PETER CRUMPLER
New Artworks - a photographic perspective
Show ran 25th February 2006 -
24th March 2006
A Photographic Exhibition at
the Penzance Art Gallery
A review by George Care
The
Poles have a saying “Nothing good comes from the East”- a view shared on
a more mundane and parochial level by some denizens of Penwith. The
Poles were subject to incipient invasion by the Russians. Here, there
may be a certain resistance to the spread of new ideas; a view
challenged by the energetic displays put on by Vaughan Warren and
Melanie-Anne Camp that display both local sensitivity and international
context. In short, just what is needed. The Penzance Art Gallery is
situated on the East of Penzance, opposite the Station and is currently
mounting a splendid exhibition of Peter Crumpler’s photographs on
computer, on silk and on paper. By excellent chance it also offers a
modern counterpoint to the Richards Brothers work at Penlee House. The
exhibition is small but contains portraits of local personalities,
including a pensive picture of Vaughan, street scenes from Chinon and
Rousillon and delicate, gently dynamic hangings of Japan. It is good to
see such a variety of digital images in a local gallery and these should
stimulate discussion and raise it to a higher level.
Peter
mostly uses a Nikon digital SLR. This gives the added advantage over
traditional optical cameras of being able to review instantly the image
and adjust controls accordingly. His eye is warmly drawn to the Cornish
landscape and light. He also enjoys portraiture with added benefit of
direct engagement with the subject and his work is influenced by a
comprehensive knowledge of his favourite photographers.
There
is a cabinet of Peter’s collection of old and earlier cameras which
lends a temporal reminder about photography, its transitory nature. This
is emphasised by the flicker of the images on computer screens and the
gentle undulations in the poetic silk hangings. Indeed it is these silk
printed imprints which make a visit so unusual. As Peter says “They can
be lit from in front or behind and each method gives a new feeling to
the subject. I love the movement you can get as you walk near the
image-it is very contemporary and has a huge range of applications-we’ve
thought about curtains and even roller blinds.” They are produced with
the
assistance
of Pete Williams at Penwith Graphics. There is feeling for the local
landscape in the sepia toned landscape of the “Cape Cornwall” as a
backdrop. This contrasts with the silk of “Digging”, agricultural
implements and spades from the gardener’s outhouse at Trevarno Gardensor that of the jolly and convivial bottles of Loire wine.
The
subjects are varied but Peter Crumpler has a lyrical eye, particularly
for the scenery of West Penwith.. This comes across in the variety of
colour of the sea in his picture of Godrevy. The feeling for colour also
comes out in the rich burnt umber of “Eye of the Horse”. There is a
feeling for time, reminiscent of RobertDoisneau, in the street scene of London’s Southbank chanteuse and
pianist “Lily
Farthing”
Although there are just 26 photographs most have something moving or
original to convey. A time honoured subject is portrayed in the light
falling on the trees or streams in Trevaylor gives a clarity of image
and it is now difficult to look at such fragile environments without
examining the image for human impact in the form of discarded tin cans
in the undergrowth.
The
Poles have a saying “Nothing good comes from the East”- a view shared on
a more mundane and parochial level by some denizens of Penwith. The
Poles were subject to incipient invasion by the Russians. Here, there
may be a certain resistance to the spread of new ideas; a view
challenged by the energetic displays put on by Vaughan Warren and
Melanie-Anne Camp that display both local sensitivity and international
context. In short, just what is needed. The Penzance Art Gallery is
situated on the East of Penzance, opposite the Station and is currently
mounting a splendid exhibition of Peter Crumpler’s photographs on
computer, on silk and on paper. By excellent chance it also offers a
modern counterpoint to the Richards Brothers work at Penlee House. The
exhibition is small but contains portraits of local personalities,
including a pensive picture of Vaughan, street scenes from Chinon and
Rousillon and delicate, gently dynamic hangings of Japan. It is good to
see such a variety of digital images in a local gallery and these should
stimulate discussion and raise it to a higher level. 
Peter
mostly uses a Nikon digital SLR. This gives the added advantage over
traditional optical cameras of being able to review instantly the image
and adjust controls accordingly. His eye is warmly drawn to the Cornish
landscape and light. He also enjoys portraiture with added benefit of
direct engagement with the subject and his work is influenced by a
comprehensive knowledge of his favourite photographers. 
There
is a cabinet of Peter’s collection of old and earlier cameras which
lends a temporal reminder about photography, its transitory nature. This
is emphasised by the flicker of the images on computer screens and the
gentle undulations in the poetic silk hangings. Indeed it is these silk
printed imprints which make a visit so unusual. As Peter says “They can
be lit from in front or behind and each method gives a new feeling to
the subject. I love the movement you can get as you walk near the
image-it is very contemporary and has a huge range of applications-we’ve
thought about curtains and even roller blinds.” They are produced with
the
assistance
of Pete Williams at Penwith Graphics. There is feeling for the local
landscape in the sepia toned landscape of the “Cape Cornwall” as a
backdrop. This contrasts with the silk of “Digging”, agricultural
implements and spades from the gardener’s outhouse at Trevarno Gardens
The
subjects are varied but Peter Crumpler has a lyrical eye, particularly
for the scenery of West Penwith.. This comes across in the variety of
colour of the sea in his picture of Godrevy. The feeling for colour also
comes out in the rich burnt umber of “Eye of the Horse”. There is a
feeling for time, reminiscent of Robert
Farthing”
Although there are just 26 photographs most have something moving or
original to convey. A time honoured subject is portrayed in the light
falling on the trees or streams in Trevaylor gives a clarity of image
and it is now difficult to look at such fragile environments without
examining the image for human impact in the form of discarded tin cans
in the undergrowth. 
