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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.

 

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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

Hanscomb's engravings can be seen at
Bankside Gallery, Bankside, London SE , the home of the Royal Society of
Painter-Printmakers
New Craftsman Gallery, Fore Street, St Ives, Cornwall
Ginger Gallery, Hotwells Road, Bristol
Brook Gallery, Budleigh Salterton, Devon
Gallery 49, Falmouth, Cornwall
'West Country Artists in Print', Plymouth.


Hanscomb's pastels & mixed media as well as his engravings can be seen at
his studio / gallery by appointment via the
contact page

 

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CV
BRIAN HANSCOMB R.E.

 

Biography
1944, born in Croxley Green, Hertfordshire. Served an
apprenticeship in letterpress engraving then, later, trained as a gravure engraver

Solo Exhibitions
2000, Beaux Arts, Bath
1998, Beaux Arts, Bath
1997, Centre for Caring & the Arts, Bleddfa, Powys
1993, Royal Albert Museum, Exeter
1991, Royal Cornwall Museum, Truro

Group Exhibitions
2007, Galerie unter den Linden, Herzebrocke, Germany
2002, Spring Exhibition, Lemon Street, Truro
1995, Reticence, Crane Kalman Gallery, London
1994, Cornwall – Kunstler einer Landschaft, Rheda-Wiedenbruck, Germany
1994, Cornwall in a Different Light, Royal Cornwall Museum & Art Gallery
1989, 9 Artists & a Press, Fiery Beacon Gallery, Painswick
1977, 4 Man Print Exhibition, Clarges Gallery, London

Collections
Science Museum
Bodleian Library, Oxford
Royal Cornwall Museum & Art Gallery, Truro
Victoria & Albert Museum National Art Library, London
British Government Art Collection, Department for Culture, Media & Art
Modern British Art Collection, Corsham Court, Wilts
New York Public Library Print Collection

Prizes and Awards
2007, “SMALL PRINT: Big Impression”
1987, Royal West of England Academy, Cornellison Prize for a pastel

Commissions
Whittington Press
Folio Society

© Brian Hanscomb 2007

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