curriculum
vitae 
return
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curriculum
vitae |
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Born 1942 |
Shepton Mallet |
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education |
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1953
- 1958 |
Brighton Hove and Sussex Grammar School |
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1958 - 1963 |
Brighton College of Arts and Crafts |
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qualifications |
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1962 |
National Diploma in Design (Ceramics and Lithography) |
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1963 |
Art Teachers Diploma |
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teaching |
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1963 - 1968 |
Stepney Green School |
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1968 - 1969 |
Brighton College of Art |
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1968 - 1980 |
Hornsey
College of Art / |
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1970 - 1971 |
Winchester School of Art |
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Visiting Professor |
1970 |
University of Washington |
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1971 - 1974 |
Croydon College of Art |
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1971 - 1976 |
Royal College of Art |
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1971 - 1976 |
Brighton Polytechnic |
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1979 - 1980 |
Middlesex Polytechnic |
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1979 - 2007 |
Brighton Polytechnic / University of Brighton |
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External examiner |
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1982 - 1987 |
Norwich School of Art |
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1988 - 1992 |
Chelsea School of Art |
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1987 - 1990 |
Specialist Advisor, Gloscat |
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Solo Exhibitions |
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1969 |
Greenwich Theatre Gallery |
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1970 |
Redfern Gallery |
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1971 |
Henry Gallery, Seattle |
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1972 |
Bear Lane Gallery, Oxford, |
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1973 |
Redfern Gallery |
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1976 |
Charlton
House, Greenwich |
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1976 |
Redfern Gallery |
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1978 |
Redfern Gallery |
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1979 |
Woodlands Gallery, Greenwich |
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1981 |
The
Oxford Gallery |
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1982 |
Redfern
Gallery |
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1984 |
Redfern Gallery |
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1985 |
Everard Read Gallery, Johannesburg |
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1986 |
Redfern Gallery |
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1987 |
Le Cadre Gallery, Hong Kong |
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1988 |
Redfern Gallery |
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1990 |
Redfern
Gallery |
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2011 |
LIMBER GYM at Meter Room |
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2012 |
LIMBER GYM at TESTBED 1 |
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Other exhibitions |
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1962 |
The New Chelsea Gallery, London |
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1968 |
The City Festival, The Barbican, London |
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1969 |
The ‘Studio Shows Event’ |
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1970 |
Clytie Jessop Gallery, London |
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1970 |
Greenwich Theatre Gallery, ‘Retrospective’ |
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1971 |
‘16’ Rotunda Gallery, London |
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1972 |
University of East Anglia |
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1972 |
John Moores Liverpool Exhibition |
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1973 |
‘Space
at the Quadrangle’ Woodlands
Gallery, Greenwich |
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1973/74 |
‘Industrial Sponsors’ exhibitions |
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1974 |
‘100
Paintings’ Contemporary Arts Society Mall
Galleries, London |
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1975 |
Chichester
National Art Exhibition |
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1975 |
‘Aspects
of Contemporary British Art’ Arts
Club, Dover Street, London |
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1976 |
John Moores Liverpool Exhibition 10 |
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1977 |
‘Works on Paper’, Royal Academy Galleries |
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1977 |
‘Art into Landscape’ Serpentine Gallery, London |
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1977 |
‘Artists as Illustrators’ New Art Centre, London |
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1977 |
The Guernsey Art Festival |
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1978 |
‘Critic’s Choice’ ICA Galleries, London |
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1978 |
‘De
Beers Collection’ Contemporary Arts Society, Mall
Galleries, London |
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1979 |
Basle Art Fair |
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1980 |
Basle
Art Fair |
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1980 |
’Israel Observed’ Jerusalem Museum , also at the Mall Galleries, London |
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1981 |
Royal Northern College of Music |
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1982 |
‘A
Taste of British Art Today’ BP
Belgium Collection, Brussels |
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1982 |
‘Images
for Today’ sponsored by J Sainsbury
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1982 |
‘Contemporary Choice’ Serpentine Gallery |
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1983 |
‘20th Century Drawings’ Redfern Gallery |
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1983 |
‘Tolly Cobbold Eastern Arts 4th National Exhibition |
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1984 |
TSWA National Open Art Exhibition |
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1984 |
‘British Painting and Drawing’ Redfern Gallery |
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1985 |
British Art Fair, Olympia, London |
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1985 |
John
Moores Liverpool Exhibition 14 |
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1985 |
Everard Reed Gallery, Johannesburg |
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1985 |
‘Real and Abstract’ Redfern Gallery |
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1985 |
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1986 |
‘75th
Anniversary Exhibition’ Contemporary
Arts Society |
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1986 |
British Art Fair, Olympia |
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1986 |
New York Print Fair, The Armoury, NY |
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1986 |
‘Works on Paper’ Redfern Gallery |
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1987 |
Athena
International Awards, The Barbican |
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1987 |
Chicago Art Fair |
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1987 |
Ruth Volid Gallery, Chicago |
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1987 |
John Moores Liverpool Exhibition 15 |
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1987 |
‘On a Plate’ Serpentine Gallery |
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1988 |
’65
Years of British Painting’, Rotunda
Gallery, Hong Kong |
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1989 |
British Art Fair, Olympia |
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1990 |
Summer Exhibition, Redfern Gallery |
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1990 |
British Art Fair, Olympia |
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1991 |
‘Contemporary
Painting, Printmaking and Sculpture’ , Redfern
Gallery |
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1991 |
‘Bookman’
Marlborough Rare Books, London |
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1992 |
‘20th Century Drawings and Prints’ |
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1994 |
‘Summer Show’ Redfern Gallery |
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1994 |
‘F.A.R.A.’
Bonhams, London |
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1995 |
‘Drawing’ Critic’s Choice Exhibition |
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2001 |
‘The
Discerning Eye’ Critic’s Choice Exhibition Mall
Galleries, London |
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2001 |
The Hunting Art Prize Competition |
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Awards and Prizes |
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1975 |
Chichester National Art Exhibition (prize winner) |
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1977
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Linbury Trust Award |
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One
year sabbatical from teaching |
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1979 |
‘Israel Observed’ |
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One
month travel and work in Israel |
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1982 |
‘Images
For Today’ (prize winner) |
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1987 |
Athena
International Awards (prize winner) |
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1971 |
Ceiling commission, Helen Jessup |
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1976 |
Portrait commission, Catherine Curran |
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1977 |
Painting commission, British Museum |
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Saatchi: advertising the Egyptian Collection |
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1983 |
The
Folio Society, To
illustrate the ‘Oresteian Trilogy’ in a new |
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1993 |
Portrait commission, Dr Helen Jessup |
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2006 |
Portrait
commission, Philip Jessup ,
Secretary
General Counsel, National
Gallery of Washington |
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Other works |
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1995 |
Published
‘Illuminations’ a box of 16 aquatints on
the subject of sculpture |
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1965
– 1994 |
Drawings regularly published in Ambit |
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1996 |
‘Gas
Station’ internet project organised
by the ‘Laboratory’ at
the Ruskin School, Oxford |
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2013 |
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The Changing Room' : Opera performance work in collaboration with Bruce Mclean and Sam Belinfante. Merevale Hall, Warwickshire. |
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2014 |
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'The Changing Room' : Opera performance work in collaboration with Bruce Mclean and Sam Belinfante. Leeds City Gallery |
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Collections |
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British
Museum Henry
Gallery, Seattle Chase Manhattan
Bank York City Art Gallery
Hull
University De Beers, ICI |
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see also |
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BBC - http://bbc.co.uk/arts/yourpaintings/artists/lawrencepreece for image of work in various collections |
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Blurb Books - http://blurb.co.uk/b/2548973-limber-gym for LIMBER GYM - The Complete Works |
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Further information |
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By
the Mid
1990s I decided I needed space and time to develop a number ideas in different
formats that were difficult to do if I was committed to a commercial exhibition
at the Redfern Gallery. The immediate nature of working with interesting students
as Head of the MA in Fine Art had also begun to take precedence over my thought
processes. This
relative freedom gave rise to many possibilities, breeding like rabbits that
were difficult to deal with from the point of view of the availability of time.
I am still endeavouring to deal with
this today. Works have a way of expanding to fill the time available. There
is a value in a deadline no matter what gives rise to it, hence the need to
find interesting venues for differing works and various projects such as Limber
Gym in the future |
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LP 2015 |
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