2026 — Fiona Richmond

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Fiona Richmond

Fiona Richmond

Folder: Older Work

The Causeway, 2026, oil on copper, 20.5cn x 25.5cm unframed

Derelict Greenhouse overlooking Rocquaine Bay, oil on aluminium, 80cm x 96cm

Derelict Greenhouse and Packing Shed, La Fontenelle Bay, 2025-26, 80cm x 100cm unframed

Derelict Greenhouse and Packing Shed, La Fontenelle Bay, 2025-26, 80cm x 100cm unframed

German Stonecrusher at Les Vardes, 2026, oil on canvas, 150cm x 120cm

German Stone crusher in situ in the Hinterlands exhibition

German Stone Crusher, 2026, oil on wood panel, 50cm x 40cm

Watch House through the Pines, 2026, Oil on Canvas, 26cm x 16cm unframed

I’m just starting to think about a new project that’s been percolating slowly for a while. This is to do with our main reservoir which was completed just after the Second World War. Storage of drinking water on small islands is a perennia

It was a real pleasure to show lots of people round @collective.split ‘s Response exhibition this afternoon and talk a bit about the work. This followed the annual summer lunch in the grounds of St Peter’s Rectory. A lovely day was had by

A week of extreme heat, swims, too much work and very little painting time. 1. Study of Port Soif Bay from above. 2. Someone’s beautiful limpet assemblage on Port Soif last night when I swam at 6 on the high tide after a hectic day. 3 water tro

Wonderful work by the A level students at EC. Showing the @gatehousegalleryec this evening.

Not sure I’m ever going to be able to reclaim my painting trolley! 😂🐈&zwj;⬛😬

It’s lovely when painter friends leave unexpected gifts behind. I just love this watercolour portrait of me by @ms_giving_art that was made when @collective.split members visited Guernsey at the end of May. We had a wonderful weekend and the su

I can’t remember where I read about this book, but having tracked it down on eBay, I’m loving it! First published in 1950, by the psychologist Marion Milner, originally under a pseudonym, “On Not Being Able to Paint” functions

I’ve no firm sense of where these little studies are going, but it’s interesting using the flatness of old faded black and white photographic imagery as a starting point for paintings. The colour is very strange right now but seems to be

Today I’ve been working from old black and white family photos. This small painting sketch one is from one from the early 1950s when my Gran found a monkey at the local animal shelter and took him home. He tormented the dog by jumping on his ba

The Response Exhibition showing the work of members of Split Collective will be closed this weekend for a rehang. Initially it was showing at the Gatehouse Gallery in St Peter Port and the Rectory in St Pierre du Bois. The Gatehouse show has now move

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