There is a subtle shift at this time of year. Light extends, edges soften, and spaces begin to open. What was held in reserve through the colder months returns gradually, not as a sudden change, but as a steady rebalancing.

Gathering Light brings together a selection of paintings and works on paper shaped through a shared sensitivity to light, as structure, as atmosphere, and as a condition of looking. At Tregony Contemporary, observation remains central. The artists included here work through sustained attention: returning, adjusting, and refining, allowing the act of looking to unfold over time. In this context, light defines space, holds form, and establishes relationships within the image.

Across the exhibition, light is approached in different ways. In Gethin Evans’ Cappuccino, strong sunlight meets stillness. Michelle Maddox’s Sunlight in the Studio turns inward, where light structures the studio space. Erin Raedeke’s Afternoon Light softens form through atmosphere and memory.

In still life, light is held within the painted surface. Edmond Praybe’s Dress, Twig and Broken Dish balances illumination with fragility, while Michael Weller’s Roses II gathers light into density. Kay Vinson’s August Blue allows colour to carry light more obliquely.

In landscape, light becomes spatial. Grant Watson’s Grey Clouds compresses atmosphere into tonal fields, while Uri Blayer’s Mahon Falls extends space through distance and movement. Linda Schwab’s Swing and Alex Cree’s Floating hold moments of suspension between motion and stillness.

In Judi Green’s Listening Fields, observation becomes both subject and structure, where light is something both seen and built through the act of painting.