January's Film For Friday features the work and life of Wilhelmina Barns-Graham, with a focus on her time in St Ives.
Looking In, Looking Out
17 mins, Dir. Tim Fitzpatrick, 2012
This film, over a year in the making, saw the Director, Tim Fitzpatrick work closely with The Wilhelmina Barns-Graham Trust's collections and archive, as well as shooting footage in St Ives and at Balmungo, a family house inherited by Wilhelmina (‘Willie’) near St Andrews.
Friday 26 January 15.30
Artist Naomi Frears will be in conversation with Melanie Stidolph, Learning Curator, Tate St Ives, around the life and works of Wilhelmina Barns-Graham in relation to her presence and impact in St Ives. Naomi Frears is an artist based in the historic Porthmeor Studios in St Ives. She works with film, printmaking and painting as well as programming and curating events and exhibitions focusing on the work of other artists. Frears first got to know Wilhelmina Barns-Graham when she did some decorating for her as a teenager. The conversation will reflect on the community of artists in St Ives, the practice of painting and the representation of artists’ lives.
Wilhelmina Barns-Graham (1912-2004) was one of the foremost painters working in St Ives after moving here in 1940. Her paintings, alongside those of her contemporaries that comprise the St Ives school, contributed greatly to the development of Modernist British painting in the mid to late twentieth century. From 1960 she divided her time between her homes in St Ives and St Andrews. She was completely dedicated to her art, with a drive and energy that sustained her for over sixty years of her professional life. She was still working daily at the very end. A friend of painter Margaret Mellis, she was quickly associated with Ben Nicholson and Naum Gabo. By the 1950s her painting combined natural structures, including wave forms, glaciers and cliffs with abstraction, exploring how to capture time and movement. The work Rock Theme (St Just) is on display in the Modern Art and St Ives display (Room 3) and was made at a moment where she was moving to complete abstraction.
Supported by The Wilhelmina Barns-Graham Trust