Caroline McAdam Clark RWS
CAROLINE McADAM CLARK - Moving On, 2014
Caroline McAdam Clark is of French Scots background and studied Fine Art at Edinburgh University and Edinburgh College of Art, graduating in 1970. She has studios in London and in Suffolk.
She has taken part in numerous exhibitions and competitions over the years including the Hunting Art Prizes, the Lynn-Painter Stainers exhibitions, the Discerning Eye, Glyndebourne Opera House gallery, Snape Maltings Marland Gallery, Royal British Artists exhibitions (David Wolfers Memorial Prizewinner and St Cuthbert’s Mill Drawing Prize), Lemon Street Gallery Truro, Yew Tree Gallery Morvah, Messums Gallery (Painters and sculptors of East Anglia,) Bankside Gallery (selected for ‘the Artist and Radio 4’ Exhibition); RA Summer exhibition and many other exhibitions across the country.
Her first solo exhibition was in 1978 in London at the Limited Editions Gallery. Since then she has had solo shows with the Patrick Seale & Sally Hunter Gallery (1985); Snape Maltings Concert Hall Gallery (1986); Piers Feetham Gallery (1983, 1999, 2007); Marina Henderson Gallery 1990; Sue Rankin Gallery (1993); Chappel Galleries, Essex (2005).
She has had 9 One Woman shows at the Thackeray Gallery since 1996.
She has work in private collections in the US, the Netherlands, France, Italy and the UK as well as in the collections of West Deutsches Landesbank, Archant Newspaper Group, Firmdale Hotels, East Contemporary Art Collection at UCS, the Royal Watercolour Society, Her Majesty the Queen.
She is currently on the Council of the Royal Watercolour Society.
‘For the last twenty years I have traveled around coastal Britain and in particular the Highlands and Islands. I make drawings and collect information to later re-imagine the experience into a body of work with a narrative shape, both pictorial and intellectual. Travelling into new landscapes is challenging of itself, yielding new ideas and new imagery which also serve to reinvigorate the imagination.
The last five years have introduced me to very different horizons stretching across the states of Arizona and New Mexico,
Looking back I notice that I instinctively reach for ‘landscapes’ that are spare, often bleak, devoid of humans though not of human presence, but that somehow resonate with my particular sensibilities. Pattern and the use of symbols occasionally make an appearance, perhaps reflecting a need to acknowledge human activity and creativity more directly in even the most desolate of expanses.’