Although his paintings are becoming increasingly abstract, inspired by Zen Buddhism and Quakerism, Hanscomb still owes a lot to his immediate locality of Bodmin Moor in Cornwall with its wonderful texture, colour and mysterious spiritual connotations.
Hanscomb’s earlier work relied on torn and ragged edges, possibly symbolising the impermanence of life or the “perfection of imperfection”. These are reflected in his pastel works, such as “Emerging Trefoil” and “Runes on Red”. He used Nepalese hand made paper on which there could be up to 8 layers of pastel, highlighting the raised texture as well as scratchmarking to reveal shapes, symbols and underlying colour. The hand made paper would often be used as a collage on top of other, smoother paper, giving contrasting, broader colour fields.
After the destruction of his studio by fire in 2002, Hanscomb created images such as “Fire Stone” and “Sudden Conflagration” with the use of gold leaf and strong colour. This traumatic event, because of its magnitude and effect, could well produce future fire related works.
At the present time, Hanscomb’s work is becoming hard edged and more symmetrical in many aspects, although still concerned with absolutes and trying to make “something out of nothing”.
In his latest mixed media work, he has been using gold leaf, pastel and pencil to create simple contemplative images and this is shown in his series inspired by the Burren country in County Clare, Ireland, seen on a spring time visit. Capturing the essence of hidden rare flora in the Burren, Hanscomb has covered many areas of gold leaf within the images with scratch drawn flowers. A fusion of sea and land is apparent in these works as is a feeling of spiritual ascension, notably in “Burren Eventide III”, the last of the series.
Brian also works as a copperplate engraver which would seem to be an under used, even disappearing medium.
He engraves using Victorian tools handed down to him by his journeyman during his apprenticeship – these tools were salvaged from the debris of the fire, re-tempered and re-handled.
He prints limited edition engravings by hand on a Harry Rochat press, finding the discovery of the most sympathetic paper for a particular image highly rewarding.His use of a single colour ink, usually black or umber, demonstrates superbly the simple line of engravings; where his work is more detailed, the use of a single ink gives the tonal illusion of colour in the engraving.
Brian was elected a Fellow of the Royal Society of Painter-Printmakers
(R.E.) in 1997.
VIEWING
His
work
is held in the following collections:
Government Art Collection
Victoria & Albert Museum National Art Library, London
Royal Cornwall Museum & Art Gallery, Truro, Cornwall
Bodleian Library, Oxford
Science Museum Art Gallery, London
Wessex Collection, Longleat House, Wiltshire
Modern British Art Collection, Corsham Court, Wiltshire
New York Public Library Print Collection
National Gallery of Australia, Canberra
John Creasey Museum, Salisbury, Wilts
Hanscomb's
engravings can be seen at
Bankside Gallery, Bankside, London SE , the home of the Royal Society
of
Painter-Printmakers
Burton Gallery, Bideford
The Gallery at the Savill Building, Windsor Great Park
Brook Gallery, Budleigh Salterton, Devon
Gallery 49, Falmouth, Cornwall
Hilary Chapman Fine Prints, London SW6
The Art Stable, Child Okeford, Blandford, Dorset
Hanscomb's engravings as well as his pastels & mixed media can be
seen at
his studio / gallery by appointment via the
contact
page
CV
BRIAN HANSCOMB R.E.Biography
1944, born in Croxley Green, Hertfordshire. Served an apprenticeship in letterpress engraving then also trained as a gravure engraver.
1979, left print industry to become self employed artist, working from home.Solo Exhibitions
2000 Beaux Arts, Bath
1998 Beaux Arts, Bath
1997 Centre for Caring & the Arts, Bleddfa
1993 Royal Albert Museum, Exeter
1992 Royal Cornwall Museum, TruroGroup Exhibitions
2007 Gallerie unter den Linden, Hertzebrock, Germany
2002 Spring Exhibition, Lemon Street Gallery, Truro
1995 Reticence, Crane Kalman Gallery, London
1994 Cornwall – Kunstler einer Landschaft, Rheda-Wiedenbruck, Germany
1991 Journey to Cornwall, Royal Cornwall Museum, Truro
1989 9 Artists & a Press, Fiery Beacon Gallery, Painswick, Glos
1977 4 Man Print Exhibition, Clarges Gallery, London
International Print Exhibitions
2008 Biennal International Miniature Print Exhibition V, Vancouver, Canada
2007 Small Print: BIG IMPRESSION, touring exhibition in Britain
2006,03,99 British International Miniature Print Exhibition, touring exhibition
1983 International Print Exhibition, Taipei, Republic of China
1985,82 International Miniature Print Exhibition, Pratt Graphics Center, New York
1983,82,81,80 International Miniature Print Exhibition, Seoul, Korea
1982 Mini Gravat Internacional, Cadaqués, Spain
1982 Cabo Frío International Print Biennale, Rio de Janeiro, BrazilOpen Exhibitions
2009,08,07,91,90,88,86,85,84,78,76 Summer Show, Royal Academy
2008,07,06,91,87,86,83,81,79 Autumn Show, Royal West of England Academy
1994 Open Print Exhibition, Royal West of England Academy
1985,84,83,82,79 Royal Society of Miniature Painters, Sculptors & GraversCollections
Science Museum, London
Bodleian Library, Oxford
Royal Cornwall Museum & Art Gallery, Truro, Cornwall
Victoria & Albert Museum National Art Library, London
British Government Art Collection, Department for Culture, Medium & Art
Corsham Court, Wilts., Modern Art Collection
Longleat House, Wessex Collection
South Hams District Council, Devon
New York Public Library Print File
John Creasey Museum, Salibury, WiltsPrizes & Awards
2008, Biennal International Miniature Print Exhibition V, Vancouver, Canada
2007, Small Print: BIG IMPRESSION, Rose & Hollis plc. prize
1987, Royal West of England Academy, Open Exhibition, Cornellison prize for a pastel
Commissions
Whittington Press
Folio Society
Merivale Editions
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