Newlyn School of Art

Mentoring programme final exhibition 2019 (image courtesy Steve Tanner)

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Degrees of separation

The final show for the 2019 Mentoring programme was held in the PZ Gallery.
This Gallery, in Coinagehall Street, occupied what had been the car showroom of a garage, owned and built by the Taylor family in Penzance.
Part of my childhood  was spent playing in a similar garage in Bristol, the White Tree Garage, where my father was the proprietor.

This explained, to some extent, why I felt some connection with the gallery space in Penzance.

Further research into the Taylor family tree revealed that the proprietor of the garage from 1947 to 1980 was John Vivian Taylor, a contemporary of my father, who had been proprietor of White Tree Garage in Bristol. However I could find no concrete evidence that the 2 men had met, even though they were both members of the South West branch of the Institute of the Motor Industry.

I was curious about Vivian Taylor’s military career during WW2 and discovered that he had served in the Irish Guards as a Tank Commander and that he was part of the Normandy landings at the age of 22. I also knew that my father, Harold William Ford, had served in the Royal Navy aboard a Tank Landing Ship (LST 363) and was present at all the major landings during the war.

Vivian Taylor’s tank battalion embarked on 30th June 1944 from Fareham heading for Normandy. My fathers archive suggested that his ship operated the shuttle between Normandy and Fareham.
This tiny photograph was taken on D-Day by my father as they were unloading a battalion of tanks. Was it possible that he and Vivian Taylor’s paths had crossed in Normandy?

I’d like to think so.

The resulting exhibition at PZ Gallery in November 2019 presented the work of 16 artists who had completed the Newlyn School of Art Mentoring Programme in 2019, led by the inspirational Jesse Leroy Smith.
The xvi_artists are:
Michael Angove, Rod Ashman, Beverley Bailey, Mike Boyer, Jeni Calvert, Tony Donaghy, Ron Ford, Jo Gorman, Richard Gregory, Jane Hodgson, Nicky Huxham, Jane Pine, Rachael Redfern, Camilla Stacey, Katherine Sheers, and Charlotte Turner.

My contribution evolved from the research into the connection between the two families, and included a painting (2.4m x 1.6m) of the Normandy landing representing Vivian Taylor disembarking from LST 363, based on a photograph that my father took at the time.

Normandy 30th June 1944 painting

In creating such a large painting, I had to consider what approach to take both practically and aesthetically. This was the largest size I could get into my studio and limited transportation meant that it had to be painted in panels that could be assembled in situ. No painting can do justice to the events that occurred during the Normandy landings, so my approach was to create a graphic image in monochrome, featuring my Dad’s ship (LST 363), The tank, and Captain John Vivian Taylor.

In addition I created a history of the Taylor’s of Penzance, with extracts from newspapers from 1882 to 1980. These newspaper extracts were hung on a clothes rack. they traced the history of the family from 1860 and their business which grew from Ironmongers, to bicycles and then Motor agent and engineers. They had branches in Penzance, Truro, Falmouth and Hayle.

The third element of my installation was to draw out the Taylor family tree on the exhibition floor using liquid chalk. I anticipated that by the end of the exhibition this element would have been erased by visitors feet, a metaphor for the passing of time.

The XVI Artists Exhibition