Review of Exhibition at Oriel Q 2004

The miniature is not normally the chosen mode of a landscape painter, but here it has reached far and achieved the status of a religious icon – work for serious contemplation. They are almost jewels. For someone who puts too much in too large a canvas, this is a welcome step. The influence on this group of paintings are vast. If we leave out the Blue Rider in the larger works, the amalgam of Paul Klee and Samuel Palmer creates a unique genre of miniature landscapes. There is something very interesting here.

Geoff Yeomans

Review of Gallery on the Usk Show 2012

Elizabeth’s studio is embedded in the Pembrokeshire  landscape, the ancient fields , the wild stony outcrops, the sharp coastline which make Pembrokeshire so different from Breconshire.

Going there is a Narnian Experience…first into the small wooden shed, densely packed with the paraphernalia of an artist but then this opens into a larger space with a great window out on to the landscape and finally through this one enters a great space, I think formerly a cattle shed but now subdivided into fascinating and delightful spaces, for teaching, for playing, for performing for relaxing for studying.

In some ways her paintings are like this too… you can enter them on a simple level, relishing colours and textures, enjoying apparently inconsequential marks, but from these emerge a larger space and deeper forms, sometimes there are hints of mountains and forests,  intimations of buildings and trees  and the further you go into the picture the more there is to see.

Elizabeth has lived in Pembrokeshire for over 40 years and her work has gradually become more abstract , more suggestive more mysterious..   but she is still working in the great British tradition of the landscape, reading and interpreting  nature and returning it to the viewer enriched.

William Gibbs

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