Lydia Kiernan & Sophie Bailey

LYDIA KIERNAN
& SOPHIE BAILEY
7 th – 30 th July 2022

Chair and Stool oil and graphite on board 32 x 26cm SOLD

Chairs mixed media on plaster 93 x 174cm SOLD

Kitchen stool oil on canvas 80 x 60cm £850

Small Stepladders oil and collage on paper 24 x 55cm SOLD

Stool on Plaster I mixed media on plaster 29 x 23cm* £400

Stool on Plaster II mixed media on plaster 29 x 23cm* £400

Bulls ink and charcoal on paper 64 x 100cm £1200

Shackle Series II mixed media on paper 38 x 58cm £550

Tall Ladder mixed media on paper 56 x 37cm £450

Two Ladders oil on canvas 28 x 35cm £450

Two Stools ink on paper 30 x 45cm £500

White Chair mixed media on paper 32 x 26cm £400

Shackle Series IV mixed media on board 74 x 70cm £800

Bull series III oil on hardboard 76 x 115cm £1800

2 Spanish Bulls mixed media on board 100 x 160cm* £2000

3 Bulls oil on canvas 120 x 150cm* £2000

Bull series I oil on hardboard 90 x 120cm* £1800

Shackle Series I mixed media on board 23 x 44cm £400

Shackle Series III mixed media on paper 44 x 63cm £550

Bull series II oil on board 80 x 110cm* £1800

616 mixed media on board 50 x 89cm £1200

Abstract mixed media on board 80 x 120cm £1500

Ox Herding Series I oil on canvas 100 x 120cm* £1500

Ox Herding Series II oil on hardboard 48 x 67cm* £800

Ox Herding Series III mixed media on board 47 x 65cm £900

Ox Herding Series IV oil on canvas 22 x 27cm £450

Shackle Series VI mixed media on hardboard 60 x 117cm* £650

Shackle Series V mixed media on hardboard 69 x 122cm* £850

Seminal Bull mixed media and collage on board 89 x 114cm £2000

White Bull oil based mixed media on paper 65 x 75cm £2000

Bulls on Paper II mixed media on paper 36 x 50cm £500

Two Standing Bulls mixed media on board 40 x 75cm* £700

Bull Charging mixed media on plaster 84 x 64cm* £950

Bull Standing mixed media on plaster 84 x 64cm* £950

Bulls on Paper I mixed media on paper 27 x 40cm £500

Horse Walking mixed media on paper 20 x 35cm £350

Foal mixed media on paper 20 x 20cm £450

Horse with Halter mixed media on paper 20 x 28cm £300

Railway Sketch ink on plaster ground 20 x 22cm £300

Kitchen Stool On Black Ground oil on paper 86 x 70cm £1200

Head oil on board 90 x 74cm £1500

Low Relief Panel With Horses mixed media on plaster 56 x 80cm* SOLD

Tiny Chair mixed media on wood 25 x 17cm £300

Single Chair mixed media on plaster 90 x 63cm* £950

The Bridge mixed media on paper 27 x 40cm £550

Small Abstract mixed media on canvas 20 x 20cm £350

Lydia Kiernan
Born May 1953 and brought up in London
Foundation course at Ealing Tech
1971 - 1973 Falmouth School of Art BA Fine Art
1976 – 1st "Chair "series
1992 – Started to sell artwork professionally, mainly equestrian,
including mixed shows at Tryon and Moorland Gallery in London
2000 – Moved to Wales
2002 – World Equestrian Games Jerez Spain leading to annual
exhibitions in Seville -SICAB (Salon Internacional del caballo)
developed interest in Spanish Bulls
2022 – & The Chair solo

So much has been written to try to explain creativity but the attempt to understand often makes it more opaque.
I am a visual artist not a writer so my work is my artist’s statement.
I have chosen to quote three artists who express exactly what I would like to say.
Antoni Tapies from a conversation with Barbara Catoir 1987
"… We are all aware that people are becoming more and more alienated as a result of advertising, publicity and the
consumerism which is foisted upon us by the mass media. I believe that art is one of the last oases of freedom , and
that it still has the capacity to make people think. Most people’s notion of normal life bears no relation to real life:
it’s part of a system of life that has been thrust upon them. "
Alberto Giacometti, from an interview with David Sylvester, circa 1960
D.S. -- Do you know whether you need this constant repetition for personal reasons or for artistic reasons? And
when you have redone something fifty times, is it decidedly better the fiftieth time than it was the twentieth?
A.G. — Absolutely not. Maybe no better than the first time. It’s rather that in realising something very quickly
and in a way successfully, I mistrust the very speed. That is to say, I want to begin again to see if it’ll succeed as
well the second time. The second time it never succeeds as well; it begins to fall apart. So the original one is the best.
But as I don’t feel like leaving it, I go back to it. And when I stop, it’s not at all that I consider it more complete or
better, it’s because that work is no longer necessary to me for the moment...
This is from Vladimir Nabokov’s "The Real Life of Sebastian Knight" 1941 and is describing how the writing
(artwork) can come about.
At times he felt like child given a farrago of wires and ordered to produce the wonder of light. And he did produce
it ; and sometimes he would not be conscious at all of the way he succeeded in doing so, and at other times he would
be worrying the wires for hours in what seemed the most rational way - and achieve nothing.

handbuilt stoneware bowl soft white glaze and dark glazed rim SOLD

stoneware, soft white glaze and dark glazed rim from £80 stoneware, soft white glaze and dark glazed rim from £100

stoneware, soft white glaze and dark glazed rim from £80 stoneware, soft white glaze and dark glazed rim from £80

stoneware bowls, soft white glaze and dark glazed rim £100 each

stoneware vase, soft white glaze and dark glazed rim SOLD

stoneware, soft white glaze and dark glazed rim from £100 stoneware, soft white glaze and dark glazed rim from £80

stoneware, soft white glaze and dark glazed rim from £80 stoneware bowls, soft white glaze and dark glazed rim from £100

Sophie Bailey
Sophie’s interest in pottery can be traced back to a childhood
surrounded by contemporary ceramics. Her father worked for the
Oxford Gallery, which was at the forefront of the English art and
design scene in the 1970s and 1980s. Sophie’s inspiration broadened
with regular visits to Crete in these decades, where she became
intimately acquainted with the pottery of the ancient Minoan
Civilisation. Upon moving to London, she took evening courses that
progressed into a City & Guilds Ceramic degree. Sophie’s husband,
the artist Julian Bailey, encouraged her to develop her pottery at their
Dorset home, but bringing up four children slowed her progress and
it is only recently that time has allowed for a more consistent focus.
The pieces in this show are mostly thrown using stoneware clay to
which a soft white glaze has been applied. The rims are, by contrast,
edged with a dark matt glaze, which interacts with the white body and
often fires with a bronze hue. The forms are a series of bottles, vases,
and bowls, which relate visually in groups or stand individually.

To purchase work please contact Val Harris at art@thetablehay.com or 07956 452195
The gallery offers Collectorplan, an initiative administered by the Welsh Assembly,
enabling you to purchase work up to the value of £5,000 with an interest free loan repayable over a year.
All measurements are for framed sizes unless marked * where the paintings are unframed.
The gallery is open Thursday - Saturday 10am - 3pm or by appointment during exhibitions.
All paintings are for sale upon receipt of this catalogue.