Adrienne and Barry
Barry has been dabbling in paint since the í70s. Self-taught, with a feeling for the power of painted visual effects and the technical ability
to achieve those effects, his early works were spacescapes on flat
surfaces, and they sold.
Selling is often a confusing final negotiation in the life of an
artwork. Not so for Barry. The work does not aspire to a high and revered
museum status; this work is conceived and crafted with a clear and
purposeful conscience, no artful strategies, and it has a price in the
range of a pair of shoes. In a way this is knitting that canít be worn; it is
skillfully and laboriously produced and it is beautiful to behold.
The matter-of-fact production of this work is part of its charm.
This is a family affair, both Barry and Adrienne produce this work and
it has grown from a hobby to a cottage industry.
The stones are specially selected for their formal potential and a
work is judged successful in terms of its visual dazzle and in terms of
its ability to delude a viewer as to its real substance: ‘no, this is not