece of landscape I spend time looking, trying to understand the essence of the place. I make drawings in a sketchbook as I walk through the landscape as well as larger more complete drawings, working quickly. For me the important thing is to strive to express the elusiveness of the light on the land or water.'       

                                              
The unsung hero of Northern Painting, Stephanie Dingle with her use of vigorous brushstrokes and intense colour owing much to the fauves. The inspiration for her flower paintings comes from her own garden. her frequent visits to France give inspiration for her seascapes and landscapes.
 

And Tim Pavey whose work reflects a life-long interest in the rhythms, patterns, colours and textures of nature, working in a wide variety of media, mainly gouache, oil and ink. 'I have always felt an affinity with landscape which I use as a vehicle to explore current preoccupations with colour, pattern and texture. I have been influenced to a large extent by the English landscape tradition. My work often contains elements of mystery and ambiguity or some metaphorical content.  As an artist, I feel it is an essential part of my job to encourage people to look afresh at familiar subjects; at the same time I feel painting should remain accessible to all.'