Mark Surridge

Job title
Lecturer, Fine Art

I have been a member of the fine art team since 2012, where I am currently working part-time. My teaching is drawn from my experience as a practicing artist. When I am not teaching I have a professional commitment to making work for solo and mixed exhibitions. Painting is my specialism but I am interested in printmaking and aspects of installation and sculpture.

For me it is the physical act of making that informs my practice. I use the principles of the 'palimpsest' to look at my surroundings through a series of layering – the most distant layers erased or partially erased by the ones in front. Applying archaeological terms to examine patterns and shapes found in the natural world, I am striving to illuminate some of the mysteries that confront us when we allow ourselves time to sit and notice.

In my last body of paintings 'Alignments' I walked through and mapped ancient sites, which were then remembered and transformed into works of 'equivalence of experience.' The paintings suggest aspects of archaeology; images appear half excavated in the paint, revealing hidden codes and syntaxes. Some of the canvases are divided into two parts, suggesting the passing of accumulated time or the movement of an ultra violet scanning device searching for meaning.

Web: Mark Surridge's website

Web: The Millenium Gallery website


Solo exhibitions


  • Alignments, Millenium Gallery, St Ives


  • Three Waters, Millennium Gallery, St Ives
  • Cornwall Field Lines, Beardsmore Gallery, London


  • Openings, Millennium, St Ives, Cornwall


  • Enfolding, Beardsmore Gallery, London


  • Air Voices, New Millennium, St Ives, Cornwall


  • Elemental Secrets, Beardsmore Gallery, London


  • Weather Changes, New Millennium, St Ives, Cornwall


  • Land Veils, Beardsmore Gallery, London


  • Elemental Landscapes, New Millennium, St Ives, Cornwall


  • Beardsmore Gallery, London

Selected mixed exhibitions


  • Unsettled, Group Exhibition, Enys, Penryn


  • IMS Cotemporary Cornish Paintings, Falmouth Gallery, Cornwall


  • Mini - Meta, Abstract Painting from Mid-generation British Artists, Beardsmore Gallery, London


  • Art Now Cornwall, Tate St Ives


  • NSA Summer Exhibition, Goldfish, Penzance


  • NSA Critics Choice, Lemon Street Gallery, Truro
  • Selected by Norbert Lynton NSA Christmas Exhibition, Campden Gallery, Chipping Campden
  • Selected by Nicholas Usherwood
  • Royal Academy Summer Exhibition, London


  • Critics Choice, Newlyn Art Gallery, Newlyn
  • Selected by John Russell Taylor


  • Glyndebourne Festival Opera, Glyndbourne, East Sussex
  • Weather Report 2, exhibited and curated group exhibition with Marion Taylor, Newlyn Art Gallery
  • Newlyn Critics Choice, Newlyn Art Gallery, Newlyn
  • Selected by Joan Bakewell
  • Royal Academy Summer Exhibition, London


  • The Space Between, Merriscourt Gallery, Oxfordshire (two-person exhibition)
  • Royal Academy Summer Exhibition, London


  • London Art Fair, Business Design Centre, London

2005, 2001, 2000

  • Hunting Art Prizes, Royal College of Art, London (prize winner 2001)

Selected publications

  • 2012 Field Lines, fold out, Beardsmore Gallery, London
  • Three Waters, exhibition catalogue and accompanying CD, Millennium Gallery
  • IMS Contemporary Cornish Painting, charity auction, Christies, London 2010
  • Openings, exhibition catalogue, Millennium Gallery, foreword by Joseph Clarke
  • 2009 Post: The Journal for Arts, Culture and Research, University College Falmouth
  • 2008 Revolver Art Cornwall Enfolding, exhibition catalogue, Beardsmore Gallery, foreword by Alison Oldham
  • 2007 Art Now Cornwall, Susan Daniel McElroy, Tate Publications St Ives
  • 1975-05 Art Colony in Transition, Peter Davies
  • 2006 Air Voices, exhibition catalogue, New Millennium, foreword by David Falconer
  • 2005 The Guardian, Living on the Edge, Artist of the Month
  • Grand Designs Magazine, Chapel feature, August edition
  • Elemental Secrets, exhibition catalogue, Beardsmore Gallery, London, foreword by Pip Palmer
  • 2004 Weather Changes, exhibition catalogue, New Millennium, foreword by David Falconer
  • 2002 ArtNSA, Newlyn Society of Artists publication
  • 2003 Land Veils, exhibition catalogue, Beardsmore Gallery, foreword by Liam Hanley
  • 2001 Elemental Landscapes, exhibition catalogue, New Millennium, foreword by Maurice Cockrill
  • 2000 Exhibition catalogue, Beardsmore Gallery, foreword by Elizabeth Knowles
  • Private collections in UK, Europe and USA

Field Lines exhibition

Following the contours of the hedgerows high up on the ancient hills of Long Rock over looking distant West Penwith. A network of distinct curving lines and enclosures are visible, just like the fine lines of a clearly defined ordinance survey map. With eyes wide open following the natural flow of the land, the atmosphere changes and the distant hedgerows begin to disappear under a layer of mist. In the studio, working from drawings, my eyes now follow the gestural lines made on paper and canvas. With a loaded brush, I erase some of these marks until only faint traces are visible, this allows new imagery to spawn and re appear again, perhaps in different places or the lines may take on other shapes and forms.

'In a moment of change in the weather, a new landscape is formed and in a moment of change in the studio a new painting is made.'

September, October and November provided magnificent skies with spectacular cloud formations, like grand graphic gestures moving and curving and dissolving across the sky, often appearing to mirror the field hedgerows down below at ground level. I have re entered the landscape and the mysteries they hold continue to entrance me.

Three Waters exhibition

Water, flow, the ever changing surfaces, fractured, calm and arresting - reflecting the intimate and the universal. These new paintings concentrate on the painterly sensations of light, movement and the void like expanse of liquid water. Carborundum, paint and pigment are energetically hurled and poured onto the wet painted surface of the canvas, creating gritty, simplified shapes and forms. The paintings are not trying to explain the intricacies of nature, but strive to suggest the human visceral sensations felt, when experiencing the elemental world outside.