AS the owner of the Bingley Gallery and a fine artist himself, David Starley is ideally placed to promote art in the community.
This feature makes a fitting way to round off my series of interviews with local artists, which began in early January. Several of the major artists included have appeared in David’s gallery, and the work of Jane Fielder and Amy Charlesworth is always on display.
David has firm views on the role of the artist: “A painting needs to be more than detail, we can get that from a photograph. The artist needs to incorporate other factors – emotions and an empathy for a place, person or object. Good abstract artists certainly can achieve emotional resonance without having an obvious subject matter.”
David Starley at the easel, painting a pictish symbol stone
He does, of course, have to cater for local demand which tends towards well-loved landscapes, realistically portrayed. “My aim, though, is to capture the spirit of a place rather than its accurate detail. If a work leaves a little to the viewer’s imagination, then it’s likely to retain their attention in the longer term.”
His Bingley gallery has the reputation as one of the best places to explore a wide range of artistic approaches and appealing styles.
“We are happy to explain about the work on offer – some people find art galleries intimidating, but like many locally, we are run by artists and are very down to earth,” he says.
His devotion to the Aire Valley, which he’s portrayed at least 150 times in all its seasonal moods, as well as his dedication to discovering and showcasing local artists might suggest he’s from these parts. In fact, he hails from the pretty Warwickshire market town of Kenilworth – and received his artistic training in Australia. Surprisingly, his background is in Metallurgy, which he studied in Sheffield before later coming to Bradford University from which he emerged with a degree in Archaeological Sciences and a doctorate in Mediaeval Steel.
Clearly he’s also steeped in the valley’s history, ever aware of a spiritual connection between its present and the past. “There’s just such variety in the landscape and its moods are so changeable – from place to place and time to time – from the stark beauty of the moors to the secluded wooded valleys.”
He pauses for thought. “The buildings, in locally-quarried stone, are often wonderfully picturesque, whether it’s the rustic charm of those of the old vernacular architecture to the grandeur of the proud Victorian cityscapes.”
The immensely evocative Misty Morning Saltaire New Mill looks across a horse paddock towards Saltaire New Mill with the heights of Windhill behind. “The sun was beginning to break through the mist allowing some shadows,” he recalls. “The palette was restricted to yellow ochre and French ultramarine to create harmony and a mellow vibe, although I added white to reduce the tonal values.”
Canal by Moonlight in Saltaire
It is one of many inspired by his daily walk to work from his home in Saltaire. Another dreamy homage to the beauty as well as functionality of Sir Titus Salt’s great mill is subtitled 18 Miles of Worsted a Day, a reference to “just one of the impressive statistics from the mill in full production”.
Misty Morning, Saltaire New Mill
David often strays from the canal towpath into Hirst Woods, upon which he finds a visual treat, particularly in spring and autumn. Deep in the wood, he is particularly aware of the shades of the past somehow haunting the very roots and branches. “Whilst an apparently ‘natural’ environment, the woods are full of clues for an archaeologist,” he says, thoughtfully. “Beeches were planted for bobbin production, the oaks provided wood to be converted to charcoal in clamps built on platforms cut into the slopes.” Autumn Glory, a splendacious explosion of woodland autumnal colour, “was a spectacle that just had to be painted.”
Trees he finds an unfailing source of inspiration and at the heart of his recent exhibition dedicated to them was Winskill Stones Tree, in the nature reserve above Stainforth. “Growing up through a limestone pavement in a windy spot, the character of this lone hawthorn tree particularly appealed to me,” he says, with feeling.
The Clearing – A Haze of Bluebells in Spring. Trees are a big inspiration for David’s work
Beckfoot Bridge, a 17th-century packhorse bridge bestriding Harden Beck, in Bingley, one of the best preserved of its kind, is a frequent subject. “The rough-hewn quality of the stone suits the texture achieved by my painting knife technique,” he explains.
Half-a-mile up the Aire stand Ireland Bridge, for which he has a particular affection. “Although dating from the 17th-century, it continues to carry heavy traffic,” he says. “The beer garden of the White Horse provides a good vantage point, with refreshment!”
Autumn Glory by David Starley
David’s aim is always to evoke an emotional response to our environment through art. You can be sure that all the artists in his gallery are of the same mind, heart and soul as the owner.
“I am flattered you think what we do here provides the culminating point of your series,” he says modestly. “Yes, we are a community, one which always welcomes new members.”
* David’s work and details of exhibitions past and present can be found at The Bingley Gallery, 29B Park Road, Bingley, and at http://www.davidstarleyartist.com/bingley/
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