The current group exhibition at Creek Creative Studios in Faversham brings together an impressive breadth of fresh work by local artists. They are unified by a simple but effective premise: every piece on display is new to the venue. The result is a show that feels immediate, unrepeatable, and firmly rooted in the present moment of the area’s creative life.
What strikes the visitor first is the consistency of care across the hang. Landscape, still life, botanical study, and wildlife observation dominate the subject matter, reflecting both the rich natural environment surrounding Faversham and the enduring strength of representational practice among local artists. g.
I selected a smaller group of artists at Creek Creative Studios for closer attention because, within a large open exhibition, certain works naturally assert a stronger visual or conceptual presence. While the overall show demonstrates breadth and consistency, the artists I focused on each offer a particularly distinctive voice—whether through technical confidence, emotional intensity, or a clearly defined personal language. Some works reward prolonged looking more than others. These are artists whose decisions become richer the longer one looks.
Charlotte Browne presents quietly atmospheric works that demonstrate a sensitive response to light and place. Her handling is measured and observational, encouraging slow looking and rewarding sustained attention.
By contrast, the paintings by EA Kenny deliver a raw, emotionally charged exploration of the human face. Working with thick impasto and heavily worked surfaces, Kenny gives each portrait a tactile, almost sculptural presence. Exaggerated features and distorted proportions push the work toward psychological intensity rather than literal likeness. His palette is bold and often abrasive, with colours layered and scraped in ways that suggest urgency and spontaneity. The two smaller works feel especially volatile, while the larger portrait carries a heavier, more meditative weight. Across all three, vulnerability and fractured identity remain central concerns, placing Kenny firmly within the lineage of contemporary expressionist portraiture.
A quieter sensibility emerges in the paintings of Anoushka Khan, whose work reveals a refined sensitivity to everyday subjects and atmosphere. In her still life, the vase and delicate stems are rendered with restrained brushwork and muted tones, creating a contemplative, almost nostalgic mood. The landscape opens outward into water, greenery, and rock, built through layered, gestural strokes that balance abstraction with recognisable form. Khan’s earthy palette—punctuated by cool greens and soft pinks—evokes warmth and grounded calm.
The paintings by Maisy Beth Crunden burst with charm and meticulous detail, celebrating architecture through a lively, illustrative lens. Her densely packed cityscapes are filled with characterful buildings, each window and rooftop carefully articulated to create a rhythmic, storybook quality. Bold, clean colour—particularly saturated blues and warm oranges—gives the work an inviting energy.
A similarly distinctive graphic voice appears in the paintings of Brian Summers, whose highly stylised approach to everyday subjects feels both contemporary and gently reminiscent of mid-century illustration. Flat, confident colour and clean line work unify the trio, producing work that prioritises mood and character over realism while remaining immediately engaging.
Printmaker Tina Browne demonstrates impressive versatility across media. Her lino prints, Lobster on a Blue Plate and Reculver in the Early Morning Sun, show confident control of line and contrast, while the watercolour Peace reveals a softer, more intricate sensibility through its stained-glass-inspired colour and pattern.
Peter Cordeaux brings a slightly more structured, architectural sensibility to landscape. His compositions feel carefully built rather than loosely observed, with forms clearly defined and spatial relationships thoughtfully controlled. There is a quiet discipline in the way he organises buildings, boats, or shoreline elements, often giving his scenes a calm, ordered rhythm.
At the same time, this structural clarity does not come at the expense of atmosphere. Subtle tonal shifts and restrained colour choices soften the geometry. This allow the works to retain a sense of place and lived environment. The result is landscape painting that feels both dependable and quietly refined, balancing draughtsmanship with a measured painterly sensitivity.
Finally, Cheryl Cunningham offers a beautifully observed response to the Kentish landscape through varied media and texture. From the tactile mixed-media shoreline of Sunlight on the Water at St Mary’s Bay to the airy pastel handling of Oare Marshes and the cool stillness of Winter Wonderland Walk, her work demonstrates a deep and sensitive connection to place.
Taken together, the exhibition at Creek Creative Studios succeeds not through spectacle but through breadth, sincerity, and technical care. By focusing more closely on artists whose work shows particularly strong individuality and material confidence, the richness of the local scene comes sharply into focus—revealing a community of makers deeply engaged with both place and practice.
You can visit exhibition 10th February – Sun 8th March (10am-4pm), except Mondays.