Alan Rankle born in 1952 is an artist and curator whose work explores historical, social and environmental issues informed by his interest in the evolution of landscape art. Since his first exhibition at the Institute of Contemporary Arts London in 1973 while still a student at Goldsmiths College, he has worked variously in painting, video, photography, printmaking, architectural intervention and curating, through a series of international exhibitions and commissions.

Retrospective surveys of his work have been presented at Gallery Oldham in 2006 and Fondazione Stelline, Milan in 2010 where he also began his critically acclaimed series of collaborative exhibitions On the Edge of Wrong with the artist Kirsten Reynolds. Recent projects include curating the exhibition Axis: London Milano for Fabbrica del Vapore in Milan with Claudia De Grandi and a prize winning immersive installation Riverside Suites at the Lowry Hotel, Manchester in collaboration with the designer Veronica Givone and AFK Architects.

www.alanrankle.co.uk

Instagram:

alanrankleprojects

I love words. But I make art about inarticulate types of experience and the insufficiency of words in communication.

My work hinges on interactions between observation/abstraction, drawing/painting, visual/acoustic, beauty/trauma, intuition/ideas and the articulated/the unsaid.

Whether working in ancient woodlands, a city shopping centre, or collaborating with other creative practitioners, I’m interested in the emergence of visual form for human experiences that aren’t readily put into words.

And the allusive qualities of watercolour and soluble drawing media echo the fluidity both of recall and of emerging perception in the present moment.

So a cloud of marks becomes communicative but impossible to translate precisely. An illegible calligraphic line gestures to that which cannot be written. And the abstract indicates what remains unsaid in the shadows of relationships or unsayable in intense emotional experience.

With a cross-disciplinary background in literature and psychotherapy, my work is influenced by literary and forest mythologies, philosophies about how we know what we ‘know,’ and psychotherapeutic understandings of what can and cannot be said. And, in landscape, an inexplicable but profound sense of place.

www.ellaclocksin.com

Instagram: ellaclocksin_artist_studio

My abstracted landscape paintings seek to explore the spirit, features and qualities of the places we call home. I paint landscapes I know well creating remembered experiences, fragments of time, sounds, colour, movement. A recreation of place which is deeply personal. I am interested in the areas that pull us back, the places we visit over and over and never tire of. The landscapes we carry with us, which hold our memories and fill us with joy. For me these are specific places in my home County of Somerset and nearby Wiltshire, the wildlife marshes around Gibraltar Point in Lincolnshire, the coast and wild spaces of Cornwall and the beautiful rural landscapes of Italy. I work with paint, collage, pencils, oil pastels and water-soluble crayons creating mixed media pieces full of colour. Bold, sensitive, emotional responses to landscapes forever changing and marked by the human hand, nature and time.

I am originally from Lincolnshire where I trained at Lincoln College of Art and later completed a Degree in Fine Art and Social Context at UWE Bristol. Since graduating I have made the South West my home settling in Frome, Somerset. I work from a studio in the Silk Mill, a beautifully converted building in the centre of Frome. I am a fully qualified Adult Education tutor and teach weekly classes, one day workshops and online courses. I have curated several art exhibitions for my students at the Black Swan Gallery in Frome.

www.amandabeeart.co.uk

Instagram: amandabeeartist

Kirsten Reynolds makes art that deals in revelation. Working in drawing, sculpture, installation, painting, print, photography and sound she makes radical re-interpretations of classical and traditional themes and is often inspired by historical, scientific and philosophical ideas concerning the natural world. Following in the footsteps of the Dadaists and Futurists, Reynolds uses unusual combinations of modern and ancient techniques and materials to create intuitive and uniquely personal works.

www.kirstenreynolds.co.uk

Instagram: reynolds_art

Most sculptures are fabricated entirely from sheet metal but some introduce mixed media in the form of salvaged or drift wood to enhance the representation of nature.  Others are made entirely from scrap metal: reusing materials and reforming them into a beautiful piece of art which reflects nature and which, somehow, seems a fitting way of demonstrating the ongoing worth of the materials often so readily discarded.

Many of the artist’s pieces are an observation of nature, using this man-made material to capture the unique movement, character and alertness for which animals and birds are so much loved and which makes these sculptures such a popular personal art choice.

dadeymetalart.co.uk

Instagram: diccondadey

From 1986 to 1996 I owned a restaurant in Brighton and sold it when I became hooked on ceramics at an evening class. So that I could study the subject further. I spent five years at college, studying photography and plastics as well as ceramics. When I graduated in 2001, I took out a lease on workshop premises in Hove, and sublet spaces to other artists/craftspeople. Since then I have exhibited and sold my work at art fairs and galleries throughout the British Isles. In 2004 I won an award for Best Newcomer at BCTF, and have written features for their magazine “The Craftsman’. I took a post grad in teaching and learning in HE, and have worked part-time as a tutor at Northbrook College, Brighton University and HMP Ford.

My inspiration comes from flowers and plants that we see all around us, in gardens, fields even cracks in the pavement. I particularly love the secret worlds inside these flowers, in the patterns and textures hidden away that give a continuing sense of promise and renewal.

Until 2005 my work had been mainly in the domestic & functional arena, but then I decided to work on larger, often one off, sculptural pieces. So far, I have concentrated on the forms of seed pods and fruiting bodies which ties in with my earlier work, but which looks completely different.

I like to play with scale and will often imagine the size that a plant must appear to an insect…what is it about the flower that attracts or repels?  Often I will scale my sculpture up so that we can have an ‘insects eye view’ of it.

I work in stoneware, throwing the basic shape of the sculpture, then I alter and model onto it. This gives me a certain speed and control which is the way I prefer to work. My pieces are high fired so that they can go into an interior or exterior environment.

My glazes are chosen to compliment the form and are often slightly chrystalline or irradescent, this makes the pieces glow.

www.francesdoherty.co.uk

I am a contemporary artist based in Newhaven, East Sussex.

My paintings are free and expressive, bursting with colour and movement.

Sketching ‘en plain air’, my work is influenced by the light and energy of the ever changing environment. Working with a fresh contemporary palette, my paintings are an extension of my sketch book and become a dance of mark making and a call and response process.  Each mark or colour bouncing off previous lines, strokes and textures. Pieces develop with different shapes, scales, line quality, spacing, tones, and colour, capturing the fluidity and movement of the sea near my home, but also its harmony with the connecting grasslands and countryside.

www.katerochester.com

kate.rochester_art

My work varies from broad expressive energetic mark making to a gentler approach to evoke a particular mood. Inspired by the local area, they represent memories of places I’ve visited, recollections reordered and re imagined back at my studio.

Each painting is a personal investigation populated by ambiguous figures, moments, landscapes and distortions, dissembled and reconstructed into something timeless and shifting. I like to explore texture, excavated marks and imprints of what’s left behind.

www.rueasher.co.uk

Instagram: rueasherstudio

TIDE by Bobby Boud

New works featuring a series of seven inspirational paintings by Bobby Boud, inspired by the relentless inbound and outbound journey of the tide

Bobby Boud uses the medium of oil on canvas to encapsulate the place where the sea meets the land, one of constant change and visual magic. TIDE is about a landscape at your feet, small forms which at first glance seem insignificant, intimate, and often unnoticed. These observations through abstraction and conflation of scale, have become the focus of this series of works. As with the tide, the paintings come and go often beginning with a riot of colour and paint which is moved removed and replaced on the journey. The works are named after craters on the moon, the controller of the tide.

Bobby Boud has a BA (hons) in Fine Art and a diploma in printmaking. Her work is a mixture of observed visual facts, memory, imagination and composition. Exploring a subject through works in series enables variations and intimate details to expand over time.

Instagram: @bobbyboud

“In my work, abstraction and figuration make playful accord, where the flower motif exists as the grounding component, and abstraction exists as the aftermath. Through my painterly renderings I commit myself to explore the possibilities of the flower and freeing it from its familiar contexts, creating an image that goes beyond something recognisable. My energetic arrays of sweeping and excessive application of vivid colour aim to evoke more than the literal representation. The distinction between the real, the decorative, and the imaginative become blurred, where the motif becomes the key to articulating emotion. I allow it to transform into an extension of my identity, as a young woman flourishing into adulthood.”

www.emilyvmaguire.com

instagram: @emilyvmaguire

Colour is a key element of Emma’s artistic practice. Working alone in the silence of her studio, mixing colours and laying down marks, Emma created this series of acrylic paintings on paper by working on multiple pieces in turn, moving from one to another and responding to the colour relationships as they developed. Each piece is intended as a place to let the mind and eye wander and then rest, evoking the deep quiet joy felt in the making, and the peace of those places in nature that are imprinted on our visual memory.

www.emmamcgowan.co.uk

From 1986 to 1996 I owned a restaurant in Brighton and sold it when I became hooked on ceramics at an evening class. So that I could study the subject further. I spent five years at college, studying photography and plastics as well as ceramics. When I graduated in 2001, I took out a lease on workshop premises in Hove, and sublet spaces to other artists/craftspeople. Since then I have exhibited and sold my work at art fairs and galleries throughout the British Isles. In 2004 I won an award for Best Newcomer at BCTF, and have written features for their magazine “The Craftsman’. I took a post grad in teaching and learning in HE, and have worked part-time as a tutor at Northbrook College, Brighton University and HMP Ford.

My inspiration comes from flowers and plants that we see all around us, in gardens, fields even cracks in the pavement. I particularly love the secret worlds inside these flowers, in the patterns and textures hidden away that give a continuing sense of promise and renewal.

Until 2005 my work had been mainly in the domestic & functional arena, but then I decided to work on larger, often one off, sculptural pieces. So far, I have concentrated on the forms of seed pods and fruiting bodies which ties in with my earlier work, but which looks completely different.

I like to play with scale and will often imagine the size that a plant must appear to an insect…what is it about the flower that attracts or repels?  Often I will scale my sculpture up so that we can have an ‘insects eye view’ of it.

I work in stoneware, throwing the basic shape of the sculpture, then I alter and model onto it. This gives me a certain speed and control which is the way I prefer to work. My pieces are high fired so that they can go into an interior or exterior environment.

My glazes are chosen to compliment the form and are often slightly chrystalline or irradescent, this makes the pieces glow.

www.francesdoherty.co.uk

My work is inspired by music, dance, reading and my latest work shown here is from observing my garden. I am interested in the negative space and the shapes made by that space . The quote by Mondrian – “ empty space has no other function than to make life possible ” is what made me want to look at that “ empty” space. I am not sure “ negative” or “empty” are the right words – I agree they make life possible but I think the Japanese concept of Ma is morecomprehensive when describing the space. It can be a physical as well as psychology space . It is a small word but has a huge meaning in all aspects of life.

I am an artist whose medium is textiles. I use my textiles like a painter uses paint . I think of velvet as my oil paint, silk as watercolour and cotton as acrylic. My work is made from big, bold and colourful Ma shapes which I stitch to a fabric and then stretch onto a canvas, like a painting.

I think Ma is a fascinating subject and because it applies to so many aspects of life I am excited to explore it more within my work. I am looking forward to exploring the silence between the sounds for my next project.

www.artburst.eu

Instagram : lindaabrahamsartist

Rebecca Angel studied fashion and textiles at the University of Brighton in the 1990s, and has been working in the fashion and textile industry ever since. In her art, Rebecca acknowledges the wasteful processes of the fashion industry and the fact that she, as a textile designer, is complicit. For this reason, Rebecca eschews virgin paper, trying instead to repurpose the materials and surfaces that are both source and byproduct of her own textile design work.

In recent years, Rebecca has begun to diversify her practice, engaging with new opportunities to develop her own multi-disciplinary approach to art. She is based in the Red Herring Cooperative in Portslade.

“When the pandemic slowed the industry and paused the constant turnover of designing, I took time to create art works for their own sake. I felt I was allowed an opportunity to experiment visually without commercial influence or customer direction so I used what I had available in the studio to build pieces using collaged colour: old portfolio mounts, leftover paint, backs of drawings.”

From a distance, her colour-based art suggests clarity and pureness of form; a closer look reveals subtle memories hidden in rough edges and layers of paint. Rebecca finds that collage offers her structural opportunities where the process is as important and significant as the end result, which can sometimes be re-translated yet again into a new and original textile.

rebeccaangel.co.uk

Instagram: @rebeccaangelcreative

Ian Marlow is a Somerset based sculptor, specialising in dynamic artworks from stainless steel, glass and bronze. With inspiration drawn from nature, Ian creates artworks that sit comfortably within any setting from formal gardens to minimalist urban landscapes. A member of the Royal Society of Sculptors, Ian Marlow is invited to exhibit widely and is regularly commissioned by private and corporate clients.

www.marlowsculpture.co.uk

I am occupied with the use of technology in painting, particularly in using 3D modelling, video, and digital collage to explore fictional macro and micro systems, in-between spaces and their potential inhabitants. Narrative is important within my work, providing insight into the otherworldly locations I am creating. Currently, I am exploring the idea of a planet very similar to our own. This planet has experienced its seventh mass extinction as a result of a superior and destructive species, acting without thought, in hope of their own advancement. The environments I am creating refer to this world millions of years in the future after this event has occurred, just as nature is beginning to thrive again. The emergence of a strange new world.

From 1986 to 1996 I owned a restaurant in Brighton and sold it when I became hooked on ceramics at an evening class. So that I could study the subject further. I spent five years at college, studying photography and plastics as well as ceramics. When I graduated in 2001, I took out a lease on workshop premises in Hove, and sublet spaces to other artists/craftspeople. Since then I have exhibited and sold my work at art fairs and galleries throughout the British Isles. In 2004 I won an award for Best Newcomer at BCTF, and have written features for their magazine “The Craftsman’. I took a post grad in teaching and learning in HE, and have worked part-time as a tutor at Northbrook College, Brighton University and HMP Ford.

My inspiration comes from flowers and plants that we see all around us, in gardens, fields even cracks in the pavement. I particularly love the secret worlds inside these flowers, in the patterns and textures hidden away that give a continuing sense of promise and renewal.

Until 2005 my work had been mainly in the domestic & functional arena, but then I decided to work on larger, often one off, sculptural pieces. So far, I have concentrated on the forms of seed pods and fruiting bodies which ties in with my earlier work, but which looks completely different.

I like to play with scale and will often imagine the size that a plant must appear to an insect…what is it about the flower that attracts or repels?  Often I will scale my sculpture up so that we can have an ‘insects eye view’ of it.

I work in stoneware, throwing the basic shape of the sculpture, then I alter and model onto it. This gives me a certain speed and control which is the way I prefer to work. My pieces are high fired so that they can go into an interior or exterior environment.

My glazes are chosen to compliment the form and are often slightly chrystalline or irradescent, this makes the pieces glow.

www.francesdoherty.co.uk

The initial inspiration for a painting can arrive from one of many visual sources, e.g. it may be based on a section of a print or collage I have made earlier, or a partly obscured image from a magazine photo or advert. However, once begun, a painting invariably takes off on a life of its own, and soon presents me with possibilities and problems to be solved. I use acrylic paint as I find the rapid drying speed concentrates the mind and helps me work very directly.

My paintings evolve slowly, with many false directions and alterations.

This involves my intuitive response to, and development of, marks made, plus organisation and reorganisation of areas of shape and colour. Often very radical spontaneous changes will be made during the process, as layers of paint interact with each other and suggest new possibilities.

I usually have several paintings on the go at any one time. A painting is finished when there is nothing to be added or taken away.

Graduate of Royal Academy Schools , living and working in E Sussex .

Has exhibited at Mall Gallery ,Wing Gallery ,Spa Gallery , Coach House Gallery ,John Stocks Gallery ,Trinity Gallery , Conquest Hospital , Marle Place , Rye Society of Artists etc

Abstract paintings are acrylic on canvas . Work in collections here and in USA .

HOST
Exploring organic shapes within the natural world, specifically the
paradox between plant and human physiology. The dynamic and often
beautiful processes of growth, defence and reproduction.

INTO THE PEACE OF WILD THINGS
A magical view below a peaceful horizon of earths strata. Colours,
shapes and ancient historical layers condensed through time that are
rarely seen.

This series of sculpture called ‘Mono’ explores gender and identity.

Despite a search for individualism in our youth, we also crave the comfort of being part of a tribe. Not wanting to stand out and therefore declare a shared unity, invariably means to we all end up looking very much the same.

All made with recycled materials & papier-mache.

www.instagram.com › jane.hawkins3

Having grown up in East Devon I have always felt a strong connection with the landscape and the sea. I have painted for most of my life, and studied Art History at the University of St Andrews (2012).

pollyluce.co.uk

I

have been painting for the last 13 years and printing for 10 years, after a professional life as a graphic designer.

No matter how my subject matter changes, I always  return to land and seascapes and particularly the spaces where they meet – the edge of things.The images develop from sketches done in situ, photos, found objects and the memories of those experiences. The images are often quite heavily textured – the layering of the paint echoing the layering of the land, the history and what lies beneath.

​

Screen and mono printing is an alternative discipline which often feeds into the painting and vice versa.

www.sueengland.co.uk

Sophie Taylor is an abstract expressionist artist, living and working in the South Downs.

“I’m interested in exploring the connection between painting and wellbeing, and the power of art as a healing tool. This relates both to the process of painting itself as a form of self-discovery, and to my hope that my finished original paintings will resonate with and bring joy to those who come across them. My background in health and wellbeing, as well as home-building and interiors reflects this focus in my art.

I draw much of my artistic vocabulary from wild and natural landscapes – the lines, shapes, pathways, patterns and textures – and filter this inspiration through my inner lens to inform my abstracted work.

My paintings are rich and multi-layered, and often I will rub or sand back certain areas to allow a kernel of the underpainting to peek through. In this way, unique and unexpected marks and textures are revealed, and the final piece contains many images within. Even if early layers are completely covered, they are still an important element of the painting as they have informed what has come later, just as our previous life experiences have led to where we are today. This process-led painting style is a wonderful metaphor for life.

Original art has a super-power which is missing in mass produced items – it is imbued with the thought, care, intentions, energy and emotional expressions of the artist. Choosing to bring artwork which resonates with you into your space creates a more vibrant, personal and soulful atmosphere, and enriches your daily life.”

sophietaylorstudio.com

Instagram: @sophietaylorstudio

“The mood is transformed by the changing light across the gold” John Sargeant
Barry Wilson trained at the Camberwell School of Art and was taught by influential artists such as Bruce Mclean, Cornelia Parker, Jock Mcfadden and Ian Mckeever.
“My aim with this set of pictures has been to emulate a faint image in an antique mirror or a creased and faded much loved photo. I believe the delicate, fragile beauty of the gold leaf finish belies the somewhat brutal techniques I employ. These include using industrial spray guns, scouring pads and water jets, scrubbing back the layers of paint to reveal the gold leaf base which seems to give the structure / framework of the painting. I believe the result is a vibrant and edgy captured moment; contemporary and beautiful.”
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Barry’s highly distinctive paintings have been exhibited in major museum and galleries worldwide with international acclaim, winning the celebrated Saatchi award in 2012.
Instagram: @barrywilsonart

Rebecca BergeseRebecca  studied Fine Art at Chelsea College of Art, but originally worked as a Costume Designer designing and making costumes for plays and small dance companies . Since finishing her degree course, she has continued to paint,  and her work has been included in a number of group shows, as well as several solo shows. She has exhibited work in the ING Discerning Eye Show, and was awarded the Sentinel Gallery prize in the Royal Watercolour Society Open Show in 2017.  Her work has also been selected for  the Royal Watercolour Society, Wells Contemporary Art Show, and has appeared in group shows at the Espacio Gallery and Gallery East. She has paintings  in  private collections  in the UK. Rebecca  currently lives in Sussex, where the beautiful landscape provides many possibilities for new developments.

Growing up and then living most of her adult life in the city, Rebecca has always been drawn to the pleasure and consolation the colours the natural world can offer. With the colours come the organic forms, and the shifting atmosphere of the weather and the light. It is the potency of these environments to act as cyphers for dreams , memories,  or feelings, that prompt her work. The external environment  often reflecting an internal environment,  a climate that can be guessed at through the medium of the colours and spaces on the canvas.

The paintings may refer to the dreamworld of childhood, or the half-perceived  unconscious locations, but each provides the viewer with a space for their own musings and reminiscence.  Paint and painting are the media through which the unclassified, and liminal can be explored.

The images are not intended as narratives, despite their reference to landscapes or gardens, but rather explorations of the edges, the spaces, or the cusps. They are  worlds not bounded by the conventions of our real one, but the images offer a glimpse of an alternative, hidden in plain sight. Like a child who has not yet understood the static nature of objects, the paintings may allude to both the pleasure and the longing for a flux, or a dissolve, that usually only exists in our dreams.

With this in mind, the paintings are not predetermined, nor planned, but grow out of the meeting of paint and canvas, marking and erasure. They tell what they wish to be, emerging from the space between more significant objects. Sometimes intense and bright, at other times quiet and dreamy, they could be the world at the bottom of the garden, or under the fence perhaps, or is it the silence of the fading light amongst the trees?

www.rebeccabergese.com

Sarah Rawlinson Beaven is a Hampshire based artist.
Sarah read Philosophy at Southampton University and graduated in 2002. Influenced by nostalgia, nature and people she meets, Sarah demonstrates her passion for art with her expressive and organic style.
A note from the artist:
‘My artwork reflects my respect for human life. I love to include hidden details; faces, flowers, buildings. I believe original art should be accessible and affordable for all and am grateful for some of my pieces to be included in the current exhibition at Kings Hill.’

Rowena Comrie has worked as a professional artist for the past 30 years; in january 2010 she relocated from Aberdeen to Glasgow where she now works from Glasgow’s Gallowgate Studios.

She was born in Southend-on-Sea, Essex, and in 1982 completed

her BA(Hons) in Fine Art at Reading University where she embraced expressionist colourfield painting with confidence and passion.

She continues to develop this dramatic and emotive painting style saying,

“I make these works from a specific aesthetic point that personally expresses sublime elements of human experiences.  Over many years I have refined and developed my technique, a process that continues to challenge and intrigue”.

www.rowenacomrie.co.uk

Ian Marlow is a Somerset based sculptor, specialising in dynamic artworks from stainless steel, glass and bronze. With inspiration drawn from nature, Ian creates artworks that sit comfortably within any setting from formal gardens to minimalist urban landscapes. A member of the Royal Society of Sculptors, Ian Marlow is invited to exhibit widely and is regularly commissioned by private and corporate clients.

www.marlowsculpture.co.uk

“Paintings that allow you to walk barefoot in the sand, or see clouds parting after a white out on an alpine slope”
Take a look at my Instagram feed @antoniathompsonartist and my influence is undeniable. Breathtaking photos of the beach illuminated with vibrant colours and energy. Some dramatic in movement and colour, others calm and mesmeric – dusty pink sand, puffs of smoky blue sky and flashes of metallic green waves.Using photos I take on walks to the sea and memories of the physicality of being in natural environments – I also paint mountains – I work with acrylics and mixed media to create work that is rich in colour and texture.I hope to give the viewer the space to allow their thoughts and feelings to remain quiet whilst the senses are heightened. I aspire to create canvases that reflect a subtle sculptural quality that are overwhelmingly aesthetically driven.I look for the feeling of being barefoot in the sand, exploring beachside rocks or that all encompassing feeling of wanting to dive into the ocean on a warm day. To disappear, to relax, whilst still being aware of all that is around.I worked for many years in an office and holidays were often a common topic that helped us transcend the mundanity of everyday desk work. I love the idea that through looking at an abstract painting you can find a memory, a part of yourself in it that can take you on holiday in your mind. This is even more prevalent post-pandemic as we all need space for ourselves to dream.The memory of the light at sunset on a Greek Island, the moment the clouds part on an alpine mountain, whatever the seed of my painting, I layer paint onto the canvas as each work becomes a journey in itself. Sometimes the painting finds itself after the first layer, but more often a work will go through various incarnations before it finds and settles itself.

Christina France is a visual artist working with print, drawing and a combination of the two. Creating embossed drawings and prints as a response to light, water, the skies and reflections she offers the viewer a contemplative respite from our fast moving world.

As a printmaker, she responds to the medium with spontaneity, connecting to the haptic nature of the process. She has a painterly approach, using unconventional methods in order to achieve the layering and translucency she strives for. Gold and silver leaf or dust is sometimes gilded onto the surface of the work.

‘My approach to printmaking is spontaneous. I often use circular or shaped plates cut from copper or zinc. Lines and tones  are bitten into the plate using traditional etching techniques, soft ground, hard ground and aquatint. Plates are rotated, overlaid, overprinted and I often incorporate embossed and de bossed lines to give shadows or add lines with graphite that might be ‘shadowlines.’  The gilding of metal leaf  onto the surface, or the addition of gold dust adds reflection so that the image is ever changing, shifting and subtle.’

Christina was awarded a Masters degree from Manchester University having  previously read for her degree in Fine Art at Gloucestershire College of Art and Design. She also trained in printmaking techniques  at Kensington and Chelsea College, London.

Christina is a member of the Printmakers Council UK, Ålgården workshop in Sweden and Manifestampe in France.

Christina was elected a Fellow of the  Royal Society of Arts in February 2018.Christina exhibits regularly nationally and internationally and has work in the collections of the V&A Museum London as well as public collections in the Uk, USA, Sweden and France.

www.christina-france.com

I am an editor, filmmaker, digital and installation artist with a background in the broadcast and the independent sector; working both collaboratively and independently on screen based, site specific and performance based film and video. This is complemented by consultancy work with Arts Council England and project management / mentoring roles in Educational and arts initiatives, fostering interdisciplinary practice and encouraging creative partnerships, to research and engage with questions of the built environment, dis/ability, access, and creative architectural practice.

My work has been exhibited and screened both nationally and internationally, and I have undertaken several artists’ residences both here and abroad.

Nina’s  work contemplates the middle ground between what is real and what is not, pushing the view of the objects she paints to the point where they lose their identity, thus revealing an altered state of mind, that could be looking to the universe or travelling deep inside the body or both at the same time.

Pondering the medium of paint, exploring: the quality and viscosity of paint itself, redolent of current opinions of the tradition of painting in an increasingly virtual world and the psychological experience of creating a painting. Flirting with the idea of Rorschach cards and likening the state of mind to that of theta brain wave state.

 “The colours hit me up with their intensity, like chemicals chasing through my blood. It’s a visceral thing at first and then meaning emerges: I get rivers, seas and mountains, then into cells under microscopes, maps of the earth from space bleeding into brains and embryos, soft tissues and weather systems all on a single sheet of glass, yet it is still. I’m getting flashes of old masters too, like faces and scenes from other things I’ve seen dissolving away from me.”    Author & Poet Richard Lewis’s description of Nina’s glass paintings

Nina is a Royal College of Art post graduate Master of Arts in painting. Having exhibited nationally and internationally, highlights include ‘London Art’ fair in Chelsea, Scope Miami and Paradise RCA Milan Fine Art meets Design for Milan Design week. She has work in the private collections of Alex de Brye and public collection of 6KBW; She received the Stanley Smith Scholarship to the Royal College of Art.

https://www.ninajosephinegarstang.com/

https://www.instagram.com/ninagarstang/

Peggy Cozzi experiments with colour and is endlessly fascinated by how it can transport
us to such a variety of moods , memories and associations within the psyche . She makes
abstract paintings , predominantly oil on canvas , with a focus on the interplay between
gesture and colour , using loose , open , expressive mark making mediated through an
experimental yet balanced and harmonising colour palette . Cozzi leverages the textural
properties of pigments to fashion (ambiguous) spaces ; terrains unknown yet arrestingly
familiar which seem to exist in both a physical and psychological realm .
Peggy Cozzi’s paintings are distinctive for their dynamic sense of movement and
unconstrained fluid possibility ; experimental yet carefully calibrated , vigorous gestures
are played out against a soft and harmonising pallette referencing what she describes as
“internal landscapes” –
Artist Quote :
“I am interested in how the medium of paint can evoke imaginative responses and
psychological states ; images grow out of the process and my interaction with the
materials , I follow a journey with the painting to a point where colour and mark begin to
trigger emotive associations , where the paint appears at once tactile and concrete yet
simultaneously having the potential for illusion and the capacity to draw on the
unconscious .”
Peggy Cozzi is an abstract painter based in Dorset.
She studied Fine Art painting at Portsmouth Polytechnic and completed a Fine Art MA at
the Arts University Bournemouth in 2014 . She has undertaken solo and collaborative
exhibitions, residencies and curatorial projects in the UK . Her work is held in private and
corporate collections in Europe , USA , Asia and Australia .

peggycozzi.weebly.com/

Animal Sculptures
‘My art practice involves creating innovative ways to use discarded materials destined for landfill or becoming involved in problematic waste management streams.
While plastic debris, my most utilized material, is thought of as disposable, it is in fact quite the opposite.
It lingers in the environment, causing all kinds of harm, and is currently cheaper at the present time to produce than to recycle.
My sculptures are assembled from intercepted waste plastics and are worked to take on organic shapes and animal forms.
They are aesthetically intriguing, as the viewer observes and considers the juxtaposition between familiar household waste and the natural world.
Sculpture Workshops
My art practice has always included art education, working with children, young adults and the elderly. I have designed, coordinated, and run many individual arts workshops as well as artist residencies. Art projects that involve collaboration with the local community and families are important to me.
I aim to meet the needs of the individual and to make art inspiring, friendly and thought provoking.
www.sandiemsutton.com
Instagram: @sandisu10

My work is Abstract Expressionist.

I paint not what I see of the visible world, but how I feel it to be. It is not a literal description of a place, but a feeling of a place and how one is affected by that environment.
My inspiration comes from the Landscape, Skyscape, Seascape, music that I listen to Classical, blues soul, jazz or colours that I see in everyday life. I like to work on a large scale, when possible, as this gives me more freedom of movement and allows me to be experimental. My preferred medium is oil on canvas or paper. The paintings are allowed to happen to come into being. I have two styles of painting.

My ‘Colour field’ paintings, part of the Abstract Expressionist movement where overall consistency of form and process is prime, and colour is the subject itself.

My second style is the strength of the mark, working with knifes, rags and brushes. Sometimes the marks are made with rapid expressive movements, other times gentler, depending on subject matter and feeling.

Artists that inspire me are Willem de Kooning for the fluidity of the paint and the power of the brushstrokes, Mark Rothko whose colours enfold you in a vast smothering embrace and Rembrandt for his deep understanding of how to paint flesh, especially knees!J.M.W. Turner for his magical light in the landscape. I work presently at home in the West Midlands and paint full time. Previously exhibiting work at the Knapp Gallery Regents College, Regents Park, London N.W.1. My work was critiqued while on show at the Knapp Gallery by Professor Dr Maurice Cockrill (RIP)of the Royal Academy, and I am honoured to say he ‘admired my work’

wendyhyde.artweb.com

Donna is a Contemporary Artist based in London, England where she shares
her time working as an Arts Psychotherapist and Artist. Donna came to
London in her early twenties to do a Foundation in Art & Design and had
every intention of entering the art world but curiosity and interest in the
human psyche won through. She sidetracked into a career as an Arts
Psychotherapist and after many years in the field of Psychotherapy she is
now responding to the pull of the paint and art materials. The past few years
have been spent becoming re acquainted with the painting process and
falling in love with it all over again.
Donna’s paintings reflect a curiosity and love for the natural world, open
spaces, colour and light. She is heavily influenced by a childhood in the
Caribbean where she was surrounded by lush tropical colour, turquoise seas
and cultural diversity. This experience has instilled in Donna a strong sense of
colour, light and unending curiosity about her environment. Her creative
process involves exploring and experimenting with the art materials until she
has a felt sense that the work is complete.
Donna works intuitively with a variety of art media from acrylic, water colour, ink, collage and even digital work on the Ipad. She enjoys experimenting with
new art materials, often pushing them to their limits with the intention of learning and developing further into her own creative style. Donna is currently exploring a combination of collage, paint and mixed media on both
paper and canvas.
www.donnaloiola.co.uk
Instagram @donnaloiolart
Pinterest: donnaloiolart
Facebook: Donna Loiola – Artist

‘I love to ‘go missing’ in the landscape, forgetting everything, just feeling my own space and getting back in touch with myself again. Today’s life is so busy and it can be hard to find time connect fully with nature or your inner world. This inner world of imagination and fantasy combined with experiences from travels and places are pivotal aspects of my work. There is also an underlying narrative to many of my paintings and some reflect on the search for those quiet places, thoughts on the transience of life, people and places remembered.
When I paint I feel my way emotionally through imaginary landscapes or landscapes which are remembered or totally inspired by materials. My ‘paint marks are equivalents for a journey through paint, they are paint poems. The experience of exploring colours and watching the painting emerge is as real as being in nature. Much of my artwork reflects on things felt and seen and what I call the ‘unseen.’
Often I overlap landscape, still life or figures as part of my belief that everything is connected and I want to convey something about this unity.
Recent trips to China and a painting Fellowship next to the Great Wall of China led to a deepening interest in calligraphy which I have been exploring through a series of ink paintings inspired by living next to the Great Wall of China. Calligraphic marks combined with specific colours evoke and create new places for me to journey through.’
Fiona has exhibited internationally, includingat the 8th Beijing International Art Biennale, 2019, she currently has a painting in the Turner Contemporary Open Exhibition, Margate.
www.fionastanbury.com
Instagram: fionastanbury

Janet Keith is a contemporary painter based in the U.K. Her painting is a response to the visual excitement and beauty of her surroundings.Her artistic roots are in outdoor painting, working directly from life. However, that rich experience now informs a more abstract and mostly studio based approach to painting – which has become an exploration of how spontaneous gesture and considered pictorial structure weave together in building an expressive painting.
Janet’s inspiration comes from the very rural surroundings of her studio and from travels near and far. She has Degrees in both the History of Art and Painting.

www.janetkeith.co.uk
Instagram:@janetkeith_artist

I am a sculptor who works mainly in steel, using the natural world for my inspiration. I draw with steel: getting to the essence of my subject and bring out what I see so that others can share my vision. I’m not interested in padding. I want my art to get straight to the point. My work is sometimes figurative, sometimes abstract, but more commonly stopping at a point somewhere between. I like to make pieces that look abstract from some angles; realistic from others. I studied dance at the Laban centre. At the time, it was difficult to chose between art and dance and my choice meant I’ve come to be a professional artist later in my life. My dance training infuses my work with a choreographic sense of direction, line, movement and spacial connection. I start by exploring a piece in 2D often using print and wire. Once I’m happy, I start to draw with steel. I use virgin steel as well as a shed-full of recycled metal. Whatever inspires me to include it in a sculpture or to create something based on the feelings I have about bits of discarded ironwork. I have always loved cutting and sticking. Working in steel allows me to do this on a bigger scale. Weld a piece on, cut it off, adjust until I’m happy. I respond to the authenticity of the metal, trying not to dress it up as something it isn’t. The wonder of the natural world and my experiences with wildlife drive me to communicate through art. As an introvert, I seek a quiet place in my sculptures – with a sparsity of line showing movement, capturing a moment in a bold, quirky and occasionally humorous style. Nature gives me a sense of well-being and I want my work to engender that feeling in my audience.
www. elizabethcookesculpture.wordpress.com

“Above in the thickness of the branches, between the gaps of sky and the crossroads of green, the afternoon battles with transparent swords” Garden and child, Octavio Paz.
Sand; the squelch of a footprint; the dappled glimmer of sunlight on water. For me, there is a real parallel between the emotive spirit of painting and the awe-inspiring act of engaging with a landscape.
These paintings wander, stand, and move again through large expanses of sky, sea and sand of the Cornish coastline. They aim to evoke a sense of memory; exploring light, texture, changing terrain, as well as our own movement through a landscape. It is as much about my connection to a memory or a glimpse as it is to reality.
I want the viewer to search in the painting as I have searched within the landscape, confronted by a new visual scape through which they can roam, catching glimpses of a landscape beyond and before. Enjoy the wander.
Endless Summer: A new series of paintings by Manchester-based artist John Davison created in oil, oil-based medium and spray paint on canvas.
www.saatchiart.com/john07
www.artfinder.com/artist/john-davison

It all started over 15 years ago when I was on holiday in Croatia and someone I met through a mutual friend needed help in turning over a large glass panel. When I saw it, it was love at first sight. I returned to my native Hungary, did a course and set up my business. I worked with interior designers and architects on larger commissions, such as bank branches, solicitors’ offices, health clinics and private residences.

In 2008 I moved to the United Kingdom, the country of fascinating hedges, chimneys and stained glass art. I’ve been lucky to be able to continue working with glass – I’d like to help preserve this country’s traditional glass art and I also hope to make my own modest contribution to British contemporary glass art. I work in a studio in a wonderful and inspiring garden in Buckland, Surrey.
joeszaboglass.co.uk

When I paint, I embark on a journey through internal and imagined worlds. I dive in amongst the layers, exploring the textures and patterns that appear. The destination of my journey is undefined and the route to get there is unclear, and as the journey unfolds, the painting emerges as a trace of my dialogue with the materials.

In my artistic practice I create abstract maps of real and imagined places via material-based explorations. I am fascinated by the idea that places and spaces embody a multiplicity of layers – both physically and emotionally; traces of history are written into physical landscapes and personal experiences are etched into the imagination. My artworks explore this notion of layers from a conceptual and a material perspective by working with materials to tune in to embodied, sensory and emotional experiences.

I paint on wood, paper and canvas by building up translucent layers of oil paint, acrylic and varnish with a variety of brushes and squeegees. By covering, revealing, hiding and scraping, each subsequent layer leaves traces and creates a world within the space of the painting; alluding to the layers in a landscape while opening windows for exploration.
www.kimbalbumstead.com
INSTAGRAM:@kimbalbumstead

Animal Sculptures
‘My art practice involves creating innovative ways to use discarded materials destined for landfill or becoming involved in problematic waste management streams.
While plastic debris, my most utilized material, is thought of as disposable, it is in fact quite the opposite.
It lingers in the environment, causing all kinds of harm, and is currently cheaper at the present time to produce than to recycle.
My sculptures are assembled from intercepted waste plastics and are worked to take on organic shapes and animal forms.
They are aesthetically intriguing, as the viewer observes and considers the juxtaposition between familiar household waste and the natural world.
Sculpture Workshops
My art practice has always included art education, working with children, young adults and the elderly. I have designed, coordinated, and run many individual arts workshops as well as artist residencies. Art projects that involve collaboration with the local community and families are important to me.
I aim to meet the needs of the individual and to make art inspiring, friendly and thought provoking.
www.sandiemsutton.com
Instagram: @sandisu10

Farnham based artist, Stephanie Draper combines printmaking and painting to tell stories of the impact that we have on each other and the environment. Her art seeks to interpret the irrefutable bonds we have with our planet and inspire engagement with the community at large.
A recent publication ‘Pandemonium’ describes her work:
“[She] has turned this sense of cartography into a philosophical position whereby she makes a stand in her bond with the planet—seen at a distance as a shoreline in Alaska or great rift in Ethiopia; or up close as in the bird’s eye view of her local park.
These map-makings are fragments only, often beautifully coloured; but like jigsaw pieces they hint at a bigger picture and they too ask the ecological and existential question, ‘What is our relationship with the world?’ A question never more prescient than now.”
All the paintings in the show are maps. They explore different themes in vivid colours. The
Farnham maps explore how built up areas in the town have changed over the years. The large dark areas on the paintings show where housing is now, with the collaged white areas comparing that with buildings from 1898. The ‘in search of filmy fern’ triptych is a map of Kent, centred on Eridge rocks where the rare ‘Tonbridge filmy fern’ is found. ‘Cathedral of Denali’ and ‘the Harding Icefield paintings are from her ‘Last Wilderness’ collection – based on a trip to Alaska – a truly wild place where the impacts of climate change are already being felt. Finally, a set of seven smaller maps show places where a particular issue or solution manifests – the last white rhino in Kenya, or the protection of carbon capturing seagrass in Madagascar.Recent shows include ‘Pandemonium’ at the PZ Gallery, Penzance and ‘Last Wilderness’ at the Oxmarket Gallery, Chichester. A collection of her work is held in the Museum of Farnham, and brought together in a book ‘Words and Colours: Reflections on Lockdown’. She is an alumni of Newlyn School of Art, a member of the Printmakers Council and regularly exhibits at Woolwich Contemporary Print Fair and the Royal Overseas League in London.
www.stephaniedraperartist.com
@stephaniedraperartist

ANNE GOLDBERG is an accomplished and experienced artist based in Manchester, England and frequently visits London.

Her recent work encapsulates vibrant colour and the integration of still life with the more abstract.

Formally trained with a degree in Printed Textiles from Manchester Polytechnic in the eighties, Anne’s work illustrates her attention to detail through her portrayal of still life with an emphasis on texture and surface pattern.

Working mainly in gouache, Anne is able to use the medium to convey a richness and textural interest to her work.

Presented with a simplicity and freshness, her stunning visual images provide an instant impact, charm and statement of beauty.

Anne’s style is the result of an openness in approach, developed through her days as a student, honed, refined and striving for perfection over three decades.

Having devoted considerable years to raising her family and teaching, Anne has recently re-emerged as a full time painter and has been recognised with her most recent works echoing a contemporary feel, which have earned her success in well respected and established galleries as well as selection for prestigious exhibitions. This is a new beginning.

www.annegoldberg.co.uk

www.instagram.com/annegoldbergpaintings/

Clare Wilson’s paintings evolve out of a process of layering, removing, reworking and pushing paint to find an inevitable form.It is a slow process and the results remain indeterminate as the multi layering of muted tones reveal traces and imprints of the origins of the paintings, often submerged in a veiled light. She is not concerned with the monumental or grand but in the detail of a moment, curious shadows, abstract movements, depths and recessions, textures, memories and allowing the unknown to resurface. Although these paintings are not about place, subtle shifts of tone and a restricted palette may refer to the diffused light and intervals of landscape and its potential as a space of transition and transformation.

www.clare–wilson.com

Jo Brown was born in Kent in 1945. She came to Yorkshire as a student and her first career was in Teaching.She is the mother of three children, and it was not until the youngest was a toddler that she began to realize her dream of becoming an artist. She gained BA(Hons) from Sheffield Hallam University i 1995 and has been making art and exhibiting since then, with work in many public and private collections.

She lives in the South Pennines, close to moorland , with views from her home and studio of fields and trees. All of this influences her work, though her use of colour is emotional rather than naturalistic.

As Terry Frost wrote:

Colour for feeling, imagination, reverie, inspired by actual visual experience.

www.instagram.com/jobrownartist/

I am a sculptor who works mainly in steel, using the natural world for my inspiration. I draw with steel: getting to the essence of my subject and bring out what I see so that others can share my vision. I’m not interested in padding. I want my art to get straight to the point. My work is sometimes figurative, sometimes abstract, but more commonly stopping at a point somewhere between. I like to make pieces that look abstract from some angles; realistic from others. I studied dance at the Laban centre. At the time, it was difficult to chose between art and dance and my choice meant I’ve come to be a professional artist later in my life. My dance training infuses my work with a choreographic sense of direction, line, movement and spacial connection. I start by exploring a piece in 2D often using print and wire. Once I’m happy, I start to draw with steel. I use virgin steel as well as a shed-full of recycled metal. Whatever inspires me to include it in a sculpture or to create something based on the feelings I have about bits of discarded ironwork. I have always loved cutting and sticking. Working in steel allows me to do this on a bigger scale. Weld a piece on, cut it off, adjust until I’m happy. I respond to the authenticity of the metal, trying not to dress it up as something it isn’t. The wonder of the natural world and my experiences with wildlife drive me to communicate through art. As an introvert, I seek a quiet place in my sculptures – with a sparsity of line showing movement, capturing a moment in a bold, quirky and occasionally humorous style. Nature gives me a sense of well-being and I want my work to engender that feeling in my audience.
www. elizabethcookesculpture.wordpress.com

Gerry Dudgeon trained at Camberwell School of Art, London (BA Hons Fine Art) and Reading University (MFA).

His recent work reflects an interest in vibrant colour and expressive mark-making and is based on the landscape of West Dorset, where he lives, and the coastline of the Chesil beach. He invites the viewer to find pathways through the paintings, often towards a source of light.

In the seascapes he investigates the way that light is reflected on water in a way which allows the underpainted colours to interact with the build-up of paint layers. Ultimately he wants the pictures to retain a freshness and looseness which conveys the excitement he experiences in painting them.

www.gerrydudgeon.com

Rowena Comrie has worked as a professional artist for the past 30 years; in january 2010 she relocated from Aberdeen to Glasgow where she now works from Glasgow’s Gallowgate Studios.

She was born in Southend-on-Sea, Essex, and in 1982 completed her BA(Hons) in Fine Art at Reading University where she embraced expressionist colourfield painting with confidence and passion.

She continues to develop this dramatic and emotive painting style saying,

“I make these works from a specific aesthetic point that personally expresses sublime elements of human experiences. Over many years I have refined and developed my technique, a process that continues to challenge and intrigue”.

www.rowenacomrie.co.uk

In my work I am currently exploring the expressive potential of painting and drawing.The nature of the lines, clean or scumbled, lyrical or direct, together with varied colour and facture characterise my visual language. I use contours to distinguish expressive relationships, juxtaposing colours, their chroma and value, thus distorting the perceived depth of the work.

I have explored primitive and surrealist mark-making in the structuring of my work. The two-dimensionality of abstract expressionist colour field painting also informs my investigation of space. Scale is a key feature, influencing the reading of the work; with a large painting the audience navigates the nuanced surface, simultaneously consumed by the holistic presence of the piece.

www.rebeccaprout.com

Chris studied at Leicester Poly gaining a BA Hons in jewellery and silversmithing back in 1988. Designed and made jewellery for three years before joining The Steelworks, which gave Chris a wonderful opportunity to weld various designs: desks, wall art lighting and a selection of weird animals, all from the Camden Lock gallery. In 1993, a move to Covent Garden and the creation of Rex the Mouse brought a whole new audience which has kept Chris busy for the best part of twenty five years, with Rex being sent all round the world.

After making so many small Rexes, Chris dipped his toe into much larger garden sculptures, for a change of scene. The success of the first show at Stone Lane Gardens in Devon inspired Chris to create more designs and start up a website. The show also brought interest from galleries and other sculpture exhibitions. Over the next few years, Chris has taken part in a wide range of events across southern England including Hampton Court, RHS Rosemoor and Delmore Arts, while having work on display in several galleries.

Based on natural forms, Chris’ simple interpretation of leaves, buds and flowers in steel, stand out well against a garden backdrop. His designs have 360 degree interest, framing plants and buildings, while the steel surfaces reflect both sky and vegetation. Using either a ‘rustic’ or a flashy shiny stainless finish and sometimes a combination, Chris’ sculptures can suit many situations, indoors or outside.

The making of these sculptures has taken several twists and turns but Chris has settled with mig welding the strips of mild steel to a thick steel rod or rebar, bending and sanding before welding on to a steel plate.

www.ckgardensculptures.co.uk

I see my paintings as a way of conveying an emotional connection to the land, sea, and sky. I use sensitive mark-making to transcend the viewer to space beyond physical sight, or human knowledge. Perhaps a place of nostalgia, of joy, of grief, of what it is to be human.

I walk by the coast each day, in all weathers with my dog, Poppy. To be at the edge of the elements, where light shifts and dances; reliant and yet independent of the darkness, is what inspires me to paint.

I work intuitively, to begin with, on several pieces at the same time, which allows me to see what is working and expand on ideas. I don’t have an endpoint in mind but see the development as a journey of rhythm and space. I build up glazes of paint, drawn marks and hand-painted collage and then sand into the surface to reveal glimpses of hidden marks and suggested shapes. As each piece develops, I then take a more critical approach, refining areas whilst keeping the energy of the initial marks. When the balance and harmony feel ‘right’ then it is finished.

My day usually ends with another walk at sunset which gives me food for thought for tomorrow’s developments.

Clare studied Fine Art Painting at Wimbledon School of Art in the late 1980s, continued with post-graduate studies at Goldsmiths University and recently completed the Curwen Printmaking Diploma. She exhibits in galleries around the UK as well as at art fairs. She has paintings in collections in the US, Australia and around Europe. Clare’s work has been selected for shows at the Royal Academy of Arts, The Royal Institute of Painters in Watercolours and the Society of Women Artists.

She recently completed a new collection, Luminous Seas, which you can view online. She is currently working on a new collection for the Artists Open Houses in May/June.

www.claremariawood.co.uk

The landscape is the main subject of my painting. I am interested in painting conservation spaces, eco systems and places of sustainability, especially hidden or forgotten spaces that I stumble across on my walks.

I make sketches, take photos, research, and just spend time in every space that I paint and then take this back to my studio where I create the painting using oils or acrylics. I love the physicality of paint, it allows me to explore the landscape further through mark making, chance happenings and colour. I studied BA (hons) Painting and recently an MA Painting at Wimbledon, UAL, so research is incorporated into my practice.

www.deniseharrisonart.com

I am a sculptor who works mainly in steel, using the natural world for my inspiration. I draw with steel: getting to the essence of my subject and bring out what I see so that others can share my vision. I’m not interested in padding. I want my art to get straight to the point. My work is sometimes figurative, sometimes abstract, but more commonly stopping at a point somewhere between. I like to make pieces that look abstract from some angles; realistic from others. I studied dance at the Laban centre. At the time, it was difficult to chose between art and dance and my choice meant I’ve come to be a professional artist later in my life. My dance training infuses my work with a choreographic sense of direction, line, movement and spacial connection. I start by exploring a piece in 2D often using print and wire. Once I’m happy, I start to draw with steel. I use virgin steel as well as a shed-full of recycled metal. Whatever inspires me to include it in a sculpture or to create something based on the feelings I have about bits of discarded ironwork. I have always loved cutting and sticking. Working in steel allows me to do this on a bigger scale. Weld a piece on, cut it off, adjust until I’m happy. I respond to the authenticity of the metal, trying not to dress it up as something it isn’t. The wonder of the natural world and my experiences with wildlife drive me to communicate through art. As an introvert, I seek a quiet place in my sculptures – with a sparsity of line showing movement, capturing a moment in a bold, quirky and occasionally humorous style. Nature gives me a sense of well-being and I want my work to engender that feeling in my audience.
www. elizabethcookesculpture.wordpress.com

I am a Sussex based artist who has also practised as an art psychotherapist in the NHS for over twenty years. My dual practice as an artist and psychotherapist inform one and other: both reflect an enduring passion for using art as a way of giving form to what is unformulated, expressing things that may feel impossible to put into words.

I am interested in issues of the vulnerability of both the human body and psyche within its environment. Although my work has a human presence the forms I use are not human forms as such. They relate to the body rather that representing it directly. The forms are fragile or tough, are blurred or have edges, are separate or merged, each painting establishes its own identity.

My paintings are created in a constant state of revision, by layering, scraping and dissolving the paint I hope to distil the essence of a state of mind. The process is important, with the materials being subject to actions like being torn, stitched, layered and wrinkled. The surface of the paintings reveals the process of layering involved in making them, concrete, plaster, raw canvas and delicate stitching combine with monochromatic areas of black or grey as well as lighter tones that can refer to the human body. Each piece has its own mood, energy and atmosphere, I try and tune in to the feeling of the painting and let that feeling develop over a period of time.

www.julesallan.co.uk

Inspired by artists such as Edward Bawden, Rena Gardiner and Nikolai Astrup, Liz works with various forms of handcoloured relief print, sometimes using the more traditional lino but more recently, plywood and mdf board. They are mostly large, she finds it hard to work small, particularly with such monumental subjects. Also included are the drawings that inform and instruct her prints. These are either pen and ink wash or sgrafitto, a technique more like carving than drawing.

www.lizsomerville.co.uk

Sarah Needham is an abstract artist interested in the way there are pigment traces across our human history that reflect global interconnections. These traces offer material evidence of our histories without the slant of a particular historical written record, they are more open to nuance and the possibility of other voices.

Most of the work selected here is part of explorations into how historical and scientific events impact on our ways of seeing. The pieces from the “Making Decisions in the Dark “ and “Alchemy to Chemistry” series explore how our ways of seeing are shifted by external factors such as technological change. Just as now, when the shift from real world to online and onscreen impacts on our point of view and perception of basic things like colour, the industrial revolution also shook up our perspective. These works are made with pigments that were based on ancient pigments that were then synthesised between the 17-1900s. These works include “Synthetic Colour, Shock of the New” , “Loosing You From Over The Sea”, “The things You Brought Us From Over The Sea” and “Looking For a Way Out”. At the heart of these paintings are questions about perception,  truth and lies.

Ochres, the oldest pigments in human visual culture sit at the heart of the works “North, ICI 2” and “Mars Red”. In my work the fact that ochres have been used by people across the globe across all time has given them a poetic association for me for all things human. In “North, ICI 2 “ ochre is combined with pthalo green, (developed by ICI in the twentieth century) .  “Mars Red” combines various reds from the history of painting building up a surface of various reds with Mars Red a synthetic ochre the dominant one. The titles reference, change and stability, power structures running through, and the way in which a history of violence can be hidden beneath a filtered sometimes glossy surface.

Sarah Needham makes abstract works, using the material history of pigments to trace human history that find echoes with events in the present. The paintings create spaces to fall into get a little lost and remember.

She is represented by UK galleries and art agencies, in London Oxford and Harrogate, has shown in public galleries abroad, and has work in private collections in the UK, USA, Middle East, Japan, Switzerland, Crete and France.

www.sarahneedhamartist.co.uk

Memories of distant travels and a response to experience much closer to home are the trigger to my work, but it is a fascination with colour which is the all encompassing ingredient to my practice.

The immediacy and physical nature of the printmaking process is a different experience to the more contemplative and solitary nature of the painting studio, but the two areas have become a significant overlapping combination.
During the process in both painting and printmaking, the work will begin to take its own path, and I’m always fascinated and pleased when on completion, the piece does indeed encapsulate the spirit of the initial response, but in a form never initially envisaged.

After graduating from Chelsea School of Art worked as an artist, teacher and banner maker in London and Cornwall.

Has exhibited widely over the years including Royal Academy of Arts, Affordable Art Fair, Tate St Ives, Camden Arts Centre, Newlyn Exchange and Truro Law Courts to name but a few.

She now works from her garden in Brighton studio in Brighton, participating in the Artists Open Houses each year.

www.sonyawalters.co.uk/

The forces of nature and its myriad effects on both the land and seascape provide an endless source of inspiration for my art. In situations both entirely formed by nature and those having felt the influence of the hand of mankind have imparted a powerful and poignant impression that demands expression through the filter of the artists sensibilities. The confluence of often monumental natural phenomena and the effects of tomb building, tillage and war, and the more mundane impact of daily life all serve to complete the overall finished image, although as all the aforementioned can never really be considered “finished” in any sense, neither can a particular work, allowing thankfully endless opportunities for revisitation.
I am interested in the physical and tactile qualities of paint, and I am intrigued by texture and the overall process of painting often becoming obsessed with certain places, ideas or impressions which have to be worked through. At times I have to ignore these tangents that I wish to explore, but these are documented through both writings and drawings with the intention of following them through at a later date.
In the interest of continuity of theme several paintings are worked on at once, each complementing and adding to the depth of the others whilst retaining their individuality. Often initial drawing is revealed as the processes used frequently involve sanding down or washing back to leave multiple layers of pigment and process.
My future work will include further investigation of marks left on the land by early man.
Major influences in the works are painters such as Tapies, Peter Lanyon, Wilhelmina Barns-Graham and Sandra Blow.
http://www.terrihogan.co.uk

Alan Rankle is an artist and curator whose work explores historical, social and environmental issues informed by his interest in the evolution of landscape art.
Since his first exhibition at the Institute of Contemporary Arts London in
1973 while still a student at Goldsmiths College, he has worked
variously in painting, video, photography, printmaking, architectural intervention and curating, through a series of international exhibitions and commissions.
Retrospective surveys of his work have been presented at
Gallery Oldham in 2006 and Fondazione Stelline, Milan in 2010.
Recent projects include curating the exhibition Axis: London Milano for
Fabbrica del Vapore in Milan with Claudia De Grandi and a prize winning immersive installation Riverside Suites at the Lowry Hotel, Manchester in collaboration with the designer Veronica Givone and AFK Architects.
His work was featured in the 2017 Southampton City Art Gallery exhibition and book, Capture the Castle showing landscape artists from Turner to the present day.
2018 saw the presentation of two major commissions Not Dark Yet for the Grand Hotel in Nuremberg and Prague Suite for Intercontinental in Prague.

www.alanrankle.co.uk

Amanda Bee
Amanda’s abstracted landscape paintings seek to explore the spirit, features, and qualities of the places we call home. She paints landscapes she knows well capturing remembered experiences, fragments of time, sounds, colour, movement. A recreation of place which is deeply personal.
Re-imagined, remembered, connected. Amanda is interested in the locations that pull us back, the areas we visit over and over and never tire of. The landscapes we carry with us, which hold our memories and fill us with joy. For her these are specific areas in her home County of Somerset and nearby Wiltshire, the wildlife marshes around Gibraltar Point in Lincolnshire, the coast and wild spaces of Cornwall and the beautiful rural landscapes of Italy.
Amanda works with paint and collage creating mixed media pieces full of colour, bold, sensitive, emotional responses to landscapes forever changing and marked by the human hand, nature, and time. Amanda is originally from Lincolnshire where she trained at Lincoln college of Art and completed a Degree in Fine Art at UWE Bristol.
Since graduating she has made the South West her home eventually settling in Frome, Somerset. She works from a studio in the Silk Mill, a beautifully converted building in the centre of Frome. Amanda is a fully qualified adult education tutor and teaches weekly classes, one day workshops and online courses. She has curated several art exhibitions for her students at the Black Swan Gallery in Frome. She is a key organiser of the ‘Silk Mill Collective’ representing the artists and makers of the Silk Mill both online and in organising shows in the Gallery space at the Mill. Amanda is an area REP for the Somerset Art Works open studios and group show events and takes an active role in supporting the arts and other artists in her local area.
Amanda has exhibited widely in Somerset and Wiltshire and has works in private collections throughout the UK, Europe and America.
She can be found on Instagram and Twitter as @amandabeeartist. Website address: www.amandabeeart.co.uk

Bill Bate
Bill Bate was born in Liverpool in 1962 and is a graduate in Fine Art from the Central School of Art London (now known as Central Saint Martins). His work focuses on the human form. By the use of dramatic light his atmospheric works are emotional responses to the body in movement, at rest, and the body observed.
“I want the paint to have a life of its own and so leave its application quite loose at times. I endeavour to escape the confines that realism can impose, leaving more expression and less constraint.”
bill@billbate.co.uk

Claudia de Grandi
My creative process originates from a deep intention to compose images of space in a rhythmically fashion, like with music. It’s not simply that music inspires me , or takes me to a place of any kind, it’s more like writing music as images. It’s about creating space.
Coming from my classically trained background in music I experience the visual process in a similar way of music as abstraction. The digital sounds vibrate into a form like pixels in the space. Each sound vibrates leaving a space in between the next sounds.
It always comes to my mind that that music and images are deeply connected in a certain kind of non-verbal description. To me, my paintings are as though sounds and colours interconnect and occur in the space of the canvas at the same time, like a spiral of space-time happening.
Claudia is a transnational artist concerned with how artists address identity and the modern mind. She grew up in São Paulo with a Brazilian mother and Italian father and has lived in Britain for over 20 years.
http://www.degrandi.com/

Ian Marlow
A member of the Royal Society of Sculptors, Ian Marlow is invited to exhibit widely and is regularly commissioned by private and corporate clients.
Being born and raised in a small rural hamlet in Somerset gave Ian the affinity with the natural world that continues to be the focus of his work as an artist and sculptor. Having returned to Somerset as an adult, Ian began his sculpting career in stone before moving into metal and glass, but his work, whether sculpture, poetry or drawing, has always found inspiration in the natural environment he grew up in.
Nature is the primary inspiration for Ian’s work. The texture he adds to the stainless steel makes his sculptures shimmer, picking up colours from their surroundings so subtly that you hardly notice it. The patterns in the steel change as you move past, as the daylight alters and as the seasons come and go. There is a bold freshness in the crisp stainless steel, and yet the hardness of the metal appears lost and unnoticed in the flowing shapes he creates. The transformation from steel to organic form is almost magical.
Viewing by arrangement at The Sculpture Garden and Studio, Ebenezer Chapel, Buckland Dinham.
www.marlowsculpture.co.uk

Working in ancient woodlands in Oxfordshire, some untouched since the last Ice Age, Clocksin’s recent paintings are notations of the experience — neurological and sensory, poetic and metaphoric — of being deep in the woods. A place of being lost and found. And transformed.

The mark-making is a response to the immediacy of moment-by-moment sensory experience, moving between referential and abstract forms. This process – the coming into being of perception, or the point between unknown and known – is the real subject matter of the work as well as its process.

Working in watercolour and mixed media, the paintings emerge via an attentiveness to visual and auditory cues in the woods. Recently, the acoustic soundscape, including birdsong and the susurration (murmuring, whispering) of leaves, has come to the fore in Clocksin’s work, including her use of script-like notations and calligraphic marks. Mapping this sensory experience, they are expressive but not legible: communicative but resisting exact interpretation.

And the Daphne / Retellings series references the Greek myth of Daphne being turned into a tree to prevent her rape. Ovid’s telling darkly suggests that she is still sentient in tree form, yet trapped and unable to speak. The title arose from imagining what Daphne might say if the spell was broken and the metamorphosis reversed: if the trees began to speak and if frozen narratives were heard.

With a cross-disciplinary background in literature and psychotherapy, and art training to MA Fine Art at Oxford Brookes and Winchester School of Art, Ella brings together a wide range of literary, mythological and psychological concepts in her work.

Formerly Visual Arts Therapist at The School of Life in London and visiting lecturer in drawing at Winchester School of Art, she has worked in her Oxford studio since 2002. Alongside her own practice, she leads her own programme of experimental art workshops in Oxfordshire and Derbyshire, and currently on Zoom, with a particular interest in rehabilitating watercolour as a contemporary medium.

Widely exhibited, including the RWS Contemporary Watercolour Competition and Modern Art Oxford Open, solo shows include the Wall Gallery, Ely and the University of Oxford (Templeton and the Department of Psychology). Ella’s work is in the collections of the University of Oxford (Wytham Woods Research), the Perse School (Cambridge), and Oxford’s John Radcliffe Hospital, as well as many private collection in and beyond the UK
www.ellaclocksin.com

Jason Mulligan
Influences within my work stem from a passion for stone and a direct interest in archaeological and anthropological objects.

The evolution of current work focuses primarily on research around cultural objects and a facination with prehistoric stone artefacts.

This layering of historic and geological referencing has many influences from a variety of sculptural forms, such as the mysterious tribal object to ancient fertility figures and religious statues. The intention is to recall some past primeval state while playing with the ambiguity and form of the artefact. The work invites the viewer to multiple readings, where the mystery is in their elusiveness.

www.jasonmulligansculpture.com

The forces of nature and its myriad effects on both the land and seascape provide an endless source of inspiration for my art. In situations both entirely formed by nature and those having felt the influence of the hand of mankind have imparted a powerful and poignant impression that demands expression through the filter of the artists sensibilities. The confluence of often monumental natural phenomena and the effects of tomb building, tillage and war, and the more mundane impact of daily life all serve to complete the overall finished image, although as all the aforementioned can never really be considered “finished” in any sense, neither can a particular work, allowing thankfully endless opportunities for revisitation.
I am interested in the physical and tactile qualities of paint, and I am intrigued by texture and the overall process of painting often becoming obsessed with certain places, ideas or impressions which have to be worked through. At times I have to ignore these tangents that I wish to explore, but these are documented through both writings and drawings with the intention of following them through at a later date.
In the interest of continuity of theme several paintings are worked on at once, each complementing and adding to the depth of the others whilst retaining their individuality. Often initial drawing is revealed as the processes used frequently involve sanding down or washing back to leave multiple layers of pigment and process.
My future work will include further investigation of marks left on the land by early man.
Major influences in the works are painters such as Tapies, Peter Lanyon, Wilhelmina Barns-Graham and Sandra Blow.
http://www.terrihogan.co.uk

I currently work with non-toxic epoxy resin which I recently discovered as a medium. I am fascinated by the patterns and depth that can be achieved and how perfectly this medium lends itself perfectly to abstract art. I take my inspiration from nature, both in the choice of colour combinations and the pattern of the pour for each piece.

The resin is mixed with different types of pigment to achieve different finishes and then poured onto materials such as MDF, metal and glass. Depth is created through different pouring techniques or by multiple layers. Each layer can be manipulated with heat, it temporarily makes the resin move more easily across the surface.

I never set out with a complete idea of each piece, this evolves once the first layer of resin has been poured. Due to the attributes of the chosen medium, the final result will only become apparent once the resin has set, thus removing the decision of finding the end of each piece. The final imagery is left open to interpretation of the viewer.

Born in Sweden, I moved to England in 2000 to study art and design. I received a BA Hons from Kent Institute of Art and Design in 2004 and an MA from University College of the Creative Arts in 2007. Today I work locally in Kings Hill and in my spare time I work as an illustrator and graphic designer. I would describe myself as a “maker”, who, from a young age has had a strong interest in making things. My creations range from illustrations, graphic design, knitting, crocheting, making and restoring furniture as well as nature photography.

Jane has an Honours degree in Fine Art from UCW Aberystwyth and after a career in publishing returned to full time painting about 25 years ago. She works from her studio at home in Suffolk as an abstract landscape painter working with oils and watercolours.

She has exhibited throughout the UK including Royal Academy, RWA (Bristol), Mall Galleries and Bankside and is an elected member of the Royal Watercolour Society for whom she is currently Education Officer.

www.janelewisart.co.uk

“I have learnt to approach each new painting like a piece of music. Harmony and discord, louds and softs, major and minor, rhythm and repetition are all in the mix. Alongside the immediacy that comes with gesture and mark is the balance and rigour of careful composition. Above all, I am not looking to recreate the look of a place but what it felt like to be there”.

Caroline Hall graduated with a Masters in Painting in 2007. Ten years later she was honoured with a major solo exhibition of landscape painting at Southampton City Art Gallery, widely recognised as one of the UK’s most important contemporary art galleries outside London. Caroline has shown paintings in solo and group exhibitions throughout Europe and was a recent finalist in the prestigious Lynn Painter Stainers Prize at the Mall Galleries in London and the RBSA in Birmingham. Her work is in private and public collections worldwide.

https://carolinehall.net

Haydn Dickenson was born in Hertfordshire in the United Kingdom where he still lives and works.

The noted art historian Lily Lacey-Hastings has described Haydn’s work as “An enigmatic ecstasy” and “A puzzling world, holding reality in perplexing abstraction.”

These words resonate profoundly with Haydn’s vision, which is rooted in sensations, dreams, the subconscious and the Yin and Yang of introspection and exuberance.

Haydn’s work ranges from rapid nude sketches in graphite, ink and watercolour, through abstracted nude work in oils and acrylic, to more overtly free pieces in which collage, acrylics and oils collaborate in a suggestive dance of colour, texture and form – at times urgent and vital, at others calm, meditative and spiritual. He is inspired by the Natural World, and by Humanity, Mysticism, Spirituality and Sensuality. Artists from whom Haydn particularly draws energy include De Kooning, Philip Guston, Joan Mitchell and Francis Bacon, with the sensuality of Klimt and Rodin’s rapid ink and watercolour studies informing his own drawings. Haydn is a maverick however, with a style and energy that is all his own.

Musical references and an undeniable fluidity of line also abound in his work – Haydn’s former career was as a Concert Pianist.

As a musician, Haydn has frequently remarked that when he paints, he is spinning lines and balancing colour like musical tones and, when playing the piano, he moulds sound like a painter; the essential pliability of sound and its power to seduce the listener find echoes in his work on canvas and paper. Haydn’s work is lyrical, expressive and musical – demonstrating, perhaps, that all artistic expression flows from the same well-spring of creativity.

Haydn’s work features in private collections across the UK, Western and Eastern Europe, the USA, the Far and the Middle East.

www.haydndickenson.com

Piotr trained in stone sculpture for 5 years in Poland where his training included the tradition of studying and copying the work of the great classical sculptors. On completion of his studies, he was invited to join a company focussed on the restoration of decorative stone features on historic buildings. Over the next ten years, Piotr honed his skills working across Europe helping with the restoration of sculpture created by generations of craftsmen and artists.
Throughout this practical immersion in art Piotr developed the skills to envisage and recreate heavily eroded and damaged sculptures in the style of the original artists. Inevitably, his work has been described as ‘cosmetic surgery’ in stone, but more importantly, these skills have led to the development of Piotr’s own artistic style.
Since being invited to carry on this work on the Colleges and Churches of Oxfordshire Piotr’s own contemporary art has flourished and expanded to include digital sculpting. He works in all kinds of materials including marble, wood, clay. Currently, his sculpture, inspired by the Oxfordshire environment, focuses on using the most modern 3D imaging technology to then create his own form in stone that reflects the flow and harmony so evident in organic forms.
www.piotrgargas3dsculpture.com

The paintings reflect experiences, memories and everyday ‘happenings’.

The colours have an emotional attachment and response to a situation or subject. I am fascinated by the physical journey of painting and manipulation of the painted surface. Indian textiles and the Eastern colour palette, influence the lushness of the work, creating a surface that is sumptuous, jewel-like and inviting. Painting on Hessian or textured linen adds a raw and fibrous contrast with the glossed surface finish.

www.wendysmith.co.uk

I personally describe myself as “a fidget” when it comes to my painting style. Somedays I feel like painting photographic style works and sometimes abstract; a fusion of classical techniques whilst also being experimental. I do have this obsession with depth and colour in my pieces, I love to try and give the flat canvas a 3d quality.

I was born in Dartford, Kent in 1983 and was been brought up in an artistic family so have been painting and drawing for a number of years. I discovered more of a passion for oil painting at school before going on to complete a Diploma in Art and Design at The Kent Institute of Art and Design to further my education. After my time at KIAD I turned to a career in music.

Although I concentrated most of my time on music I still painted many pictures and had commissions as a hobby with the occasional exhibition. From mid-2015 though I decided to change career direction and turn most of my time to my artwork.

www.matthewwithey.com

Ptolemy was born in the south of England but grew up in the north. He studied art and design to degree level at Bradford and Illkley Community College in the mid eighties. He has travelled extensively and has worked at a variety of jobs. These have included theatre set design and construction, stage design and construction, assorted large scale community art sculptural projects and all whilst pursuing his own artistic agenda.

Within his work he concentrates on creating sculpture of natural forms from found and re-cycled materials. At the moment he is working with a variety of materials including shopping trolleys, scrap metal and car wheel trims which he re-shapes into a variety of life forms.

Past clients include DEFRA (formerly MAFF), The Eden Project, Kenwood, the R.S.P.B., The Environment Agency, WWF, Essex County Council, Brighton County Council, Ronseal, Anglian Water, East Coast Trains and Ecover.

TV appearances include Richard and Judy, Blue Peter, Smart and Art Attack and Collectors Lot.

Printed media appearances include The Times, The Telegraph, The Daily Mail, The Sun, FHM, The Observer and numerous local papers as well as many international magazines and papers.

He has exhibited several times in London, also in Brighton, Haslemere, Rutland, Salisbury, Scotland and also in Barcelona, Spain and Athens, Greece.

He currently lives and works in Brighton.

www.hubcapcreatures.com

Lynsey MacKenzie approaches painting by combining ways of working; from memory and observations of her surroundings, to working intuitively, responding to marks and colours. Often one painting becomes a source for another.

She also has a deep interest in the relationships between painting and time: the timelessness of painting, the non-linear accumulation of imagery and forms, and the way that painting takes both painter and viewer outwith time.

She is concerned with flux, brought about by the passage of time – how order tends towards disorder. She is attempting to create a feeling of space, of something fleeting, of nothing being quite pinned down. She uses flurries of brushwork and planes of colour to celebrate the beauty that can be found in the brevity of things.

Lynsey MacKenzie initially graduated with a degree in Law, but returned to art studying on the Painting Course at the Leith School of Art from 2014 to 2016 where she was awarded the Painting Prize. She then graduated from Glasgow School of Art in 2019 with a 1st Class BA (Hons) in Painting & Printmaking. She has been selected for the Royal Scottish Academy: New Contemporaries 2020 Exhibition, the Breakout Artists: Best of Scottish Art School Graduates 2019 at Art Pistol Gallery, and is a Visual Arts Scotland Graduate Showcase Shortlisted Artist.

www.lynseymackenzie.com

The initial inspiration for a painting can arrive from one of many visual sources, e.g. it may be based on a section of a print or collage I have made earlier, or a partly obscured image from a magazine photo or advert. However, once begun, a painting invariably takes off on a life of its own, and soon presents me with possibilities and problems to be solved. I use acrylic paint as I find the rapid drying speed concentrates the mind and helps me work very directly.

My paintings evolve slowly, with many false directions and alterations.

This involves my intuitive response to, and development of, marks made, plus organisation and reorganisation of areas of shape and colour. Often very radical spontaneous changes will be made during the process, as layers of paint interact with each other and suggest new possibilities.

I usually have several paintings on the go at any one time. A painting is finished when there is nothing to be added or taken away.

Graduate of Royal Academy Schools , living and working in E Sussex .

Has exhibited at Mall Gallery ,Wing Gallery ,Spa Gallery , Coach House Gallery ,John Stocks Gallery ,Trinity Gallery , Conquest Hospital , Marle Place , Rye Society of Artists etc

Abstract paintings are acrylic on canvas . Work in collections here and in USA .

www.janbrine.co.uk

In his North London studio John Brown creates his contemporary sculptures based on the human figure, simplified and abstracted, and expressing emotions and relationships.

There are sculptures in stone, usually a limestone or sandstone, and limited editions in traditional foundry cast materials such as bronze or in cast resin metals, such as bronze, aluminium and iron. These limited edition sculptures are usually restricted to just 12 per edition.

www.johnbrown-sculptor.co.uk

“May Everett’s work possesses that grab and steal quality without asking for permission. Everett’s canvases play with the collision of the built environment with the shifting human crowd, and the strong thrust of movement conveyed is almost palpable.

It’s brilliant stuff – successful because its visual power is unflinching, because the play of brush and canvas has not been purely driven by market forces.”

— Colette Meacher, Latest Art

I have no singular ‘idea’; I’m never quite sure where my work comes from until I think it is finished. I like the language of mark making and palpable zing of certain colour combinations. Figures, plant forms, motifs, and structural elements shift, repeat, dissolve, and reappear, through a process of layering and reworking. Some representational elements are usually present, but are fleeting, dreamlike, and are often combined with fragments of memories, a reoccurring theme, or current obsession.

Drawing, printmaking, painting and collage inform each other as I usually work on several pieces and different surfaces / scales at the same time. The process is ongoing as each picture leads to a new challenge.

www.mayeverett.com

My work evolves through the process of working and as such is intuitive, and part of it progresses with certain definitive ideas. I work mainly in series and I am interested in exploring formal and informal aspects of image making through colour exploration by applying multiple layers of paint. Applying the paint and colours in this fashion, by over-coating, helps me achieve the desired depth of colour and space. The final imagery is left open to interpretation of the viewer.

Daniela Rizzi’s practice includes painting, printmaking, photography, drawing and mixed media. She studied at Middlesex University where she obtained a BA(Hons) in Fine Art and a Post Graduate Certificate in Education. Daniela also graduated from Camberwell College of Arts with a Masters Degree in Printmaking.

She exhibits regularly and has work held in the Victoria and Albert Museum and private collections. Daniela is a member of the Printmakers Council, East London Printmakers and a studio member of the Barbican Arts Group Trust. She has won the Michael Rothenstein Trophy and the London Print Studio Prize.

Daniela has been teaching for over twenty years and is a lecturer at Kensington and Chelsea College.

www.galleria63.com

Berman translates our landscapes, ancient forests and open spaces, into worlds full of dynamism and stillness via coloured shapes. Berman physically explores woodlands, nature reserves, fields and parks to articulate the personification of our land into a new visual language. The classic elements of earth, water, air and fire, combined with the sensory elements of fluidity, mobility, solidity are declared as an abstraction into how a physical place is sensed.

Berman uses various physical processes of applying intuitive layers of paint to construct or deconstruct her paintings. Large brush marks are in contrast to the static floating shapes that she sees. The next stage is planned as the image is based around those original marks to be encapsulated in movement or stillness. The result is an exciting style of Abstrace Fauvism style of painting that creates a new visual dialogue to engage with.

Rebecca Wilson, Curator & Vice President of Art Advisory at Saatchi Art highlighted her artwork as ‘one to watch’. Featured in House and Gardens Magazine.

www.melanieberman.com

Cathy Read ‘s paintings depict the geometric shapes and inherent patterns of architecture in a free, expressive style which rely heavily on the use of masking techniques. The inspiration for the paintings coming from time spent in London and other major cities, such as Manchester and Oxford.

Cathy has exhibited with the Society of Women Artists since 2013, becoming a member in 2015. She was awarded the Barbara Tate Memorial Award by the Society for her Body of Work in 2015. She has also exhibited with the Royal Watercolour Society and Royal Institute of Painters in Watercolour.

Cathy was a contestant in the Sky Arts Landscape Artist of the Year Competition, in 2016 and 2017

Shortlisted for the 2017 Artist of the year held by Artist and Illustrators Magazine, she received the Wild and Tame award for her painting of the Toast Rack in Manchester.

2018 saw a solo exhibition “Take a Trip to Marylebone” at Claydon House in October as well as the 4950 Challenge which saw the completion of 50 paintings of details of architecture. In Buckingham and the surrounding villages.

A qualified as an Occupational Therapist, Cathy started her art career in 2008. A self taught artist, her earlier paintings were predominantly circle based abstracts. She developed her distinctive style around this time before venturing into urban landscapes. An interest fuelled by a lifelong fascination with buildings. This evolution was only natural following a childhood dominated by the giant mills of the Cotton industry in the North of England.

www.cathyreadart.com

Colleen Slater is a professional, freelance photographer and teacher.

‘With a background in Fine Art painting, I have lived in Brighton since 1978 and been working as a photographer since 2006. I have a particular interest in macro photography and through my images, hope to draw attention to the ordinary, often unnoticed things in the everyday world which appear extraordinary and sometimes unworldly when seen through a macro lens’.

Colleen lectures on macro photography and tutors digital imaging software, including Lightroom and Photoshop, tailoring lessons to individual requirements. She is an Associate of the Royal Photographic Society whose work is regularly shown in International exhibitions and used in various publications including Outdoor Photographer, Amateur Photographer and EOS Magazine.

‘My passion for wildlife developed during my childhood in Monmouthshire, where I spent much of my time outdoors, wandering the countryside and exploring with my brother. We dammed streams to make small lakes, investigated ponds teeming with life, fished for sticklebacks and caught grasshoppers in our hands. I was aware of all the nuances of the changing seasons as life came and went through the year and was fascinated by it all. I have a deep concern for environment issues and through my photographs I enjoy sharing my love of the natural world. I hope to bring attention to the many fascinating aspects of the natural world that are all around us but which often go unnoticed.

www.colleenslaterphotography.co.uk

Diccon Dadey is a metal sculptor working in mild steel to fabricate a wonderfully eclectic collection of modern and traditional house and garden art in 3D form.

Most sculptures are fabricated entirely from sheet metal but some introduce mixed media in the form of salvaged or drift wood to enhance the representation of nature. Others are made entirely from scrap metal: reusing materials and reforming them into a beautiful piece of art which reflects nature and which, somehow, seems a fitting way of demonstrating the ongoing worth of the materials often so readily discard.

Most pieces are weathered to offer up a lovely rusty patina which is so fitting to the natural theme of many of Diccon’s pieces but each sculpture is designed to fit and enhance its environment and as a consequence galvalised and powder-coated finishes are also very much part of the Dadey Metal Art portfolio where better suited.

Many of the artist’s pieces are an observation of nature, using this man-made material to capture the unique movement, character and alertness for which animals and birds are so much loved and which makes these sculptures such a popular personal art choice.

Contemporary art is also very much a feature of the Dadey Metal Art collection including sculptures ranging from commissioned pieces such as coats of arms to abstract art suited to any particular space or garden landscape theme.

Whether contemporary or traditional; whether abstract or a reflection of nature, a Dadey Metal Art Sculpture offers a unique and timeless piece of art which never fails to enhance its environment either as a breathtaking centre-piece and ongoing ‘wow’ or a gently placed nod to nature, perhaps on a fence, in a flowerbed or on a tree and spotted as a genuinely wonderful surprise.

www.dadeymetalart.co.uk

Jane Campling is a contemporary British painter. She studied Fine Art at Liverpool Art School, graduating in 1997 with a first class honours degree and was awarded the Stuart Sutcliffe Fellowship. She has exhibited in Liverpool, Manchester, Lancaster and London as well as in Basel, Switzerland.

Her work is based around the landscape.

She lives and works in East Sussex.

www.jane-campling.com

I work mostly on canvas, board and paper with acrylic paint and other mediums. I use colour, marks and drawing to convey emotion, mood, response to nature, weather, landscape and memory, often inspired viscerally by music as I go along.

I use paint to create space, movement and tension. I like to walk the tightrope between recklessness and control, expression and artificial order, allowing accidental marks to pave the way to new unexpected destinations and seeing if it works. I enjoy that sudden feeling when the images come into being, creating a world within themselves which might continue beyond the boundaries of the picture’s edges.

My very recent work often refers to being outside in my garden, watching the skies move and the trees sway and sometimes tries to evoke that intangible feeling. Also coming to the fore are memories of a trip to India, and the way the bright colours crystallised against the muted monsoon weather.

I am interested in the relationship between the space above the horizon and the solidity of what exists beneath it – both in actuality and pictorially, as well as metaphorically – the conscious and the unconscious.

I studied Fine Art Painting BA, followed by an MA in printmaking in Brighton and have shown widely in London and Brighton, taking part in solo and mixed exhibitions and artist’s Open Houses. I have undertaken commissions and also have work in private collections. In May I co-curated ‘Art At Zerb’s, 3rd runner up in The Latest magazine’s top Brighton open house awards, I also hosted my own Open studio in Brighton, October 2018.

katescottpaintings.com

My practice is heavily influenced by the legacy of abstract expressionism. It explores images and ideas relating to ‘nature’ and landscape and its emotional impact upon us. The French word frisson is, ‘a sudden strong feeling of excitement or fear; a thrill’, this sentiment is what serves as the inspiration of the work. I want my painterly and material concerns to embody my feelings and sensations I experience via the ‘natural’ world.

The natural world can make the human race feel insignificant and that can be frightening. For example, Immanuel Kant’s ‘mathematical sublime’. However, distance can be used as a means of gaining pleasure from it. For example, a storm seen at a distance can be aesthetically beautiful, though, dangerous and frightening at close proximity. As well as working with distance, scale is addressed. The large canvas’ represent the grandeur of ‘nature’.

The erratic characteristic of the brush marks highlights the intense act of painting, comparable to the complex relationship between nature and man. Similarly, this is executed through the images collaged onto the piece. Although, the art work is predominately covered with natural imagery there is an underlying collision with urban environment, the hinterland. This shown in fewer, but present images.

The artwork is mixed medium including; oil paint with alkaflow, acrylic paint, emulsion paint and collage. The combination of materials creates depth throughout the pictorial surface allowing layers to emerge. This is developed through the physical act of layering paint onto the surface, thereby exploring painting ‘facture’. The work becomes an extension of the artist and projects a personal approach to the subject matter. Colour, line, edges and borders are key to the work. The use of “whiteness”, works as a palimpsest creating layers and passages throughout the work. This is through a visual metaphor of deep rooted patterns and structures in nature and intends to render an abstract geology.

I live in Exeter – pretty close to my place of birth: Taunton in Somerset. But I travelled the long way round – living and studying in Israel, Portsmouth, London, and America along the way. I have made and exhibited art in all those places, as well as holding many exhibitions in south west England.

I make art to explore the nature of reality, both gentle and brutal: the fragility of the world and our engagement with it.

The paintings are about relationships, rhythms and the juxtaposition of opposites: they refer to what’s going on “off-stage” – things I feel, touch, hear, remember as well as what I see. They are to do with questioning everything; and making connections – creating a multiverse rather than an either/or world. And they revel in the language of paint. They are the result of a juggling act between life itself and the physical stuff and language of art. Recapturing a childhood sense of play and adventure with no preconceived goal other than a bringing together – a moment of balance – a glimpse of understanding. Life measured out in coffee spoons and simultaneously the fullness of life celebrated in all its glory.

www.stellatripp.co.uk

Memories of distant travels and a response to experience much closer to home are the trigger to my work, but it is a fascination with colour which is the all encompassing ingredient to my practice.

The immediacy and physical nature of the printmaking process is a different experience to the more contemplative and solitary nature of the painting studio, but the two areas have become a significant overlapping combination.
During the process in both painting and printmaking, the work will begin to take its own path, and I’m always fascinated and pleased when on completion, the piece does indeed encapsulate the spirit of the initial response, but in a form never initially envisaged.

After graduating from Chelsea School of Art worked as an artist, teacher and banner maker in London and Cornwall.

Has exhibited widely over the years including Royal Academy of Arts, Affordable Art Fair, Tate St Ives, Camden Arts Centre, Newlyn Exchange and Truro Law Courts to name but a few.

She now works from her garden in Brighton studio in Brighton, participating in the Artists Open Houses each year.

www.sonyawalters.co.uk

Originally from the Thames Estuary, Adam Bracey graduated from the University of Brighton in 1998. He has taught Art and Photography in colleges, universities and schools around Sussex for over fifteen years where he has made his permanent home. The Sussex coast serves as the major inspiration for his work and he has never lived far from the sea. Exhibition locations have included Brighton, Lewes, Shoreham, London, Essex and Edinburgh.

Evolving from a more realist ethos, his paintings have become more concerned with the properties of paint than a faithful representation of a subject. The work has a real physical presence, with textures and surfaces that are not easily reproduced when the work is photographed. Although abstract in nature his work makes direct reference to real locations. The landscape is ever changing, altered by erosion and sediment, light and season. The paintings aim to reflect these natural processes.

www.adambracey.co.uk

Annie Ross has worked with glass for many years and these drawings are related to her research and work with landscape.

Initially trained as a Fine Artist at the Slade, her work has crossed many boundaries both in the context of Fine Art and commercially in commissions and public projects.

The discipline of working with imagery that holds meaning and content has underlined all her work. Her personal research brings together the technical understanding of the material with themes of the life and the landscape that surrounds her.

She has worked both for the commercial arena as designer for a leading Architectural Glass company, Goddard and Gibbs and in parallel, exhibited her own personal work in both one man and mixed exhibitions.

www.annieross.com

Daniel Griffiths trained as a blacksmith before going on to study sculpture at Norwich School of Art. His work reflects a love of our native wildlife which grew from his childhood in the rural Welsh borders and which has continued to be a rich source of inspiration throughout his life. Spending time immersed in nature, researching and observing his subject matter, has become a fundamental part of his practice.

Daniel’s work combines the discipline and attention to detail instilled by his background in craft with this emotional connection to the natural world, bringing together these disparate influences in his beautifully observed sculptures. Daniel now lives and works in Sussex in the shadow of the South Downs National Park and many of the techniques employed in his work would be familiar to the people whose skill and industry have shaped the areas distinctive landscape since the bronze age. Daniel’s sculptures have been cast by hand at his own workshop using techniques which have been practiced since antiquity.

www.stanmerforge.co.uk

My current work consists of large scale colourful mono prints that explore the appreciation of the beauty of the every day in order to convey a bigger issue. It is the objects, social interactions and scenes of the everyday that are relatable to and form the bulk of our existence, and therefore the important ones – not so much the grand events in life – the beauty of a sugar bowl, a scrap of fabric on the floor, a stray plant in contrast to a painted brick wall, saying good morning to a neighbor. I am all about looking and observing what’s around me . The aim of the work is to both capture the beauty of a moment through the representation of everyday objects, observed patterns and colour, scenes and people, and then to instigate questions on a bigger issue. The work isn’t suppose to be idealistic or dictorial.

Current subjects include a housing block in Budapest – 4 flats over 4 floors surrounding a central courtyard, the block houses a cross section of people. My interest was that because of the walkway access to all flats and the central courtyard layout, everybody sees each other on entering and leaving their place and therefore there was a real sense of community. I witnessed a young man carrying an old lady’s shopping up the steps, and my general observation was that someone wasn’t going to die in their apartment alone and not be discovered for 2 months in this environment.

Outdoor chairs are also featuring a lot , both at home and abroad, the idea of being able to sit out and the interactions that that creates interest me in respect of a less lonely and more communual existence.

In my most recent work I have gone back to my roots as a printmaker and have engaged in making large scale monotypes, using a combination of screen print, block print and painting. I studied printmaking at the Royal College of Art. I want the work to be beautiful but at the same time hold an energy and spontaneity. I love the making – the processes and the physical actions and experiments of layering and deleting elements, over painting and playing with colour and density. I am really interested in the hands of the maker and the tools of the trade, often using either my hands or a screen printing squeegee to apply the paint.

www.kallylaurence.co.uk

I sit at the confluence between painting, drawing, video and performance installation, letting them mingle and intertwine. I am interested in how to document the essence of something, of what is felt, or embodied within a person or a place. My practice, while sitting between mediums, follows an ongoing conceptual and personal inquiry into liminality; a state of being in-between. I am interested in the ‘journey’ as a performative methodology, in the eternal process of becoming, the meandering volatile and nomadic identity, and the act of tracing sensory or embodied experience through mark making.

My works are journeys and maps. These journeys take place through physical space, imagined space and across the body. These maps are of captured stories, embodied feelings, dreams, memories, desires and fantasies of those that inhabit, or pass through those spaces and bodies.

I am attempting to find harmony within chaos, to find and explore something human, to create something visceral, magical and real.

www.kimbalbumstead.com

It all started over 15 years ago when I was on holiday in Croatia and someone I met through a mutual friend needed help in turning over a large glass panel. When I saw it, it was love at first sight. I returned to my native Hungary, did a course and set up my business. I worked with interior designers and architects on larger commissions, such as bank branches, solicitors’ offices, health clinics and private residences.

In 2008 I moved to the United Kingdom, the country of fascinating hedges, chimneys and stained glass art. I’ve been lucky to be able to continue working with glass – I’d like to help preserve this country’s traditional glass art and I also hope to make my own modest contribution to British contemporary glass art. I work in a studio in a wonderful and inspiring garden in Buckland, Surrey. I do not have opening hours in my studio, so please contact me to make an appointment.

www.leadedline.com

Author & Poet Richard Lewis’s description of Nina’s oil on glass paintings:

“The colours hit me up with their intensity, like chemicals chasing through my blood. It’s a visceral thing at first and then meaning emerges: I get rivers, seas and mountains, then into cells under microscopes, maps of the earth from space bleeding into brains and embryos, soft tissues and weather systems all on a single sheet of glass, yet it is still. I’m getting flashes of old masters too, like faces and scenes from other things I’ve seen dissolving away from me.”

Nina’s work contemplates the middle ground between what is real and what is not, pushing the view of the objects she paint to the point where they lose their identity, thus revealing an altered view, that could be looking to the universe or travelling deep inside the body.

Pondering the medium of paint, exploring: the quality and viscosity of paint itself, redolent of current opinions of the tradition of painting in an increasingly virtual world and the psychological experience of creating a painting. Flirting with the idea of Rorschach cards and likening the state of mind to that of theta brain wave state.

While studying her Master of Arts in Painting she explored different media, which was a journey to realize a different view for her painting practice. Most of the work during that period was experimental, looking closely at the medium and act of painting itself and often realized in video, installation works and exhibited live painting experiments.

Nina is a Royal College of Art post graduate visual artist, having exhibited nationally and internationally, highlights include ‘London Art’ fair in Chelsea, Scope Miami and Paradise, RCA Milan Fine Art meets Design for Milan Design week. She has work in the private collections of Alex de Brye and public collection of 6KBW; she received the Stanley Smith Scholarship to the Royal College of Art.

www.ninagarstang.com

One of the main qualities I’d like my art to do is to reveal itself slowly, so you feel like you are never finished at looking at it, giving you enough information to draw you in but nothing that is too leading.

Memories fade and blur, they are distorted by various factors; emotions, imagination and time, it is this that I want to capture in my paintings, the passing of time in relation to the human condition of emotions.

Earthy tones of layered glazes are contrasted with high chroma areas of painterly applications using acrylics, oils, and spray paint. Traditional painting methods are blended with a process of adding and subtracting, masking and revealing. Boundaries blur between past/present, urban/rural, internal/external to produce a timeless ambiguity.

I draw inspiration from old masters, cinema, derelict spaces, emotion and memories. I have a large collection of images collected from my own photographs, books and from online. I find they are helpful with various aspects from the process of painting to a spark of an idea. The painting process is always one of discovery, the idea I have at the beginning will change along the route of its creation. I find it fascinating the twists and turns that a painting will go through which are dependent on process and emotions whilst painting. It is this dialogue that I want to continue to the viewer; to be able to transport the viewer and to hold their attention long enough for some reflection to occur and a curiosity to look further.

www.sarahspencerartist.co.uk

“Mixed media artist based in Kent working with clay acrylics paper and string”

Im an artist based in whitstable kent, i started out making birds from paper and hand drawings/renderings of local and historic places but i have always held an interest in the organic and fluidity I now use resin, paper, acrylics and clay to create sculptures and 2D pieces.

My current work is derived from memories of the physicality of being in a natural environment. I work with acrylics and textural materials to create work that conveys the ability of thoughts and feelings to remain quiet whilst the senses are ignited. I aspire to create canvases that reflect a subtle sculptural quality that are overwhelmingly aesthetically driven.

I use photographs from walks and journeys as inspiration and often post images on my @antoniathom Instagram account – these are my sketchbook, the seeds of many of my ideas for paintings.

I look for the feeling of being barefoot in the sand, exploring beachside rocks or that all encompassing feeling of wanting to dive into the ocean on a warm day. To disappear, to relax, whilst still being aware of all that is around.

I worked for many years in an office and holidays were often a common topic that helped us transcend the mundanity of everyday desk work. I love the idea that through looking at a painting you can find a memory, a part of yourself in it that can take you on holiday in your mind.

The light in Greece is a huge influence, and the memory of it I project into paintings that often start from a snapshot from a local Brighton walk.

Recently I visited Elefonisi Lagoon in Crete – the famed “pink sand beach”. Over the years tourists have taken home a bottle of sand as a memento so the real pink hue is largely absent. However, when I visited, in the startling heat, the light on the perfectly clear water reflected a gentle pink tone.

Since then I have used this idea of searching for that elusive beauty and many of my paintings echo this. A beautiful memory of something lost and also found.

My process involves walking and exploring places old and new to me. I have written about it in “Walking In The Rain”, a book published by Octopus through Department Store For The Mind.

Experience as a writer also influences my work, I often use words and instinctive mark-making in my paintings to reflect the fundamental need of humans to communicate without the fear of intellectual judgement.

Originally from Harrogate, Antonia Thompson studied Fine Art at Duncan of Jordanstone College of Art in Dundee. She practised as an artist in Scotland in the 90s and then retrained as a media professional where she worked in online journalism for 14 years. 2015 saw her return to her professional art practice.

www.antoniathompson.uk