1967 Dip.A.D. 1st Class Hons Chelsea School of Art
(converted to CNAA B.A. for purposes of M.A.admission)
1969 Art Teacher's Certificate, University of London Institute of Education. distinction in Theory and Practical.
1987 M.A. in Art and Design in Education, London University Institute of Education

Consequently I taught Art / photography in a Kent Comprehensive school and remain a firm believer in a non-selective education system.

June 2 - July 3rd 2016 'GRIT' Group Exhibition ARTHOUSE1,
Curated by Jane Boyer
2014 'The Send Off' The Orangery, Knole House
2013 23rd September - 3rd November Group exhibition, 'Echo' at Knole The Orangery, Knole House, Sevenoaks,Kent
2013 10th aug - 31 Aug 'Drawn Together' 1066 Art Academy Gallery, Battle
2013 2nd May - 4th June 'ko-ax' Drawing Group exhibition. Mascalls Gallery Paddock Wood, Kent.

2013 'This Me of Mine' touring exhibition
14th - 31st March APT Gallery, Harold Wharf
12th April - 7th May Strange Cargo, Folkestone
10th May - 29th June Kaleidoscope Gallery, Sevenoaks
21 Sept - 5th Jan 2014 Ipswich Art School Gallery,
curated by Jane Boyer

2012 22nd March - 12th May Sevenoaks Visual Arts Forum Open
2012 3rd Feb - 16th Feb 'The Dead Bird Series' Nucleus Arts Centre, Chatham.
2010 29 May - 13 June Photographs at Ropetackle Arts Centre, Shoreham on Sea
2009 August, Solo show What If...? Gallery Dartford.
2009 artWorks Open Inaugural exhibition
2009 February, Solo exhibition Sir Peter Blake Gallery Dartford
2008 'Art in Mind', Brick Lane Gallery

David Minton, Marcia Teusink, Nigel Bird, Jack Ginno Curated by Jane Boyer
Neutrality isn’t inert. It’s alive with nuance.
There is no denying the superficial meaning of this exhibition title – these works are gritty. But move beyond the surface and there is deeper significance: fortitude, patience, tolerance, and registers of experience, which coalesce to form a memory corpus. Within this body of memory, dualities become active as indicators of experience, then|now, significance|indifference, distinct|indistinct. Perhaps most significant within any body of memories is the neutral space those memories occupy; distanced from their time, but not of this time; outside yet bound to current experiences of the moment.
“...the Neutral is the shimmer...whose aspect, perhaps whose meaning, is subtly modified according to the angle of the subject’s gaze.”1
This quote by Roland Barthes presents a neutral which is not static but a neutral which is activated by a point of view, making the neutral not something that is inert, but a lively position which shimmers with nuance and shifting slippage. The Neutral is a space of mutability.
The works in this exhibition exemplify this mutable Neutral. They present the fortitude of persistence within the memory corpus: from the struggle of learning the imposition of rules, to visible evidence of the deterioration of time, to the repetitive gesture that leaves a collateral trace, to the haphazard mark processed into a mark of intent. The neutrality of these works lies not only in their monochromatic colour, but also in their indistinct surfaces. It’s in this space of neutrality that the viewer can delve deep into nuance. This very indistinctness is where real distinction can be found amongst the singular marks and topographies in the grit.
1 Barthes, R., Krauss, R., 2005, From the Neutral: Sessions of March 11, 1978, October, MIT Press, Vol, 112, pp. 3 – 22.

GRIT Premise courtesy Jane Boyer

Curated by Jane Boyer

This ‘Me’ of Mine
Premise Statement Jane Boyer, ©2013
'‘Myself’ is a loaded pronoun, it is a reflexive pronoun which is grammatically suggestive of a self which is reflected back on itself through actions or thoughts. It represents my person as I sit here writing this, my past which has brought me to this place where I sit and write, and the potential of what may happen next. It is a multiplicity of selves, changed and influenced by time, experience and encounters all woven together in the weave of a fabric called ‘me’. Yet there are two sides to a piece of fabric, just as there are two sides to me: my interior self and my exterior self.
These two selves are inextricably bound but often run a different course and carry different attitudes. The me that engages is not necessarily the me which retreats, but we are one and the same person. Deleuze would call this an ‘entre-deux’, a fold not in two, but a fold of two, ‘...above all that, differentiation does not refer to a pre-given undifferentiated, but to a Difference that endlessly unfolds over from each of its two sides.’
I call it the parallel self.
Immediately, the thought arises of split personality or other dimensions, but that isn’t it. The parallel self is the self not visible but which has influence on the self projected in the moment. It is the self which carries all the past and the self which anticipates the coming moment. It is me, ‘the- who-I-am’ which propels me forward. It is me and all the folds in the multiplicity of consciousness. Deleuze also says, ‘I am forever unfolding between two folds and if to perceive means to unfold, then I am forever perceiving within the folds.’ This suggests perpetual perception, but a perception which is hindered or baffled by what lies beyond awareness; a perception limited by obstruction.
This obstruction has many forms; it is the context of our perception and as such influences the way we interact with the world. These forms include socialization, memory, experience, resources and circumstance. But where are we in all this? Where is ‘the-who-I-am’, the self which perceives? There can be no separating me from my fold, but is there a discernable boundary of difference and can I affect that boundary? Can I impact my own context or am I forever bound to the vagaries of the fold?
This exhibition looks at some of these questions through the process of socialization, our relationship with objects as mediators of emotion, memory as a source of self-definition, and the reality of living in a digital age.'
Courtesy Jane Boyer